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

This speech is a research about environmental graphics and urban furniture, and in it, it is tried to be analyzed according to the studies and experiences of the predecessors in some specific areas of environmental graphics. At the beginning, the author defines and defines environmental graphics and along with that, the reader realizes its importance and application in today's world. Further, by examining the historical roots and the formation of different civilizations and cultures, it deals with the emergence of the position of environmental graphics at the level of society. With the clarification of this issue, the hierarchy of human needs has been discussed for a clearer analysis, so that the relationship between the environment and humans is revealed even more. Also, the relationship between the native culture and the religion of each border is discussed and how it draws the formation of the cultural-ritual fabric. In the end and based on the extracted data, the author emphasizes the necessity of implementing environmental graphics in accordance with the culture and ritual, following the two main goals of this analysis (the connection of environmental graphics with the national-ritual culture and its connection with a lively and hopeful society). By bringing up some examples that are considered acceptable in this field, he went towards the cultural effects and culture-making, and deals with the positive effects of those factors on a lively and hopeful society.

Problem Definition: 

The era of the Qutb Shahi dynasty in the Deccan is one of the top periods of Iranian culture outside its geographical borders. Due to being of Iranian origin and Shiite, the Qutb Shahi dynasty had a notable tendency towards Iranian culture, and a large number of Iranian immigrants and brokers (agents) in the Deccan added to the prosperity of Iranian culture in their territory. With the support of Iranian culture, many artistic and literary works were formed, comprising a magnificent cultural interaction between the culture of South India and Iran. One of these works is an illustrated Falnama (Book of Omens) prepared in Golconda. This Falnama includes 37 paintings with different themes, each of which can be somehow related to Iranian culture, politics, and religion. Therefore, the problem of this research is "to what extent it is possible to read out different aspects of Iranian culture and its influence in Qutb Shahi court culture through the different themes of the paintings in this book".

 The aim of this research is to know more about the influence of Iranian culture in the Indian subcontinent, especially in the Deccan region.

 Using a descriptive-analytical method and concerning historical documents, the influence of different cultural aspects in Deccan is analyzed.

 Khalili Falnama's paintings are a mixture of religious and Islamic themes focused on Shiism. In addition to these themes, several paintings deal with the literary issues, and ancient history of Iran and one painting of this manuscript covers the contemporary history of that time by addressing Shah Tahmasp. Scrutiny in the paintings shows that in all of them and various forms, different cultural and even political aspects of Iran are witnessed, from the formal culture to the public culture, which indicates the closeness of these two cultures.

The purpose of this research is to investigate the characteristics and cultural traditions of the Iranian people regarding the method of rest at home and the requirements used in this regard and the evolution in furniture form and to know how these changes are influenced by the Iranian people's culture. What has been studied about furniture in Iran has been based on the furniture that has been imported from the western culture to Iran and so far has not been addressed to the furniture formed on the basis of the culture of this border and the canvas, therefore in this research, using descriptive research method and historical information regarding the type and manner of using the living room furniture and looking at the aesthetic features used in the necessities and furniture of the houses of the people from the Achaemenids to the Qajar era, due to the wide association of Iranians with the West that led to the entry of western furniture, would help us to derive the criteria that resulted in the required results for design criteria, as using these criteria, a living room with an apparent appearance of Iranianship and other necessary criteria can be designed. In this method, using the images of pre-Islamic architectural designs and the pictures on the seals, as well as the designs of pottery and post-Islamic paintings, the form and furniture changes used by the people of that time were studied and the analysis of the relationship between the form of furniture and Sitting behavior of users has led to findings that can be used to design furniture with Iranian cultural features. All these criteria should, of course, be adapted to the anthropometric and ergonomic standards of Iranians in order to achieve the ultimate comfort and acceptability in Iranian furniture designs which requires more research.

