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

The art of glass making was invented and started by the Romans and enhanced by the development of the use of Chinese knots and door and window making. This art has a long history in Iran. However, the use of flat colored glass in architecture in the Safavid and Qajar periods has been due to some reasons. Among these reasons, one can refer to the characteristics of glass, climatic conditions, the the Safavid kings’ interest in glass arts, and the creativity of architects to borrow the pattern of flat glass windows, in the form of the stained glass method, practiced in churches of the same period in the West. The use of colored flat glass to create decorative windows originated in the Romans and Constantinople. The art of glassmaking requires special and diverse raw materials. Generally, complex methods are used in its construction. Glass is made of compounds such as silica in the form of sand, alkali in the form of sodium and potassium as flux, lime for strengthening, lead oxide for transparency, and metal oxides for creating different colors. 

The manufacture of flat-colored glass in Iran has not been discussed yet in the available sources. In the present research, an attempt has been made to answer the question of how this type of glass was the produced in Iran, and how the commercial and cultural relations have affected this process. The nature of the research is descriptive-analytical, and its methos is qualitative. The collection of information and samples has been done in a library manner. After collecting data and analyzing and classifying the manufacturing methods of flat colored glass, the factors affecting their prodction have been examined.  

Stained glass windows were used in three ways in the Qajar period. The first way is a patterned glasswork made with colors such as red, blue, emerald green, and yellow. This glasswork was used in small semi-circular windows and sash windows in the strips. The second method was glass mosaic that was first used in the late Safavid era and, then, it was fully expanded in the Qajar period. In the third method, on the plastered surface, a border of repeated motifs of scrolls and vases was inlaid in pieces of red, green, and blue colored glass. To produce cup (bed) glass, it consisted of 97% silica powder, sodium carbonate, and lime, and the remaining 3% was coloring and pigment oxides. The production of this type of glass was done using different methods, including blowing, casting, rolling, stretching (horizontal and vertical), and floating or flute.
At first, the production of uniform glass was done by forming circular and cylindrical shapes and, then, the flattening of them. Before the invention of the float method in the 19th century, uniform glass was made in two basic ways: one of these methods was sheet or window glass, and the other was plate glass.  
The colored glass was first used by the Romans. The origin of the use of colored glass was traced back to Constantinople, where it was used in the church in the 6th century AD. There were two ways to paint flat glass: surface and brain. Making colored flat glass was usually done by adding a metal to the molten glass.
Due to the expansion of political relations with the West, Shah Abbas brought expensive Venetian glass to Iran to promote this industry; this industry continued until the Qajar period. During the Qajar era, due to the incapability of hand-made glass workshops to meet the consumption and decorative needs of the country, glass goods were imported from other industrial countries and replaced the hand-made glass. Also, this period coincided with the Industrial Revolution, and with the expansion of foreign relations with European countries, handicrafts faced the challenge of industrial goods. Among other social factors influencing this art from the Safavid to the Qajar eras, one can refer to the use of mirror work, especially cup mirrors in the harems which became popular due to the eye-catching brilliance as well as the halo of sacredness surrounding the kings of this era. Since mirror created a remarkable space, they were not reluctant to experience such space. This had an impact on the use of mirror work in religious buildings such as Imamzadehs, and they joined this movement from the Qajar era. A growing interest in the development of knotwork and door and window-making promoted the use of colored glass in the Qajar and Pahlavi periods.   

The obtained results showed that the use of colored flat glass to make decorative windows was first used by the Romans and originated in Constantinople. The production method of flat glass in Iran was on the back of a shovel and of very poor quality. Thus, the method of making glass imported to Iran was manual, done by blowing method (including two types of crown, and cylindrical or cylinder), as well as casting or rolling ones. Also, the coloring of these glasses was done by adding colored oxides; it was done in two ways: surface and brain. In response to the second part of the research question, it should be said that the way and reasons for the arrival of stained glass in Iran included several factors: imitation of the flat glass windows of contemporary churches in the West with the stained glass method invented by the Romans; the attention of the Safavid kings, including Shah Abbas, to this art; making mosque lights and installing colored glass on doors and windows; the use of mirror work, especially uniform mirror in harems, followed by the use of mirror work in religious buildings such as imamzadehs in the Qajar period. The expansion of political relations with the West and the arrival of Venetian glassmakers in Iran also boosted this industry. The stagnation and incapability of manual glass workshops to meet the needs of the society in the Qajar period and its concurrency with the industrial revolution along with the increasing expansion of foreign relations with European countries, the importation of this product from other countries such as Russia, England, France, Germany, and India increased, as did the development of knotting and wooden doors and windows, which caused an increase in the flat colored glass in Iran.

