جستجوی مقالات مرتبط با کلیدواژه "معماری اسلامی ایران" در نشریات گروه "هنر و معماری"

Tectonics is one of the theoretical concepts and a method of studing the history of architecture which pays attention to both technical and artistic dimensions at the same time. A concept in which there are dual concepts of technique and aesthetics. In Islamic architecture of Iran until the end of the Qajar period, this attention to both the structure and the decorative surface was very evident in buildings whose main material was mostly brick, but its principles were not known. With the entry of new materials and construction methods  from the end of the Qajar period, tectonic methods and the interaction of art and technique were forgotten and Iranian architecture faced a crisis. This research question: What are the technical and artistic tectonic rules of bricks in Hakim mosque of Isfahan in the 10th to 13th )AH( centuries? This research seeks to know the technical and artistic tectonic characteristics of bricks in Isfahan in the 10th to 13th centuries in order to know Islamic architecture of Iran.
The researches on the tectonic of bricks in Iranian architecture have not been done, Therefore, in order to understand the tectonics of bricks based on the paradigm of interpretive epistemology, and qualitative content analysis with an explanatory orientation and based on the theory of Karl Betticher and Gottfried Semper, and with the method of collecting library information and gathering tools based on referring to documents and field research, the tectonic characteristics of bricks have been studied in Isfahan's Hakim mosque.
By analyzing the qualitative content of tectonic bricks in general(shaped and structural structure) the articulation and the decorative surface in Hakim Mosque, it was revealed: The brick architecture of Iran has been formed under the rules of structural and shape principles of tectonics in the whole architecture, articulation of surfaces in intermediate scale and decorative surfaces in  micro scale .The principles that show the characteristics of technical and artistic construction in brick architecture. The brick architecture is finished with jagged, domed, smooth and sloping surfaces and with stone and pyramids foundations and coping brick with Moaghali decorations is  started and  coping brick above and below the inscriptions and confined brick are used throughout the walls. Also, Articulations based on(connecting surfaces) in intermediate scale (such as wick corners in Jurgir Sardar) and Articulations based on(surface separator) in micro scale (such as border ,zigzag and strip, arched border, concave arched, and header brick edging) have been used. Also On a micro scale, decorative-structural brick surfaces(Jurgir Sardar Moaghali brick work, basket weave  brickwork and plinth Moaghali brickwork) and decorative(tile surfaces such as: Moaghali, Moarragh, seven colors and linear) with arrangements(striped, raking,alternating, head and straight) are used. In all three scales(general, intermediate and micro) technical and artistic features are related.  These relation under tectonic rules express technical and artistic costruction and the culture of Stereotomic construction in Hakim mosque brick architecture. The construction culture that has appears by adding and subtracting brick material and it is a confirmation of Karl Betticher and Gottfried Semper of tectonic theory.

Islamic architecture of Iran has passed one of the most prosperous periods in (10-13AH) centuries and the share of the geographical area of capital of Iran in most part of this period, that means the city of Isfahan, for many reasons in this glow has been very important. Although about this growth and prosperity and begin and end and its causes there is a difference of opinion, few people have doubted its existence. In this era until late Qajar period core form and art form were related and had common features in architecture and handicrafts and the coherence and harmony between them were evident. This relation is expressed with the concept of tectonic in the history of western architecture. The concept that theorists have defined it interaction between core form and art form in the context of historical culture. Gradually, this coherence and great thought with the arrival of new materials and construction methods were forgotten from late Qajar period and artistic and tectonic construction was reduced in buildings, and Iranian architecture faced a crisis. Criticism of Iranian today's architecture has been very pervasive in recent decades, Many researchers know the main cause of instability is in Lack of recognition of architectural history of Iran and its technical and artistic construction methods. On the other hand review of researches shows in the tectonic field less been paid to core form and art form of tectonics, so it is necessary to study it. The main research question is How tectonic conform and art form are related in architecture and handicrafts of Islamic Iran in (10-13H) centuries and their similarities and commonalities with the aim of understanding the tectonic rules of the Islamic architecture of Iran. for this reason in this article to recognize of wood tectonic based on interpretive epistemological paradigm, comparative reasoning and qualitative content analysis with explanatory orientation based on Gottfried Semper's theory has studied common wood tectonic features in architecture and handcraft in three levels, whole architecture (the whole building), intermedate level architectural components (column, roof edge and door and window) and small level in handcraft (pulpit, pen box, Kmanche, Tombak, mirror and boxes) in (10 – 13AH) centuries. Based on the theoretical basis of tectonics and considering that wood has been the most practical materials before the arrival of industrial steel in Iran and an important role had in the construction of load-bearing elements such as beams and columns and architectural and handicraft decorations. Wood tectonic is divided in terms of core forms to general forms and articulation and in terms of art forms to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.

