جستجوی مقالات مرتبط با کلیدواژه « آب » در نشریات گروه « هنر و معماری »

Yazd emerged at a central point in Iran at the intersection of two main roads, Kerman-Ray and Fars-Khorasan, at least in the Sassanid era. Due to the presence of the Iranian plateau at this point, Yazd turned into one of the cities with low water. However, with the growth in population and consumption, the water shortage in Yazd turned into a crisis. Yazd›s water supply was in Shirkuh, a city 45 kilometers away from Yazd. The cities of Taft and Mehriz were constructed several centuries after Yazd, in the vicinity of Shirkuh. Yazd was initially a fortress serving as a guard and providing road services but gradually expanded. Since huge economic and military activities have long been dependent on the two old roads, Yazd is still a larger city than Taft and Mehriz. It has stronger civilizational and cultural indices compared to the national average, even though it has been farther from the water source.Water, a manifestation of ancient Iranian civilization, received much attention in Yazd and outstandingly excelled. Water in Yazd, this prosperous but waterless city, was conceptualized in two ways: as a verse of existence and a symbol of goodness. It was a manifestation of existence and perfection (the legend of Anahita) and served as a symbol of perfect existence manifesting itself on Earth.The lower and more sensible aspects of water in various shows were an attempt to grab the attention of users using different forms of water. The man-made symbols in natural elements, patterns, characters of nature, language, manners, and the like were the narrators of the beneficial qualities of water in the lives of the people of Yazd. This approach is a necessity for the continuation of life in the water-scarce area and serves as a means of water conservation.The higher and emotional aspect of water›s role in Yazd was creating situations in contact with water and water itself so that users could experience different effects of water. The maximum exposure to the existence of water in various forms was the agenda of expanding the ontological relationship between man and water. The capabilities of water and its various aspects were tangible in spaces and situations where the observer could look at the water from their perspective.The architecture of Yazd is a well-known embodiment of the cultural-civilizational capacity of Yazd. Despite being a waterless city in an arid and barren area (desert), Yazd has been able to achieve superior development indicators. The growth of houses with courtyards centered on the water feature, which is the essence of the architecture of the house, is an example of this embodiment. In the path of the aqueducts passing underground, a connection with water was established wherever possible, so that people could gather around the water’s edge. The garden ditch splitting the ground of the courtyard to flow the water as an exemplary element in front of the residents is another example. The huge fountain in Daulatabad Garden has no justification in a water-scarce environment other than accentuating the glory of water. After carefully researching the formation of architecture in Yazd, it can be said that architecture in this city is based on water landscaping and human contact with water.The cover photo of the author related to the Pahlavanpur Garden Pavilion in Mehriz is an example of landscaping with the approach of maximizing exposure to water and nature. The good feeling that the observer experiences in this space is created by immersion in the landscape through encountering and touching nature.

Water has a vital role in human life, as the source and symbol of life, particularly in the Islamic community. Poor management of water resources in recent decades has posed a serious threat to the physical aspect of life in Islamic countries, which are predominantly located in dry regions. Moreover, the weakness of functional and symbolic position of water in Islamic-Iranian architecture has been the consequence of this situation. Water have a tangible and essential role not only in the physical aspect of human life (external world), it is also closely connected with the spiritual aspect of life (inner world), assisting individuals in stages of felicity (sa'adah) and perfection (kamal) according to transcendent theosophy. With its richness linked with spiritual, sacred, and mystical manifestations, Islamic architecture represents water both in its external world (zahir) and inner world (batin). In terms of the former,issue water unites with the real space for the purposes of balancing and regulating the climate conditions; in terms of the latter, issue it merges with the sacred atmosphere of the architecture. Therefore, water is one of the most valuable, universal, and structural elements of Islamic architecture. In Mulla Sadra’s view, water can be considered as one of the symbolic cores of perfecting motion of life with regard to his doctrine of substantial motion. The Holy Quran mentions different forms of the role of water in witnessing and being of humanities more than 63 times. The manifestations of such intuitive quantitative instances were studied based on the stages of Sadrai perception, namely the sensory, the imaginary, and the intellectual. As shown in the theoretical framework, this analysis revealed the generalizability of universal vital, sacred, biological, and technological values to architecture and urban spaces. Accordingly, beauty, vitality, and life in the general sense and life in the sense of becoming Godliness were the ultimate findings of studying the function of water in Islamic architecture.