In every ancient civilization, there is different perception of time the outward manifestation of which is to be seen in their historic texts and artworks. In the present essay the general definitions of time in different cultures are first offered and summarized. Considering the structure of “Persian garden”, an Irānshahri (Greater Iran) perception of time, quite distinct from others’, is then offered. Studying the origin and history of the word “bāgh” (an etymological approach towards the Persian equivalent of “garden”), it’s been demonstrated that garden or pardis for the Iranian was not the manifestation of heavenly paradise, but deep reverence for the earth. Furthermore, as a result of having connection with natural environment of Iran, relation to digging subterranean canals, a combination of water, air, soil and light, as well as the continuation of a pattern from the Achaemenid period onward, the Persian garden has a pivotal role through the study of which the essence of Persian ideology in addition to cultural, ethical and legal concepts are revealed.

The concept of vitality has been considered by researchers for many years and several norms have been presented for it. But most of these criteria seem to have taken into account the western concept of vitality. It can be said that the criteria of native vitality have received less attention from domestic researchers in Iran. Therefore, it is necessary to re-read the concept of vitality based on Iranian cultural resources. For this purpose, we have tried to access the concept of this category in the Iranian view by using the concept of the vibrant city based on two examples of written cultural works of Hafiz Divan and Medina Al-Fadhil Ibn Arabi. We have compared and adjusted these views with the opinions of contemporary domestic researchers and then with the views of non-Iranian researchers.What similarities or differences can be found between the background of Iranian culture in terms of the desired dynamism and vibrant city and the views of contemporary Persian or non-Persian language experts in this field? The current study aims to examine the degree of conformity of Iranian experts’ views on the vibrant city with the background of Iranian culture.This study analyzes a set of data with a qualitative approach to content analysis which is based on the study of ancient Iranian cultural texts, library information, documents, and the opinions of Iranian and foreign experts. The research methodology has been compiled to formulate the hypotheses of this study and to extract the concept of vitality in Iranian cities based on its cultural resources. In this article, the selection of contemporary Iranian researchers to reflect their makeup has been done based on the amount of use of the basis of the researcher’s significance in the issue of vitality in the cultural space of the West and also the attention of Persian-speaking audiences to their votes. From the conceptual comparison of contemporary definitions, we find that local experts have so far paid more attention to the micro and physical norms of vitality such as pedestrianism and legibility, nightlife, green spaces, diversity and aesthetics, and the most important principle of vitality for them has been the improvement of environment quality. But foreign thinkers have paid attention to the macro-standards of vitality, such as the dynamism of the regional economy, global attractiveness and tourism, resilience, the dynamism of urban areas, the dynamism of neighborhoods, etc. And for them the improvement of environment quality has been only one of the features of liveliness. Difference in these theories can reflect the culture, needs, and attitudes of people in different cultures. In addition, some of the other criteria provided by foreign thinkers improve the quality of people’s presence in the city. However, some of the main criteria provided by Iranian scientists (such as pedestrianism) simply consider the presence of people as the goal. But criteria such as the people’s continuous and bilateral interaction with the government or healthy economic competition lead to a positive, conscious and effective presence of the people in urban spaces. The city is lively and dynamic due to this presence. On the other hand, after studying Farabi and Hafiz’s attitudes to the vibrant city, it was found out that non-Iranian views on the ideal city overlap with a part of the history of Iranian culture. As an example, one can refer to the concept of sense of place and peace in the city desired by Hafiz and Farabi. These concepts have been highly emphasized in the views of Western urban planners. Perhaps the great emphasis of contemporary Persian-speaking scholars on physical concepts can be considered a weak point in the concept of contemporary vibrant Iranian cities.

Numerous environmental problems indicate the need to change the current practice in construction waste. However, the high potential of recycling-based solutions can increase the efficiency of energy consumption and reduce waste production rates and provide an effective step towards sustainable development from a macro perspective. Unfortunately, recycling in today's architecture is neglected. The purpose of the present study is to identify the roots and investigate its theoretical origins among Iranians and in Iranian-Islamic thought.

This study is a qualitative study conducted based on the grounded theory approach. The method of data collection is field study and the tool is the interview.

The continuity of recycling and its successful records in Iranian architecture show the strong roots of this issue in the Iranian-Islamic beliefs. Religious thoughts on the one hand, and cultural values and norms, on the other hand, represent recycling as a viable and principled strategy in Iranian architectural legacy. In this study, researchers investigated reverence and sanctity of nature, along with the social responsibility for the Muslim individual as the origins of recycling from the religious aspect of beliefs and deep connection with nature, and minimalism in life-style as cultural fundamental factors for utilizing recycling strategies in architecture.

