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

Minarets are one of the key elements of Islamic Architecture and especially in Iran there are valuable examples of them in the Razi style. After The spread of Islam, religious ideas have been influential in the construction and decoration of minarets and Used in the concepts of their inscriptions. In the meantime, the Quranic inscriptions on these minarets can be one of the important sources for understanding and examining the religious and belief views of people and architects as well as their function; a subject that has been paid less attention to in the Recognition and verification of architectural works function. The following study tries to investigate the concepts used in them, while identifying Quranic Ayah (verses), by examining the inscriptions of Razi style minarets in Iran. Also, the relationship between the concepts or themes of the Qur'anic verses in the inscriptions of the Razi style minarets and their function will be the main question of the upcoming research. In this study, in addition to identifying Razi style minarets and their classification, the main goal of the article is to analyze the themes of Quranic inscriptions to Recognition and verification their usage. The upcoming research tries to extract, categorize and analyze the most used concepts in these verses. These analyzes are important to read the Function of minarets. To achieve this goal, the Quranic inscriptions of Razi style minarets, which are mostly Seljuk, have been identified in the library and field studies, and some of the mentioned minarets have been visited to verify the text of the inscription. After documenting the inscriptions and identifying their verses, the texts of the verses were analyzed using the interpretation-analytical approach (content analysis). Based on the studies, the repetition of the concepts of "expressing the attributes of those who invite to God", "monotheism" and "expressing the attributes of God" in the verses of the minaret inscriptions is significant. As a result, the verses of these inscriptions mostly deal with the two general issues of "sign" and "guidance", according to which the function of the minaret can be considered as "Media and sign for guidance".

Signs, in ancient Iranian architecture, are of the key elements of structures and traces of them can be found all over the history of Iranian architecture. Most of worship places are featured with minaret and dome, so that variations of these elements can be found in holy places of all divine religions. Unfortunately, today we witness that these elements are neglected or even removed from architecture of holy places and mosques in particular. Although, innovation is an essential part of architecture, the historical identity of a culture needs to be respected, if we want to achieve a stable form in architecture. Minarets in Iranian architecture represent specific signs and symbols that have formed and matured intentionally over the years so that they are considered as an archetype. These elements take the observers’ imagination to the old ages and to find out human’s ancient mental connection. Todays, traces of different fields of science are evident in architecture. One of these is semiotics, which is the science of perceiving phenomena in the world. The present study focuses on semiotics of archetypes as the constant patters that are rooted in collective experience of man. Studying architectural specification of archetypes and how their concepts are used in Iranian minarets architecture is another objective of the study. In our approach to semiotics of archetypes in architectural structures, we need to know some basic definitions in semiotics. To this end, concepts like signs, semiology, architecture, minaret, and their multi-aspect and close relationship are discussed thoroughly. The study is aimed at examining how the archetypal signs are represented in old minaret architecture in Iran and the way of using them in contemporary architecture in Iran in compliance with Iranian culture and history. To do this, using analytical and interpretive method, the bidirectional relationship was examined through quantitative study (from theory to instance) and qualitative study (from instance to theory).The study was carried out as analytical library work based on the available references. After literature review and representing viewpoints of the pioneers of semiology about signs and comparing their theories, a comprehensive definition of archetypes was proposed. Then, the semiotic systems in architecture of minaret, based on the proposed definition, were examined through semantic approach. Finally, a method to recreate the signs in the structures was brought in. Thus, the study begins with surveying the concept of semiotics and archetypes followed by some examples of minarets that try to regenerate architectural signs and convey an indigenous sense, which were examined through semiotics viewpoint. Finally a theory about archetype semiotics of minaret and guidance tower of Iran was proposed. Surveys of archetypes semiotics indicated that minaret is one of the main archetypes that represents variety of mythical concepts and meanings. Thus, it is not reasonable to eliminate such a valuable element regardless of its archetype aspects and even without an acceptable replacement. It is not hard to understand that the developers of minarets have tried to convey a message to the future generationsKeywords: archetype, minaret, semiotics, symbol, icon