The altar is a symbol of a holy place. The tradition of decorating altars, which is repeated as a stylistic form in the Islamic period, is related to the religious philosophical concept that emphasizes the concept of this holy place. Based on symbolism, the center is the supreme example of holiness and pure reality  as all other symbols of pure reality (such as the tree of life, the fountain of youth, and so on.) are also located in the center. In this research, the concept of the decorative motifs of trees and vases in the altar is analyzed considering the sacredness of this place. The present analysis seeks to answer this question: what is the relationship between the symbols of water and plants represented in the altars of the Islamic period and their earlier visual patterns in the pre-Islamic art in Iran.

This study is descriptive-analytical in terms of methodology. The data collection method is based on library review, and data analysis was done qualitatively. The principle of evolutionism is based on the fact that every cultural phenomenon should be considered the result of a long chain of changes along a time-space line.

The intellectual principles of evolutionary theory are based on a belief in an evolutionary line, a beginning, an end, and milestones that can be called moments of leap or fundamental change. In this approach, the shapes and their changes in the works were taken into consideration; it depicted how an art form spread on a territory or a historical aspect. This principle is noteworthy that some components of a certain culture and practices or customs may remain in the same culture for a long time after the transformation of other components. According to Taylor, two important laws about religion and culture exist. The first principle is the unity or the psychological sameness among human beings. The second principle is the pattern of human evolution or intellectual progress over time. The cultural and intellectual evolution of human and the basic homomorphism of the human mind are related to each other. The principles of evolutionism can be analyzed for the symbols of water and trees in Islamic altars. Persian myths have described the two symbolic elements of water and trees in the holy places and considered them to represent the center of the universe and the origin of life, respectively. In the verses of the Holy Quran, these symbolic trees are mentioned and described. The descriptions of the Tubi Tree, the Sidra al-Muntahi Tree, the olive tree along with the description of the paradises with flowing rivers show the place of these symbols in the holy book of the Quran. In these verses, the connection of faith, piety, and goodness with the symbols of water and the eternal tree is evident. In fact, these descriptions of the heavenly book in the form of an allegory, derived from the archetypes, are about the sacred tree and correspond to the evolutionary process of this symbol. The evolution of elements from the ancient texts (the pre-Islamic religious texts), i.e., the symbols of the tree and the water of life, can be seen in the text of the Qur'an, as the most recent religious text. They  have found an evolutionary and allegorical form and are continuous with the element of goodness and salvation. In this evolutionary process, a change in the meaning of symbols of the tree of life and the water of life can be seen: that is, a change from eternal life and immortality in the material world to immortality in connection with faith in the metaphysical world. In fact, the symbols have become sublime.