The role of the concepts of illumination wisdom in the religious buildings of the Safavid era architecture can be examined. The importance of the element of light in the spaces of the mosques of this era, along with the symbolic motifs and pictures emphasizing the place of color and light, can be considered as one of the original signs influenced by Sheikh's ruling thoughts. as in the works left from the era of Islamic architecture in Iran, the role of light and its manifestation in worship spaces has not been reflected and visible to this extent. therefore, in this article, by examining the theoretical foundations of illumination wisdom and the place of light in it, in addition to addressing the physical concepts of architecture in the Abbasi Grand mosque of Isfahan, the extent of the influence of illumination wisdom in the creation of devotional architectural spaces in the Safavid period has been analyzed. the research method was descriptive, analytical and case study by referring to documents and library sources. the results of the research show that the correspondence between the theoretical foundations of Suhrawardi’s thought in the wisdom of light and the physical geometrical elements of the Abbasi Gran mosque in Isfahan is remarkable. it is as if the architects and artists of the religious buildings of this era have defined part of the design concepts based on the basic concepts of illumination wisdom.

Colorful decorations in Islamic architecture have always been the means of expressing meanings. In Islam and Islamic mysticism, color, like other creatures of the universe, is a symbol of something beyond matter. The one and only deity, without forms and material qualities, and of course without color, has manifested himself through the pure light and that light has appeared in multiple colors throughout the universe. In fact, in the case of color interpretation, a kind of cryptography must be used. Decoding the secrets of colors and their interpretations throughout our visual world, including the nature as well as manmade symbols would be possible through the religious knowledge enclosed in the hearts of the sages and mystics. Therefore, it is necessary to refer to the definitions and interpretations of religious leaders, mystics and sages in understanding the mysteries and secrets. The narratives from the Muslim Imams and also the statements of mystics have stressed the importance of color symbolizations within our world. According to the teachings of the Sufis, the esoteric realm of Islamic mysticism has been manifested through secrets and colorful symbols in our art and architecture, particularly within the architecture of monastery-mausoleums (Khaneghah-mazar(, which due to its mystical status was used more than other works of Islamic architecture.The present study aims to provide an interpretation of color symbolizations in Shia and Sunni theosophy and to examine the extent of concordance of those fundamentals between Shia and Sunni monastery-mausoleums of Iran. The research questions are: (1) which colors are important in Shia and Sunni perspectives? (2) Have the color symbolizations in monastery-mausoleums been influenced by the anecdotes and teachings of the theosophists? (3) What are the similarities and differences of color symbolizations in Shia and Sunni monastery-mausoleums? In terms of methodology, this is a descriptive analytic study and a case study research. The data were extracted from the religious and theosophical resources. Then, they were analyzed and compared with other data from field studies. In consideration of the importance of the Sufism during the Ilkhanate and the Timurid periods, various monasteries for a range of Sufi branches such as Nourbakhshieh, Ne’matollahieh, Naghshbandieh were built in those periods and our statistical population is designated as all those monastery-mausoleums built originally in the eighth and the ninth centuries AH. This statistical population includes nine monastery-mausoleums of Chalapi Oghlu in Soltanieh, Sheikh Ala Al-Dawlah Semnani, Sheikh Abdul Samad Isfahani Natanzi, Sheikh Dad in Yazd, Maulana Abu Bakr Zeinuddin Taybadi, Sheikh Ahmad Jami, Bayazid Bastami, Shah Ne’matollah Vali and Sheikh Safi Al-Din Ardabili. Amongst those buildings, four of the most important examples are monastery-mausoleums of Shah Ne’matollah Vali and Sheikh Safi Al-Din Ardabili from the Shia and monastery-mausoleums of Bayazid Bastami and Sheikh Ahmad Jami from the Sunni faith. Those four samples were selected particularly for the present study in which the structures and characteristics of color symbolizations were studied.The results show that according to the Shia ideology, the God is casting a four-sided lighting image over the throne; and those colorful lights, which indicate the light identity of the existence of Imams, are flowing through other material manifestations of the universe. Those colors could be interpreted in slightly different ways at each level of the universe. Those colors are symbols of variations in God’s image through the descending curve, while the potent peripatetic witnesses the colorful images of the creator within the curve of ascendance. Colors are the symbols of steps of the seekers’ demeanor in Sunni theosophy hypotheses as well, and the spectrum of manifested colorful lights indicates the quality of spiritual evolution of the seeker through the ascending path to reach the God. The studies suggest that color decorations in all four monastery-mausoleums are in concordance with those theosophical teachings.In all four instances, the prevalent color used at the external façade is blue, which symbolizes the elementary levels of the spiritual ascendance. The blue color indicates disdaining the horizons within the Sunni teachings while it symbolizes the height of certainty in some symbolization aspects of Shia theosophy. The blue color generally is a symbolization of certainty and the starting point of the path in “Al-baten” (internal/spiritual) characteristics. However, there are differences between Shiite and Sunni monastery-mausoleums within the internal spaces. Red, yellow, gold, green, white and black are more prominent in Shiite monastery-mausoleums that refer to the importance of those colors in Shiite perspective and the roots of guardianship as well as heavenly and extraterrestrial importance of those colors.