Colored windows are part of the architecture of traditional Iranian buildings in the Islamic period, which act as gates for the passage of single light into space and its division into different colors. The main purpose of research is to create sensitivity in design of colored glass, to express the principle of using color in colored windows of traditional and Islamic buildings, to discover the relationship between color separation and architectural space quality in sustainable lighting system. the other goal is to achieve one of the effective characteristics in creating balance in a permanent building (Nasir Al-Molk Mosque).

The type of research is qualitative-quantitative. The extraction of materials has been done by collecting information from documentary sources and field perception of the pattern and area of Nasir Al-Molk Mosque colored glass.Finally, through the comparative analogy of the proportion of colored glass surfaces with the theoretical basis of the results have been extracted.

In the sample, five types of general coloring and 15 types of partial coloring were analyzed. Blue, turquoise, green (cold colors) and red and yellow (warm colors) are used in colored windows with balance and one in between.

Extraction of the ratio of cold to warm colors close to one in accordance with the principles of Islamic philosophy showed that, the pattern of color distribution in space was not random, and in this regard, there is unity.

Manifestation is idiomatic that is commonly expressed the quality of insight and its perception from the sea of knowledge and recognition of God and his appearance in the world. And also in the arts depending on such a thought, it appears to different species. The article is responsible for this theory that there is a unity among the proportion of manifested colors of a single light in the colored windows of Iran's traditional mansions. Mysticism is an internal movement of the servant toward the creator (God) and also manifesting of tinted windows is a symbol of this movement that the principles of these are comparable. The fundamental goal of this research is (theoretical and experimental), and due to the nature of it (quantitative- qualitative), this research is based on an analytical- measuring method. The present research methods are collecting data from library resources and field inference that has been formulated after the collection of theoretical base of research, reviewing subjects and indexes through objective observation and the presence in the locality, and estimating of the building, the acquired statistics and information based on the format of the chart and the table. The middle of the camera in the form of flat, colored Windows is estimated and then transferred to AutoCAD software. After drawing, the areas of their color levels are extracted. It has been done separately for each color, and finally, the ratio of colored levels in the form of quantitative data is extracted. and, the titled principles are compared with the proportions of colored glasses. What is noticeable in the first observation of color combination of windows, is restrictions and color constancy used in traditional windows; in these windows has been used only colors: green, yellow, blue and red. the stability of the colors used in Iranian architecture gives specific value and credibility to them. this stability doesn’t apply in the human eye for the components of the necessity of composition, but it's like constant and valuable creatures, which put together in the time of work creation and provide the combination that causes to make the perfection. Also, the stability of colors makes them individually invisible easily from among the wide range of colors. According to analyzing the calculations and the tables; in this case study, four colors (green, blue, red and yellow) are used approximately the same in the windows of this mansion to have an optimal effect on persons.As it can be seen in analysis, the ratio of hot color to cold color is the distance between + and -0.2, unless there may be the ratios of compensation in the total window, for example: in the module B1, yellow color is the most that include the hot colors, while in the module B2, the green color has the most amount that includes the cold colors, this matter keeps the ratio of the cold colors to the hot colors in the total window in the same distance. And it is nothing except the manifestation of unity in diversity and a single words: As the multiplicity of light forms after passing through the colored windows in the sense of the light source is not different and always is the same sun appear that causes the delight. The balance of using colors in case studies; the Khalil-Pasand and Zanjirchi houses are samples of this fact. As mentioned in the table, Iranian artists used the hot (red and yellow) and cold (blue and green) colors with a balanced ratio. Nearly the number derived from calculations is evidence for this claim, and it is the same issue of mysticism that the mystic achieved a balance after a hard austerity. Another factor that can be raised in Islamic mysticism is the discussion of proportion: "in addition to light and color, proportion also exists in order to add the design aesthetic: when colors and bright, pure designs are regulated normally and consistently are better than irregularities. "By investigating the samples is clearly invisible in using the colors. The colors are applied generally and with a slight difference in the windows so that each color beside another neutralizes the intensity of it and had highly significant influences on the people within the space.