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

The Safavid period can be considered one of the important cultural and social periods of Iran and one of the turning points in the architectural history of this land. Iran's privileged geopolitical position and economic attractions in the Safavid era caused many travelers to come to Iran, and most of them wrote travel diaries after returning. The travelogues of European travelers in the 10th to 12th centuries AH, which is approximately the same time as the Safavid period, are considered one of the most important documents of Iranian architectural history, regardless of the purpose of the trip or the shortcomings of the text and sometimes misunderstandings.The lack of documents and written sources about the history of architecture and how buildings are built show the necessity of studying and reflecting on travelogues from this point of view. On the other hand, bathhouses, as a special type in Iranian architecture, are one of the most vulnerable types of architecture, and unfortunately, their destruction has increased in recent decades.Therefore, any source that helps to know and better understand this complex phenomenon in Iranian architecture is valuable. Iranian bathhouses have attracted the attention of tourists from two perspectives, first and more popular culture and second and less, bath architecture. This research seeks to show the image presented by European tourists of the 10th to 12th centuries AH of the Iranian bathhouses by studying a few sources. The research questions are:1. What aspects of the bathhouses have been noticed by the tourists in their travelogues of the 10th to 12th centuries AH?2. by emphasizing the architecture of the bathhouses, what are the differences between the image presented by the travel writers and what we know about the baths today?

The method in this research has a qualitative paradigm and was done in an interpretative-historical way. Data collection has been done through documentary studies and field observations of the bathhouses. Among the many travelogues written in the research period, 26 travelogues were selected and studied. Among the aforementioned travelogues, only six travelogues have mentioned the bathhouses. In chronological order, these travelogues are Figueroa's travelogue, Pietro Della Valle’s travelogue, Adam Olearius's travelogue, Chardin's travelogue, Kaempfer's travelogue, and travel observations from Bengal to Iran by William Francklin.

From a quantitative point of view, Architecture has been the most important topic. The Second topic of the travellers’ attention is the Anthropological aspects of bathhouses. Travel writers have also mentioned the Medical and Religious aspects.From a qualitative point of view, with an emphasis on the architecture of bathhouses, the cases mentioned by travelers were very few and incomplete in most cases. The image presented by travelers has many differences from what we know about the architecture of bathhouses today.

In general, it can be concluded that the Safavid period was brilliant in the architecture of baths. Most travelers are not familiar with the unique phenomenon called the bathhouse, and that is why few travel books have mentioned the bathhouses and also the few topics of the architecture of the baths. Although the travelogues of the 10th to 12th centuries AH are very important and valuable sources for knowing the history and culture of the Safavid period, they cannot be considered reliable sources regarding the architecture of the bathhouses.

Statement of the problem: Since Turkmens are very inspired by nature in their clothes and jewelry, one of the goals of attaching jewelry to the shirt has been to help protect the injured eye and strengthen good qualities in Turkmen. They attached ornaments in the form of arrows, bows and swords to their children's clothes in order to strengthen the spirit of happiness and fighting among their children.The purpose of the research: The purpose of this research is to examine the ornaments that are attached to the clothes of Turkmen women and children, and have a function in addition to the aesthetic aspect.

In this article, a qualitative approach and field method have been used along with the help of observation, interview and collection of library and documentary information. The theoretical foundations taken from the trend of anthropology are native aesthetics, based on which the theories of thinkers such as Cote and Marcel Maus have been helped.

The findings of this research indicate that Turkmen jewelry, which is usually made of silver or Warsaw, in the form of a collar flower to protect the Turkmen woman, or jewelry with sound to drive away evil forces from the Turkmen family, especially children, or as scrolls It has been used as a place of prayer. The result is that these ornaments originate from their shamanism and totemism beliefs and ideas in the past and are attached to clothing and have a protective aspect.