Understanding Islamic architecture requires perception and receiving space, and the space of Islamic architecture contains meanings that can not be understood only by the senses. Space, as the most basic concept of architecture, is always conceived in a specific definite, which is received through sensory perception, so it has a certain limit, and finite. On the other hand, mosques are the most important building of the Islamic era, where Muslims gather together for prayer and contain symbols and meanings. Which must be discovered through rational perception and through revelation. In this way, the concept of space in Islamic architecture, especially the architecture of mosques, is a fundamental issue. understanding and obtaining the meaning of space is the result of the twofold confrontation between perception. In order to explain such a challenge, this article is devoted to explaining the finite and infinite of the spatial structure of Iranian mosques during the Safavid period. Therefore, this study uses a qualitative approach in the form of a case study with field observations and library documents to explain, analyze and obtain the structure of space in Safavid period mosques as one of the golden architectural periods of Iran. Imam Mosque of Isfahan, as an example of mosques with courtyard and porch, and Sheikh Lotfollah mosque, a case of mosques lacking these elements were selected from the Safavid era. The findings of this study indicate that space is received variously in Iran's architectures. So that, space, in terms of perceptual perception, is finite. This finite and the physicalization of space result from the perception of the bound via the five senses. In proportion to the small world, the object surround the space. From this perspective, in addition to focusing on dynamism, the bound contains centering, space breaks, plurality and multi-spacing. But beyond that, in Islamic architecture, there is a rational perception that leads to obtaining the meaning. In this perception, the bound does not constrain Iranian and Muslim people. The bound and space get together, space is unlimited and unlimited. The infinity of space in Islamic architecture is proportional to the great world. In this revelation, the Islamic space means the presence of one and the only divine. In fact, in the rational and intuitive perception, space is unit, discreet, eternal and infinite. But in sensory perception, space is finite, inward, small, and multiplicity.

According to many researchers, the tomb of Rukn-i Alam, built by the Tughluqs, is the first among Indian mausoleums to start an architectural tradition which reached its glory in the Taj Mahal. Much research has been done on the impacts of Iranian architecture on Indian monuments especially the Taj Mahal, but further discussions is needed on the impacts of Iranian funerary architecture on early Indian tombs, as they constitute the model for later mausoleums. The tomb of Sufi Rukn-i Alam in Multan is among the earliest mausoleums in India built under the Taghluq dynasty, and features many aspects of Iranian architecture. The aim of this paper is to explore in it influences of Iranian funerary architecture. According to the results of the research, these influences can be summarized in the following four cases: 1. Plan geometry; 2. Usage of turrets and symbolic cupolas encircling the dome; 3. Transition from the octagonal plan to the circular base of the dome; 4. Materials and geometric ornamental patterns. Also, the three most influential mausoleums from Iran can be named as the tomb of Amir Ismail Samani, the tomb-towers of Kharaghan, and the mausoleum of Uljaytu at Sultania. The descriptive-analytical approach was used in the research, and a deductive approach, in the comparative study.

