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

Masouleh is one of the few historical and habitable spaces in Iran, where the continuity of Iranian Islamic arts has been common for many centuries. Masouleh is located in the mountainous part of Fuman city with a thousand year old history. This historical city was registered as a national monument in 1944 and is currently being registered in the UNESCO World Organization. Masouleh’s architecture has a stepped structure and the houses are extroverted. Masouleh has six neighborhoods, Reyhane-bar, Asad-mohalleh, Keshe-sar, Khanebar, Masjed-bar and Bazaar. Reyhane-bar neighborhood is the main entrance to Masouleh and is located in the southern part of the city. The formation of Reyhane-bar neighborhood and its buildings is deep-rooted in the Zandiyeh- Pahlavi period. Reyhane-bar neighborhood has 50 residential units, of which 26 buildings have a historical structure and were examined in the current research. The Reyhane-bar neighborhood has a variety of latticed openings made of enclosing decorative patterns. The aim of the research is to recognize the types of openings and ornamentations in the Reyhane-bar neighborhood. The research questions are as follows: 1- In how many levels are the openings of the historical building of Reyhane-bar neighborhood classified? 2- What decorative patterns are used in the openings and what is the frequency of new to old patterns in the ornamentation of the openings of Reyhane-bar neighborhood? The research method is descriptive-analytical and the information collection method is documentary and field study. The results of the research show that the ornamentations of the openings of Reyhane-bar neighborhood have been implemented using three methods Girih-tiling, Ghavarehbori and woodcarving. The openings of the Reyhane-bar neighborhood are classified in six levels: integrated openings, without Sarbarieh (opening above the window), inscribed openings without Sarbarieh, Sarbariehs without a border design (single), and inscribed Sarbariehs (single) and Orosi. This should also be noted that the Reyhane-bar neighborhood has the lowest number of Orosis in comparison with other neighborhoods and Orosis in the above-mentioned neighborhood are mainly observed in the economic constructions. A total of fifteen decorative patterns have been used in the openings of Reyhane-bar neighborhood, among which, 8-square Shamse girih patterns and Paisley Ghavarehbori are the most repeated patterns. Reyhane-bar neighborhood has 6 new patterns and 9 common (original) patterns in Masouleh. The results of the research show that 24% of the decorative arrays of the openings of the Reyhane-bar neighborhood was of new patterns and 76% of the original and common patterns in Masouleh neighborhoods. A noteworthy point in the construction of the ornamentation of the openings of the Reyhane-bar neighborhood is the common use of the Ghavarehbori method. Among the main reasons for the Ghavarehbori construction method in the decorations of the openings of the Reyhane-bar neighborhood, the following can be mentioned: Cost-effectiveness: The Ghavarehbori construction method is much more economical than the Girih-tiling method, but by implementing Ghavarehbori, more limited designs can be made in comparison with the Girih-tiling method. Ease of construction: Artists need to use soft wood to make Ghavarehbori ornamentations, and this causes less durability, more wear and tear, and a more unfavorable appearance in the building wall. For this reason, to solve the problems of corrosion and to prevent biological and environmental disintegration as well as turbidity of color, the residents are forced to use stabilizers and chemical colors that do not match the authentic and historical texture of Masouleh. The research results show that there are sixteen geometrical patterns in Reyhane-bar neighborhood. As already mentioned in the text, the ornamentations of Masouleh’s openings have been implemented in three forms: Girih-tiling, Ghavarehbori and woodcarving. Several researches have been recently conducted with regard to the subject of Masouleh, its neighborhoods, and the existing ornamentations of the openings of each of these neighborhoods due to the significance and importance of Masouleh, as one the few habitable historical places in Iran. This research and its results are only a small part of the wide and extensive topics that can be performed in the field of knowledge of traditional arts and how they work to meet the needs of users. In fact, it is possible to investigate the ornamentations of other places in Masouleh in future research, which would lead to the recognition and preservation of the architectural arrays of Masouleh.