It seems that the way to revive recycling in the modern architecture of Iran cannot be reached unless recognizing the roots and identifying the value of recycling through its history in Iranian architecture. It is hoped that studies of this kind will help to implement recycling in Iran's future architecture.

Animal symbols have ever enjoyed a special position in the artistic compositions, sometimes held as the symbols of gods and worshiped in various rituals accordingly. Such importance might have been due to animals’ role in providing for the livelihood of the peasantry lives. A symbol finds its meaning within the backdrop of the culture with which it is associated. Therefore, a symbol is a context-based concept, the interpretation of which could be altered depending on the circumstances. One of the best ways to grasp the meaning of symbols is investigating the mind frames and belief systems of the ancient communities where such symbols were used. The interactions of the cultures and civilizations have always led to the swap of symbols from one civilization to the other over time because there is always some sort of inexorable cultural exchange involved in such associations. The existence of shared textual signs and symbols among disparate civilizations testifies to this very fact. However, such impressions obtain a new form as the societies’ habitation place and requirements alter in order to fit to the new situation. On this foundation, the study ahead aims to investigate the symbol of boar within the Iranian and Chinese civilizations covering the span of time since the formation of the Silk Road, coinciding with the Parthian period in Iran and the reign of Han dynasty in China, towards the fall of the Sassanid and Tang dynasties. Noteworthy is that when examining the Sino-Iranian relations, the role of Silk Road in the establishment of the relations of these two ancient powers stands out. During thousands of years of historic contacts between Iran and China through the Silk Road, the two countries have also enjoyed extensive cultural exchanges particularly during the Parthian’s era that concurred with the sway of the Han dynasty in China. During this era, commercial transactions between the two countries flourished wherein the Silk Road played an irrefutable part. The use of Boar symbol in Persian art dates back to antiquity. This symbol is frequent in Iranian art but it occasionally appears in some Chinese art works as well. In the Iranian culture, Boar is one of the expressions of ‘Bahram’, the god of war, who is mostly accompanied by the goddess ‘Mitra’ in hunting scenes. Hunting is one of the fundamental signs of demonstrating human authority and dominion over the supernatural forces that have been depicted not only in the illustrative documents but also the religious texts such as Bahram Yašt. In this respect, the boar,’s head within a pearl roundel is one of the most prominent common Boar motifs in Iranian and Chinese art. On this basis, this research tends to answer this question that has the boar motif been transferred from Iran to China due to the cultural exchanges that occurred upon the establishment of the Silk Road? The foundation of the study is laid upon this hypothesis that “it seems that the formation of the boar motif in the artworks of the Chinese civilization is derived from Iranian art”. Conducted through a comparative-analytic approach, the study aims to elucidate on the role of boar in the artworks of the aforesaid eras and recount their similarities, differences and representations in Iranian and Chinese art. The results acquired confirm that due to Iranian influences, this motif became widely popular in ancient China; however, the Chinese artists used it within the principles of their own art traditions. Consequently, this motif has been generally applied to the artworks related to the world of the dead and afterlife such as tomb decorations; in other words, in Funerary arts.The outcomes also approve that the Boar motif has tread an evolutionary path in Iran but its development in China begins with the formation of the Silk Road; when China made its first contacts with Iran. On the other hand, the paper concludes that the spiral, pearl roundels around the Boar head in Chinese textiles are Sassanid motifs transmitted from Iran to China. Called ‘medallion’, this motif evolved along with the Chinese art and emerged in their art forms later on.

There is no doubt that architecture has boosted the interaction of culture and culture is affected and influenced. Sociology housing issues trying to identify the circle of conceptual and semantic interaction of culture (society) and housing architecture. Thought process to reach a predefined architecture feedback conceptual architecture needs to be discussed in terms of culture and architecture of the house. The previous question is that the only place of residence can live in a space Find it called? The research paper is an analytical and logical reasoning is used by documentary and library studies. In line with the results of the phenomenological concept of residence and the residence life mentioned in the phenomenological approach and the cultural paradigm in the development of complex biological home based on cultural theories have been discussed as follows: Cultural meaning of architectural, cultural and symbolic meaning of architecture, nonverbal approach in the sense of cultural, architectural and cultural references to understand the rules of architecture, and cultural readings architecture and environment rules.