Abstract
Problem statement: Turkmen handwoven and handkerchiefs are a field of native arts that, while meeting the needs of life and highlighting the artistic identity, have been a vehicle for revealing beliefs through the representation of abstract motifs. The critical point in these works is the importance and exceptional attention to the semantic and belief-oriented aspects of the motifs, along with the aesthetic dimension. This issue is relatively less in other nomadic societies. In the lifestyle of Turkmen society, there is a prominent presence of ancient (shamanic) and religious beliefs, rituals, and teachings that are presented to the audience through abstract artworks. Therefore, we can do an anthropological study on the Turkmen weavers’ worldview, which presents in the paintings. This approach seeks to study and understand artworks’ content in their creators’ cultural context. So the central question of the research is, what are the anthropological characteristics of Turkmen handwoven and handkerchief motifs? And how can we study their semantics and aesthetics in terms of this aspect and Turkmen cultural contexts?
Research

This study attempts to examine and understand Turkmen’s handmade motifs in the context of Turkmen weaving culture.
Research

The type of this study is qualitative and developmental and its method is descriptive-analytical with a library data collection.

The dominant style of painting motifs is more discrete than abstract. Also, the motifs are created relying on beliefs more than they have aesthetics (decorative) and symbolic and semantic aspects. Most of the motifs include the group of protective motifs (prayer, spell, armband), ram, local birds, and flowers (bergamot) That has a special marker and form in each tribe. Also, handmade have special functions.

Contemporary research related to house architecture often focuses on distinguished houses with heritage values, and there are few researches focusing on ordinary public houses and sparse written documents of them exist. Also, few attentions have been paid to residents ''behavioral differences and physical changes due to residents'' needs over time. Threfore, anthropology of domestic space focuses on the relationship between houses and people and the lifestyle of residents.

What physical patterns do houses in the research area have based on lifestyle? 2. What has been the lifestyle of these houses over the years from the residents'' point of view? 3. From the residents'' point of view, what characteristics have caused satisfaction or dissatisfaction with their house space?Aims of the research: This study intends to depict ordinary houses in three cities of East Azerbaijan province from the perspective of conversations related to the mentality of the inhabitants in the form of certain patterns.

 This research is a qualitative approach and case study. Based on field perceptions and ethnographic studies, including semi-structured interviews, residents'' lifestyles and architectural patterns of 14 cases of houses are examined.

 Three examples of architectural patterns found in the field survey were classified: semi-detached small house-courtyard (1320 SH and before); Large independent courtyard house (1330-1350 SH) and courtyard houses with rooms separated in terms of function (1350-1360 SH). According to the residents'' view, the later houses of the research period (1350-1360 SH) meet the needs of the residents culturally and practically in relation with nature, and with adequate repairs, they are suitable. According to the residents, the main reason for the continuity of life in the houses was the factor of sense of space and memory importance and relationship with the yard. Most of the alternations were related to usage change, the addition of the kitchen and bathroom to the interior of the house, as well as the integration of departed space. Warehouse and yard space is one of the essential spaces in houses according to the lifestyle (gardening) of the region.

The art of weaving in the territory of Iran is a part of the cultural identity of it`s people. The traditional handicrafts of Sistan and Baluchestan are also considered as an important aspect of this identity. Apart from design and color, many other dimensions of carpet production in this region can be considered as their cultural-religious characteristics. Since the study of the semantic dimensions of an artwork in terms of its creator is much more recognizable, the present study aims to identify the unknown aspects of the indigenous culture and beliefs of the producers of these crafts by visiting the case study, and it also tries to answer this question that what is the correlation between indigenous rugs of Sistan and Baluchestan and their creators’ cultural traits and religious values. This research has conducted direct observation and interviews with the natives with the approach of art anthropology and the methodology of ethnography in the region, and then through data coding in three levels of open, axial, and selective coding has attempted to classify them. The results show that elements comprising the carpets in the Sistan and Baluchestan region, from their initial stages to the end, have wide semantic dimensions so that even the most trivial of them have deep roots in the culture and beliefs of its natives. Specific rituals for weaving, belief in sore eyes, composing special poems during weaving, washing ceremonies, etc. are a part of this elements. In this province, apart from its practical aspects, carpet is considered as a sacred commodity, and although there are obvious cultural differences among the people of Sistan and Baluchestan, the similarity of some beliefs regarding carpets shows the unity of the primitive roots of carpet weaving among the two main groups of inhabitants in this region.

