مجله هنر و تمدن شرق
پیاپی 2 (زمستان 1392)

In this journal, because of the central role of the Orient, we have mentioned special points to the readout of theorizing about Orient, in each issue.

Religious culture was out of access for Indian public, and deep philosophical religious texts were exclusively for the class of privileged and clergymen; So over many years, popular religion was collected in a book called Veda (means the Indian knowledge) including poems, legends and mystical chants which sometimes were obscure. This set is known as the world's oldest religious book and the mother of religions. Most researchers do not remember it as a religion, and consider it as culture and rituals of living.
Religion, ritual and popular beliefs in India were accompanied with the fabulous ambiguous curious adventures. What is understood from the appearance of Hindu ritual is polytheism, idolatry and superstition. But it is not true. The history of Hinduism and its branches expresses the monotheism and belief in the unity of the creator. As the Hindu-Iranian Aryans were always Unitarian and were praising various manifestations of nature as gods. They never were idolaters and believed in monotheism, although they had pluralistic beliefs.
The interpretation of monotheistic in Semitic religions1 is different from Hinduism as a gradually altered religion. My field researches in India and dialogues with Hindu thinkers demonstrated that today’s common ritual in Hinduism is a distorted form of a monotheistic belief, that originally had believed in the Oneness of the Creator, as mentioned in the Upanishads. However, like other Abrahamic monotheistic religions which believe in the unity of the Creator with differences in other specifications and interpretations of the universe, Hinduism is a kind of primary believe in oneness of God that has had distortion by historical reasons. Nowadays, Hinduism has a long distance from its monotheistic origin.

Formal structure sources in ritual buildings that hinged on culture, geography, climate and aboriginal traditional architecture are variable. Repeat became an integral part and symbol of religion with creation and consistency of formal structures in each ordinance. In the other word form in ritual buildings considered as a sacred term. Formal structure doesn’t depend on geography, climate and habitat by creating such a cover and this manner continued forcedly. Each of the religions such as Hindu, Buddhist and Christian has similar formal structures in ritual buildings regardless of geographical placement. The Islamic ritual buildings accept a variable formal structure by the way. So the concept of form sanctity doesn’t boil down in Islamic ritual buildings.
Finding the roots of formal structure variation in Islamic ritual buildings is the object of current research. The methodology hinged on case study survey and takes the account of characteristic features of precedent mosques in variant geographic regions. Jameh Mosque of Isfahan, Shah-Jahan Jameh Mosque of Indian subcontinent and the Great mosque of Xi’an in China selected as case studies. Geographical and habitat variations are imminent. Therefore the solution is bringing characteristic features up to narrow theory down. This manner asserts that mosque forms picked their templates from geographical and habitat variations. Survey on formal structure roots at mentioned samples revealed that habitat of the same geographic region bring about these characteristics. Samples raised the profiles of space organizing, construction technology, decorating, color and build index. Habitat factor in each region has direct impact on formal structure of Islamic ritual buildings.

In Hinduism, color is a key element. People of India use colors very much in their everyday lives. Color is used in their appearance, their home furniture, urban furniture and ornaments used in decorating places. They also use it in their make-up, their houses and their paintings. Color is seen in their statues, their urban symbols and urban vehicles (such as bicycles, motorbikes, rickshaws, taxis and buses). Interior and exterior designing of temples, either the important temples or the small ones build within tree trunks, involves many colors. White, red, orange, yellow, green, blue and black are the colors that have symbolically come together with the culture of this country as something that is part of the ethics and the religion of people.
The religious and traditional life, with color as a significant element, plays such an important role in the life of the Indians that even the modern society, the well-educated and the elites have been influenced by it. Some colors, such as blue, were attributed to gods and some other colors used in painting the temples, have been extracted from nature and due to repetition have gradually become symbols and have come to be considered holy.
Search for the origins of these colors and the influence of climate and ethics on their formation has shown that in the thoughtway of the Indians, some colors have been ascribed to gods. In some cases these colors have been elicited from nature, such as blue that is seen tremendously in the creation as it is the color of the skies, the seas and the oceans.

