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

Acquiring identity and getting rid of its crisis has always been an important issue for human societies. Man is human because he is an identity-making being, therefore, social identity is one of the main modern concerns of urban man. Since “identity” is a set of attributes that distinguish an individual or a community from other individuals and societies; Urban graphics, according to these criteria, become personalized and independent. In the meantime, the similarity of individuals to each other for the acquisition of collective identity and the difference between the individual and others for their distinction for personal identity is a contradiction that always challenges urban graphic designers. Therefore, the purpose of this study is to investigate the two components of similarity and difference and their function in urban graphic design and find new ways to identify urban places. The results of the above research show that the components of similarity and difference in urban graphics are able to extend the dialectical model of identity to something beyond mere sociability. In this regard, identification in urban graphics lies in the difference that individuals have in individual lives, and to some extent they are made of similarities in their collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences. The present research has been done with a qualitative method and library studies, and after obtaining the initial data, the data have been analyzed using the content analysis method. The city is a dynamic and extensive social complex in which three levels of movement, mechanical, biological and social are intertwined and associated with various types of sub-complexes and sub-complexes. Obviously, urban identity is a collective identity that becomes meaningful by objectively crystallizing in the physics and content of the city and leads citizens to become citizens by creating an association of public memories in citizens and belonging to them. Therefore, although the identity of the city is itself a consequence of the culture of its citizens, but it affects the process of citizenship and can lead to the development of criteria related to participation and judgment of observers and residents. In the field of urban identity studies, urban graphics is a complex and multidimensional concept that is currently used by experts and practitioners to express the desired desires and aspirations for a good and ideal city. In this study, researchers intend to examine identity in urban graphics in both individual and social contexts, and among these, the main focus is on addressing the two components of similarity and difference in identity. Therefore, the present study was conducted to investigate the significance of similarities and differences in identity expression and its effectiveness in urban graphics. The results of the present study allow us to examine individual and collective dialectics among the citizens of an urban society and emphasize the critical role of urban graphics in determining the identity of citizens. These results are:-Urban graphics are a great way to think about how the city can help people identify and turn an external definition into an internal definition of similarities and differences, and can transform the dialectical model of identity. Expand to something beyond mere sociability. In this regard, the determination of urban identity lies in the difference that individuals have in individual lives and to some extent are made of collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences.  -Ethnicity, gender, history and lineage, religion, occupation and class, place of residence, etc. are all characteristics that are intertwined in a contemporary city, and this pluralism is an increasing need for a common denominator. It reflects a group and a group by observing the similarities and differences of individuals, and therefore this interaction must be created in the right way. These conversations between citizens and urban graphic elements transcend the boundaries between the individual, the group, and the city, creating an umbrella of solidarity and cohesion under which all individuals can take refuge. - The importance of urban graphics and human identity on the one hand and the importance of discussing identity crisis in the present age due to globalization and unwarranted dominance of technology and especially the virtual world in the age of communication on the other hand, is one of the most important reasons This is the problem. - Since the impact of the environment on humans and vice versa has been fully proven, and even in a dimension beyond the impact of the environment, we can refer to the direct relationship between environmental identity on humans and vice versa, as well as environmental identity crisis on humans and vice versa. Identity in urban graphics and its management is mandatory. - In addition to the effects mentioned above, the presence of human beings in the environment and urban spaces is an undeniable and even mandatory presence, and therefore these effects are completely involuntary and it seems that by controlling and managing the conditions of the spaces, the type of effect and The relationship between man and space must be controlled.

Recognition of architectural works is considered a difficult task due to its complexity and expansion. Categorizations and classifications can be regarded in recognizing the architectural works, by considering the similarities between them to facilitate the recognition of architectural works by generalizing the characteristics of similar cases. But on the other hand, despite the similarities, the architectural works are not exactly the same. Each construction is entirely exclusive, having its own features and identity. It happens because specific aspects and characteristics of buildings are affected by several factors such as climate, style, culture, material, shape and color, methods, authorities, beliefs, tradition, function, etc. these factors cause every building have special aspects and its own features and identity. Thus, in recognizing the architectural works, we are faced on the one hand with the similarities of the works and on the other hand with their distinctions with each other.

Therefore, the questions arise as to what the nature of "similarity" and "distinction" and what the relation between them is, and what aspect is more original in recognizing the architectural works. The main purpose of this study is approaching to a comprehensive recognition of architectural works based on their similarities or differences.

The transcendental realm of architecture, i.e. the rational sciences that deal with the cognition of the universe in general has been used to explain the answer, since the considered questions are fundamental. So Islamic philosophical knowledge has been used and referred.

