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سال هفدهم شماره 88 (مهر 1399)

Modernization in contemporary Iranian history has led to the emergence of European-style schools and the city of Isfahan. These schools differed from traditional schools in terms of the content of the lesson and architecture. At the end of the Qajar period and the Pahlavi era, the construction of schools was on the agenda due to the growing population of Iran and the government’s policy of slightly expanding schools for training a specialized force. Most of the previous studies on the architecture of Isfahan schools have been focused on traditional schools (Isfahan schools) and less attention has been paid to the architecture of contemporary schools in the above-mentioned and knowledge about the process of its formation is scarce.

The purpose of this study is to identify the historical, political, cultural and social factors influencing the modern schools in Isfahan in these periods and to understand the nature of architecture and to compare the physical structure and architecture of these schools with each other.

This case study is descriptive-analytical. Five schools were selected as case studies. Data on the history of the schools were gathered through relevant documents. Using field study, another set of data on these schools were collected then analyzed based on the aim of the study.

The most important factors in the shaping of new schools are the constitutional revolution, the role of the Pahlavi government and the desire of the government to create the style of antiquity, the evolution in the 19th and 20th centuries in Europe, and the change of the Western educational system and the construction of several European-like schools in Isfahan by French and English missionaries, the presence of native (Isfahani) architects in this city, and their desire to build traditional (Isfahani) style school architecture. Together, these factors have led to the creation of some kind of integrated architecture in the buildings of most Isfahan schools.

Recently, in contrast to the hegemony of optical-based approaches to cinema, a new mainstream in film studies has emerged that its focus is on the capacities of tactile perception in cinematic experiences. Based on haptic ideals, this approach is a kind of tendency toward generating senses and evokes emotional responses. In opposition to the dominant paradigms of film theories based on distance and perspective (optical visualization), haptic visualization provides a theoretical context in which the dynamics of the experience of watching a film could be analyzed. The main question of this study is how the haptic perception is emerged in Persian-Islamic Arts and what are the effects of this emergence on the viewers’ perceptions? Here, it is presumed that the Persian-Islamic Arts, with the haptic features embedded in, have the quality of presenting a different manner of seeing to their onlookers. Research

Seemingly the paradigms of the haptic perception are inherent to the Persian-Islamic Arts and this special feature can lead to new entries in cinematic expression for Iranian film industry. The objective of this essay is to attain the methods in which the haptic visualization is represented in Persian-Islamic Arts and to understand how it is appeared in films created in this context. Research

The following essay is compiled by using library resources and tries to define the notion of “haptic perception” by the aid of descriptive-analytical method. Furthermore, the haptic capacities of Persian-Islamic Art are explored by evaluating the case studies.

This study shows that according to the haptic visualization characteristics in Persian-Islamic Art, the filmmakers have the opportunity to use it in order to elaborate their narratives. Regarding this objective, The Green Fire (2008), directed by Mohamad Reza Aslani, is analyzed as an Iranian film that has been successful in stimulating viewers’ haptic perception by cinematic techniques.

According to definitions, Landscape is a phenomenon that is perceived by man. First, Human beings have physiologically communicated with the environment through senses and stimuli, which leads to strengthening mental memory and sensory perception. In the following, in Intellectual Perception, sensory experiences will meaningful and cognition is obtained. Consequently, the lack of attention to all senses reduces sensory experiences. Since there has not been a comprehensive research on the landscape perception process, the present study seeks to answer the main question, what is the process of landscape perception? In order to answer this question, it is first necessary to answer these sub-questions. Based on which senses do human sensory perception form? What are human intellectual perception and its influencing factors?

This research aimed at increasing the sensory experiences and higher responsiveness of the landscape by identifying and considering the process of perception and its effective factors on the perception of the landscape.

The present study is qualitative and in terms of purpose is the applied research. The methodology of this research was qualitative content analysis and the method of data collection was the bibliographic method. The data were collected by the bibliographic method through studying the texts, documents, and others’ reviews. The induction method was used to analyze the data and investigated the process of landscape perception in two areas of sensory perception and Intellectual perception.

