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

Tawhid is the most fundamental principle of belief in Islam, and it means the oneness of God. This principle is in progress throughout the components of religion. Islamic art is also influenced by tawhid, like the components of religion, and this principle is crystallized in various manifestations. The main purpose of this research is to analyze the effects of the principle of tawhid on Islamic art and the research method of this research is descriptive-analytical and the method of collecting information is library. The results of the research show that the effects of tawhid on Islamic art can be classified into four parts, the first part of which is abstractionism or stylization, which is opposite to figurative art and is based on the revisionist approach of Islamic art. Another effect is the tendency of the motifs to be horizontal, which stems from the belief in the unity of existence and that tawhid is only possible through the impossibility of the parts in the whole and the plurality in the unity. The third is symbolism or symbolism, which is one of the important features of Islamic art, in which the artist presents tawhid thinking through the use of symbols such as publishing quality motifs, spiral motifs, twisted motifs, crucifixes, etc. And the fourth is order, proportion and repetition in Islamic art, which instills the tawhid of God and invites the audience to think about the proof of order.

Considering the importance of metaphors in the design of the second Pahlavi royal emblem of Iran and Britain, the question is: What is the impact of visual metaphors on comprehending the final beauty of the two royal emblems? The goal and path is based on the analysis of structural elements to advance towards identifying the type of visual metaphors and their aesthetic features. It is a comparative  research with a descriptive-analytical method that enumerates the similarities and differences. The method of data gatherig is library information collection. The research approach is based on the theorists in cognitive and aesthetics field of research. After considering several elements in the royal emblems of the two countries, the similarities between the two emblems are as follows: in the center of both emblems, the image of a shield can be seen, which consists of four parts. In the second Pahlavi emblem, the national signs of the Achaemenid, Sassanid, Islamic, Qajar  periods can be seen around the first Pahlavi one. The British royal emblem also shows the image of the three lions of England in the first and fourth quarters. The Scottish standing lion also belongs to the second quadrant and the image of the Irish harp also belongs to the third quadrant. The use of crown and lion is also one of the similar points between both Iranian and english emblems. Both of them use mythical animals or hybrid creatures such as phonix, Farvahar and unicorn. Both of them have supports or ribbons with a royal slogan placed in the below section of the emblems. Justice in the second Pahlavi emblem is like a divine gift to the king. In the British emblem, the kingdom is a kind of divine entitlement from God, which is given to the king as a judge. The differences are as follows: the emblem of Britain uses its belt and along with the buckle instead of hanging on the cross or Mary's ascension. It can be seen in the Pahlavi emblem by means of a chain, and also the vine leaves around the shield, the torpedo mouth arabesques, and the flower motifs are among the decorations of the Pahlavi emblem. Thistle (symbol of Mary's virginity and Christ's crown), Theodore's rose (symbol of the union of the houses of York  and Lancaster) and clover (symbol of St. Patrick) are among the decorative elements of the British emblem. The rising sun in the center of the Pahlavi royal emblem is not seen in the British. The final difference can also be stated in the placement of two guard lions around the Pahlavi emblem and the placement of a unicorn and a lion in the British one. The second pahlavi emblem has more  hybrid creatures, while the unicorn is the only mythical creature of the British emblem. In the emblem of Britain, the helmet of the knights can be seen and it suggests a human whose body seems empty, while in  the second Pahlavi one, it is more difficult to recognize such a thing due to the lack of leaves to suggest hair. The origin of metaphors in the second Pahlavi royal emblem shows the following purposes in order. Crown implies the material concepts such as royalty and kingdom power, shield  states guarding the country and the sword indicates spiritual concepts such as the importance of Shiism. The lion shows the purposes such as protection, courage and Imam Ali (peace be upon him). Farvahar means divine and spiritual forces and indicates the Achaemenid period, phonix (simurgh) states the cosmic and supernatural forces and suggest Sassanid era, Damavand implies the mythological and Pahlavi era of Iran. Blue, yellow, and red colours, respectively, choose the brightness and spirituality; wisdom and blessing;  happiness and prosperity as their destinations. Origin of Metaphors in British Royal emblem show the purposes as follows: crown implies the spiritual growth and enlightenment, golden helmet indicates the Royal family and chivalry, standing lion means the king and guardian of the worldly force, the horizontal lion implicates the power of the kingdom, the unicorn indicates Christ and Patron, the belt shows the power-covenant