On the basis of intertextuality, there is no text without a pre-text, and on the basis of the theory of evolution, it can be emphasized that in the field of sacred water and plants, the oldest art forms have been established and continued from the past. These components of Iranian culture have been continued in their original form or along with evolutionary changes in the arts of the Islamic period, especially in altars. The tree of life appears with a tree and plant motif, and the water of life is represented by the symbol of a jar or cup. Based on these documents and the first principle of evolutionism, a mental and religious pattern related to the sanctity of natural elements can be identified in the minds of Iranian people. With the religious transition that happened in Iran after Islam and the domination of monotheism and monotheism, the idea of praising one God and the mystical view of the world, as the signs of the Lord, created the ground for the use of natural symbols of water and trees in altars. This common feature of respect for nature in pre-Islamic Iran, which bore many similarities with ancient civilizations, is a form of human psychological unity in accordance with the first principle of evolutionism. In Iranian altars, the sacred tree is located in the center of the altar, and sometimes it is wrapped in the form of an abstract plant motif on the pillars of the altar. The pot or jar is also at the bottom of the tree or column or on top of it. While the divine verses, which are the sources of blessing and life-giving, are revealed on it. In fact, the jar is the medium of receiving grace from heaven. The evolved forms of plant elements have evolved. Arabesques and khatais replaced the leafy trees of the Sassanid period with systematic rotations, and the jars, at the top and bottom of the columns were sometimes decorated with plant motifs. And this course of semantic and formal evolution in the design of water and tree symbols in the altar is in accordance with the second principle of evolutionism, which means progress and evolution over time. Continuity of prayer at the altar and communication with the Almighty God, accompanied by the symbols of the tree and the jar, is reminiscent of heavenly descriptions of believers’ connection with the heavenly trees, flowing streams, and the cups filled with pure wine from the heavenly streams.

A goat is one of the most influential animals in human culture, and it has been given particular and distinct characteristics in different parts of the world. In Iranian motifs, this animal is represented as “intelligence, astuteness, the protector of the earth and the tree of life, and is associated with water, the moon, and femininity.” By highlighting the noteworthiness of the goat’s role and images as well as its relationship with both water and the tree of life, this article attempts to introduce and analyze the myth of the goat in Iran and the world through linguistics, describes the roots and genealogy of the myth. Also, this research investigated and traced the words šahāz in Lori meaning “a goat leading the herd”, ožka in Lithuanian and այծ in Armenian, meaning “goat”, in the aforementioned motifs. The primary purpose of the research is to determine the modality of the process of concocting the sign of the goat as a symbol of water and guardian of the tree of life accomplished.The analytical research method commensurate with linguistics was used to explore the links between the roots of the goat words and the myths of the world. Additionally, the frequent appearance of this animal in artistic motifs has been studied.In keeping with the findings of this scrutiny, it has been demonstrated that mythological symbols in mankind originate from straightforward and non-abstract signifiers that in goats encompassing “leaping, fighting, smelling, chewing”.

