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

 The oldest carpet in the world is the famous Pazyrik carpet, which belongs to the 5th century BC. David Stronach believes that Pazyrik motifs are undoubtedly related to Iran. Rudenko, the carpet explorer, believes that he found details of the carpet motifs similar to Achaemenid jewelry from the 5th to the 4th century BC. For this reason, it is a reflective work of Persian art. Persian researchers such as Ali Hesouri and Siros Parham have proved the Persian origin of this carpet by presenting Persian archaeological evidence, such as carpet weaving tools from the Bronze Age, and examining and matching the carpet motifs with ancient Achaemenid examples. 

Question:

The present text seeks to answer the question of the symbolic meanings of the motifs of the Pazyrik carpet and the similarity of these motifs to the ancient works of Iran. How to analyze Pazyrik carpet motifs based on Kristova's theory of intertextuality has been investigated. 

The square structure of this carpet is a talisman. The symbol of a square shape and repeated squares stuck together in the lines engraved on the seals of Susa around 1700 BC is a sign of the earth and is a symbol of life. The square structure of this carpet is a talisman. The symbol of a square shape and repeated squares stuck together in the lines engraved on the seals of Susa around 1700 BC is a sign of the earth and is a symbol of life. This flower is engraved on a bronze that depicts the mother goddess and her mythical animal protectors, lions, and two-headed animals. Other examples of bronze show a woman giving birth with an eight-petaled flower. The presence of this flower around the head of the goddess shows its connection with the category of life and fertility. Symbolists have considered the eight-flowered flower a solar flower and a sign of life. Another row of Pazyric motifs are winged griffins that protect 12 eight-petaled flowers surrounded by square structures. The griffin is one of the mixed animals seen in the art of Elam, and a work belonging to New Elam shows the griffin as the protector of the Tree of Life. Therefore, this animal is a protective symbol for motifs related to life, and it is represented in the Pazyrik carpet as a protector of eight-petaled flowers placed in square shapes. An example of the exposed tile from Babajani Hill is a square similar to the one that includes the griffins of the Pazyrik carpet. The third row of Pazyrik carpet motifs is a spotted deer with wide horns. The image of the deer in the Pazyrik carpet is similar to the Persian yellow deer. Examples of broad-horned deer can be seen on seals from Susa with a square symbol and an eight-pointed flower. In terms of symbolism, the deer is a symbol of life because of its growing horns. The other border row of the Pazyrik carpet is a repetition of five flowers side by side, and a row of horses and riders surrounds this border. Ancient Persian texts (Avesta) introduce the horse as a wet symbol related to water and rain. The symbol of the horse is the protector of the Tree of Life and the categories related to fertility. In the Pazyrik rug, the horse and its rider protect eight-feathered flowers, a plant symbol of life. From the point of view of iconography, the carpet discoverer Pazyrik Rudenko and Persian researchers have considered the style of hair styling and drawing of the horse's body to be Persian style and similar to the examples in Achaemenid art. It should be noted that this patterning style was not created all at once in the Achaemenid period and has an older history in Persian art. It can be referred to as the historical pictorial precursors of Pazyrik motifs. The symbols used in the Pazyrik carpet, with their referential feature to the natural world, reveal the connection of motifs with plants, animals, and humans as the main elements of the chain of nature. The pictorial signs in the Pazyrik carpet represent plant, animal, and human forms with symbolic meanings, whose root and origin are the popular culture and symbolic conventions of ancient Persian culture. The feature of transformation and abstraction of motifs distinguishes its symbolic aspects from their natural features. For Iranians, some flowers are attributed to Amshaspandan, and visual symbols of deer, griffin, and horse are associated with blessing and fertility. A rule in the Pazyrik carpet dominates the image and is regularly repeated around the center of the square. The repeated layers of symbolic motifs around the center of the square have formed squares that the middle flowers, like mythical protectors, surround all motifs. In the Pazyrik carpet, the griffin is the only motif that corresponds to Kristova's fourth rule of realism. Because this image represents a combination of heavenly elements: a winged eagle and a lion. The absence of imitation of nature makes it different from other visual signs. Kristova's view is that there are five situations in which a text can contact another text to recognize its usefulness. These five situations include the following: 1- Social realities or the real world, 2- Popular culture, 3- The final rules of artistic genres, 4- Taking help and relying on similar texts, 5- A complex combination from within The text, where every text finds another text as its base and beginning. The analyses show that the referential qualities of motifs convey their explicit meaning to nature. Therefore, this quality proves the first principle of the real Christian world as one of the pre-texts. The second principle of truthfulness is referring to popular culture. In Kristova's view, there are five situations in which a text can contact another text to recognize its usefulness. These five situations include the following: 1- Social realities or the real world, 2- Popular culture, 3- The final rules of artistic genres, 4- Taking help and relying on similar texts, 5- A complex combination from within The text, where every text finds another text as its base and beginning. The analyses show that the referential qualities of motifs convey their explicit meaning to nature. Therefore, this quality proves the first principle of reference to the real world as one of the pre-texts. The second principle of truthfulness is referring to popular culture. Pazyrik symbolic motifs are related to popular culture and belief in the concept of fertility in Iran. Based on this principle, Iranian culture is one of the precursors of Pazyrik. The third rule of truthfulness is the final rule of art genres, which is the arrangement of motifs in Pazyrik, per the culture of carving in Iranian works of art, focusing on the symbol of the earth and the protectors of fertility elements. The fourth principle of truthfulness is taking help and relying on similar texts. Based on intertextuality studies, the manifestations of Pazyrik motifs can be examined in the Achaemenid period, the bronzes of Lorestan, and the works of Ilam. Kristova's fifth principle is a complex composition of the text. The hidden structure of the Iranian garden carpet behind the papyri pattern shows that it belongs to the garden structure of Iranian carpet designs.