In this study, the author used black nightshade plant of southern coasts of Caspian Sea to dye woolen fibers with a five-stage of sulfates of Aluminum, Iron, Copper, and Dichromate of Potassium and Sodium, through the same stage in both alkaline and acidic environments, while there were tests of stability to light and washing to check light and wash fastness. Descriptively and experimentally, the study attempts to investigate potentials of Black Nightshade fruit from the southern coasts of Caspian Sea as a dyer, environments, and different dying conditions to achieve varieties of derived colors. Conclusions indicate that the Black Nightshade of the southern coasts of Caspian Sea signals more absorption ability on woolen fibers, at the same time, one could achieve varieties of shades using change in tooth, PH, temperature and concentration of dyer.

Music in all parts of the life of the natives of Mazandaran has a special place, and it is not so unpardonable if all of its cultural expressions are said to have been dealing with the element of music. But for the analysis and interpretation of this link, which has merged from the distant past to the present day as the links of a chain, it has been proposed to divide the division into «decomposition». If this categorization is based on certain criteria, it can also be helpful in identifying other indigenous cultural materials. Naturally, many of the cultural phenomena are in contrast to other cultures (either because of the migration of foreign peoples to this land or because of the arrival of the mainstream in the war), but of course many of the phenomena are, instead of the present, rooted in the distant past. In this paper, by presenting the theoretical and practical theoretical frameworks for the anthropology of indigenous music of Mazandaran, beyond the explanation of the musical life of the people of the region, it is necessary to open a way for archaeologists to use for the restoration of the human societies of the past, because perhaps from this perspective, Not paid attention. In order to obtain this result, the artistic and aesthetic aspects of native art are extracted and presented, and in the end it was concluded that by studying.

The many types and designs of Turkmen jewelry, influenced by the beliefs and religious beliefs of the people in different parts of rural, tribal and urban slums is Turkmen. Turkmen Jewelry array types, many of the ideas and beliefs of Islam, and other religions as Turkism hidden secrets are hidden in your heart for those who know or the signage and logos, secrets they discover, there are still too. Diversity of opinion and totems in the Turkmen people has caused so many types of roles for different applications in the Turkmen jewelry are created and sustained.What is the most glaring Turkmen art, and folk beliefs and customs are different. Believe Turkmen ornaments in addition tothe decorative asp.Various Turkmen tribes under the influence of religious and mythical beliefs and your opinions, your jewelers for beauty purposes and to maintain their religious beliefs decorate ideas and believe that the originality of thought, traditional and your beliefs that hardly inherited many years, as well as maintain and adhere to it.

The purpose of this paper is to study the analytical and etymological religious rituals of “Xarreh”, with an ancient Iran approach based on Clifford Geertz’s symbolic anthropology theory. At dawn, about 100,000 people of Khorramabad, Lorestan, with rituals of water, flowers and rose water (Xarreh) made in the streets and squares, and until noon of Ashura (seven hours) with an allegiant format based on documentation (associations of the meanings) of the Event of Ashura by expressing individual monologues in the important squares of Khorramabad Lorestan display. Religious anthropological hypotheses about this documented ritual are such that it has two basic applications in itself: 1- Continuation of historical citations based on a great event in the Islamic world that does not need to be proven 2- Transformation in the displays who are also drama displays that do not yet know its literary and civic roots. The idea, the bin of thought, the plot and the main form of this documentary indigenous religious ritual are defined based on socio-historical facts and existing documents that are documentary or narrative. The findings show that every year, the people of Khorramabad hold a religious show, with a special glory, and believe that the executive philosophy of this ritual definition the meanings of the facts and documentation of the Desert of Karbala. The results of the author’s four-year research in the field of research and available documents show that this ritual is performed only in Khorramabad, Lorestan, and two main reasons: 1- Association of the meanings of the Karbala desert 2- Artistic taste of the Lor tribe, has led to the filth and permanently of this dramatic structure. Four basic elements of water, wind, fire and soil (Axsij) rooted in the old Iranian literature are also important elements of the documentary ritual of Xarreh. This paper has been qualitatively analyzed using descriptive-analytical and in-depth method based on Branislav Malinowski’s functionalism theoretical framework and Clifford Geertz’s interpretiveism in comparison with documentary drama characteristics.

