جستجوی مقالات مرتبط با کلیدواژه "nasir-al-mulk mosque" در نشریات گروه "هنر و معماری"

Iranian geometry is the result of the architect's view of philosophical aspects, natural sciences, and applied mathematics. The architecture and application of ornamentation, derived from nature’s geometry patterns in organizing all kinds of Karbandies and celestial motifs, express the ontology and aesthetic concepts of the patterns. In this regard, from modern cosmological sciences, fractal knowledge is the study of the structure and geometry of nature, in which a direct interaction between architecture, function, application of arts, and fractal geometry can be raised. The purposes of this research are 1. Explaination of geometric orders and adaption of the functional properties in the fractal structure; 2. Description of the composition and hierarchy of connections in Nasir Al-Mulk Mosque from the system architecture; 3. Evaluation of fractal quality in celestial motifs in the vaults of Nasir Al-Mulk Mosque based on comprehensive fractal patterns. Therefore, the questions are 1. Can the geometrical layouts of nature, explain the architectural organization of Nasir Al-Mulk Mosque? 2. How are architectural elements, composition, and ornamentation in Nasir Al-Mulk Mosque compared to the characteristics of fractal geometry? This applied research employs the method of correlation in applications of geometry conducting a qualitative, phenomenological view. Collecting information is based on library studies, scientific reference and electronic sources. The analysis is done in formal and functional geometry modeling. In this study, seven geometric stages in organizing the structure of a fractal sample are elaborated and categorized. The free-form and centralized geometry layouts in the fractal, as a self-organizing structure, show the authentic trend in the architecture and ornamentation of the Nasir Al-Mulk Mosque. Fractal geometry features, based on self-similarity, self-organization, and unity, are described in evaluating the fractal quality of the Nasir Al-Mulk Mosque using a comparative-descriptive model.  Based on the research results, nature’s geometry layouts have been applied as an efficient idea for creating the structure, the elemental composition, the hierarchy of connections, and aesthetic concepts in the architecture and the arrays of Nasir Al-Mulk Mosque.
The flourishing of fractals and patterns in the Mandelbrot set was illustrated and proposed by the French mathematician Benoit Mandelbrot. In this theory, Mandelbrot explains how natural phenomena have fractal dimensions and patterns, and nature uses fractal characteristics in creating different forms. In this accord, fractal geometry is self-similar and self-organized, meaning that the components, on a certain scale, represent a part of the whole and in a certain order, show unity. Comparing the characteristics of self-similarity and self-organization in fractals with the style of Persian architecture can express that self-similarity has been created in different scales and proportions in traditional architecture. Iranian patterns use the principle of geometric exchanges to perform levels of connections and branches in the structure of the building. These patterns, which are seen in various architectural layouts of Iran, show harmonious proportions and have cosmological and aesthetic concepts. In a study of the application of fractal geometry in architecture, it is observed that Iranian geometry is inspired by cosmological sciences and is derived from nature. With the knowledge of philosophy and mathematics, the architect drew the abstract geometry of nature and used the dimensions of natural patterns in architecture. While architects and thinkers have proposed theories in the expression of fractals and geometry of nature, a comprehensive explanation of nature’s geometry layouts and features in Iranian architecture as a sustainable system has been considered in this research. The importance of research is based on fractal characteristics and their application in architectural elements, in which the required parameters of architecture are described under the language of geometry and its expansions in three systems. The influence of these parameters is considered in the process of organization in architecture, the expression of the aesthetic concepts of ornamentation, and the building of engineering system. It can be concluded that applying nature’s geometry as an efficient idea in the spatial structure of this building is mainly associated with the use of self-similarity, self-organization, and unity, which show fractal qualities in organizing the architecture and ornamentation of this building. To answer the first question, on how to use nature’s geometry layouts in organizing the architecture of Nasir Al-Mulk Mosque, the geometric order in the fractal sample, explains the seven-stage process. They are: 1. Rotation, transformation, conjunction, and branching in the structural system; 2. Hierarchy of connections and geometric progression in the functional system; 3. Unity and plurality in the unity system. To answer the second question, the research expresses that the functions of fractal geometry in compositional elements, the hierarchy of connections, and the use of ornamentation follow fractal features according to the following: 1. Self-similarity in the structural system creates the main elements and structural elements; 2. Self-organization in the functional system coordinates the hierarchy of connections; 3. Unity in plurality in the physical system unifies the structural elements of architecture with the related elements.

Iranian-Islamic art has a mystical and spiritual nature. Light, color, and geometry have always had a special place in mysticism and art, especially in architectural and decorative arts-- as t main component of architectural art. Decorative arts, despite their enchanting and beautiful appearance, are not limited to a decorative aspect. To understand them, one should be familiar with the mystical concepts of light, color, and geometry as well. The Iranian artist is aware of these features and his intelligent use of them in creating works of art has made him create lasting and impressive works. The main goal of this research is to introduce the art of stained glass with a regard to the influence of the mysticism of light and color. Furthermore, it tries to discuss how the glass design of the sashes used in the Western Shabestan of the Nasir al-Molk Mosque can be used in interior decorations and handcrafts can ooze relaxation and positive feeling.  . To this end, ancient Iran's optical wisdom, illumination wisdom, colors and their mystical meanings, glass, its history, and the way it was made were discussed. Besides, the art of sash-making in Nasir-ul-Molk Mosque, and its sashes were studied. The deployed method was descriptive-analytical, and data were collected through library and field study.  The findings of the present research showthat by combination of Iranian mystical attitudes and trends with the knowledge and of making, designing, and using glass and related arts, one can preserve the national material and spiritual heritage and devote himself to the revival of this Iranian art, which is a combination of art, science, and mysticism. Furthermore, the knowledge obtained from mysticism of light and color as well as from the analysis and study of motifs and colors used in the sashes of Nasir al-Mulk Mosque can contribute to  creation of  meaningful and impressive works making the viewer relax.

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.

Colors are one of the elements whose symbolic meaning must be considered in such a way that the inner meaning of Islamic architecture and art can be understood. Therefore, the purpose of this study is to identify the components affecting the mystical reading of the colors used in Nasir al-Molk Mosque and to investigate the effect of each of them on the spiritual and mystical states of the worshiper.

Using descriptive-survey research method, first the concept of color and its place in mosques is defined. Then the physical characteristics of color in Nasir Al-Molk Mosque in Shiraz have been studied. In the second step, by examining the theoretical foundations and reviewing the research backgrounds, the variables affecting the mystical reading of color in this mosque were identified and selected by a group of experts using the Delphi technique. Then, the questionnaire based on research variables was distributed among 250 architecture students and analyzed using structural equation modeling. Finally, the colors of each part of the mosque and the mystical states affected by the colors are examined and matched, according to the different movement patterns of the worshiper.

The color palette of Nasir Al-Molk Mosque tiles is very diverse and warm colors are more visible. According to the path coefficients of each of the indicators, the "kinetic hierarchy" has a greater impact on the mystical reading of color.

The Muslim architect has reduced the color and variety of colors in the construction of this mosque, wherever there is a need to stop and think and monitor her condition (such as the entrance space and the eastern porch).  Where the believer must find the freshness and freshness necessary to be present before God (such as the porch and the nave), she has used various and happy colors. Therefore, by using color in the prayer path of the worshiper, the architect connects the two spaces "material and noisy outside" and the space "spiritual and spiritual inside the mosque" and promotes spirituality in the worshiper.