Decorations, as important components, have long been one of and the most stable characteristics of Islamic architecture and art. One type of these decorations is openings. In addition to practical aspects, openings have presented diversity and enclosing beauty in Iranian architecture. The surface of the openings has mostly been decorated with geometric and vegetal patterns. The city of Masouleh has various geometric openings that have been embedded in this city for many centuries. Masouleh is located near (55 km away from) Rasht in Gilan province and in the southwest of Foman in a mountainous area with a height of 1050 meters above the sea level. This city is registered in the list of national monuments under number 1090. In the present research, an attempt has been made to analyze the types of decorations in the openings, the abundance of decorations in each of the openings, the concepts of decorations, and the drawing of arrays in Masjedbar openings.

The current research aims to answer these questions: how many levels do the openings of Masjedbar neighborhood include? What concepts have been effective in the formation of arrays of openings in Masjedbar? In this research, an attempt has been made to analyze the decorations of the openings of 26 buildings in Masjedbar neighborhood, which are older than other residential buildings in this neighborhood. The method is descriptive-analytical and comparative. In the first step, the pictures of openings were prepared based on field surveys. In the next step, they were drawn by AutoCAD 2023 software. Also, to understand the proper amount of lighting, the dimensions of the openings, and the influence of the arrays on the lighting, optical simulation software "VELUX Daylight Visualizer 3" was used. In the last step, the results of the types of decorations in the openings, the abundance of decorations in each, the concepts of decorations, and the drawing method of the arrays in Masjedbar openings were presented.

The architecture of Masouleh has attracted the attention of many domestic and foreign tourists and researchers due to the use of authentic Iranian Islamic arts and its great compatibility with the nature and culture of society. The openings of the historical city of Masouleh, especially Masjedbar neighborhood, are one of the oldest and most beautiful arts where one can see the originality and artistic creativity of the artists of Masouleh and the province. Masjedbar neighborhood in Masouleh is considered one of the centers of the early formation of Masouleh; because of the presence of the mausoleum of Awn ibn Ali, it has earned special sanctity among the habitat of Masouleh. To meet the needs of its users, Masouleh’s buildings have various types of integrated openings, Sarbariahs with inscriptions (single), Sarbariahs without border design (single), openings without Sarbariah, and Orosies. The openings often consist of Girih-tiling and Ghavarebori decorations. Masouleh integrated openings have a two-part structure Sarbariah and bariah. These types of openings are the most common types of windows in Masjedbar neighborhood. The upper opening of the window, which is called Sarbariah, is fixed, and the bariah part consists of two parts that can be separated from each other. Sarbariahs are inscribed (single), have minimal decorations, and possess a minimum amount of space for light and ventilation. In the opening part of the bariah, a door without decorations is used, and the Sarbariah has two parts of girih-tiling decorations on the border and the middle inscription. Sarbariahs do not have a border design (single), have a similar structural and function similar to the windows of inscribed Sarbariahs (single) of Masjedbar neighborhood. Openings without Sarbariah in Masjedbar neighborhood have a surface with full light absorption capability in the bariah section and do not have Sarbariah or upper opening. The Orosies or rising windows of Masjedbar neighborhood have a structure with many Girih-tiling and Ghavarebori decorations. From the point of view of receiving light and natural ventilation of the interior, the Orosies are of a higher level than all other Masjedbar openings and have been used in the residential buildings and mosques of this neighborhood. The Orosies of residential houses have more decorations compared to the Orosies of mosques in Masjedbar neighborhood.