and ascension to heaven, three horizontal lions decision making- foresight, also is the sign of England, harp shows spiritual growth -Irish Gods and country, the Standing Lion indicates broad-handed and long-armed, also indicates Scotland, full shield; is a sign of Great Britain and the United Kingdom. Metaphor in white, red, yellow, blue, green, red and white colours, respectively, implies purity and innocence; lordship and virtue of ruling; The power of the sun and blessing-kingdom; spirituality-spiritual growth; life and immortality; The union of the kingdom (York and Lancaster houses in past and two other contries in present) is the destination.From the common purposes of the two emblems, the need to confirm religion, guarding and protecting, and the importance of the kingdom's power on earth, and the importance of the king are inferred. In the Pahlavi emblem, different historical eras and their unity are understood, while in the royal emblem of the United Kingdom, the united countries are more important than the historical period of England itself. The spiritual dimension is more prominent in the emblem of Britain. It is as if more universal concepts are needed to unite different countries. In the second Pahlavi emblem, the historical dimension is more specific, because the Pahlavi period brought together all the proud historical periods in the emblem. The results show that the similarities of structural features is greater than the differences between the two emblems. From a content dimension, the emblem of Britain is more fruitful in terms of the multiplicity of elements. The meanings of each of the elements in the emblems are affected by the political and religious conditions and the cultural and historical precedents of that country.The comparison of the beautifying characteristics, shows that the more visual metaphors, the more complex the design seems to be, and the audience faces more tension and more defamiliarization. The greater the unity or harmony, the greater the possibility of entering to the threshold of beauty. In the emblem of second pahlavi, substitional metaphors are almost equal to combinational metaphors. In terms of unity, the repetitive designs such as damavand, lion, sword, yellow, and colours like blue show the Pahlavi emblem as coherent and unified. In this design, complexity is more important than unity. In the emblem of Britain, the substitional metaphors are less than the combinational type. The combinational metaphors cause the unity of discrete parts or components.For example, in the emblem of Britain, the helmet, the shield and the belt together evoke a royal body and there is less tension in finding the final destination. In this emblem, unity as a beautifying charactristic seems a little stronger than complexity. The results show that the discussion about beauty is not solely dependent on the harmoy of the shape and form and colours of emblems or works of art. The conceptual and meaningful dimension also plays an important role in the distinguishing of beauty. The harmony of whole composition and holistic content is realy determinant.  The beauty of visual  metaphors includes both harmony and complexity of formal and content aspects. The historical precedence of the design and construction of the emblem of Britain (from 1837 up to 1952), the structural similarities between the two emblems, reveals the possible influence of the second Pahlavi emblem from the of Britain, although in the design of both emblems, different components with historical, cultural and political themes are understood. Through the study of emblems, it becomes easier to identify the direction of their relation in the future due to important agreements and goals from structural, content and aesthetic aspects. Finally, the study of the royal emblems of two countries makes it possible to identify the perspective of the today goals and future covenants.

Monotheism is Islam's most fundamental doctrinal principle; it expresses man's belief in the unity of the universe. From the holy artist’s point of view, what has existence must somehow manifest its eternal origin. Architecture is no exception to this rule, and one of the dimensions of spatial quality in it is the characteristic of unity and plurality. Unity, when it comes to architecture literature, is manifested in concepts such as centrality, centralism, symmetry, centralization, proportionality, and harmony. Its obvious manifestation is evident in the spatial structure of Iranian houses. Concepts with a holistic view in the form of space mathematics can be discovered in the sacred space and its extension to the space of contemporary architecture to discover the tradition of the past in the present and create a valuable legacy for the future. The research approach is quantitative and with a combined descriptive-analytical strategy in case samples and logical reasoning using the space syntax technique; it analyzes the spatial system (definition of space, composition, and differentiation) and the ratio between mass and space in Isfahan’s Qajar native housing. Findings show that Iranian-Islamic architecture manifests the realization of the sacred in the space organization. The balance in numerical ratios and relations of space manifests the principle of unity and plurality in the space organization. Among these, the empty space of the yard plays a vital role in the interconnection of other spaces and has a significant difference in the values of selection and control compared to other spaces.