Everyone knows that life depends on water. “We made from water every living thing.» Life, however, depends on movement. A fixed object cannot be recognized as vital. Life has been considered to be the same as the soul. Organisms are those that have life and movement. The concept of life and motion for plants and animals is relatively explicable. Plant and animal life are accidental properties. Everything they have had from the beginning is what develops. The movement of plants and animals, which is dependent on water, is accidental and it does not make a significant difference in their order of existence. Movement leads to human growth. Growth has a deeper meaning than development. Development can be considered as the transformation of inner talent that becomes actual. Growth, however, is a development that occurs outside of matter›s capacities. Growth is the production of something of higher quality than what is already there. Bees have a capacity called instinct. Activating the inner power of the bee is a kind of development. It is a materialistic potential that will develop. The bee does not find any higher status than was foreseen for him by his material motion. This motion is an accident, actualizing latent material qualities and talents.Growth is unique to humans. Man also has his own capacities. He has also the potential that can be developed through accidental motions and the actualization of his inner materialistic capacities. The actuality of the potential also requires substantial motion through which he uses creativity in the spiritual realm. Man›s growth is a part of his life that is dependent on water. Evidence shows that human materialistic development and animal life depend on water. The point is that human life does not end with the actualization of potential materialism. After the realization of inner talents, human tends to experience a spiritual life, which is called growth.O brother, you are what you have on your mindThe rest is your bones and flesh «Rumi»Water is also a basic element for growth. It is difficult to imagine the contribution of the materialistic element to developing the spiritual aspect. But it is easy to understand this relationship when an association is made between the living soul and body. Man›s growth depends on his individual and social life. On an individual scale, companionship with water leads to a sense of freshness and purity. For the Iranians, who associate Anahita, their great myth of purity and fertility with water, the meanings of perfection and sanctity are perceived through the water. Such perceptions contribute to the growth of the human soul. The representation of water in the language, art, and culture of Iran also confirms its important role in the realization of transcendental concepts. «Face» in Persian « Aberu»  refers to the spiritual value of man. Water also stands for value in Rumi›s poetry:The low level of water barely causes the feeling of thirstMay water gush from above and belowSimilarly, in his poetry Sohrab Sepehri says: Let›s not mud the waterAll these examples show the mindset of Iranians about the importance of water and highlight its necessity for perfection and growth. Human growth on a collective scale has a more compelling story. Individual human growth is possible within the family at the age of puberty. After that, society turns into a suitable place for human growth. Society is also made up of human beings on whom its perfection depends. As a result, a reciprocal movement occurs in which human growth depends on society and the perfection of society depends on the growth of its individuals. Therefore, human society must create situations through which both the individual and society are consolidated. Naturally, this creativity is focused on the culture and thoughts of each nation. In Iran and the Islamic world, water plays a key role in creating life-giving spaces. A life evokes individual sensory reflection and social solidarity. At the same time, this actor is a myth whose inherent holiness has been confirmed by both Iranian and Islamic cultures. Strangely, Iranian cities are formed based on interaction with water. In the plateau of Iran, where water resources have been scarce for at least the last millennium, the display of water conflicts with its protection. Everything precious is set to be out of reach. However, due to its deep meaning and its vital value for urban and rural life, water not only has not been hidden but also crawled into the lives of people to gather them together while displaying its beauty. As stated in the book «Three Elements of the Persian Landscape», the formation of many cities and villages in Iran has been based on the water source, which is symbolically adorned in the center of their territory. In the picture on the cover of this landscape, a paradise scene can be seen in the desert city of Semnan, which is a hub for people to visit. The water flows into the alleys and then defines the boundaries of the Mahalleh. Here, the water running out of the storage pool is delayed at every turn to be an excuse for the gathering of citizens and the social realization that guarantees human growth. Water is the basis for building a neighborhood and serves as a realm of social realization and human growth. Naming this alley «Angar» by the authorities in Semnan Municipality is interesting, though it is not clear to us whether it is an old or new name. The alley seems to be a place for childish dreams and imaginations that shape the future of human beings.

The art of Iranian narrative painting, which reflects the poetry and literature of Iran, has continuously recorded the Iranian culture and beliefs associated with popular and royal themes in a colorful world, and in an inspiring place and landscape from the distant past to the present. The various scenes from epic and religious narrations to poetic and romantic themes, preying moments, battles and feasts of kings, and some other various events, all are depicted in the Iranian art of miniatures by reflecting the people`s daily life which has been described in the literary texts and poems and have been represented perfectly in miniatures by the skillful artists. The Iranian culture and belief have represented themselves in nature; so what is constantly manifested in these images is the ‘Iranian Garden’ (Bagh) and orchards (Boostan), with all elements and details, comparable to the real world. The presence of gardens and the art of gardening is known as the original and long-lasting Iranian arts that have always been associated with the Iranian people's life since ancient times and it has continued in the Islamic era.The garden has always been recognized as a sacred place in ancient Iran where the early temples and a combination of ‘Water’, ‘Plants’ and ‘Chartaghi-Temples’ haves been presented all over this land since ancient times, which is rooted in the naturalistic beliefs and religions of Iranian people. The ancient ‘gardens-temples’ (Bagh-Mabad) have turned into the ‘garden- tombs’ (Bagh-Mazar) in the Islamic era, and the gardening pattern of the Iranian-Islamic was formed over time by incorporating the sacred elements of water, plants and the Chartaghi- Kushk/Kooshk (pavilion) next to them, Considering the Iranian miniature painting has always been associated with the world of ‘imagination’ or a kind of ‘Mundus Imaginalis’ so far, it is necessary to clarify and correct this false reference and to address its real naturalistic position in the original Iranian art. This study has tried to prove that the miniature scenes have always been a reflection of the real Iranian garden, Kooshk, and the other related sacred elements such as water and plant; it also represents the Iranian garden and the real nature of Iran, which is rooted in the ancient beliefs of the people. This research article is prepared based on the analysis of previous works, relying on the deductive method, which has indirectly criticized the ideas were available in the field of Iranian painting. The aim of this study is to evaluate the existing theories on miniatures which have mostly been grounded on the unreasonable and expressive basis, that are sometimes inaccurate views though they have been common for a long time. Therefore, it is important to emphasize that Iranian gardening has evidently manifested in miniature scenes. The Iranian paintings depict the natural aspects in real scenes inspired by the available real gardens of the ancient Iran.