In this paper, we try to research into concept of “Art” in Iranian culture based on “Minu ye xrad” essay. For this goal, first we explain the nessecity of this inquiry and then by indicating its method we describe the relation between art and ethics in “Minu ye xrad” essay. In second part of this study, we compare the result of the first part with Plato’s point of view. We show briefly that “Art” and “Ethics” are associated in “Minu ye xrad” essay and Plato’s view and this is by reason of special ontological view. A difference between “Minu ye xrad” essay and Plato’s point of view is the consideration of Artist’s position. In “Minu ye xrad” essay artist has an intermediate position, but in Plato’s point of view artist’s position is declined considerably.

Human and his relation with his surrounding environment and other humans has always been the preoccupations of designers. However، as the knowledge of environmental and behavioral sciences، it does not have a history more than some decades. Up to the present day، various theories and discussions have been put forth on the important and effective components on human and his communication with the society. “Privacy” and “Secrecy” are considered two basic concepts in this area. Recently، in many researches conducted، it is observed that in translating from English into Persian، the term” Mahramiyat” is used as an equivalence for privacy and used beside the word “Khalvat”، whereas in the eastern culture، in particular، Islamic –Iranian culture، these two concepts have specific differences at the same time that they might overlap in some areas. Secrecy، despite being ignored has a deep root in Iranian culture، character and architecture. Being concerned about the act of considering these two concepts as the same concept and gradual diminish of the concept of secrecy in the Iranian contemporary architecture، made us elaborate the concept of each of these words. Clarifying the borders، and their similarities، we will be able to alert the Iranian designers and architects not to confuse these two words together and forget ‘secrecy’ simply. For this purpose، first، through library study، we will study these words morphologically and then reviewing the literature of the subject، the historical texts and reviewing the existing theories and views، we will cultivate these two concepts closely. Afterwards، through a comparative study، we will review the similarities and differences of these two concepts in some of the architectural examples. Finally، showing the inherent and basic differences of these two concepts in meaning and application، we will show to the Iranian activists in the area of architecture and urban development that the feature which is more colorfully seen in today’s Iranian architecture is the concept of privacy and not that of the secrecy. Using the strange concept of privacy and the lack of paying attention to the principles of Islamic-Iranian architecture is going to alter and demolish one of the original feature of our architecture، i. e secrecy.

From long ago, water has been the most important element of development and reclamation in the world. The specific situation of water resources, heterogeneous rainfall distribution, frequent droughts and disregard to the principles related to the maintenance and protection of water resources have attracted the human’s creative mind toward themselves throughout the history. Therefore, various methods have been followed in order to discover creative and original solutions for this problem. Moreover, optimum applications of techniques for utilizing underground waters and more promotion of the related training have been considered. Excavating underground waters using Qanat, as an amazing hand-made phenomenon, has been interesting for many historians and researchers. Today, these natural, eco-friendly and stable systems are among the exciting educational and scientific topics in the advanced countries’ research centers and universities. Qanat is the persistent and hidden-in-the-soil heritage and one of the cultural and scientific Iranian treasures. In fact, Qanat is one of the most important native-born buildings in Iran which has been developed as the result of Iranian art and culture through the generations. Studying Qanats from tourism point of view, paying attention to the issue of education and holding training workshops can not only clarify a number of vague points of the native technology trend in this land but also advance economic, cultural and scientific developments in Iran. In this paper Qanat’s stable technology is studied in Iranian culture and its influence on the ecosystem and natural landscape is investigated. Furthermore, the issue of training promotion is considered to be essential whether from technical ecosystem aspects or from historical, cultural, economic and social viewpoints. Permanent utilization, revival and maintenance of Qanats as the human’s greatest achievement are analyzed aiming at expanding the related knowledge and technology, developing a new attitude toward it and advancing tourism.