Construction of high and cylindrical minarets has been expanded in Iran from the fifth century. Many of them are symbolic, political, memorial and military. These minarets were a kind of guide or map for caravans in day and night, and along with religious minarets-which are mainly built in mosques-they contain inscriptions and arrays that wish health and stability for travelers. Most of the inscriptions are written in Kufic script, including simple square Kufic, corrugated Kufic, floriated Kufic, etc. which is presented in different dimensions and various proportions of bricks and in combination with geometric or plant motifs. Khorasan, with its long history before and after the advent of Islam, has been one of the important governmental states. This region has protected the guide minarets of Firoozabad, Khosrow Gard Sabzevar, Ayaz and Karat from the ravages of time from the Ghaznavid and Seljuk periods. Geometric letters of Kufic script and its integration with motifs in Ghaznavid and Seljuk periods has left a wide range of arrays on architectural works with the help of Iranian taste. Since there is a direct and coordinated relationship between the location choice for construction of the minaret and the use of the minaret, the reason for construction of this type of monument can be considered its specific function, which is generally divided into two categories: A) The minaret for the call to prayer of the mosque. B) Leader minaret, which has been built next to the main and secondary roads of silk way, old caravanserais and wide plains for tracking and finding the way. Remaining minarets with these two uses include Khosrow Gard Minaret in Sabzevar, Arsalan Jazeb minaret in Sang Bast, Firoozabad Minaret in Bardaskan, Madreseh Minaret in Golshan, Karat Minaret, Semnan Minaret, two minarets of Hazrat Reza (AS), Ghazni Minaret which belong to the reign of Mahmoud Ghaznavi period, the minaret of Sultan Massoud the third in Ghazni, the minaret of Bastam and the minaret of Jam in Afghanistan. The purpose is to re-read the inscriptions and analysis of form and written structure dominating the inscriptions of the minarets Firoozabad, Khosrow Gard, Ayaz and Karat (which is all leading type) remained from the Ghaznavid and Seljuk periods in Great Khorasan region. Therefore, this article seeks to answer the question: What was the concept of Firoozabad, Khosrow Gard, Ayaz and Karat minarets and what were the structural and formal features of them? The research method is descriptive and analytical and data collection is based on library data and especially field surveys. The turning point of the article is recognizing the inscriptions and analyzing their form and structure in mentioned minarets, which have received less attention or some parts of the inscriptions have not been read correctly in the previous sources, which has been taken care of in this essay. The findings show that the inscriptions have a historical content. Kufic script can be well combined with other designs and calligraphic art and connected to the main body of the inscription in terms of structure and design. The Kufic inscriptions of the minarets of Firoozabad Bardaskan, Khosrow Gard, Ayaz and Karat are informative due to the nature of their use. Architects and scribes have used brick materials with similar dimensions of 5*5* 25 plus gypsum mortar, lime and mortar. The location of installation for all four mentioned minarets is the upper half of the minaret. In response to the first question, it can be said that the content of the inscription on the minarets of the Ghaznavid and Seljuk periods in Khorasan should be placed in three categories: historical, founders, architects and builders, and religious. The historical content of the inscriptions is included in mentioning the year of construction of the building, which is generally recorded at the end of the inscription. Supporters, founders, and acquaintances are mentioned in the form of the names of individuals at the beginning of the inscriptions, most likely from court officials and relatives who were able to support such works, or from well-known families or the governor's order. This issue is clearly mentioned in Khosrow Gard minaret that after the name of the person the adjective Wali Amir al-Momenin or Sheikh is added, which indicates the high political and scientific position of that person. Also, the name of the architect and the builders are mentioned in some minarets such as Firoozabad minaret, which shows their high position in the design of the project. The third category is religious themes. This issue has been done on the Firoozabad minaret in the form of repeating the word Muhammad on the whole body of the building in a masterful way, which was achieved for the first time in this monument. Perhaps this was parallel with the policy of the government, which has shown the dominance of Sunni beliefs over such a huge structure. In addition, the inscription of the Ayaz minaret invites Muslims to perform righteous deeds on the people. It should be said that most of the inscriptions contain the names of the founders who reminded their power and politics to the passers-by and caravans. In response to the second question, it should be said that the designers and creators of these inscriptions have tried to preserve the rhythm of the inscription by using various and creative designs of letters, in each minaret. In the writing system of four minarets, only Firoozabad minaret is combined with plant motif in its writing system and Khosrow Gard minaret is combined with brick curved shapes. In implementing the combination of writing system and plant motifs, the scribe has figured out a harmonious and complex structure in Firoozabad minarate. The rhythm in Firoozabad minaret is mainly kept by the system of floral motifs and vertical letters. Single and pair vertical elongated combinations, circular and toothed inscriptions play an important role in the balance and rigidity of the inscription. Proportion of width and length of the inscription in the writing system has shown the two-by-one space next to the system of plant motifs. In Khosrow Gard minaret inscription, the writing system is combined with simple curved shapes and the vertical letters are in charge of keeping the rhythm. The inscription has a straightforward and simple design and alphabets Lam and Alif (letters in Arabic) are used for keeping rhythm. The proportion of the width of the inscription dominates the writing system rather than the curved forms. In contrast to these two, Ayaz inscription does not have a proper uniformity and the inscription is done at the beginning and end with compression, which shows lack of precise design or acceleration in work. This inscription includes only a simple writing system and the curved structure of the letters is also used in the design. In Karat inscription the letters have been executed with more roughness, although the less width of the inscription and the legibility has been involved in this issue. Proportions and composition of letters and words have followed the principle of width equal to the length of a brick. The vertical letters in the four mentioned minarets have created a visual balance with the help of vertical words, Alif, Lam and 'La' (in Arabic) and the use of letters along with creating equal distances in the overall composition as well as the use of Axons. Letters and words in some of them, such as the minaret of Firoozabad, are prolific and elegant, and in the minaret of Ayaz, it is designed with more elegance. The difference between the inscriptions is in using different types of Kufic scripts such as floriated Kufic calligraphy in Khosrow Gard and Firoozabad minarets and simple Kufic calligraphy in Ayaz minaret and Kufic with leaf arrays calligraphy in Karat minaret and shows the principle of diversity in this historical period.