Even though the dearth of water has long been a permanent challenge in Iran, a large majority of Iranian cities have managed to survive by harvesting underground water through the Qanat system. All these cities share some special features in terms of urban morphology and their traditional water infrastructures have influenced their urban texture to a large extent. Of these cities, the historic city of Qazvin has been selected as a case study.
Research

This study attempts to examine the contribution of water to urban morphological elements. Since water as a natural element of the urban context determines urban forms (street, plot and building systems), this study seeks to identify such effects on these systems.
Research

The historic city of Qazvin was selected as the research site. Data related to the elements of the urban form of this city in the Qajar era were collected through field observation and interviews with old citizens of Qazvin and experts. Also, relevant documents were examined and analyzed. For data analysis, related software programs were used.

Examining the presence of water in four elements of urban forms shows that water as an independent factor has had a large effect on urban morphology. It mainly affects street systems but this effect for building systems was much lesser. However, this effect on the plot systems has been very slight. Overlooking this effect while carrying out intervention in the historic urban texture might lead to some misunderstanding and result in an incorrect decision in the historic urban texture.

The Persian garden is the product of imposing Persian thoughts on nature and natural elements, including water and plants. From among the various elements, water plays such a significant role that the gardens are unimaginable without it. More specifically, water is a fundamental element organizing the gardens’ very green spaces. As one of the most beautiful gardens along the southern shores of the Caspian Sea, Abbas Abaad Garden, an entertaining site for King Abbas the Great, is located at the wooded slopes, 9 Km to Behshahr. Being built in woodlands, the water abundance and two-sided view created by the slopes are among unique characteristics of the garden. The present paper aims to present the role of landscape and water in planning the garden. It investigates the probable reasons for the construction of the garden on arduous wooded slopes as well as the roles played by water and the other elements in Abbas Abad. Using the historical field method and bibliographical approach, the author concludes that the two-sided view, landscape (Dam lake and the Caspian Sea), and water abundance created a unique form of garden in its natural environment.

The Holy Quran, as the guiding book of mankind, contains a collection of divine verses in which there are innumerable truths and mysteries, and is the greatest manifestation of the emergence of a truth in the material body. So that the truth of heaven appears in the material form and the architecture of the garden. Contrary to the simple appearance of Persian garden, the structural and semantic complexities resulted from the combination of four elements in the Persian garden are in accordance with the Paradise; in fact, the influence of water element as the main existential factor in the pattern of Persian garden and its sanctity in Iranian thoughts are evident and more important. So that water is a vital element in preserving the dignity of heaven in the manifestation and appearance of it in the Persian garden. An interpretative research methodology is adopted in this study, which is based on the analysis of contents of Quran verses. This study seeks to find out the manifestation of the water elemente in the physical and functional system of the Persian garden with its image in the Paradise. A comparison of Persian garden and the Paradise from the perspective of Holy Quran and the interpretations of Al-Imran Surah show that the functional system of Persian garden corresponds with the names of the Paradise, which are proportional to its rank and place, and the element of water in the physical system of Persian garden corresponds to different faces of water in the functions of the Paradise.

