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

With the advent of modernism in the world, there have been many discussions about the interaction or confrontation between modern architecture and architectural traditions in many countries. Identity and architecture with national identity is an issue that has received special attention in recent years in all countries. In spite of the currents that seek their own architecture, it is very important to explain how the works of contemporary architecture are influenced by their pre-architectural works, especially those that are in each other's historical-cultural context. This study examines the important and influential features and intra-textual components of identity building in the Tymurid architectural tradition, as one of the most important architectural traditions in Greater Khorasan and in the countries of its civilization, and in landmarks. This period in the countries under study, an attempt has been made to express in a coherent manner how and to what extent the connection between the Tymurid architectural and the works of Contemporary architecture and its various components and layers should be discussed. In this research and through library studies and by studying historical documents and various other sources, qualitative research method using measures Multiple analytical-descriptive and historical-interpretive methods and comparative methods have been used and the statistical population of public buildings of three countries is Uzbekistan, Tajikistan and Turkmenistan between 1960 and 1990. Data analysis and research results show that contemporary buildings in these countries have tried to combine different layers in architecture according to the conversation and connection with the Tymurid architectural tradition.

The musical tradition of Turkmen bagshy (bagshychylyk) is the core of Turkmen culture in Turkmen-Sahra (Iran) and Turkmenistan. Since the last decades of the 19th century, this tradition has faced various degrees of transformation due to the Socio-political evolutions. In this paper, we focus on the musical culture in Turkmen-Sahra and explore the changes by juxtaposing its past with its present. Our study is based on several fieldworks in Turkmen-Sahra including hours of interviews with informants from Turkmen-Sahra and Turkmenistan from 2010 to 2015. Moreover, monographs, travelogues, and audio-visual materials are considered as well. To provide a basis for comparison we cast light on the Turkmen-Sahra case according to the concept of musical change. Taking various aspects of musical change into account the Turkmen-Sahra case seems to be a special one mostly through a particular type of acculturation which we refer to as indirect acculturation. While various cultural policies were followed in Turkmenistan since the Russian revolution to manipulate music, in Turkmen-Sahra, by contrast, the musical culture has been almost free from such governmental pressures. It is worth mentioning that the musical change in Turkmen-Sahra is not the result of the bagshys’ individual preferences and the changes in Turkmenistan play a major role here. In this process, the change does not occur simply by borrowing and modifying what bagshy receives from the other side of the border, but a complicated set of divergent and convergent responses should be considered in analyzing the process of musical change. The above-mentioned responses become significant in the duality of professional and non-professional bagshy. Non-professionals belong to the new social class of educated Turkmens emerged in the 1940s following the social changes in Turkmen-Sahra caused by the settlement of nomad Turkmens. They adopt a distinct approach to Turkmen musical tradition as a problem of identity, while the professionals consider it just a profession. Despite the professionals' tendency to maintain continuity and the non-professionals keen interest in change as the prevailing aspects of musical change in Turkmen-Sahra, the two group adopt either convergent or divergent responses depending on the situations. We study the duality of responses within the parameters of education, drawing distinctions with Turkmenistan, utilizing new musical instruments, individual/group performances, and reterritorialization. In conclusion, the musical change in Turkmen-Sahra grounded in the processes of imitation and adaptation while the continuity is based on rejecting the musical products of Turkmenistan. This demonstrates how the musical change in Turkmen-Sahra is defined as indirect acculturation rather than a model in which the changes in Turkmenistan are imported and accepted by bagshys of Turkmen-Sahra in a passive manner