We could find so many rituals and rites in various part of iran which has established on religious faith and belives of the people of that region. In some these ritual we could see some religious element which never directly and verbally be articulated by form and content or by celebrants of those rituals. In fact, the ritual in its form makes those elements prominent in such a way that audience easily could understand. one obvious instant is circular sinezani in southern of lran. This ritual is performed in circle that is most perfect figure, which most imortant characteristic of it is its religious meaning : unity. This essay explores the genesis of this ritual and its evolution,then with comparing concepts like earth and heaven tries to answer why it is performed in circle figure and how it indicates the unity between people.

Manifestation is idiomatic that is commonly expressed the quality of insight and its perception from the sea of knowledge and recognition of God and his appearance in the world. And also in the arts depending on such a thought, it appears to different species. The article is responsible for this theory that there is a unity among the proportion of manifested colors of a single light in the colored windows of Iran's traditional mansions. Mysticism is an internal movement of the servant toward the creator (God) and also manifesting of tinted windows is a symbol of this movement that the principles of these are comparable. The fundamental goal of this research is (theoretical and experimental), and due to the nature of it (quantitative- qualitative), this research is based on an analytical- measuring method. The present research methods are collecting data from library resources and field inference that has been formulated after the collection of theoretical base of research, reviewing subjects and indexes through objective observation and the presence in the locality, and estimating of the building, the acquired statistics and information based on the format of the chart and the table. The middle of the camera in the form of flat, colored Windows is estimated and then transferred to AutoCAD software. After drawing, the areas of their color levels are extracted. It has been done separately for each color, and finally, the ratio of colored levels in the form of quantitative data is extracted. and, the titled principles are compared with the proportions of colored glasses. What is noticeable in the first observation of color combination of windows, is restrictions and color constancy used in traditional windows; in these windows has been used only colors: green, yellow, blue and red. the stability of the colors used in Iranian architecture gives specific value and credibility to them. this stability doesn’t apply in the human eye for the components of the necessity of composition, but it's like constant and valuable creatures, which put together in the time of work creation and provide the combination that causes to make the perfection. Also, the stability of colors makes them individually invisible easily from among the wide range of colors. According to analyzing the calculations and the tables; in this case study, four colors (green, blue, red and yellow) are used approximately the same in the windows of this mansion to have an optimal effect on persons.As it can be seen in analysis, the ratio of hot color to cold color is the distance between + and -0.2, unless there may be the ratios of compensation in the total window, for example: in the module B1, yellow color is the most that include the hot colors, while in the module B2, the green color has the most amount that includes the cold colors, this matter keeps the ratio of the cold colors to the hot colors in the total window in the same distance. And it is nothing except the manifestation of unity in diversity and a single words: As the multiplicity of light forms after passing through the colored windows in the sense of the light source is not different and always is the same sun appear that causes the delight. The balance of using colors in case studies; the Khalil-Pasand and Zanjirchi houses are samples of this fact. As mentioned in the table, Iranian artists used the hot (red and yellow) and cold (blue and green) colors with a balanced ratio. Nearly the number derived from calculations is evidence for this claim, and it is the same issue of mysticism that the mystic achieved a balance after a hard austerity. Another factor that can be raised in Islamic mysticism is the discussion of proportion: "in addition to light and color, proportion also exists in order to add the design aesthetic: when colors and bright, pure designs are regulated normally and consistently are better than irregularities. "By investigating the samples is clearly invisible in using the colors. The colors are applied generally and with a slight difference in the windows so that each color beside another neutralizes the intensity of it and had highly significant influences on the people within the space.