The research results show that Masjedbar openings are classified into five levels of integrated windows, openings without Sarbariah, Sarbariahs without inscriptions, Sarbariahs with inscriptions and Orosies. The present research results show that 19 geometric arrays of Girih-tiling and Ghavarebori were used in the structure of openings in Masjedbar. Ghavarebori arrays with checkered design, an eight-square shamseh knot, and a four-square knot are the most frequent patterns in the openings of Masjedbar neighborhood. The results of natural light reception analysis show that integrated openings, without Sarbariah and Orosies have a good performance in receiving light; Sarbariahs with inscriptions (single) and Sarbariahs without border design (single) have poor performance in absorbing natural light in Masjedbar neighborhood. The results of investigating the shapes of the geometric arrays of Masjedbar openings show that the plant shapes in the arrays of the openings are often taken from the designs and patterns of flowers and historical and mythological plants of Iran, which were very common in Iran's pre-Islamic buildings. Cypress tree, paisley, and lotus motifs are included in this category. Religious and cultural motifs and symbols are other effective factors in the formation of arrays of Masjedbar openings. Ghavarebori, chalipah, and chaharqol are more widely used in the openings of Masjedbar's religious buildings. The rhombus square knot is one of the few patterns native to Gilan in the arrays of Masjedbar openings. This pattern is often used in the openings of residential buildings and is a symbol of mat weaving in the plains of Gilan. The combination of numbers and basic geometric shapes is another effective concept on the formation of arrays of Masjedbar openings. These shapes, involving a combination of number eight, four and circular, rectangular and square motifs, are among the most used patterns in Masjedbar’s opening arrays.

All of the palaces in Takhte Jamshid citadel are decorated with special ornaments which each of them refers to a meaning and among these ornaments the column capitals can be grouped in four types; bull, lion, winged bull-man and bird with a lion's paw. This study with the help of allegorical mythology method of Georg Friedrich Creuzer showed that the meaning behind these forms are influenced by the mythological narratives of the Indo-Iranian peoples on the one hand, and on the other hand by astronomy and myth of the Mesopotamia. Therefore the column capital in the form of the lion in the east is connected with Mitra, and also with the sun that rises from the east, the column capitals in the form of the bull in the main halls are associated with blessing and life, and in the west with the bull in front of the lion as an astronomical phenomenon which indicates the beginning of spring, and, with the killing of the bull by the hands of Mitra, which is an allegory of creation and blessing, and finally, the winged bull-man is both indicative of the Indo-European tripartite actions and also protection of the blessing of life, and it can also be related to Mesopotamian Enki.

The evolution of traditional Iranian architecture with the emergence of identity-building elements such as the dome moves in the direction of a kind of perfectionism. The Iranian dome is considered as an important element in architecture that has been used in various types of buildings in terms of its original historical prestige, strong theoretical foundations, unique features and keeping the space cool. The dome is in fact the presentation of a complete architecture, whether it is used as a structure or where it is a symbol of transcendental truths. In fact, the dome, as an urban landmark, helps to read the space by breaking the sky line and directing the view towards its colorful world. In the process of shaping the space in Iranian architecture, we see the abstraction of colors and images in buildings. The Iranian architect creates with the use of various arrays. The culmination of the manifestation and display of the attributes of the arrays appears in the dome, and the color, which is considered as an effective visual element in the urban landscape, doubles this splendor and charm. In fact, color is a tool by which the architect can identify the form and influence the visual logic of the space. The colors in the dome are narrators of a deep and mystical meaning that guide the viewer’s mind towards discovery and intuition. Islamic and geometric maps, shapes and patterns, along with the conscious use of color and attention to harmony and contrast, in the shadow of a novel order, present the dome as an element of semantic index and evoke a sense of harmony and connection in the viewer’s mind. The color on the dome is part of a larger whole that reflects a fundamental concept, to depict a transcendental truth. We are witnessing the peak of this art and cryptography in the Safavid period. This study tries to provide a color pattern by examining how the color accompaniment in the outer shell of the domes in the Safavid period to be used to create an atmosphere with identity in today’s Iranian architecture. The method of data collection in this study was the use of field studies. To analyze this data, two visual methods and the use of digital software based on computer simulation have been used. Then, with logical reasoning and content analysis, the final results are obtained.

  Nature-based ornaments are the integral part of Iranian architecture which has a kind of communication with the audiences picturing a world of values and thoughts by using geometric and non-geometric motifs. As time went by new structural and conceptual changes were created so that, by the birth of new discourses in Iran, in the Pahlavi period, they took a different appearance and presented various concepts to the audiences.Research

The purpose of the study is to identify and interpret the concept of nature in ornament of architecture in the Pahlavi period with exploration in discourse approach.