Located in in Firoozabad Bardaskan village, Firoozabad minaret is a neglected building, and there are inconsistencies in the works done on it. None of the existing literature fully reads the inscriptions of the minaret, and there are also inconsistencies about its date. The location of the minaret may be behind this lack of attention, since no roads pass through that village today. The Cultural Heritage Organisation has registered this work under number 91 and considers it to be from the late 7th century, and the inscriptions to be Quranic verses, the names of the creators and the date of construction. This article aims to address the ambiguities about these texts and their dates. To do so, the data were collected and analysed through field studies in the minaret site, as well as comparative surveys and reference to supplementary sources, and also a criticism and review of the findings of the researchers in this field through library and document studies. By thoroughly reading and reconstructing the inscriptions in a digital manner, and comparing its contents with historical sources, the study has concluded that, contrary to the views of the Cultural Heritage Organisation, the Firoozabad minaret was an independent minaret related to the period of Seljuk rule in Iran, built by the order of Muhammad-ibn Mansur between 447 and 496 AH en route connecting Herat to Neyshabur.

Problem definition: 

The minaret is one of the special decorative-functional elements in religious buildings and has an ancient background in pre-Islamic Iranian architecture. During the Seljuk period, which is one of the most important eras in the history of Iran, minarets of different dimensions and sizes were constructed in the city of Isfahan with beautiful decorations of brickwork, tile, plastering and inscriptions, which evoke dazzling majesty and beauty. These minarets have different uses and each of them has provided an appropriate context for the creativity and artistry of its founders and architects. The present research explores the decorative pattern types of these minarets.

The aim of the present study is to recognize the decorative patterns of the minarets belonging to the Seljuk period in Isfahan.

The present study has been conducted based on an analytical-comparative approach and the data has been collected in a combinative (library-field) manner.

The present achievements indicated that the minaret construction has become increasingly important in the Seljuk period in Isfahan and in most of the examined ones, various decorative designs have been implemented using brickwork technique, which are important in terms of the aesthetic visual elements further to the practical aspects.