To answer the research question, some dualities are extracted. The resulsts showed that the dualities such as General and Partial, Being and Nature, Substance and Accident, Unity and Plurality, Appearance and hidden, Transcendence and Immanence are opposite and also related to each other. One side of these dualities which are discussed is more intelligible and the other side is more sensible. The first one leads to similarities and the second leads to distinctions. In these dualities the two sides are always together and study based on just one side is defective and causes defective recognition and results. Their relationship can be generalized by the deductive reasoning method and generalize to the two concepts of "similarity" and "distinction" in the phenomena, including the architectural works. The present study is "theoretical fundamental" in terms of purpose, while it has an analytical-philosophical nature in terms of nature and method. Finally, it will be proved that similarity and distinction are two features of works that are counteracting while complementary at the same time, and both aspects must be considered simultaneously in recognizing architectural works, since each of these aspects, on their own, provide an incomplete and reciprocal image from the reality. However, the aspect of similarity has more domination and originality, and the distinction that is maximized in the materialistic emergence of the works is considered as one of its subordinates.

"Works of art" are widely diverse. However, some similarities can be found throughout all this diversity that links and unifies these various works. Works are so pervasive that orientalists have identified great works of history and geography as "Islamic art" and considered them to share a common feature. The question is: What are the similarities of the Islamic works of art? This research has concerned this subject from a new perspective drawing upon theoretical foundations which can use other dimensions to identify works of art. Hence, viewing the existential system and using the Skepticism Theory of Unity of Existence, which explains unity in plurality and plurality in unity, it is hypothesized that one single phenomenon is common to works of art. Then, the second question of the research is: How does Sadra's Theory of Skepticism explain the unity of works of art while being plural? The Theory of Skepticism states that existence is a doubtful truth with different levels that establishes unity in a diverse and plural world. Every phenomenon in the universe takes benefit of existence according to its capacity. Generalizing the Theory of Skepticism from existence to a collection of works of art, it is substantiated that what constitutes the origin and cause of similarity that links diverse works of art is nothing but one thing; i.e., that of existence accompanied by light and beauty. In fact, the very essence shared by all works of art and especially Islamic works of art is their semantic content, which mirrors transcendental truths. However, works of art differ as to express the truth, which arises from some levels of existential capacity of each work of art. Finally, one would say that similar works of art originate from one single thing of various levels.

According to Pregnanz principle in Gestaltian psychology every visual pattern leans towards the simplest structural pattern. Here, the basic principle of assimilation which includes similarities in size, color, shape, positioning and spatial orientation, all affecting the generative quality of imagination, plays the most significant and influential role. Rudolf Arnheim, a major thinker in this field, questions another precondition under the principle of differentiation. He asserts that similarity is meaningful only when it is linked to division and difference since in the absence of such link, due to the many common features among the visual patterns, any chance of differentiation and recognition is impossible. Through the lens of this theoretical framework, images in the Mongolian Shahnameh, Imad Al Kottab, because of their integrity and compatibility with the criteria’s of the aforementioned point view, seem suited for this analysis. Therefore, this paper seeks the answer the answer to the question that how will the similarities in the idea of monarchy presented in the images of Imad Al Kottab’s Shahnameh be analyzed using Rudolf Arnheim’s differentiation principle? To better understand how rulers were pictured in the Qajar Shahnameh, six pictures out of this special edition will be studied using analytical comparative methods and library research. The result confirms that in all research subjects, because of replacing applicability with meaning, similarity surpasses division and the ability to differentiate is disrupted. In fact, the painter of this edition has pictured the kings by commitment to Fath Ali Shah’s aesthetics and devoid of any personal characteristics and the result is that the concept of monarchy replaces the personhood of each monarch. It is as if all the kings in this mythological literary text are defined, all the while to the end, as a single figure, the ruler, and it is not possible to make distinctions among them. In fact, it can be claimed that when monarchy is described in this Qajar relic meaning always comes before the title and is superior to it. Unintentionally, the painter, committed one-sidedly to the homogeneity in simplification principle, when demonstrating monarchy has left behind the differentiation principle. To do so he has used exaggeration, warm colors, arraying and other useful details, and replaced the various monarchy examples with what it means to be a monarch. As a result, one can claim that, when analyzed using Arnheim’s differentiation principle, the pictures in this version of Shahnameh turn out to be faulted and lead the viewer’s mind to amplify the similarity principle during its simplification process. It replaces all of them with the image of monarchy and ruling and puts meaning in the place of applicability. Moreover, it is worth mentioning that since this paper uses Gestalt’s psychology of visual perception in visual arts, scrutinizes Arnheim’s differentiation principle, and accommodates a scientific and practical theoretical framework to Iranian study subjects, the obsolete Imad Al Kottab’s Shahnameh, it maps new horizons for future researchers who plan to rely on any of these mentioned poles to break new grounds in a world of knowledge.