The present study was a qualitative research and data were collected by using documentary and field studies. For analyzing data, the discourse analysis technique was used.

The concept of “nature” in ornament manifested itself following nationalism, traditionalism, and westernization discourses of the First Pahlavi under the domination of the “political-religious power” and traditionalism, historicism, and modernism discourses of the Second Pahlavi under the domination of the “cultural-historical power” and “modern technology”, through “form” and “content” in the form of implicit and explicit meanings in architectural orientations. These discourses are derived from the ancient narratives, Islamic beliefs, and the classical order in the ornament forms through abstract and non-abstract pictures by representing the perceptible elements of the world around. On the other hand, they transformed new messages to the audience, by representing the meanings derived from the archetype symbols (which in the past were the manifestation of unity, power, and immortality). The generated meanings and the social consequences of nature’s manifestation in the ornament Pahlavi period and in the context of “the dominant discourses and the power phenomenon” are: legitimizing the government’s policies, by displaying the government’s political power and the cultural power of society, creating national solidarity, and aligning with the world transitions.

Gonabad mosque is one of the three remaining mosques of Khorasan's two monasteries, the Razi style and the memorials of the Kharazmshahi era. Two other buildings are Foroumad and Sangan mosques. The decorations of this mosque include bricks, a little brickwork and stucco, most of which were related to the Qajar era, works that fit in the altar and the head of the mosque. The present article aims to clarify the decorations of brick and gypsum and study arrays and visual analysis of the inscriptions of the southern porch of the mosque. The letters and inscriptions of the mosque are based on the structure, military structure and basis. The research methodology is descriptive and analytical and in this regard it has been used for field and library resources in designing these inscriptions, the uniformity of the letters and arrays at the inscription level has created unity in the inscription in relation to the lateral factors. In this course, the simplicity of writing elements in the form of letters, the presence of finite elements in the upper part of the inscription for better balance at all levels of inscription, the uniform thickness of letters, the proportion of letters to the inscription, the appropriate intervals of the letters on each inscription, to this unity and harmony. On the other hand, by examining the inscriptions, a collection of Kofi alphabet of the Gonabad Mosque has been obtained that contemporary Iranian art can use this valuable artistic and spiritual heritage in traditional and national works. The text of the arrays of writing from the Qur'an and religious texts has been selected and has spiritual significance. The mosque's Kofi's line is very simple and is therefore close to the "Kofi simple" line. One of the special features of this line is the lack of use of inspirational designs around the inscription, and the designer did not use decorative arrays and put simplicity in the first place. The accompaniment of three geometric, slalomic and written arrays is seen in many of the scrolls of this era, and it has a graphic tradition in the inscriptions. This tradition is also observed in the inscriptions of this mosque, and the inscription for the harmonization of these arrays has made innovations in the structure of all three categories of arrays, in particular written arrays. Preserving the beat at the specified intervals of the inscription, the inscription allows the inscription to be appropriate to the shape of each letter, the ability to use the versatility of the letters. The accompaniment of three geometric, slalomic and written arrays is seen in many of the scrolls of this era, and it has a graphic tradition in the inscriptions. At the end of the decoration, the mosque's architecture, along with the presentation of physical beauty, was a manifestation of religious and ritual attitudes and the physical and physical facial beauty has led to the sanctity of the architectural location of the Muslim people of the region in the historical period to the present.

