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

Zoroastrian religious architecture from the Sassanid period to the late period had distinctive style references and was influenced by internal and external factors, including political, social and economic. Researchers have studied the religious architecture of the Sasanian period, but the periods after that have received less attention. Pre-Islamic Zoroastrian architecture had a distinct style that was based on a quadrilateral plan and a domed roof and was executed with stone materials. Zoroastrians had problems in building religious places and did not want to see these places in the context of cities, despite the restrictions that the Ahl Dhimma law created in Islamic cities. The religious buildings of this period are influenced by the architecture and residential context of cities like Yazd. The constitutional revolution and the social and political conditions after that, together with the material and spiritual support of the Persians of India in the constitutional period and in the period of Reza Shah, encouraged the Zoroastrians to build magnificent and visible religious buildings in the cities of Tehran and Yazd. The social and political conditions of this period had a direct impact on the construction of fire temples and created a new type of these places with a special effect of the conditions of the time and the existence of signs of archaism. The current research, which is collected by field and library methods and by descriptive-analytical method, seeks to know the characteristics of Zoroastrian religious architecture after the Sassanid period and the factors affecting it.

The construction of religious buildings such as Hosseiniyehs was very prosperous during the Qajar period in the Shiye city of Kashan, which stood out and represented the religious culture of the people of this region. Considering the disorder and cultural discontinuity that can be seen in the architecture of Kashan city, the need for culture-building is felt in connection with the use of past patterns. According to the religious and cultural background of Kashan, the most obvious and lasting of these models is the architectural model of the Qajar period Hosseiniyehs, which are considered to be the hallmark of Kashan city. Therefore, the main goals that are followed in the research are the design of a cultural and educational space to spend leisure time and pay attention to the social and cultural development of the region, as well as culture and promotion of the native culture of Kashan region, inspiration from Islamic religious values and the presentation of a lasting work, preserving the identity and historical social values in accordance with the context and creating a responsive space. In this regard, it has been tried to design the cultural center and its spaces with a qualitative method based on the characteristics of the Hosseinieh architectural model. Therefore, spaces were created that, while having an independent personality and appropriate to their function, are connected with other spaces and have the ability to respond to the diverse needs of the audience by creating sociable and inviting spaces while defining the territory and maintaining to have security and finally to provide an integrated collection to increase social interactions and cultural exchanges along with educational programs and most importantly familiarity with the native culture of the region which was the main goal of the collection design; Therefore, the attention and emphasis of the plan is on the application of identity and cultural-religious concepts of the region, which is manifested in the form and spaces of the cultural center.

The distinct, varied, and multiple interpretations of religious architecture by various architects, art scholars, and theologians led this study to be conducted with the aim of studying part of this interpretations. Augustus Pugin and Quinlan Terry are prominent architects in the western cultural sphere who have gained an interpretations of this architecture in their thoughts. This study intends to study the interpretations of the mentioned architects of religious architecture. The research is fundamental-theoretical in terms of purpose and qualitative in terms of strategy. Research is also a library in terms of data collection methods. The results of this research, in addition to providing an analytical study of the interpretations of the mentioned architects regarding religious architecture, also provide a comparative analysis of these interpretations. According to this analysis, the emphasis on the manifestation of faith and beliefs of human, or specifically architects, in religious architecture, was identified in the interpretations of these architects. The belief of these architects in the connection of architecture with spirituality, religion, or faith was also one of the common points of their interpretations. Also attributing purely spiritual function versus material and spiritual function to the architecture of religion and also, the differences in the characteristics of religious architects can be considered as points of difference between the ideas of the mentioned architects.

Religious architecture of Iran, after Islam, with new concepts and essence, expresses the most beautiful and complex examples of the spatial system, decorations and the level of perception and perception of space. Zandieh period is one of the pleasant and calm days in the social life of the Iranian people and one of the good memories of Persian history. The importance of this period, the formation of the history of Iranian architecture, before the Qajar period, is that Iranian art and architecture are still influenced by environmental sources and phenomena such as: climatic factors and cultural-indigenous roots. Architecture that precedes the cultural developments of the Qajar period, which according to most existing texts in comparison with the works of the period before and after, has a simplistic structure and background without ancient art and architecture (Achaemenid) and some techniques of the Safavid period. Based on this, this period has been studied as the last period before the cultural developments in Iran. The purpose of this study is to identify the effective aspects of the cultural content of the Zandieh period in the formation of art and architecture of this period.

The nature of the research is qualitative and the research method is descriptive-analytical, interpretive and documentary, library and field studies have been used to collect information.

The semiotics of the motifs and drawings of Vakil Mosque indicate that in the architecture of the building, the strong mystical attitude of the Safavid era has been simplified by moving towards the content of ethnic culture and art and has formed a uniform and simplified structure of the architectural pattern of Iranian mosques.

The concepts of motifs and drawings are important in explaining the values of the ethnic art of the Zand dynasty and as a potential context for the emergence and display of the aesthetic components of Zandieh art.

Poetry and architecture as two artistic branches use their own language and instrument to convey message. Each of the mentioned arts creates a space by their instruments which is readable by the audience. This property (readability) push them towards textuality. Poetics is a word to show generative aesthetics, space qualitative elements and construction in arts. The infrastructure which happens by passing through textuality properties and promotes speech to poem and also distinguishes between construction and architecture world. Poetic strategies have been identified and classified in poetry by different literary techniques. The current study aims at exploring poetic elements and strategies in architecture space by investigating and comparing poetics in the space of poetry with architecture and answers this questions that what similarities in poetry literary techniques and architecture strategies make the space in poetry and architecture poetic? Therefore, religious contemporary architecture has been used as besides function, expressing concepts is also important in religious architecture which provides a suitable background for poetic expression in architecture. The selected buildingsa have been chosen among religious buildings and from different religions. The samples under investigation are The Water Temple by Tadao Ando, Laleh Park Chapel by Kamran Diba, Sancaklar Mosque by Emre Arolat and Church of San Giovanni Battista by Mario Botta. First, common infrastructures between architecture and poetry have been mentioned. Language has been considered as common factor between these two arts and has been regarded as a basis to compare them. “Poetics” as the axis of this discussion and finally investigations showed that architects like poets have created poetics architecture by literary techniques such as allusion, synesthesia, defamiliarization, metaphor and trope.