In this essay, due to the early establishment of the Qajar era transfering the new types of the representation of architecture, as well as the great interest of the Qajar kings and courtiers to the problem of the image, the significance of this period in the changes in the representation of Iranian architecture has doubled and the direction of research tends towards the factors of the formation and growth of this kind of representation. The aim of this research is to investigate the representations of Qajar architecture and recognize their characteristics during this period, given its importance to the problem of image. Considering the beginning and growth of visual language in the Qajar architecture, especially since the Nasseri's time, the hypothesis of the formation of a new representation and the change of explicit and implicit meanings of previous representations in this paper is measured and the main question is: In the representation of Qajar architecture, and in the course of changing the architecture of this era, how are new visual expression techniques in architecture affecting the representation of architecture and what are their basic characteristics? In order to accurately answer this question, based on the implicit and implicit meaning of the semiotics of architecture, Edward T. Hall’s underlying theory is used in which he interprets the topics in his anthropological domain attempting to establish a logical relationship between the change in the architectural space with its denotations and connotations through its representation and concepts like proxemics and distance are used for this purpose to approach the answer of the questions and the research. For this reason, using a mixed-qualitative research method, using a constructive-interpretive approach, an explanation of the response to these pressures has been addressed trying to get the result close to the hypothesis. In the final section, we try to find in three examples of three different periods in the Qajar dynasty and make these changes known as cases and compare them to the underlying theory of the paper.

This article attempts to re-analytical and cognitive origins fifty plays are implemented, by local playwrights Province during the past fifty years, from the perspective of anthropology's performance. Lorestan Province proximity to Kurdistan, Chahar Mahal and Bakhtiari, Khuzestan, Ilam, Hamedan, Kermanshah, Isfahan, central Najd plateau of ancient history and civilization in the history of Iran. Accordingly it is expected that the local authority for the comprehensive study of the rituals of traditional performing arts is ancient. The findings show that since 1327 native Lorestan plays written by playwrights and performed by the natives. One of the plays as "Narook" by Morteza Jazayeri in other cities of Khorramshahr in 1327 has been performed. This paper has attempted to collect fifty plays the handwritten native Lorestan from 1327 to 1387 (fifty years) and analyze them from their dramatic scenes such as anthropology and literature. Finally, the authors considered the use of indigenous culture and civilizations based on customs, beliefs, worthy and scrutinize the evil Lor. Method of setting the paper documents (fifty plays native) is descriptive-analytic method of analysis "content analysis".

This paper examines the effect of contemporary cultural developments such as modernization, globalization, media, the spread of information and communication technologies, the development of family, secularization, technology and the growth of individualism - the house and the concept of it. Home From an economic standpoint a “product”, from an artistic perspective “symbolic”, from a sociological point of view “institution” from the viewpoint of Engineering and Architecture by or building, Urban “space” and the anthropological vision of a “culture” is that all those aspects. Leave the house and its place in the system of social relations of people and society by considering all aspects of the symbolic, institutional, material and aesthetic home or “house of culture” is possible. In anthropology comprehensive or holistic way of looking at the human and social affairs “holistic approach” call. In the “Culture House: Origins, functions and templates” these concepts as the theoretical framework of the study. This article examines the anthropological aspects of home living spaces and homes in approach and understanding of cultural spaces housing will be discussed.