The subject of this paper is comparative analysis of wisdom and philosophical thoughts and their effects on architecture and urban design. Wisdom and philosophical thoughts had great impacts on well-known buildings throughout the history. Artistic and architectural products are the appearance and materialized of various philosophical and wisdom thoughts, as an illustration of cultural and belief properties of nations in their history. In other words, art and architecture are historical authenticities which appear according to the influenced myths, nation’s recognition and hearts of ages. Research method of this paper is documental and descriptive- interpretative. Logical argument and quantitative analysis are used for documents and texts. Wisdom and philosophy as thoughts and west and east architecture are analysis units in this study. Results show that philosophical and wisdom had fundamental affects on forming architectures in all areas although the nature of the affects and origins of these thoughts have differences. The investigation of various philosophers’ thoughts in general and eastern ones in particular does not indicate any specific separation between these thoughts and the influences they created. The aim of this article is to study concepts of philosophy and wisdom and elaboration on the specifications of thoughts eradicated in philosophical and wisdom concepts of Principles in more details. We also try to indicate the peculiarities of art, artists, and artistic works influenced by these thoughts. These two types have differences in their aspects: attainment condition to the truth, method of attainment to the truth, conditions of attainment, affect kind on subjective, kind of value, audiences, attributes, rate of immunity, main origin, kind of perception, related knowledge, inclined perceptive kind, method of expression, recognition tool, origin source, area, kind of plan, approach, attitude, subject, method, objective, desired object. Wisdom is not a philosophy, but there is a relationship between them. As they have common parts, we can say theoretical part of wisdom and Islamic part of philosophy are the same. Regardless of human thoughts’ kinds, they are related to recognition of existence and accompanied by religious believes. So, the oldest philosophical thoughts are searchable within eastern religious thoughts. Results indicate the essential differences between philosophical and wisdom thoughts, and also artistic and architectural works in west and east, are that they are more influenced by philosophical and wisdom thoughts. Art from the viewpoint of west- east has orderly these features: art - profession, realistic- symbolic, modern- tradition, industry -craft, new science- tradition knowledge, quantitative- qualitative approach, learning techniques based on new science- learning mystery based on tradition knowledge. Features of west- east artists are: artists- craftsman, innovation based on creativity- innovation based on origins and roots, physical ability- spiritual merit, rebellion- succession of good, collective interest- individual impression, globalist- regionalist. Based on these features, artistic works in west- east world has these characters: unsacred- sacred, non –religious- religious, materialistic- spiritualistic, terrestrial –heavenly, superficial- deeply, no origin- origin, subsistence- eternal. Eastern art and architecture especially Iranian art and architecture have been affected by theology thoughts and founded on intuitional and praising experiences. Western art and architecture are appearance of philosophical thoughts and experiment and reasoning. From the viewpoint of wisdom, perception of architecture and its elements have two dimensional aspects. One dimension is materialistic appearance of architecture and the other one is recognition of spiritual, mystical and intuitional world of designers and users. In other words, any perception of this kind of art architecture is only possible by perception of heavenly and this world of artistes and audiences. Perfection architecture in each period have been affected by superior thoughts which lead fortune speech to form permanent face. In Iranian architecture, shaping of physical spaces has been affected by wisdom and philosophical thoughts in several ways. In one side, physical space has formed based on cultural context, thoughts, customs, traditions, and life values. In other side, collection of signs, symbols, concepts and images raised form myths, customs, and ideal have formed Iranian thoughts in physical spaces.

Create” is the Lord’s act and “creator” and “creativity” are among his characteristics. Since he has created the man from his effigy and has blown through his soil, as the Lord’s Caliph on earth, the man requires to be a symbol of the God’s characteristics. “Create” and “creation” are virtually ascribed to the man, as well, indicating the creation of artistic works and creativity in acts and deeds. They are meant to signify inventiveness, capability of dominating the creatures, tackling the problems, providing, preparing and constructing the most appropriate living conditions. This seems to be quite plausible in the present era since the man has gained power in dominating the creatures.
The present study investigates a path to the creation of artistic works, in particular, architecture by comparing it to the procedure of creation in nature and generally to the universe regarding Islam and the Holy Quran. Also, it discusses the interaction between an architect and the whole universe and envisages a general perspective based upon his own creation.
In this regard, this study seeks answers to the following questions:● Is the man_ himself as a creature _capable of creating?
● What are the principles and features taken into account regarding the creation of the universe?
● What are the commonalities between the creation of the universe and the creation of an architectural work?
In so doing, a library research and a field study is applied considering interpretational analysis. It, then, follows that as the Lord endows the spirit of creation into the man’s corpse, the man his Caliph on earth_ also gives life to raw materials by blowing his spirit of creation and there comes the birth of Art from mankind. In a sense, creation is always performable and within the procedures of creation opposite elements are juxtaposed to supplement each other; a kind of variation from the same origin to perfection. In other words it can be pointed out that in creation the Lord has manifested integrity by similarity and has endowed identity to every element by purification.