Seljuk period is one of the important periods of Islamic Art in Iran architecture. The Seljuk brickworks represent Iran architectural perfection in aspects of techniques and variety. The magnificence of Seljuk brickworks is not found in other later periods. Therefore, further investigation is needed due to the importance of this issue. In this research, literature reviews, field studies and survey is done by analytical- descriptive method. The aims of research are as followed introducing the important motifs of brickworks identify, variety of layout types, and the sustain modality of brickworks during the historical periods. According to the aims, all of Seljuk monuments in Iran which have brickwork decoration were detected and their brickwork decorations identified. The decorations which were unique at that time and were repeated, has been determined as index motifs. Afterward, these motifs and the techniques were found in Khwarezmid and Ilkhanid monuments and their changes or conversions to other decorations have been identified.
Most of the architectural exterior surfaces are decorated by the brickwork in Seljuk period funerary monuments with polygonal plan have the most decorative surfaces such as Kharaghan tombs and minarets. In this period, the simplicity of minarets was changed to richest drawing and decorative forms such as Menar-e Ziar and Cheheldokhtaran. It is noteworthy that in addition to this, the monuments including the Robatsharaf Inn and Jame mosque of Golpayegan are decorated with verity brick motifs which combine with stucco reliefs. In general, decorative designs and prolific body of brickwork is one of the special features of Seljuk architecture.
Various brick rows are used in the Seljuk monuments and they are categorized to Golchin, Jenaghi, Hasiri, Doraj, Kofi Magheli and Bannaie inscriptions. Golchin’s motifs have some “mother” patterns which are combined tomake various designs. Golchin motifs perform in tow groups “simple” and “compound”. Jenaghi brickwork, perhaps because of its easy performance,has usually been used in corner of the dome and arches. Also some different technique of brickworks such as “Khofteraste” (relieve motifs), Moshabak, Gerehbannaie perform in outer surfaces of Seljuk monuments. Khofteraste brickwork technique was used in high altitudesin order to relieve its motifs. Moshabak technique was used in doorway to pass light through andGerehbannaie generally was used for minaret decorations Selengeh, Chaharlengeh, Sheshvahasht are the prevalent motifs of Ghereh in Seljuk period. An innovative technique: combination of brick with different materials used in Seljuk period that followed in later periods. Hence, Seljuk monuments are decorated by different brickwork in motifs and techniques including the Golchin and Gereh. In addition, initiative techniques such as the incorporation of brick with tile (glazed brick) or stucco were created by artists as well as Kofie-bannaie. Accordingly, it is obvious that Seljuk brickwork decoration is the rising point of Persian brickworks.
In Khwarezmid and Ilkhanid periods, brickwork decorations were not used as extent as before. In these periods, brickwork was replaced with stucco and tile. However, some of brickwork decorations such as Golchin, Doraj, Magheli and Bannaie inscriptions were followed by the next periods. Also, the Gereh motifs of Seljuk period became the source of compound decoration for the next time. In Khwarezmid period, molded bricks with relief motifs were developed. This kind of molded bricks in combination with glazed molded brick or the tile, which were pre-cut or insitu-cut, became very common throughout, Khwarezmid and Ilkhanid periods. In such way that incorporation of brick with tile included the hole of decorations during the following periods. Pre-cut brick and pre-cut tile techniques at the end of Seljuk period were used in GonbadKabud in Maragheh and it became the beginning point of this type of decorations in the following periods. The techniques of brick and tile combination so called-Moarraq (mosaic) exists in Khwarezmid monuments such as ForoumadJame mosque and Malekzozan. Also, some skillfully combination of brick and tile were used in two important Ilkhanid monuments including Gonbad-e Soltaniye and Bayazid-e Bastami treasury. It could be argued that combined decorations (combining brick with tile) belongs to the culmination of Ilkhanid decorations. Hence, variety of techniques and innovations that happened in the brickworks of Seljuk periods caused some changes in the decorations of the following periods. Gradually, new types of architectural decoration over the motif, function, and accomplishment were developed based on changes done during Seljuk period.

Professor, Faculty of Architecture and Urban Planning, Shahid Beheshti University Most studies concerning the role of mathematics in formation of Persian architecture have been limited to studying its sacred geometry. In some other studies, new mathematical theories have been employed to explain certain aspects of Persian architecture. Nevertheless, there are some historic manuscripts that actually refer to the symbolism of numbers and are not hitherto seriously studied. By studying such philosophical texts, this paper first explains the traditional method and coding system for conversion of sacred keywords to numbers and vice versa. Then, it demonstrates that the modular system of dimensions employed in traditional Persian architecture also embodies spiritual signification in reference to transcendental concepts.

