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

The Qajari Tehran was the capital and the foremost centre for important state ceremonies: opportunities for the general public to attend the king's presence on various national, religious, and other occasions, which included celebrations, mourning, Nowruz rituals, farewell ceremonies or welcoming the king, etc. However, the structure of this city was not the same in the entire Qajar era. In the Nasseri period, for instance, new forms of urban elements and spaces such as streets and squares were introduced. Nasserieh street was one of the new urban spaces on the eastern side of the royal citadel, and became a new venue for state and sometimes non-state ceremonies, allowing closer communication between the king and the people. Focusing on urban rituals, this article examines the role of Nasserieh street in public, but also mostly state events of the Nasseri period, and compare it with previous periods, to then answer these questions: 1) as an urban space mediating between the citadel and city structure, what status did Nasserieh street have in holding ceremonies? 2- What innovative role did Nasserieh street played in enhancing the communication between the king and the people? For this purpose, and adopting a qualitative approach and interpretative-historical method, the primary and secondary sources were studied and the existing visual documents were examined, focusing on the public and mostly state ceremonies. The results indicate the heralding of a new era in king-people communication marked by an increased presence of the king in everyday urban life, which was largely derived from changes in the relationship between the state and the nation and the state's new approaches in seeking legitimacy.

In examining the art of the Sassanid era, an independent issue entitled sculpturing generally does not arise, In the Sassanid era, despite the great importance of art, we do not see the individual human faces, apart from building units of great dimensions and the statues dating back to Sassanid Empire are the busts that were used as a part of monument ornamentation and installed on ornamental engaged columns. One example of this decoration is used in Manor House in Hajiabad. Sculpturing in the Sassanid era mainly includes rock reliefs and plastering applied to architecture or monument ornamentation. In the plastering decorations, either the statues are used as column or a motif for decorating the capitals. In some cases such as Kakh-e-Kish (Kish Palace), the busts relevant to Sassanid Kings were installed on the walls of the palace. However, the presence of the distinct and independent statues with non-human dimensions have been documented merely, and two exceptions include Shapur Statue in Shapur Cave (Ghaar-e-Shapur) and a severely damaged and enormous statue in Tagh-e-Bostan in Kermanshah, known as Native name, Kol-e Jubor . It was noted earlier that the statue stood in the water for many years, and such immersion severely damaged it. The statue’s overall figure represents the body of a man, standing with his hands on the sword, Another theory proposes that the object held in the hands is a staff which seems very likely to be the shape of a ruler’ staff may probably be seen here as a symbol . most of the historians that have studied the statue believe that it dates back to the era of Khosrow II. One the one hand,In addition to examining the fact that the art of making figurative and imposing motifs reappears late in the Sassanid era , it would not be possible to assign the exact date of the statue to Sassanid era due to afore-mentioned severe injury. On the other hand, with the accurate survey and comparison of the statue to the rock reliefs in Taq-e Bostan and in accordance with some important evidences such as attire, Study the clothes at the end of this period and compare it with the dress of the figure and sword and its location near the Crowning Ceremony of Khosrow II, it could be said that the statue dates back to the late Sassanid era. Thus, through an accurate survey of the attire in the late Sassanid era and a comparison of the statue with other rock reliefs of Khosrow Parviz in the form of the rock reliefs and capitals found in Taq-e Bostan, Abshuran, and Bistoon, By comparing the statue and Khosrow II’s rock relief in the upper part of the the large vault (arch) of Tagh-e-Bostan, it would be possible to realize the apparent similarity of the two statues the article seeks to discuss and review the statue’s found in the Taq-e Bostan application, identity, and its attribution to the late Sassanid era and Khosrow II.