 From the perspective of modern sciences, fractal knowledge is a study of self-similar and self-organized structures that are the conceptual core of understanding nature’s geometry. From a mathematical viewpoint, nature follows fractal rules to create different forms. In this rationale, a direct interaction between architecture and fractals can be proposed.Research

This research, by posing questions about how fractal geometry is applied, explains the geometric laws of nature in the process of self-organizing in form-based architecture.Research

This applied research employs the method of correlation in applying geometries according to fractal properties conducting a qualitative, phenomenological view. In this study, seven stages are explained in fractal geometry as a form-based structure. These stages in form-finding, the hierarchy of connections, and geometric progressions provide a credible process in the application of fractal geometry to architecture. In addition, an architecture inspired by principles of nature’s geometry is based on three laws and functions in structure as described by the research: the law of self-similarity, the law of self-organization, and the law of unity. To validate these laws, three buildings are selected from the Gothic, Art Nouveau, and traditional Persian architecture periods, according to fractal properties. Fractal rules are analyzed in the evaluation of these structures using a comparative-descriptive model.

Based on the results, it can be concluded that fractal geometry has been incorporated into the structure, elements composition, and aesthetic concepts of ornamentation in the architecture of these edifices. Inspired by nature’s geometry, laws of proportions, rhythm, and self-similar forms, these architectural structures have created a wide range of fractal patterns, generating internal connections and external unification among the structural elements and architectural forms.

In this study emptiness is considered as a transcendental and effective concept that appears in the form and content of things. What is seen as internally present in an entity is existent in the first instance because of the external presence of its opposite. The entity and its opposite are intertwined through the principle of inverse correspondence, a higher level of accord that emerges from the disposition of asymmetrical qualities. this symmetrical, yet reversed, reciprocity is the logic of ‘‘is and yet is not’’ and that of ‘‘simultaneity, and biconditionality, of opposites without their higher synthesis. Emptiness is often understood as nonexistence, a void that is symptomatic of a predominant fixation on objects. In contrast emptiness is neither nothing nor the suffocating void of limitless expansion in which things are at best desolately scattered. Rather, it is the ultimate foundation of reality that transcends ideas of ‘‘being’’ and ‘‘non-being.’’ Subsequently, what is operating in emptiness is a double negation: the negation of being, which leads to nonbeing, and the negation of nonbeing.  Existential Identity depends on the dialectical relationship of that thing with its opposites. The identity of a being is determined not by what is believed to be existent within itself but by its dialectical relationship with the opposite, like the moment in which one finds one’s self to be the being of warmth in reference to coldness enveloping and penetrating the body. Ignoring Emptiness and empty space caused intensifying the focus of designers and architects on the full space and this has increased the contemporary architecture crisis. this study aims to take advantage of the values of the vernacular architecture of Iran and its continuity. It relies on the theory of empty space and the opposite pairs, as the first pillar of creating empty space. Answers to this question: what is the role of empty space in the vernacular Yazd houses in semantic dimension?  This study aimed to clarify the role of this concept in the vernacular architecture of Iran by understanding the meaning of emptiness. and evaluating selected houses as a case study. This research has been done in qualitative research and data is collected by observation and study of written documents. The emergence of empty concept coincides with two elements or opposite qualities in such a way that the two opposites are interconnected without diminishing one another. Based on theoretical findings, the expression of the empty concept is conditional on the existence of three pillars: The first: the contradiction, the second: interaction, the third: balance and unity. Based on the theoretical findings, expression of emptiness concept has three main pillars. Firstly: the contradiction (Coexistence of two opposing elements), secondly: the interaction of two opposites, thirdly: balance and unity. Since the emptiness operates as the foundational principle in traditional genres of architecture in Asia suchas Iran, the process of integrating the three pillars extracted from theoretical foundations were evaluated and analyzed in five vernacular houses of Yazd. In the phenomenological study of five houses in Yazd as a case study houses were investigated in three aspects: shape - body, functional, semantic. This article focuses on semantic aspect. The findings depict that the emptiness as a transcendental concept is the result of the process of opposite elements and their interactions and the development of the unity of opposites. According this study, the philosophy of emptiness has manifested in the form of the dialectic of opposites. this study has brought one’s attention to the arrangement of contrasting qualities in the yazd houses such as the crossing and peresence inside and outside. The architect of an Iranian traditional house positions things of spiritual character in such a way that they create a coordinated balance between forces. In this fashion, the house ‘‘brings into special focus the underlying relatedness of things, the mutuality which exists in spite of differences between outside and inside, great and small, and observer and observed. Vernacular architects had understood the necessity of companionship of opposing pairs and their dialectical as an essential element of empty concept. They have considered interactive opposite qualities such as darkness and light, outside and inside, male and female, silence and talk, simplicity and complexity, uniformityand variety. The results of the research show that empty space plays a major role in the vernacular architecture of Iran. The empty spaces are more focused and authentic and solid spaces take their identity and credit from empty and void spaces.