Decoration and ornamentation are inseparable parts of architecture in every culture and land. This subject has a valuable position in native art. In native art, it has a meaning and concept beyond the embellishment and external cover. This is the reflection of cultural concepts and symbols along the historical lines which is used not to the purpose of self-expression, but to express an inner conception. Architectural decorations that express themselves in different shapes in facades, entrances, and interior spaces, display their identity and value. Ornament cannot be separated from architecture; but, historical signs, social identities, and cultural values could be found far more than architecture.  Decorations and ornamentations in urban and rural houses of Gilan are remained valuable heritages which have not received notable attention so far. The purpose of this paper is to describe and compare the architectural ornaments in rural and urban houses of Gilan in order to identify the differences and similarities of their forms and contents and examine the impact of social, cultural and historical context as the involved factors in the decoration patterns. This research is conducted by using descriptive-analytic approach and comparative study has collected data through studying library documents and field observations. After analyzing and summarizing, the differences and similarities of the form, content (plant, human and animal patterns, and geometric shapes), and the location of ornament have been determined. The way of the influence of the lifestyle and native culture on decorations and also the artistic origin of decorative motifs are among the important research findings.

Ornaments are inseparable elements of Iranian Architecture. They take a visual part in defining the quintessence of forms. Muqarnas, as one of these ornaments, stands on the summit of
geometry and form of Iranian architecture. A multi-aspect study on Muqarnas is an important activity that can end to the construction of identifiable forms. The study of color, especially on the juxtaposition of colors in Muqarnas is in the scope of this paper. Color, as a vital element in visual perception, can arrange the taxonomy of forms. In comparison with other elements
of form like shape, texture, and material, color is more independent in the way that it is not intertwined with non-visual elements like structure. This ends to a convenient application of
color in contemporary forms. The juxtaposition of colors in Muqarnas of Safavid era is enquired in this paper; via this, a good tool for color patterns capable of creating Iranian original forms
is provided. The quantitative method in the study and the comparison of frequencies of colors yields a quantitative color index applicable in identifiable forms. The data are collected on the
field and two methods are applied for the analysis: visual and computational. The result is extracted on the basis of computer modeling and logical reasoning.

The ‘Old Courtyard’ of Razavi Holy Shrine stands as one of the oldest parts of Astan Quds complex. Built and developed during two historical periods of Timurid and Safavid reign, the Courtyard enjoys the application of two distinctive architectural styles i.e. Azari and Isfahani. The Courtyard comprises of four magnificent porches, decorated with a variety of ornaments and art styles pertaining to several historical eras. Hence, the study of such art traditions and ornaments could lead to a better understanding of the characteristics of art traditions of earlier epochs. The study seeks to shed some light on the art tradition of the two aforementioned historical periods. Utilizing a descriptive-analytic methodology through conducting desk and field studies, the paper at hand intends to answer two specific questions: what are the structural and decorative similarities and dissimilarities of the four porches and what are the structures and ornaments specific to Timurid and Safavid eras.To this purpose, a historical review of the features and attributes of each of the four porches shall be appraised, followed by a comparative study of the similarities and differences of the aforesaid porches in terms of structure and ornamentation. The result indicates that despite Shah Abbas’s command over the construction of the North porch as a replication of the South one built during Timurid era, the Safavid artists have only pursued the overall structure of the South porch, while ornamenting the structure by adhering to their own, ancient principals, thus creating a masterpiece of art.However, the eastern and western porches have been erected with utmost care and delicacy using Muqarnas and tile work. This is an illustration of the fact that the art of the Safavid era is not a mere reproduction of the former artstyles. On the contrary, the artists have always longed for improvement,exercised innovation and demonstrated paramount artisanship in creating a sacred venue such as the Razavi holy shrine.Moreover, the comparison proves that despite the resemblance of the structure and ornamentation of each of the opposite porches, there exist much dissimilarity, generating a unique visual beauty plus a divergent, harmonious rhythm in a way that the spectator finds a visual association between the opposite and side porches on spot. The paper concludes that generally, the opposite porches are similar in the employment of arches, framings, Muqarnases and compositions; the interior structure of the Golden porch with that of Abbasi, Timpani and Clock porches as well as tile works and inscriptions in the exterior of the four porches. On the other hand, the arch types, number of frame sides, Muqarnases, motifs and colors of tile works, composition of inscriptions in terms of structure and content, as well as the location of inscriptions within the interior composition of the porches are matters of difference.