During different historical periods, a significant number of elements and components of the mosque, such as the minaret with different appearances and bodies, have been displayed and used in mosques and it seems that it has become an integral part of the mosque over time. Architects, researchers and scholars have expressed a variety of analyzes, theories and interpretations with different views on the position of the minaret in the architecture of mosques. However, there is no mention of the attitude of the Twelver Shiite jurisprudence regarding the position of the minaret in the architecture of mosques, and this issue is still facing ambiguous points. While the minaret has been used in mosques for centuries, some scholars consider single-minaret mosques as a symbol of Sunnis and mosques with two minarets as a symbol of the Shiite religion. This research tries to study the necessity of the minaret in the architecture of mosques in the attitude of Shiite jurisprudence. The rules of Shiite jurisprudence of the Twelve Imams are obtained through research in the Qur’an, Sunnah, consensus and reasoning. Since it is not possible to study all the sources mentioned in this research, studying the Qur’an and the consensus will be sufficient. The present research is fundamental in terms of subject matter and is considered qualitative from the perspective of research method. The data collection method of the research is through library and data analysis method is of content analysis type. The results of this study show the commonalities and differences in the attitude of the Qur’an and consensus on the necessity of requiring a minaret in mosques. According to the analysis, interpretation and elaboration of verses 17 and 18 of Surah Tawbah (Quran) and analyzing the content of the attitude of contemporary and non-contemporary (i.e. who are not at the same time as contemporary) authorities and jurists of the Shiite religion (consensus) regarding the necessity of minaret in the architecture of mosques, In general, it can be said that from the viewpoint of the Qur’an and non-contemporary jurists, the minaret does not have the necessary harmony with the architecture of mosques. In contemporary jurists’ attitude, there is nothing wrong with the minaret in mosques; but the minarets or tall minarets in the mosques are considered disapproved.

The Jami‘ Mosque of Bam has gone through a long process of transformations including restoration, reconstruction, and renovation.  Much of these works were hidden inside the physical form until the earthquake of 2003 uncovered important structures, among them, the original portal and the flanking twin minarets. These findings question the previously accepted timeline for the mosque and pose new questions that had not been discussed previously. The objective of this paper is to introduce the original form of the portal and locating its modifications on the timeline of the mosque according to a descriptive-analytical method. On the basis of remaining evidence such as architectural remnants, mudbrick sizes, the height of imposts, the thickness of the flanking pillars, and the diameter of the minarets’ shafts, the entrance portal is dated to the fourteenth century AD, very similar to other Muzaffarid and Timurid portals that are high and lofty.

The architectural remains of the past can be studied from different perspectives and with different approaches. Architectural form, structures, construction techniques, decorations and details of buildings, and their evolution through time are general issues that can be examined. In addition to the monuments, some elements of historical architecture are also worthy of consideration because of their unique and interesting features. This article specifically deals with the minaret of the Jame‘ Mosque of Kashan, which is considered to be the earliest dated building in Kashan of the Islamic period. The stability of this building through centuries despite numerous earthquakes in Kashan justifies this study. Therefore, the purpose of the study is to research the historical background of the minaret and carry out detailed documentation of its various components, examine the structure of each of these components, examine the structural form and the flow of forces, and finally perform a seismic analysis. To reach this purpose, a significant part of the research data was collected at the site of the Jame‘ Mosque of Kashan by surveying the minaret, and library and oral sources were used to control the field data and provide the history of the minaret. The main strategy of the research is descriptive-analytical. The seismic analysis of the minaret was performed using SAP2000 software. The results of this study show that some of the measures taken in the construction of the mosque’s minaret (dating to the Seljuq period as attested in its inscription) include: the tapering form of the minaret, decreasing thickness of its components by increasing height, decreased rigidity of construction, incorporation of two empty spaces for staircases, and the incorporation of wood in the construction. It is for such architectural arrangements that the minaret has remained intact from serious damage over the centuries.

Kufic inscription is one of the prevailing inscriptions in most of the mosques and minarets of the early Islamic centuries. The style of Kufic inscriptions was appropriate to be implemented by the technique of pre-cut brickwork. Therefore with the brickwork prosperity as the material of structure and ornaments of the facades in Razi style and especially the Seljuk era, the brick Kufic inscriptions were the specific ornament of different buildings. The purpose of this article is to recognize how these inscriptions were constructed in some monuments with different functions in Seljuk Isfahan. The main question here is regarding the technical and formal items which were considered in implementation of brick Kufic inscriptions. Therefore similarities and differences of these inscriptions were evaluated through comparing five buildings belonging to Seljuk era in Isfahan, such as the Minaret of Paminar Mosque in Zavareh, mihrab of Barsian Jame Mosque, northeastern Entrance of Isfahan Jame Mosque, Gar Minaret and the sidewalls of Zavareh Jame Mosque.
The method of this research is descriptive- analytical research and the data have been collected through observations and documentary studies, and with the help of some experts of the two fields of architecture and calligraphy. After drawing the inscriptions and setting them on the tables, the job of matching and comparing them has been done by considering the common theoretical foundations between calligraphy and inscriptions. Research findings indicate the emergence of commonalities in the content, time and location. The overall composition of inscriptions in linage and proportions of letters have some predetermined principles and rules, and most of the cases have been written with simple Kufic and this confirms the persistence of these writing modes in accordance with the executive principles. The height of inscriptions and the amount of vertical extensions were different depending on the position and extension of the inscriptions.