In the Islamic architecture of Iran, meaning, aesthetics, shape and structure are four fundamental factors by an appropriate combination of them a traditional architect is able to manifest an image of metaphysical world on material world. A rational and integrated relation of these factors has put the Islamic architecture of Iran in an outstanding position. An important challenge of the modern architecture is the lack of an intergrated relation among its constituting factors. The main cause of this shortcoming is moving away from traditional roots and doctorines that has lead to the disintegration of defferent phases of design process and construction, changing architects education, and fast construction. In order to disclose the relation between metaphysical factors (meaning and aesthetics) and physical factors (function, form, geometry and structure) in architecture, it is first necessary to analyse cases that contain the relation in an outstanding way. For this reason, a number of majestic historical mosques, in which the manifestation of meaning in their form has been proved, have been studied. Literature on meaning, aesthetics, geometry and structure has been reviewed. Utilisation of the four factors in historical buildings of Iran has been explained. Relation among interfering factors in design process has been illustrated in the buildings. An algorithm for architectural design process in the modern world has been proposed in which the positions of the four factors have been defined.

Despite extensive research and abundant literature on Persian Islamic Architecture, the attributes, which create the serenity of this architecture, are still unexplained. This paper attempts to elucidate some of these attributes through an architect’s interpretation from different viewpoints: an earthen architecture; an architecture of interiority; double-faced architecture; an architecture of courtyards; an architecture linking closed and open spaces; an architecture of semi open spaces; an architecture with a complete story; an ornate architecture of order; an architecture of balance and poise; an architecture of fluency and candor; an architecture of non-directional space; an architecture of diversity and harmony; the architecture of ceilings and roofs; an architecture of sumptuousity and delicacy; an architecture of colorful patterns; the similarity of components and the whole; an architecture fostering light; an architecture accompanying water; calligraphic architecture; and poetic architecture.

During the Islamic period of Iran except for public complexes including buildings as Bazaar, reservoir, Caravansary, etc. there were burial complexes that occupy a special place in the architecture of the epoch. These complexes were first built as the burial ground of a famous political or religious figure and along the time other buildings such as mosque, Madreseh (school), monastery, Caravansary, pilgrimage house…. were added to them. In a general typology, we can divide these complexes in two religious and political types. The king’s complexes are from political types and Sufis or Shiite complexes are from religious types. Religious types are probably the first burial complexes that were made in Islamic period of Iran. These complexes have always been noteworthy to people as the shrines and have developed during centuries from single tombs to magnificent complexes. Imam Reza complex in Mashhad and saint Masoomeh complex in the city of Ghom are the best examples of this type. Sufis complexes made by devotees, are less important than Shiite ones, and in the past centuries were regarded as social services institutes that provided food and resort for poor people. Sheikh Abdolsamad Isfahani complex in the city of Natanz and Bayazid Bastami complex in the city of Bastam are examples of this kind. An important point about these complexes is their fundamental effect on the establishment and later expansion of many Iranian cities throughout this period. The fundamental role of these complexes in the development of architecture in Islamic period necessitates research into the fundamental beliefs, which influenced their emergence and development. The history of construction of the complexes and the effective factors in their appearance in the Islamic architecture of Iran are questions with no exact answers so far. Innumerous attacks to Iran in the Islamic period during which many buildings were destroyed, is one of the most important factors which have resulted in this condition. Process of shaping of burial complexes has not been steady during the Islamic period of Iran and diverse political periods has had vicissitude. According to relics of Islamic period, the oldest complexes belong to the late Saljughid period and accordingly we must search in Saljughid and pre Saljughid periods about factors of shaping of these complexes. The present paper tries to identify the factors which were influenced the establishment and later development of these complexes through surveying literary and historic books. The book surveyed in this paper is Asrar Altovhid, an essay by Mohammad Ibn Monavvar from 6th century Hijrah that describes the biography of Abusaeed Abilkheir, the great Sufi scholar of the 4th and 5th centuries ater Hijrah. According to the findings of the research, the beginning of these complexes in Iran, from Saljughid period, is likely related with Sufism and especially with the mystic views of Abusaeed Abilkheir. Due to the key role of mysticism in the development of this innovative architectural form in Iran, different aspects of the relationship between mysticism and the emergence of burial complexes has also been touched upon.