Specific context of any ancient civilization, from the physical aspects up to its cultural and historical sides, distinct it from other civilizations. The special location and context of the land of India, is the basis of this different culture and the effects of it are seen in its historical buildings. Certainly the most important buildings that remained in India, like other great civilizations, are religious monuments. The predominated hot and humid climate in India as a side of context, for the people of this land has obtained relatively abundant resources. Fertile and lush natural areas of India had had a great boon for its people which became one of the most important factors in a high fantasy and stopping them to struggle hard for continuing life. Even in these times, it is also seen that natural substrate for the formation and growth of the social and cultural context, is balanced and has strong dependence of kind of their life. Now the question is: How does the context infect on of creating decorative embellishment and arrays in sacred buildings, as most examples to introduce the special culture of this land?
Often, at the first glance, the outside aspect of the decorative arrays and patterns, according to the field observations in the sacred monuments of different historical periods in different Indian cities, looks repetitive and resembling. The cow, as a painting or sculpture, is one of the formations which have been seen the most in religious monuments. And nowadays, it still exists in the same amount in cities live landscapes. With precise attention to this array, we realize that this is not merely a decorative aspect, but also each of its various effects has a specific meaning, which due to the social context- cultural, religious interpretations and levels of holiness, is changing.
This article with assumes of the influence of context in creating decorative arrays in religious buildings of India and a the major role of natural elements as a symbol of upper power and repeating them as their original forms, is trying to reach this probable conclusion through the field observations and Library studies, which in general, there are many animals, plants and other natural elements in the context, that are repeated exactly in arrays and decorations of sacred buildings of different religions in India, but with different definitions. This repetition confirms their holiness, and that surely comes from a context that forms the specific culture of this land.

Women's garment is one of the symbols of urban landscape in India. Today we can see that despite passing historical ages and colonialism of Britain and also arriving modernism in to this country, women's clothing has not been changed; this has identified and preserved the cultural landscape in India.
Garment and textile industry in India have an old background. This industry is extremely money making and so many management actions have been occurred to preserve it. Although there are big malls with famous brands, we can see Indian people wear cloths which are made in their own country and also women use their traditional garments.
This process is succeed by numerous management, economic and cultural practices; in parallel with government policies in India, supporting domestic industry, custom legislation for imported goods, publicity, garment export beyond country border and creativity in printing and swing technics also played a crucial role in textile industry and make Indian garment a selected option by Indian women. Now it’s the question, what is the main survival secret of this garment in many passed years? What made Indian garment chosen by Indian women?
This article is based on author's perception of urban landscape in India and also theoretical studies.

Landscape is complex meaning that is always the center of attention in arts and cinema and emergence of artistic expression. From classical to contemporary cinemas, architecture and urban themes has a variety of attractions for filmmakers. Classic Indian cinema is more relevant to daily life and Director was only in the roll of witness of events and reality in urban scenes and had no struggle to perform at urban pictures. This cinema is still popular. But in the process of modernization affected by global developments, other approaches formed in Indian cinema. In the modern period, Indian cinema is not only indifferent to the city and the place scale of the film is more extensive and the cities became main port in story structure. here major part of scenes taken in outer space and place characters of films such as film`s geography become important So that if you remove the geography of film, becomes incomplete and unclear. Cinemas in this approach, have belongs to a particular urban location and a conceptual view of the surrounding elements. They are real or dreamy. Today Cinema of India in terms of the place interpretation has not fixed approach and generally transition from the stereotype and entering the modern period.
This study is Fundamental research with qualitative _ interpretation methods. Information required by this article has been collected through field observations, literature documents and authentic films. With presume fundamental relationship between cinema and the city, and dramatic relationship between urban space and cinema, the results of place study in Indian cinema can help create a fields for understanding the contemporary landscape and make evolving landscape.