The Seljuk period can be considered as one of the most important periods in the history of Iran after the advent of Islam, during which art and culture significantly progressed. In this period, Isfahan became the capital of the country and was passing its golden age of art and architecture. One of the most important cases found in the architecture of those ages was the minarets. The construction of minarets in Iran began as a spiritual and material guidance since the pre-Islamic era, and reached to its evolution peak during the Seljuk era. After this evolution, many minarets were constructed in the main cities of that period, especially in Isfahan, each of which has the best examples of brickwork decorations. Brickwork has always been a huge part of the Islamic architecture of Iran, especially in minarets of mosques. Bricks on the minarets have been used as one of the main elements, and in terms of technique, the diversity of motifs and sometimes the repetition of motifs, nodes and inscriptions are notable. To the best of our knowledge, little research has been done on the brickwork of the minarets belonging to the Seljuk era. Also, the different types and layouts and Rag chins, representative of the brickwork of minaret in Isfahan during the Seljuk era, and quality of similarity and continuity of its decoration have not been independently and coherently studied to this date. Therefore, in the present research, due to its importance in Iranian architecture, this topic has been addressed by classifying and analyzing the morphology of brick decorations in the minarets of Isfahan based on the existing data. To meet this purpose, library and field studies have been performed with a descriptive-analytical method in order to recognize and review the decorations used in the brick minarets of Isfahan during the Seljuk period

In the wide spectrum of Islamic art and culture, architecture is the manifestation of divine verses and the sayings of prophets and holly and selected people. Such buildings, including mosques and minarets, can be regarded as the most prominent works reflecting the Islamic thought during their constructing and decorating. Minarets, with religious and nonreligious applicability, are embroidered with varieties of geometric and inscription designs. The main objective of this study is investigating and evaluating the place of the inscriptions in Saljoughi minarets’ decorations. This study tries to answer this question: which kind of religious concepts and themes the holly verses written on the minarets are representing of? The framework of this study is steady upon this hypothesis that the artists who made inscriptions on the minarets such as Chehl Dokhtaran, Minare Gar, Ziar and Sareban, beside of trying to indicate and focus on the absolute traits of Allah through employing verses like Ayatol Korsi , aimed to make a purposeful combination of the height of the minarets and the motifs of the inscriptions which indicate God’s sovereignty over the world. Due to their height, Islamic minarets which are interpreted as the pillars between earth and heaven according to the theosophical point of view, guide the view of the audience from earth to the sky. By applying the sentences and religious verses indicating the absolute rule of God, artists who designed these monuments have fertilized the view of the audience during this ascendant.So, it could be indicated that the concept of the inscriptions drawn on the minarets has a direct relation with the height of the Saljoughi and Islamic minarets which have been investigated in this study. This study has been conducted through descriptiveanalytical method, using library investigations.

Various Persian traditional arts can be understood as different aspects of a unique concept. All of them represent substantial meanings which root in both Islamic and Iranian beliefs. The symbolic language of these arts and the ability of being expressed in various arts let artists to choose proper methods for their work. Rug and architecture are the most important Persian arts and two aspects of Persian symbolic design methods. This paper tries to focus on Mihrabi rugs as a direct reflection of one of architectural components of mosque architecture in rug design as a suitable carpet for praying time. The paper intends to show how ancient and Islamic architectural symbols affect symbolic expression of these rugs and how these different arts show a homogeneous idea in terms of their own capacities. This study uses a descriptive method and a comparative semiotic approach from historical and iconographical viewpoint and traces the mosque architecture elements and symbolic plant designs of Mihrabi rugs. Paradigmatic process shows some evidences regarding designers’ efforts to represent triple structure of ancient Mithraism altars in the form of mosque space structures and heaven on the limited space of rugs by replacing a triple division of floral patterns instead of architectural structure of mosques in a symbolic way, so the middle tree represents the ancient tree of life and recalls the main dome and two cypresses with their roots in ground and their heads up to the sky are the symbols of minarets. This fulfills artist’s objective to demonstrate such rugs as mosques and linkage between heaven and earth.