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

Córdoba Grand Mosque is one of the magnificent buildings inspired by the architecture of the Islamic era. The mentioned mosque, with all the changes that Christians have made and allowed to destroy the Islamic identity and spirituality, its door and wall, minaret and altar guide every viewer to his true identity. Jacobsen introduced semiotics as the process of becoming meaningful based on text and architectural eco-semiotics as a cultural phenomenon and a tool for communication. The purpose of this article is the symbolic morphology of architectural elements in the "Cordoba" mosque in Andalusia, Spain, based on the process of land use change. One of the debatable historical monuments in international religious and architectural associations is the Cordoba Mosque and the view of the architects of the two historical periods based on the four religious origins of Christian - Islamic - and Spanish - Iranian. Under current law, three decades of multiple sovereignty over Spanish culture and art are at stake. The findings show that the Charter of Democracy governing the political-cultural atmosphere of Spain in three decades has created the preservation of decorative motifs containing color, form, texture, gender and symbolic elements of dual-use mosque-church and seems to be a prominent international privilege. The mosque has been in intercultural interaction. The method of this documentary-library article and the method of data analysis were also qualitative content analysis.

Shifting the museum-like perspective on historical buildings towards their adaptive reuse that plays a role in the urban fabric contributes to their preservation and longevity. The study and analysis of global experiences in redefining the use of historical structures and equipping them for new functions are rich with insights. This research aims to examine the approach to the physicality of old buildings and the new activities of structures repurposed as churches. It seeks to extract the strategies and actions taken by studying and analyzing case studies. Thus, by reviewing global experiences in intervening in religious historical buildings, it acquires modern procedures for dealing with valuable historical edifices and presents new horizons in addressing these structures. This paper employs a descriptive-analytical method and gathers data related to eight case studies through library research and credible scientific documents, then analyzes and compares them with logical reasoning. The case studies located in various countries have been examined based on their physical and functional characteristics, new additions, and materials used. In selecting the cases, it seeks to provide a diverse range in size and the extent of intervention. The research findings indicate that considering the multiple religious, cultural, social, and economic values of churches, adopting a collaborative approach involving investors, stakeholders, local people, and experts is influential in the success of these projects. In the discussion of new additions, while maintaining the principle of distinguishing between old and new materials, the creative use of new materials and elements can aid in preserving the authenticity and integrity of the work. Paying attention to today’s needs and updating the building’s physical and functional aspects while considering their capabilities and hidden and apparent values ensures their continued existence.

The belief and nature-oriented thinking that are evident in the art and architecture of Iran have been manifested more prominently in Iranian miniature painting than in any other artistic branch. The presence of nature and its elements can be observed in decorative and applied arts, in simple and geometric forms, and in romantic, mystical, heroic, and festive motifs and narratives. Various flowers and plants are always present in Iranian miniatures, depicting gardens, flower-filled courtyards, and orchards with water and various birds. The combination of a star-filled sky with the moon and the sun represents a blend of the real and imaginary world; a part of which is reflected in Byzantine mosaic art, with some of these works clearly showing the influence of Iranian miniatures. The coloring and use of natural symbols and signs in Iranian painting and Byzantine mosaics have their roots in naturalistic thinking and rituals, examples of which can be found in the museums and art centers of Europe and Asia, as well as in the Mehr and Anahita temples in Iran. The most prominent examples of Byzantine mosaics can be seen in the churches of San Vitale, Sant’Apollinare, and the holy sepulchers in Ravenna, Italy, the apse of the Church of San Clemente in Rome, and the Church of Hagia Sophia in Istanbul. The interplay and continuity of the Mithraic ritual in Christianity and Zoroastrianism have shaped the art and culture of both Zoroastrians and Christians in a way that combines new beliefs with ancient cultural and artistic traditions.