he purpose of the article is to exhibit this fact that embellishments, despite of their lexical meaning, do not play just an ornamental role in Iranian classical music, but they have an extremely important function to form the structural facets of Dastgahi music; in fact, the embellishments are irremovable elements in the mentioned musical system. First of all, some brief explanations about concept and function of embellishments in Iranian classical music would be cited. Then, we will divide the embellishments, based on an especial approach, into two groups: Tonic and Modal. Tonic and Modal embellishments are used to ornament a specific tone and a specific mode respectively. The first kind of them is too widespread and varied in Iranian classical music and includes the kinds of vibration, tremolo, glissando, trill, mordant, staccato, Dorrâb, Kande Kâri, Eshâre, Tekiye, Pejvak, Shalâl etc. They are applied in both of instrumental and vocal Persian music. Among the important musical techniques which have always been considered as ornamental component by Iranian performers and musicologists, sometimes a long continuum of tones that is called Tahrir (Melisma) can be seen. Tahrirs are remarkable embellishments in Persian vocal and instrumental music. Tahrir is a “falsetto break or cracking of the voice in the form of the grace note above, and between the notes of, the melody line”. This phenomenon is called Chacha in the vernacular Persian term. From author’s point of view, the Tahrirs are the most important sort of the second group. Consequently, the most significant part of the article would be focused on clarifying the meaning and function of Tahrir in Iranian classical music. At the mentioned part of the article, according to the statistical study, we will show that the Tahrirs take more than half of the time of a specific musical performance. The mentioned statistical study would carry out based on assessment the measure of Tahrirs utilization in 35 records of famous Iranian vocalists; such as Seyyed Ahmad Xân, Hosein Xân Ta’ziye Xân, Ghorbân Xân, Soleimân Amir Qâsemi, Jenâb Damavandi, Seyyed Hosein Tâherzade, Hosein Ali Nakisâ, Abolhasan Eqbâl Âzar, Rezâ Gholi Mirzâ Zelli, Ghamarolmolouk Vaziri, Tâj Isfahâni, Abdollâh Davâmi, Adib Xânsâri, Ruhangiz, Gholâm Hosein Banân, Hosein Ghavâmi, Mahmoud Mahmoudi Xânsâri, Mahmoud Karimi, Hosein Xâje Amiri (Iraj), Razavi Sarvestâni, Râmbod Sodeif, and Mohammad Rezâ Shajariân. All of the case studies are in Dastgah-e Châhârgâh (one of the twelve multi-modal cycles in Iranian traditional music) and Âvâz-e Isfahan (The Âvâz is traditionally regarded as a derivative Dastgâh whit the fewer Gushes). According to this investigation, we will see the Tahrirs involve more than 55 percent of Iranian vocal music duration; it seems that this result can be accepted about instrumental music too. As a conclusion of the article, it is clear that, the embellishments, at least in Iranian classical music, are not omissible elements. Additionally, they have an organic relation with main body of the music.

During Iran's history,there has always been a close relation among the arts,literature and spiritual ceremonies extracted from religion.Artists have bestillustrated this relation in the form of abstractive and realistic and more symbolic in handicrafts.Since long ago,the image of bird has been one of those most frequently usedimages used in Iranian art,especially in textiles and carpets.Many of these birds images carry the symbolic value and have a special place in the culture and literature of this homeland. Symbolic concepts such as victory of good over evil,fortune and good day,good tidings of spring,request for fertility and rain as well as spiritual and religious concepts.These mainly symbolic images are in the form of birds battle,flower and bird, avian,avian head,. and seenmostly in Iranian Garden and altar, called Mehrabi in Persian carpets.The aim of this article is to introduce and reviewthe place of this image in decorative arrays of Iranstreasure of museum carpets(with emphasis on the national museum of carpet)and review symbolic implications of some of these birds images,an analytical research by collecting library information, domestic/internal reliable sources,by searching in validinformation basesand by visiting local/domestic museums. This research also tries to analytically introduce common formats of this image as much as possible.