Islamic art is among the most important features of "unity" is rooted in the principle of "unity" is the principle of all religions, because the essence and meaning of all beliefs, worship and Islamic law is the word of monotheism (La ilaha Allah) and this means that Islam is based on two pillars:The truth of oneness and unity of truth .bshr natural tendency toward unity and the unity of his mind, always seeking diverse and scattered components. One of the manifestations of unity in the world that is closely related with people's lifestyle, architecture. The lack of unity in contemporary architecture has made to fix this flaw, we seek to discover the source of unity in architecture. . The factors that have been studied in this paper include geometry, proportion, light and color, symbolism and increase space and reducing material in architecture. In some cases, conflicting approaches in the literature review showed that this was due to the controversial nature of unity And the lack of correct orientation in the operation of their going off the topics that should be avoided.

In different chapters, sections, statements of Holy Quran we meet a very multifarious and fundamental concept as catholic and unique name of god (Allah). A Holy name that includes and recovers or reveals all other Holy names ofGod(Allah).Fore example in surah “Ta Ha/8 as well as in some other chapters or Surah and verses of Holy Quran God(Allah) say:" Allah-there is no god but he; His are the very best names. In my point of view thevery catholic and fundamental name of “Hosn” in the Holy Quran with its deeply ontological and unique as well as aesthetic aspects has been overlooked .In this article has been effort to explain very briefly some of this different overlooked aspects of catholic and unique Allah name of "Hosn".Hosn” as catholic and unique name of Allah includes all other his Holy names. Every name of God(Allah) is the very best name. Has been Emerged and dawn from the name of “Hosn” as unique and catholic name of God (Allah).This key name includes all Islamic thesis about every things. About "Aletheia "(Truth), "Agathon" (goodness) and "Kalos" (beautiful).

Monotheistic world view is based on the principles and values, through the body and meaning in Islamic city features, portrays guidelines for all aspects of human life. The role of the religion in a muslim city is more prominent than the military and economic aspects and armed with the principle of Tawhid , an Islamic city is trying to unite the various elements of body of art,to reconcile with the nature of Islamic Philosophy. Neighborhoods in Islamic cities as the spatial crystallization of socio-economic conditions, hold specific consistency and homogeneity and general elements of the local public, gathered in its gravity center. In this study, through inspecting the physical and conceptual characteristics, we analysed the expression of the principle of unity in diversity of Abbasali Square surrounding elements as the center of the Square neighborhood, one of the old neighborhoods in Gorgan.
The research method is qualitative, comparative and analytical standards, as well as the combined expression of the principle of unity and multiplicity unity in diversity based on the criteria of the Islamic city center neighborhood, which at the end , these criteria through comparative and analytical method, matching with the Center Square neighborhood, one of the old neighborhoods of the city of Gorgan. The results show that the spatial design and organization of this center of neighborhood, seeks to realize the divine wisdom based on the importance of unity and diversity through the establishment of spatial and physical balance.

Iranian architecture, like many other cultural manifestations in the history of its life has been rare continuity. Of course it is not the Iranian people from the beginning of urbanization always quite similar to the structures and foundations have been paid and no change in the plan. It means that the fan when the building after an initial period of its development process went and laid his own way. In this study, a research “argument – conclusion” is, the study of literature and examine the history of the concept of architecture in different periods and different climates tried to prove this hypothesis comes as Iran in different periods and architectural design concept in different climates has been a continuity and stability.