As a result of acculturation and confusion in contemporary Persian architecture, houses constructed during this period do not conform to the social and cultural requirements of the local community. Hence, identifying identity-forming elements and concepts in the architecture of Kashan plays a key role in the process of constructing houses possessing an identity and responding to the cultural and social requirements of the local community. In order to identify and explain identity-forming elements and concepts, the qualitative method and the content analysis approach were employed to study two historical houses in Kashan. Based on the results, the identity-forming elements were divided into the natural and physical categories. In addition, identity-forming concepts and principles were determined, some of which confirmed the views of the scholars while others were consistent with such views to some extent. The identity-forming elements in the architecture of the houses of Kashan were divided into two parts of the natural elements and physical elements. The natural elements are water, wind, light, and plants. Physical elements are linking vestibules, Hashti, room, veranda, central courtyard, alcove, hall, wind catcher, and Howz-khāneh. The concepts and principles affecting the formation of housing in Kashan include introversion (i.e., the quality of being inward-looking), centralism, the relationship of architecture with nature, the application of geometric principles in the formation of spaces and visuals, attention to hierarchy and the prioritization of space, space flexibility, proportion and balance in the relationship of architecture to natural elements, and harmony with the climate of the region. Some characteristics and concepts were determined to be “relative” identity-forming features of houses in Kashan. These characteristics and concepts are as follows: Self-sufficiency (i.e., the use of local materials in the construction of the house) and humanized architecture (i.e., the practice of giving a human character to the construction), transparency, and continuity

One of the most common motifs in Iranian art is flower and bird. The companion of a botanical pattern along witha bird is rooted in Iranian art and culture. The present analysis seeks to answer this question: what are the conceptsand roots of the flower and bird motifs in Iranian art? And how has it appeared in contemporary Iranian typography?The purpose of the study is to recognize the background and various forms of flowers and bird in Iranian art,especially Persian miniature, as well as to identify the mythological concepts of these symbols. According to theresults of the research in Persian and Zoroastrian mythology, plants and birds companion is described in the formof the myth of Simorgh and the life tree. In Iranian works, Simorgh is usually drawn on the tree. Before Islam, thetree and the bird motifs was also seen in the works of art. In Islamic calligraphy and the drawing, the bird symbolis created through the conjunction of the letters. Iranian typography is one of the areas of the advent of flowers andbird motifs in Iranian contemporary art. In these works, the flowers and birds are sometimes used alongside thewriting or sometimes in a separate form alongside the Persian text. The research method is descriptive-analytical.The method of gathering library content is through note taking and illustration interpreting. The method of dataanalysis is qualitative.

Semiotics is the science that explores a variety of symptoms, their interpretation, and rules governing pay symptoms. And how to communicate and meaning in things and different sign systems studies. Semiotics with check sign helps people understand the world around them through signs. And helps to encrypt and decrypt become symbolic systems and enables people to communicate through these symptoms can interact with the world around them. The method of this paper analysis and analytical reasoning is in line with semiotic analysis, critical discourse on architecture and urban planning is concerned. The findings of this study and the genealogy of the models and theories of architecture and urban design is semiotic analysis. Finally, semiotic analysis model applicable to all views presented semiotic experts. Which can be used as an example of superior sound and semiotic analysis used.

Architectural programming, as a realm in the design process, is considered to be one of the most valuable assets of the design research. Through the use of architectural programming, a designer becomes familiar with different issues of the project and establishes his/her goals to produce an appropriate design solution. An ideal design solution requires a thorough understanding about the needs of the users, the environment, and the context of the project. An architectural programmer utilizes these data in a systematic order to analyze, synthesize, and evaluate design ideas. Although articles and discussions about architectural programming did not start formally until the latter part of the 1960’s, during the discussions about demolishing the Pruitt Igoe residential project, one could suggest that programming has always been part of the design process throughout the history of architecture. This article reviews different characteristics of programming and its benefits for the design process. Four major benefits of programming include: 1- earlier time to design, 2- more efficient use of sources, 3- diminishing mistakes, 4- the correct use of man and environmental forces. The article also introduces a case study conducted by 22 graduate students of architecture at the University of Tehran, using Donna Duerk’s programming model on a project: Revitalizing A City Block on Enghelab Street - between the Enghelab Square and the Vali-Asr Intersection - in Tehran. For their studies, students started with a research to identify the shortcomings of that street to respond to the physical as well as perceptual needs of the users. Different issues were examined and three categories were developed: 1- Circulation: looking at pedestrian as well as vehicular issues; 2- The built environment (investigating about the problems with building facades, land-use planning, and the lack of green spaces); 3- The natural environment (considering the macro as well as micro climatic issues). In order to use Duerk’s model, students were required to introduce a “mission”, set some “goals” to overcome the identified problems, and investigate about the “performance requirement” (PR) necessary to reach those goals, and produce some “concepts” to provide an architectural solution for each PR. In Duerk’s model, a “mission” defines the special purpose that a project must fulfill; a project “goal” relates only to the outcome desired for the project; a “performance requirement” is a statement about the measurable level of function that a designed object must provide for a goal to be met; and a “concept” is an idea about the appropriate relationship between parts of a project. Considering the growing number of issues facing an architectural problem today, programming could be used as a systematic tool to mange those issues and produce appropriate solutions. The author recommends that since the use of programming could enhance the quality of architectural design, schools of architecture, particularly in Iran, should include such programming courses in their undergraduate as well as graduate curriculums.