These results demonstrate that considering only five human senses in the landscape perception, regardless other 51 senses, intellectual perceptions and its factors (physical landscape, cultural factors, individual factors) can lead to an “objective and technical” description of the landscape. Besides, it can cause the record of a superficial layer of experiences, decreasing sensory experiences, weakening the relationship between the user and the physical environment and affecting humans’ behavior. So that, failure to meet humans’ expectations of the environment may result in one resentment and even leaving it.

Studying the carpets belonging to the pre-Islamic era, scholars are faced with different challenges like the lack of written sources and even pictorial samples of those carpets. Studying the samples belonging to the Sassanid era of Dar al-Athar al-Islamiyah in Kuwait helps us to investigate the most prominent decorative designs and even the visual characteristics.

The structure of the mentioned carpets was examined to answer the following questions:How many types of decorative motifs are there in the carpets of Sassanid era?How many types of patterns are derived from the general structure of the study samples?What are the visual relationships between the elements and composed spaces in the study samples?

The research method employed in this study is descriptive-analytic. Data were also collected through library research.

Findings show that the motifs in the examined handmade samples are represented in three categories as follows: geometric, plants and animals. There are also some structural systems derived from the layout of motifs in different spaces of the carpets such as simple floor, gridding and Pictorial. It was recognized that using the same motifs is related to the unique patterns of the specific era.

The present study was conducted to answer how the concept of civic landscape can be realized. The civic landscape has incorporated democratic attitudes into urban landscape design and planning. Civilization, as a political-social discourse, is a way of creating a shared space for individuals to communicate on the basis of differences and disagreements. Landscape, as an interdisciplinary nature, inherently reflects the extent and limitations of social justice in space. Thus, explaining the concept of civic landscape does not mean providing an absolute definition, but seeking the factors that make the concept of civilization in space in general, and landscape in particular meaningful.

The purpose of this study is to explain a conceptual framework of civic landscape based on ideas and concepts of civilization in landscape architecture.

This is a descriptive-analytical study which has used the library method in collecting information. With the help of content analysis, the main concepts of the research are categorized and adapted to the concepts of landscape. Thus, at the first stage, the relationship between space and dimensions of civic society, and then the opportunities and constraints that may strengthen or weaken political-social discourse in the process of space planning are analyzed. Next, the place of society in the landscape design process is questioned by how democratic and social activities along with professional knowledge of environmental planning are needed. Finally, inspired by the three principles of civic society, the dimensions of the civic landscape are explained.

Inspired by the three dimensions of civic society (public opinions, institutions, movements), the civic landscape is divided into three characteristics that are compatible with the principles of civilization in terms of purpose, structure and concept. From this perspective, the purpose of civic landscape is the act of civilization, its structure is social construction, its concept is the concerns and ideals of civic society.

The Sogadian civilization was on the Silk Road route and was one of the most significant areas of the Silk Road. This geographical location resulted in significant cultural intertwining in the art and culture of the area. The influence of Indian, East Asian and Iranian culture on art are visible. But in the meantime, the influence of Sassanian from Iran may be stronger as the Sogadians received the most influence from the Sassanian in their art. But in this impression, they merely confined themselves to the representation of the Visual Elements of Sasanian art and did not reflect the spirit of royal art in their works. This is especially evident in the Sogadian murals.Research question: What are the reasons for the unique representation of the Visual Elements of Sasanian art and not to reflect the spirit of royal in Sogadian art murals?

Identifying the reasonsfor Sogdian selective influence on some specific aspects of Sassanid art, is the main objective of the present study.

This research is a qualitative one and it is conducted in historical methods as well as the descriptive-analytical study and the required data was collected through a library method.

Sogadian society provided the opportunity for growth for all individuals within the context of the social and political structure of developed urbanization. Due to having such a structure, the money made by being located on the Silk Road route provided considerable prosperity to the people of the area and besides the king, other rich people were formed in the hearts of the population. The same story flourished with epic, mythical, everyday themes, and in Sogadian murals depicting stories that all Sogadian people could be heroes, rather than the central persona and the king’s display of absolute power.