Essence of unity in the Islamic architecture of Iran is the result of dynamism and flourishing of a special elixir that is the source of all the things. Unity is the first principle of the Islamicarchitecture and the most important base of Islam. A Muslim architect believes this، especially in formation of a prominent building like a mosque. Of all Muslim institutions، mosque is the most important place for the public expression of Islamic beliefs and communal identity. A mosque is a physical manifestation of the public presence of Muslims and serves as a point of convergence for Islamic social and intellectual activities. Arabic word for mosque is ‘masjid’، which means a “place of prostration” of God، a holy space which is the place for Muslims to worship God and revitalize their beliefs toward God. Here is where the importance of unity shows itself. In this regard، a question arises، “how does it change into a tangible factor?” Establishing centralization in a building is one of the solutions to bringing unity into architecture. One of the effective factors influenced by the concept of unity، in different ages، is the dome. A dome is an element of architecture that resembles the hollow upper half of a sphere. Dome structures، made of various materials، have a long architectural lineage extending into prehistory. This element، which has a prominent role in the conceptual and symbolic centralizing of the mosque، shows it can play its role correctly. The spiritual importance of the vacuum space in the dome is one of the consequences of the deep and exact relationship between spiritualism and the metaphysical basis of Islam and the Islamic architecture. Unity in Islamic architecture is not only determined by the engineering frequency pivot، but also by the vacuum at a particular point such as the Kaaba or the fountain in the mosque’s nave. For the Islamic architecture (although it is not the only consequence of unity principle) vacuum is a symbol or sign that shows the superiority and presence of God in objects in unison. With regard to significance of this subject، it should be noted that if we don’t consider the unity and centralism factor، in other words، if we build a space without considering the faith indicators، there would be no differences between a Muslim and a non-Muslim individual. It means that both kinds of architecture just follow the same principles and rules. The subject coming up in Islam is that all of the elements should be associated with the reminiscent of God. Therefore، architecture should also play this role. If not، the architectural values would be under question. In this study، based upon the importance of unity in Islam، achieving and understanding the quality and conditional effect of this fact is the main objective of the Islamic architecture، for example، the role of the dome in forming the centralization in mosques. Thus، in order to conduct the study، descriptive-analytical method was used as the research method. Moreover، archival and surveying methods were used as the means of collecting data and analyzing the subject. Most of the study is done by visual observations. In fact، the present study is conducted through a logical method using an analytical technique to achieve the aims of the research. Besides studying the unity’s role in the Islamic architecture as one of the pronounced indicators in Muslim works، the role of dome architecture in forming the centralization of a mosque is investigated in practice (SheykhLotf-Allah mosque). Moreover، the indicators considered for the dome of this mosque are studied، and finally، all the tabulated indicators are evaluated for some other mosques. Through the defined frequencies، the principle role of the indicator in mosques’ building centralization was determined. The achievements of the present study show that unity is effective in building’s architecture، especially in mosques. This is the unity that gathers all of the architectural works together in a collection، in spite of the external and internal differences. Moreover، some features of the dome-like introversion such as، circle، point symmetry، vertical axis and spherical shape were studied، and by evaluating them in a few mosques، it was found out that each one of these features somehow play a role in the centrality of the dome (symbolic or conceptual factors). Therefore، it can be said that dome plays an effective role in centralizing the architecture of mosques.

The disparate and unbalanced development is one of the most important problems in our cities. Inattention to the past including buildings and context’s natural-historical environment for the different aspects in both demographic and cultural texture and it’s framework and coordinating of new developments with old context or built surrounding, could have many consequences, such as chaos and disparate in urban landscape, gradual loss of urban identity, cultural incompatibility and other outcomes. Because the indigenous and traditional architecture of each place, in a historical continuity and in order to a basic policy of continuity, gradually and over the years has been formed with its nature and environment. This category would include the cultural, social and economic aspects.The sufficient attention to sustainable development of cities in Iran, necessarily will affect on the retrospect. Regarding to the historical contexts design criteria from international charters, declarations and principles, this article is thoroughly reviewing the architectural design characteristics in the historical areas with respect to their authenticity and integrity as an inviolable idea. Therefore according to the proposed criteria by the theorists has been tried to derive the major issues of architectural design in the historical contexts. It can contain a wide range of restoration interventions, conservation and new constructions in adjacent or inside these context. With setting up a table based on the general principles of architectural design and restoration interventions in historic fabrics in this article tried to adopt the related international criteria and guidelines with localization approach.