Places of worship, as symbolic spaces, have played a key role in all religions. In this respect, they differ from other buildings with different functions. However, the presence of places of worship belonging to different religions in the same city or town has been based on identity differentiations. Given the rapidly growing virtual communications in today›s world, it has become even more important to pay serious attention to identity differentiations concerning places of worship. The present study aimed to make a typology of Synagogues, Churches and Mosques in Isfahan- Persian capital during Safavid era. The implication of a comparative comparison among the mentioned places of worship, in terms of symbolic and spiritual concepts, can help contemporary architects and designers to build such buildings. Therefore, the symbolic differentiations, especially those concerning mosques, can be taken into consideration to design and build mosques. The main questions of this study include: what are the identity differentiations among the synagogues, churches and mosques? And, to what extent such differentiations are rooted in spiritual foundations of each religion? The hypothesis of this study is that different readings of Sacred Attributes are reflected in different physical characteristics of different places of worship. Here, considering four scared concepts, that is, attributes of similarity, attributes of incomparability, attributes of beauty and attributes of glory, the built places of worship in Isfahan were studied under three distinct types: similarity-beauty; incomparability-glory and similarity-beauty/ incomparability-glory. Then, keeping the mentioned sacred concepts in mind, the physical characteristics of the built places of worship were examined. Data were gathered based on library sources and attributional studies and then were analyzed comparatively. The criteria applied were examined through a comparative approach among the worship places. Similarly, the results were obtained based on an analytic reasoning. Also, the normative architectural hypothesis of the worship places aimed to prove its validity based on logical reasoning in order to reach a kind of semiotic typology for the Abrahamic worship places. In this respect, the worship places should be chosen synchronically. The most justifiable historical era for the present study seemed to be Safavid era in which minor religions had the privilege of relative freedom. With this aim in view, the most typical cases of each religious worship place were identified. For example, Mushe Haya Synagogue built in Safavid era is a noteworthy case. Major parts of the synagogue have been damaged and only the room of inscriptions, dating back to Safavid era, has survived. The damaged parts were restored in Qajar era. Another synagogue which could provide the researchers with characteristics challenging the proposed hypothesis was Mulah Neisan synagogue. It dates back to about 100 years ago. The Shah Mosque also known as Imam Mosque or Jaame Abbasi Mosque was another case intended for the study. Situated at the southern side of Naqsh-e-Jahan Square, was built between the years 1598 and 1629 under Shah Abbas. Construction of the mosque started in the 24th year of coronation and decorations and additions were completed during the Shah successors. By constructing the mosque, Shah Abbas intended to pay tribute to his grandfather. Vank Cathedral was constructed under Shah Abbas II in Julfa neighborhood, Isfahan. The Cathedral has functioned as a place to hold religious ceremonies, to instruct the priests and to communicate with other Armenians worldwide. The results indicated that churches were among the Similarity-beauty-based type which convey a strong sense of symbolism, intimacy and invitation. Also, in churches natural representations are highly respected, large-scale proportions are applied, high-quality materials are used and spatial variety and movement hierarchy are taken into consideration. A prime example of this is Vank Cathedral. Synagogues, in contrast, enjoy the incomparability-glory attribute. They covey the minimum sense of symbolism and natural representations are reflected only very softly. Proportions are realistic and no costly materials have been used. Spatial variety is also at minimum. Moshe Haya synagogue is a good example. Mosques, in terms of characteristics mentioned stand in-between and are, in fact, similarity-beauty/ incomparability-glory in character. Abbasi Gathering Mosque (masjid-e-Jame Abbasi) is the best example for this. In conclusion, it may be said that synagogues have the lowest inclination to luxury. In contrast, churches have the highest inclination to luxury. Also, worship places in Abrahamic religions have passed through a incomparability-to-beauty process. The best example of this can be seen in Mushe Haya and Mulah Neisan synagogues. Although the latter is more luxurious than the former, they are both less luxurious than Vank Cathedral and Jaame› Abbasi Mosque.