Making an appearance, that is called visualizing is the most difficult step in the creative process. As soon as the appearance emerged, any changes after that will be easy . This stage is considered as an art technique that is taught in art schools; however, visualizing, without encountering with an exemplar, is the most profound aspect of creation.Although, for the human being who lives in material world, creation includes the highest level of verification or a new combination of appearances that the creator has faced with or experienced before, but apart from the components and elements of appearance, the whole entity of created object benefits from the truth.A trilogy that consists the essence of Iranian space, is composed of “Water”, “Tree” and “Chartaqi” [a structure with four arches]. The association of these three longstanding elements with each other was a new phenomenon that did not appear all at once, but gradually happened over the centuries. The historical explanation and description of “quality” and “quiddity” of this trilogy has been thoroughly reviewed and discussed in the book “The Thriology of Persian  Landscape”.There are features that give the Iranians life a special identity including: 1. The Iranian people`s beliefs on establishing a trilogy [structure] in the center of space as a reason for its survival and conformity; 2. Presuming a power for it that expands space to the new far distances and exteriors under its influence and 3. The continuous granting of holiness and perfection value to it.The fact that Iranian architecture, Iranian cities and spaces such as gardens still are known as a unique identity, in spite of having diversity in their appearances and historical developments, is the result of existence and continuity of this triple appearance on the space development. The trilogy forms the basis of the space’s aesthetics in Iran, and wherever and at any time it is supposed to create a new atmosphere with the Iranian preferences, it is the trilogy that plays the main role. Even in the low quality examples of “park building” with the desire for making an “Iranian garden” and designing neighborhood in today’s cities, the conscious or subconscious signs of the three mentioned elements in space production can be observed.After discovering and introducing the existence of this trilogy in the essence of Iranian space, it is time to pay attention to the types of its emergence and presence in urban spaces, and in architectural and natural environments; It is also required to study extensively and profoundly the reasons for its success and sustainability in the evolving world for thousands of years up to now. Perhaps in order to analyze the stability of this trilogy in the aesthetics of the Iranian space, in comparison with the demise of beauty symbols in the artworks of other civilizations, we might require to consider the trilogy, with an ontological approach, as a symbol of general existence, and to regard the symbolism of other civilizations, as an epistemological and detailed action in the territory of the appearance while making a perfect space.On the cover of this issue, is a painting work of Shohreh Javadi, that portrays one of the original trilogy of Niasar, Kashan that is still standing. The painting, by choosing a special view from the triple choreography, has created a lasting frame of aesthetic physiognomy, that emerges from the spiritual perfection hidden in the minds of the Iranian people.

Iranian art is a symbolic and mystical reflection of realities and truths. Mythological-symbolic culture of Iran is closely related to the nature and earthly and heavenly elements of it. Since time immemorial, the agricultural life conditions across Iran have always forced people to be dependent on water and as a result this has led to the consecration of this sacred element. Presence of the elements related to water, like plants and birds, and particularly ducks, in various eras of the history of art in Iran, bespeaks of the colorfulness of the nature-grounded beliefs by Iranians. Since the motif of this bird has become manifested in arts in the Sassanid era and in the heydays of worship of Anahita (Goddess of World Waters), one can raise the hypothesis that duck is a symbol of Anahita, the goddess of fertility and pure waters. On the other hand, given the historical past, duck could have been used as a motif representing a bird that was found in countless numbers in Iran’s canebrakes and considered to be an indigenous species in the region. The motif of duck can be seen on containers and objects in decorative and applied arts of Iranians and its continuation in the Islamic era to Safavid era is visible. This motif has been repeated in the history for several times but no independent study has yet undertaken the explanation of its continuous presence. In this article, after a short review and identification of the motif of duck in each era we have sought to answer the question what changes have been made to the meaning and form of motif of duck in the art of Iranian people from the ancient times up to the Islamic era. This study is of theoretical and exploratory type and it drew upon a descriptive and analytic method to analyze the data collected through library and electronic sources which contain the pictures of ducks in decorative and applied arts of various historical eras. It seems that artists have had a realistic view of the ducks in the beginning and they would picture what they saw in their surrounding environment and in the course of time the motif of ducks has turned to a symbol with a spiritual and royal content insofar as at the climax of this process the duck has been pictured as a goddess. Finally, after a while and following the developments occurred in the beliefs of people, it has declined to a mere decorative motif.