Urban neighborhoods are a suitable context to form sustainable social relationships and increase trust and social participation. With the development of cities and fundamental changes in the lifestyles of residents, we are faced with widespread changes and even disconnections in close relationships. For this, the concept of social capital in local communities can be effectively employed for improving sustainable social development and quality of life.
The purpose of this research is to identify the dimensions of social capital and quality of life at the level of urban neighborhoods and to measure the mutual effects between social capital and quality of life in the two neighborhoods of Sultan Mir-Ahmad and Fin in Kashan. This is an applied research using combinatorial data analysis (qualitative literature analysis and quantification methods). Multi-stage sampling was used and data was gathered through questionnaires. The t-test, Pearson correlation, and structural equation modeling were used to assess the hypotheses.
The results of the study indicate a significant relationship between all dimensions of social capital with those of quality of life. The most effective dimension of social capital on quality of life is the trust index (0.85), while the most effective dimension of quality of life on social capital is the environmental health index (0.88). Therefore, by improving trust as the most effective social capital index, it is possible to improve the quality of life in urban neighborhoods, and by improving environmental health indicators that improve quality of life in urban neighborhoods it is possible to the optimal social capital. The mutual effects of the dimensions of social capital and quality of life can be used to regenerate rich capital and better quality of life in urban neighborhoods.

Columns are structural elements that transfer the vertical forces from beams and vaults. They have undergone major changes in terms of form in the course of time. The formal analysis of different parts of columns may reveal valuable geometric information about them. Recognizing the geometric forms of stone columns can be one of the proper strategies for restoring these valuable elements. The size and form of the base, shaft and capital directly affected the final form of stone columns in post-Islamic Iran. Previous studies in this field have mostly focused on aesthetic, symbolic as well as typological aspects of these columns. However, for the first time, the present research has examined the influence of geometric features on forming the final structure of the Persian stone columns in monuments built during post-Islamic era. This study is descriptive-analytic in nature and the data was gathered via library sources and field studies. Accordingly, after defining the column and its different types using field studies, the structural elements of a column were examined and typologically analyzed and categorized. The results show that the form of the base, shaft and capital of most stone columns in Persian public monuments in post-Islamic era were adapted from Greek and Platonic styles. Also, in some cases, a combination of different styles could be observed. Even in elaborate capitals, the Greek-based adapted styles can be seen. Moreover, the overall form of a stone column is compatible with the plan of the monumental structures.

This research entitled "an evaluation of the theatre as an artistic field in Iran" to study the different cultural, social, economic and symbolic capital based on the theory of "an artistic art of Pierre Bourdieu". The research method is a descriptive survey type that is performed using field method through a questionnaire for a sample of 200 actors and 22 directors. In some cases to complete the theoretical design of literature, the historical method of documentary technique was used. The results revealed that the cultural capital among the actors is high: 27%, 72.5% in moderate level, the social capital is high: 4%, 47% in moderate level, 27% in low level, economic capital: 85% in the moderate level,11% in low level, Symbolic capital is also high: 82%, among the actors, 17.9% in the moderate level were obtained. Among the directors, the following data has been obtained: the cultural capital of 31.8% at high level, 50.5% at moderate level, social capital: 13.6% at high level,, 59% at average level, 4.5 at low level, the economic capital of 45.5 at high level, and symbolic capital: 4.5% at high level,, 72.7% at moderate level and 18.2% at low level. Overall, the studied reviews concluded that the theatre in Iran has not yet become an artistic field despite having different types of capital and some of the main parameters of field such as resistance against the political field and independency have not been found in this domain.

The present article analyzes the contemporary post revolution wall painting art and the symbolic, social and cultural capital dominant on it that are indications of social and political changes, actions and field of power within the scope of painting and state field of power. The main hypothesis in the article is that the wall painting art is produced while being influenced by the field of power in every period and to test the mentioned hypothesis there are considered the post revolution wall paintings in the city of Tehran. The way the present artists act, the position and place of this artistic field in social, political and art situations, the type of the capital and their habitus, all are the major questions considered within this paper. The research method is also based on Pierre Bourdieu sociological views and tries to analyze the genesis of wall painting field in social space after the revolution. The conclusion shows that the style of the specified period wall paintings is the result of a meaningful differentiation from the pre revolution paintings and is based on the cultural capital which is itself resulted from the current political governance. The dependence of wall painting to the field of power, in the height of revolution andsimultaneous with its victory, connected this art to the main focus of power, the Mass and revolutionary forces, and was supported and confirmed by the revolution after its consolation and establishment of field of power.