This paper tries to evaluate the kinds of methodology needed for understanding architecture. Architecture is a field of study that brings together both physical elements such as earth, soil, water, sun, as well as nonphysical concepts, including those of public and private spaces; all of which are necessary for the provision of the social and psychological needs of individuals within particular society. Architecture is, further, a phenomenon that employs multiple methodological approaches and incorporates various areas of knowledge. This paper attempts to demonstrate that three areas of knowledge necessary for understanding architecture in general and Iranian architecture in particular, include: Typology, Anthropology and Semiology. We believe that knowledge is an ongoing process and any appreciation of local architecture requires careful attention to this dynamic aspect of knowledge as process. In order to incorporate multiple areas of knowledge and data, we have conceptualized a methodological technique called “knowledge biofeedback,” by which we mean observation, documentation, analysis, and developing questions. Questions arrived at on the basis on such methods are then fed back into further observation, documentation, discussion, and analysis. This technique has allowed us to not only have keener observations and to “see” what we may have missed earlier, but also to achieve well-rounded appreciation of diverse Iranian vernacular architecture and cultures. In most of the recent Ph.D. and MA theses, researchers claim to have based their methodology on either fieldwork or on library research. In our view, the problem with such “methodological” approaches is that often the “tools and techniques” of methodology have been substituted for the knowledge required to understanding socio-cultural phenomena. In the present paper, we have conducted extensive literature review of published books and articles, and from them we have selected seven areas to incorporate in our discussion and analysis of diverse Iranian architecture. These include archeology, art history, mythology, mysticism, anthropology, Persian literature and geography. Our discussion and analysis is based on our extensive field research and surveys of 87 historical houses from six cities in Iran in different regions of the country. These cities include Bushehr, Hamedan, Kashan, Kerman, Rasht, and Shiraz. In these field studies, as demonstrated in this paper, we have consistently tried to incorporate the three areas of knowledge by employing the methodological techniques mentioned above to contemporize the indigenous knowledge regarding what they mean by Iranian architecture. In this paper we hope to provide a more nuanced appreciation and deeper understanding of the diversity of Iranian architecture.

Study of narrative genres in documentary depends on narrotology and theories of narration in cinema. However, it seems what differentiates documentary from other genres of cinema, is immediate reference to the events occurred in the historical world. Hence, this inseparable connection of documentary to the issue of reality has led to lots of controversies in analysis of this type of cinema, efforts made to study narrative genres have only resulted in enumeration of its diverse forms. But the documentary position relative to reality must be investigated in order to expound the main traditional and new narrative approaches, since the belief of the present time which considers reality as manipulated reality has brought a new strike to body of the traditional conventions and had opened a new chapter in the field of documentary analysis, On the other hand, one of the oldest documentary forms is ethnology or ethnography documentary, or in new terms, visual anthropology which in direct relation to the science of anthropology by posing question in the nature and origin of customs and institutions, and the way culture is applied to humans’ life looks for contemplation in the meaning of cultural and social differences. In the traditional view, anthropology includes two observational and participative narrative approaches in which subject-filmmaker viewed native people as an external and wisely factor. However, in the present time, influenced by new methods appeared in documentary which have a kind of self-reflection as well as the belief of post-modern in existence of manipulated realities, visual anthropology has been led to a new path. In the area of neo-documentary, anthropology interprets the real fact by two reflexive and per formative methods in which subject-filmmaker takes a new stand versus object so as an inter-mental position between subject, object and audience is obtained. At any rate, it seems that the narrative genres in visual anthropology ought to be investigated by emphasis on the position of subject-filmmaker versus object

Structuralism is a general approach in various academic disciplines that explores the relationships between fundamental elements of some kind, upon which some higher mental, linguistic, social, cultural etc "structures" are built, through which then meaning is produced within a particular person, system, or culture. Structuralism appeared in academic psychology for the first time in the 19th century and then reappeared in the second half of the 20th century, when it grew to become one of the most popular approaches in the academic fields that are concerned with analyzing language, culture, and society. The work of Ferdinand de Saussure is generally considered to be a starting point of the 20th century structuralism. Today structuralism is less popular than approaches such as post-structuralism and deconstruction. There are many reasons for this. Structuralism has often been criticized for being a historical and for favoring deterministic structural forces over the ability of individual people to act. As the political turbulence of the 1960s and 1970s (and particularly the student uprisings of May 1968) began affecting academia, issues of power and political struggle moved to the center of people’s attention. In the 1980s, deconstruction and its emphasis on the fundamental ambiguity of language-rather than its crystalline logical structure–became popular. By the end of the century structuralism was seen as a historically important school of thought, but it was the movements it spawned, rather than structuralism itself, which commanded attention.