Throughout the Safavid era, Armenians from various ethnic groups and minorities were in Isfahan and built numerous churches, which a few of them have remained. The Orthodox Christian denomination has certain doctrinal principles and rituals, some of which have influenced the body and architectural arrays of churches. The purpose of this research is comparative comparison and identify the impact and manifestation of these principles and rituals on the spatial structure of architecture and arrays of Orthodox churches in Isfahan and Armenia. The research method is qualitative and is based on descriptive-analytical method between the common Armenian churches and new Julfa churches. The data were collected through library studies in the field of principles of belief and rituals of Christianity, and field studies in the form of direct presence of researchers in the churches of Isfahan, and then have been qualitatively analyzed. The results show that the architecture of the Armenian churches in Isfahan is a combination of Iranian and Armenian architecture. East-west orientation, rectangular geometric shape, spatial hierarchy, having at least one large dome all follow the architecture of Armenian churches. The arched dome, the material, the type of large windows of the domes and the type of minaret are modeled on Iranian architecture. Also, some of the additional extension arrays of Armenian churches, such as rose, clover windows and three-part windows, have been removed. And the arrays that belong to the inside of the church are like murals, and some of these arrays, such as the cuckoo pigeon, the triple domes, the Bible reading table, the cross or crucifix, the window or the images of the sufferings of Jesus Christ and the resurrection of Christ, have been used in the interior of churches. Arrays representing Christian Religions are the arrays of the Devil’s Exit, the Last Supper, the Sanctuary, the Priesthood, and the Porch which can be seen in all churches

Armenians in the 17th century in Iran have had significant commercial and economic and cultural and artistic influences during the Safavid period with the cultural interactions that emerged between the Iranian, Armenian and European peoples. Various such paintings are impressive.By examining the paintings of Bethlehem Church it seems that these works must follow the particular style prevailing in religious imagery, and since Christianity paintings have been used to convey the text message from the signs of the Bible, it is necessary to examine the paintings on the basis of analysis. Symbolic, by comparing the symbols in a number of selected works of the Church of Bethlehem and the paintings of the Safavid era and its European counterpart, we find that sometimes the subject of religion is an auxiliary to painting, in addition to drawing on the values ​​governing their intellectual and religious culture of the age. , Thoughts, Worldview and more They also incorporate their ideas into the works by means of symbolism, which in addition to the subject matter is also influenced by the content of the work, and the artist issues symbols in his community using the symbols used in a rhetorical context

Islam spread quickly less than half a century on a large scale - from Spain to the borders of China. While, Christianity spread slowly during several centuries. After the spread of Islam in the West of Asia and the evolution of intellectual foundation of the community, the need for creating cities in accordance with Islamic lifestyle through making the least changes to the existing structure, resulted in adopting a new approach like converting churches into mosques in many Muslim cities. This research studies the various aspects of Islamic and Christianity beliefs on the process of converting churches into the mosques. The questions are: How have the formation of spaces in churches and mosques influenced by Islamic and Christian ideological flows? How have the Islamic thoughts embodied in the Christian architecture, during the process of converting churches into the mosques? The hypothesis of this research is: “the formation of historical process of converting churches into the mosques is because of either existence of parallel aspects in Islamic and Christian theology or flexibility of Islamic thoughts in influencing by aesthetic patterns”. Based on the research questions and to examine the hypothesis, we analyze the process of converting churches into the mosques through using library source and adaptive approach of historical-interpretive method. Findings indicates that the origins of these monumental buildings is the simple form of a house that later developed to magnificent architectural forms in response to historical events. Due to the idea of collective worship in Islam, more diverse range of religious buildings were created in Islamic era than Christian era. The introduction of Islam to the new cities and its political power influenced the architectural aspects of the cities. In spite of the parallel aspects and common roots of the early churches and mosques, it was probable that churches were used for different purpose, but the process of converting churches into the mosque in the newly Muslim regions shows the compatibility of Islam with the culture, ideology and the main purpose (worship of God) of Christianity.

Today, the plurality of different ways through which ideas in divine religions are expressed highlights an urgent need for a common language using the approach of ethnic unity. The analysis of these commonalities would be effective in coming to the point at which the spiritual-ethnic aspects of these religions converge. In so doing, art can serve as a common language. As the physical structure of religious buildings is mainly influenced by the type of ritual ceremonies in which they are held, it is more likely that the diversity of religions results in the diversity of the architecture of the holy buildings. However, the similar elements in the architecture of various religions can create a common and single language in the sacred arts to avoid the variety of ideas.
This paper is an attempt to explore the common architectural features of religious buildings in Christianity (Armenians) and Islam during the Safavid era. Darwing upon Titus Burkharts’ theory, we attempt to explain how the structures of Armenian churches and Muslim mosques in the Safavid are different or similar? we scrutinize some samples of worship buildings. An extensive review of literature shows that essential differences in the mentioned religions have resulted in worship places with different interior designs. However, despite such differences, the building structures have been flexible architecture of these religions in shared geographic and historical domain influence each other. Similarly, apart from the influences, Armenians’ architecture in Isfahan is undeniably affected by the architecture of Safavid period and its subsequent periods. That might explain why churches with Iranian-Islamic structure reflect Christians-Armenians’ Architecture. The methods of data collection for this research are documentary and field-based. Data are analyzed in descriptively.

