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

The crisis of identity and the lack of clear theoretical foundations in the construction of religious buildings that are rooted in the deep meanings of Islamic philosophy is one of the challenges of today’s Iranian architecture. A lack that has had adverse results not only in the process of creating architecture but also in recognizing and intervening past buildings. Therefore, more research is needed on concepts such as beauty and glory, which are recognizable both in the nature of architectural works and in their perception. Considering that the concepts of beauty and glory have always been studied under the subject of beauty, first a specific theoretical framework was developed that expresses two different views on beauty. The aesthetic categories, from which the concepts of beauty and splendor are defined, are elaborated in the next step. Then, the concept of beauty and glory, derived from the theoretical framework, is accomplished. This section initiated from qualitative concepts and purely theoretical topics and finally reached quantitative-qualitative results in architecture. In the end, certain parameters were stated that, on the other hand, determine what are the attributes of the two words beauty and glory of manifestation and what effect they have on the audience. Research in terms of purpose is an applied research and in terms of strategy falls into the category of descriptive-analytical research. In addition, analytical-historical research methods have been used, particularly in past artworks and monuments. The collection of information in the field of theory has been done with library studies and with the help notetaking methods.

Places of worship, as symbolic spaces, have played a key role in all religions. In this respect, they differ from other buildings with different functions. However, the presence of places of worship belonging to different religions in the same city or town has been based on identity differentiations. Given the rapidly growing virtual communications in today›s world, it has become even more important to pay serious attention to identity differentiations concerning places of worship. The present study aimed to make a typology of Synagogues, Churches and Mosques in Isfahan- Persian capital during Safavid era. The implication of a comparative comparison among the mentioned places of worship, in terms of symbolic and spiritual concepts, can help contemporary architects and designers to build such buildings. Therefore, the symbolic differentiations, especially those concerning mosques, can be taken into consideration to design and build mosques. The main questions of this study include: what are the identity differentiations among the synagogues, churches and mosques? And, to what extent such differentiations are rooted in spiritual foundations of each religion? The hypothesis of this study is that different readings of Sacred Attributes are reflected in different physical characteristics of different places of worship. Here, considering four scared concepts, that is, attributes of similarity, attributes of incomparability, attributes of beauty and attributes of glory, the built places of worship in Isfahan were studied under three distinct types: similarity-beauty; incomparability-glory and similarity-beauty/ incomparability-glory. Then, keeping the mentioned sacred concepts in mind, the physical characteristics of the built places of worship were examined. Data were gathered based on library sources and attributional studies and then were analyzed comparatively. The criteria applied were examined through a comparative approach among the worship places. Similarly, the results were obtained based on an analytic reasoning. Also, the normative architectural hypothesis of the worship places aimed to prove its validity based on logical reasoning in order to reach a kind of semiotic typology for the Abrahamic worship places. In this respect, the worship places should be chosen synchronically. The most justifiable historical era for the present study seemed to be Safavid era in which minor religions had the privilege of relative freedom. With this aim in view, the most typical cases of each religious worship place were identified. For example, Mushe Haya Synagogue built in Safavid era is a noteworthy case. Major parts of the synagogue have been damaged and only the room of inscriptions, dating back to Safavid era, has survived. The damaged parts were restored in Qajar era. Another synagogue which could provide the researchers with characteristics challenging the proposed hypothesis was Mulah Neisan synagogue. It dates back to about 100 years ago. The Shah Mosque also known as Imam Mosque or Jaame Abbasi Mosque was another case intended for the study. Situated at the southern side of Naqsh-e-Jahan Square, was built between the years 1598 and 1629 under Shah Abbas. Construction of the mosque started in the 24th year of coronation and decorations and additions were completed during the Shah successors. By constructing the mosque, Shah Abbas intended to pay tribute to his grandfather. Vank Cathedral was constructed under Shah Abbas II in Julfa neighborhood, Isfahan. The Cathedral has functioned as a place to hold religious ceremonies, to instruct the priests and to communicate with other Armenians worldwide. The results indicated that churches were among the Similarity-beauty-based type which convey a strong sense of symbolism, intimacy and invitation. Also, in churches natural representations are highly respected, large-scale proportions are applied, high-quality materials are used and spatial variety and movement hierarchy are taken into consideration. A prime example of this is Vank Cathedral. Synagogues, in contrast, enjoy the incomparability-glory attribute. They covey the minimum sense of symbolism and natural representations are reflected only very softly. Proportions are realistic and no costly materials have been used. Spatial variety is also at minimum. Moshe Haya synagogue is a good example. Mosques, in terms of characteristics mentioned stand in-between and are, in fact, similarity-beauty/ incomparability-glory in character. Abbasi Gathering Mosque (masjid-e-Jame Abbasi) is the best example for this. In conclusion, it may be said that synagogues have the lowest inclination to luxury. In contrast, churches have the highest inclination to luxury. Also, worship places in Abrahamic religions have passed through a incomparability-to-beauty process. The best example of this can be seen in Mushe Haya and Mulah Neisan synagogues. Although the latter is more luxurious than the former, they are both less luxurious than Vank Cathedral and Jaame› Abbasi Mosque.