Water has a sacred, vital, and strategic importance in Iran and the development of Iranian regions and cities. The Caspian Sea is an important strategic resource for Iran and the Caspian region. Intervention in the natural system in the form of projects and projects such as the construction of a water transfer facility from the sea to water and drainage cities, in addition to economic and administrative costs, has led to the reproduction of numerous environmental and safety issues with Time will pass. Analysis of the water lines transfer from the Caspian Sea to Semnan province, due to the new role of the province in the field facilities of the country and taking part in the demographic and economic densities of the region, from different dimensions of environmental, economic, international, political, technical and … with an overactive defense approach, is necessary. The plan considers threats and vulnerabilities related to environmental, economic, political and international consequences, disturbances in the transmission network, air strikes, water pollution in sensitive coastal areas, forests, Alborz mountains, Kavisermann It is also recommended to have a water treatment plant.

What is so- called spirituality in Islamic art and architecture has always been present and has guided artists and architects Towards perfection. The pool, in spite of various uses, also has symbolic dignity. Symbolism is a manifestation of human thought and he never separated from it. Symbols are the Possibilities that human beings can see within the hidden world. Human mind, inevitably, wants to cross the appearance to the hidden. And this important request never stops. In other words, he is always looking for reasons. This pursuit of the underlying causes If continues Brings up the man To the same main destination. As a matter of fact,He sees only one cause for all phenomena, and this is The religious perspective. Therefore, it is natural that religious art and architecture has a symbolic nature. The symbol always says something. The same things that can not be expressed in normal conditions by man.by the way; The symbol does not produce art but rather than this is human direction creates art. as the same way, Instability images reflected from the building in front of the Stagnant water hordes has a reminder aspects. And it is not just a reference to the transience of this world and the thought Annihilation everything other than the essence of the greatness of nature. The truth of excellence that does not change, does not die, and will not die. The shaky images Tell us that Everything is unstable except for God.
In traditional and religious civilizations , Architecture has expressed its inner concepts as a symbol. Because that it was thought there were truths in a world that should only be to be expressed in transcendental language not Normal language. The language of the word can not express the hidden truths of this world and you have to hire sign language. The symbol is an instrument for expressing a concept that is absent from our senses. Symbolic expression means for creating a perceptual context for the transfer of Specific concepts. In the tradition of Iranian houses, the pool was constructed to reduce heat and humidity of the air, to abort, wash and store water and irrigation. Pool was ponds in the large courtyards commonly in front of the "Panjdari" is a large room that is often flanked to the main "Talar"(hall) of the house, and most often connected to a large balcony, where five large contiguous windows provide primary views to the main courtyard of the house. Often, architects built pool on one of the main axes of the home space, so that the length of the pool is along the length of the house. Moreover, The pool was a capacity to reflect the beauties of nature and surrounding buildings. In spite of all these words, The pool also has a symbolic function. This article that is written in descriptive and analytical research seeks to explain the hidden and symbolic aspects of the pool.

Today, despite the hot and dry deserts in the country, one of the important concerns of the government is to provide water to protect plants and the environment. Addressing the water crisis in recent decades and trying to find solutions to tackle this important issue for sustainable development has put officials at great risk, considering that environmental protection is a public duty Future prospects and optimal exploitation of water resources and management of the correct ones are vital. Recently, water extraction from the air has been presented as an efficient, clean and sustainable solution for providing drinking water in hot and humid areas. Water production technology uses atmospheric atmospheric moisture to produce almost no harmful environmental wastewater and can be used as a new way of avoiding environmental pollution. In general, the resources used to extract water to meet human needs are groundwater, current water and airborne waters, which explores the issue of water supply from the third source, and examines its history and dimensions.