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.

Armenia was under the influence of Iran during the reign of Median Empire. Regarding the religious point of view، this influence continued until «Gregory، the Illuminator» turned it a Christian country in the middle of third century. Armenians and Persians were of the Aryan race. Furthermore and due to geographical proximity، they had a variety of common points in terms of religious beliefs and creeds. Accordingly، they had left impact on each other. Ancient Iranians were always accustomed to worship God on the high places. As such، they were known for their traditional worship، prayer and hymnody before Ahura Mazda and other deities (Mithra and Anahita). At the time of the Achaemenid Empire، the triple deities were worshiped thereof…. At the time of the Parthian، these deities had also been regarded within the framework of general as well as the official religion. Although we do not have any valid and reliable text on this in Iran، some written texts in Armenia confirm this issue. Mithra had been one of the most popular and respected deities in Armenia. Similarly، there are many temples and remnants of post-Christianity Mithraism in the eastern parts of Armenia that indicate the importance and presence of Mithra in these areas. Mithra was considered as a goddess during the Sassanian and Zoroastrianism. As can be seen in Mihr Yasht («hymn to Mithra»)، while there is no sign of Achaemenid and Parthian great Mithras، She has a beautiful appearance with a thousand eyes and a thousand ears. The land of the Caucasus، especially Armenia، had been considered among the most important places in which Mithra was worshipped before Christianity. According to renowned researchers، Armenia had been the first place in which Christianity became an official religion. Actually، the oldest state church in the world (St. Etchmiadzin، third and fourth centuries AD) is placed in Armenia. The old monasteries built in the mountains and on the heights are signs of the ancient temples. They have great works of Mithra temples architecture that have converted into churches. However، they can be considered as some authentic and original examples of the evolution of Mithraism to Christianity. Regarding the current religious monuments in the Caucasus as well as field studies conducted on this issue، there are some ancient works of basilica (early churches) and cave temples. Geghard cavern-like Mithraeum near Yerevan، the capital of Armenia، are important signs pointing to the strong presence of this religion in the form of early pure and primary temples and forming the churches thereof. The cavern-like space of Geghard Church within the massive rocks forms one of the most ancient examples of churches that have been placed in the vicinity of the temples. The church has important signs of a fountain in the cavern-like yard، a window facing East، altar and sanctuary. The ruins of Uplistsikhe ancient temple in Georgia and Mithraem of the Church of the fourth century located on a hill at the same place can be considered as two other examples of the primary presence of Mithraism as well as its continuance and conversion into Christianity. This article has been based on library studies and conclusions drawn from field studies through a scientific-research expedition to the Caucasus as well as a set of analyses conducted via an exploratory research methodology.

Axis is the basic factor in physical organization of temples which with regard to the method of thought of each school، has had a symbolic role in worship spaces. Axis in the space of prayers rooms is the factor for giving direction and can inspire a defined quality and meaning in the prayers room. This article in an attempt to display the factors and meanings effective on axis making of Islamic and Christian worship places. The necessity of study and review of axis is in the importance of the hidden and effective role in the spiritual and physical direction of prayer room space. This has been made in comparative-reasoning method. The study of the primary foundations of axis displays the causes and the method of formation of praying spaces and leads to have an informed view towards the design of mosque and church. In the beginning، the intellectual bases and differences related to axis orientation in mosque and church have been put forth. Finally، having a comparative study of mosques and churches، the semantic analysis of axis role has been made. On this basis، the horizontal axis in the Christian prayers’ rooms has a firm position and conveys the historical، secret and performance roles. Axis in the church causes physical-driven attitudes and link of church with the factors and symbols of this world. Axis in mosques has been formed based on performance and functional obligations. What can be observed inn the mosques is a gap like space and far from a dominant tendency towards a specific direction. Axis making in the mosque leads to the silence of mind and the unit definition of the space. It is such that mosque is known as the manifestation of a united and public prayer’s place، in harmony with the individuality of individuals towards a single deity. Finally، the common feature in axis oriented attitude in the church and mosque is the vertical axis. What makes the real meaning in mosque and church is the axis of ascension which defines the route of salvation.