Though the Iranian mosques with all their diversities are among the most important symbols and honors of Islamic civilizations، but there are different opinions about the rate of their compliance with Islamic original values. These rates of agreements which have different features differ، such that in some periods، they are closer to the Islamic concepts and in some period، they have distanced from it. For having a comparative study of this issue، and using the basic concepts of Islamic mysticism such as metaphor، transcendence، beauty and glory، this article deals with the conceptual type studies of mosques and introducing the features of each type. This article also aims to study these concepts and explain them in a different style of Iranian- Islamic architecture (Khorasani، Razi، Azeri and Isfahani) in order to be able to find a way to have a proper use of historical models for contemporary mosques by detachment of contextual and physical values of historical periods. In the first step، using a logical method، the conceptual foundations of mosques have been described، and in the second step، using an evolutionary historical research method، the evolution course of the characteristics related to each concept have been studied during the style changes of mosques in Iran. Result show that from the dimension of simile and purification، the mosques of early ages have been more transcendental and functional، and in later periods with the growth of metaphoric imagination، the mosques have moved towards semiology and decoration. This issue continued up to the Azari age which is climax of simile and symbolic imagination and by the Safavid period، it reached to a balance between simile and purification. From the viewpoint of beauty and glory، a middle balance is observed between beauty and glory in most of the periods. At the same time، it can be claimed that to some extent، the early mosques were more glorious due their extreme simplicity and the Azari mosques were more beauty oriented due to extremism in decoration. In very rare cases in Azari and Safavid ages، some mosques can be named that out of balance limit، have an extreme state in beauty and metaphor.

This study seeks the typology of mosques entrance, based on different concepts discussed in mysticism. The main question is whether the difference between entrances has certain principles and follows a specific pattern? And how can the differences be effective in typology of the entrances? Iranian mosques entrances have been changed during the history and it seems that, the difference in the expression of
traits and concepts has caused the physical changes between them. The patterns using the concepts of mystical Tashbih-Tnzyh and traits Jamal-Jalal will be studied in three typologies:

1- The Tashbihi- Jamali entrances

2-the Tashbihi-Tanzyhi and Jamali-Jalali entrances.

3- The Tanzihi-Jalali entrances. During the study, criterias of these three patterns are considered.

The Tashbihi-Jamali entrances featuresare: 1- Use of fine materials, 2- Use of spatial hierarchy, 3- Divine Proportion and 4- use of signs
and symbols.

The best samples of this pattern can be found in Imam Mosque in Isfahan, Sheikh Lotf Allah Mosque and Yazd Jami Mosque. The Tanzihi-Jalali entrances features are: 1- use of low-value materials, 2- Minimum spatial hierarchy, 3- Human scale and proportions and use of purity.

The best samples of this pattern, is Jami mosques of Zavvareh, mosques of Natanz and the mosques of Naeen. The Tashbihi-Tanzyhi and Jamali-Jalali entrances have the common features of two other entrances and The best samples of this pattern, is Jami mosques of Isfahan and Oshtorjan

Today، religious buildings، particularly the shrines، have a special place in the category of Architecture. These shrines have been changed during the history and they have found substantial physical differences with each other. It seems that، the difference in the expression of traits and concepts has caused the physical changes between them. Now، the main question is whether these differences have a significant fundamentals and how the differences can be effective in typology of the shrines? Thus، the aim of this study is to seek the typology of shrines، based on the existing differences and the views expressed in patterns of knowledge. These patterns usind the concepts of mystical Tashbih، Tanzyh and the traits Jamal، Jalal will be studied in three types: 1-the “Tashbihi- Jamali” shrines، 2- the “Tashbihi-jamali and Tanzyhi-Jalali” shrines and 3-the “Tanzyhi- Jalali” shrines. During the study، criterias of these three patterns are considered: the “Tashbihi-Jamali” shrines features are: maximum relationship with metaphorical nature، maximum Decoration، use of signs and symbols، centre Oriented، The importance of inner space، Use of fine materials، Use of spatial hierarchy. The best samples of this pattern is the tomb of “Shia Imams”، which started the in the “Ilkhani” course & has reached its peak in the “Safavi” course. The “Tanzihi-Jalali” shrines features are: minimum relationship with metaphorical nature، minimum Decoration، use of purity، Axis oriented، Insignificance of the inner space، use of low-value materials، Lack of spatial hierarchy. Most samples of this pattern، have been popular among the “Sunnis”. This pattern has the least amount of the physical elements and luxurious. The “Tashbihi-jamali and Tanzyhi-Jalali” shrine have common features of both shrines & In the course of the “Ale-buye”، “Khorasani” and “Razi” style has been most prevalent.