تزئینات وابسته به معماری

Documenting and modeling architectural decorations sometimes are highly challenging due to their complexity. Traditional methods often require direct contact and one-to one documentation of details, which can be a complicated and time-consuming process. While photogrammetry has facilitated this process and allowed the depiction of decorations from images, working with corrected images still involves complex procedures. This raises the question: Is there a method that allows for non-contact documentation with faster speed and more accuracy, and provides a suitable environment for drawing? HBIM (Historic Building Information Modeling) technology, based on photogrammetry and point cloud, offers an innovative method for documenting and creating intelligent 3D models of architectural decorations. These models include all the details and are even related to the construction methods of the decorations. Additionally, HBIM technology can be an effective tool for interpreting and reconstructing decorative patterns and designs. In order to implement the proposed method, brick arches with plaster decorations in the base of 8 domes of the second courtyard mosque of Robat Sharaf were studied and investigated. The modeling results showed that intelligent 3D modeling of decorations can be used for reinterpretation and reconstruction. The parametric nature of the modeled components and their intelligence allows for changes in dimensions and properties of the units as needed. This feature enables users to review virtual models before making physical alterations when it is decided to use materials of different dimensions to differentiate restoration measures, thus greatly helps in decision-making and ensuring accurate restoration choices.

The magnificent Arts related to Islamic architecture, especially religious places and mosques, have their own conceptual and aesthetic depth. After the construction of mosques, gradually and throughout history, the decorations related to architecture were upgraded and became more diverse. Looking at the history of religious architecture in Iran from the period of the Khwarazm shahs period until today, countless and valuable examples of mosques can be listed, of which the Mir Emad Mosque in Kashan has a historical position and prestige due to the variety of inscriptions belonging to different periods. Inscriptions with different characteristics such as subject diversity, decorative motifs, performance techniques, and materials, each represent a part of the culture and identity of their era. It seems that this mosque with 32 inscriptions is a suitable case for researching the historical dimensions and explaining the cultural-political themes of the religious monuments of Iran during different periods as a statistical sample (using a targeted census method). For this purpose, the goals of this research were studied in two dimensions: adaptation and rereading of historical dimensions, as well as reading and content analysis of the inscriptions of Mir Emad Kashan Mosque. The method of collecting information in this fundamental research was based on a combination of documentary methods, objective observations, interviews with experts, and field documentation, and the nature of the analysis of the findings was descriptive-historical. Finally, the most critical result deduced from this research showed that out of the four types of inscriptions classified in this mosque, two themes in two sections could be conceived: Religious topics and Quranic verses promoting and explaining the Shia religion in the sections inside the mosque, and the decrees of kings and the rulers of the era with cultural, economic themes and social and moral issues (mostly related to the Safavid era) in the outdoor spaces. These themes are implied through the art of sculpture, plastering and painting on plaster, and the use of Kufi, Sols and Nastaliq calligraphy, each expressing part of the traditions, beliefs, and orders of the rulers of their time on the walls of this significant cultural social building in the Mir Emad complex of Kashan.

The Gonbad-e Sorkh is one of the most prominent buildings of the Seljuk period belonging 542 AH. The variety of brickwork, stucco and tile-making techniques in the execution of decorative forms, Gırıh tıles and Kufic inscriptions has such a manifestation in this building that has practically overshadowed other aspects of its architecture. Therefore, it is necessary to conduct further research in this field due to the variety of techniques and decorations in architecture. The main question of this article is what are the decorative features of letters and Golandazes of brick and tile used in the Gonbad-e Sorkh epigraphs? The main purpose of this study is to recognize and rediscover the ornaments and inscriptions of the Gonbad-e Sorkh. The mentioned study is in fact a qualitative research and using photographs of the actual monument, at first the building and its ornaments and decorations have been represented and described, then the data has been carefully analyzed. Collecting the data was accomplished through library studies and also all of the photographs have been taken from the original dome. The findings show that the most technical use of brickwork in this dome are the motifs and patterns known Golandaz (and various brick ornaments such as Ragchine Golandaz or Golchin) and Jenaghi, Girih tiles, Khefteh and Rasteh Kelookband and the Ragchin inscriptions of the building. In thıs building beside the molded bricks, Pishbor, engraved and stucco, turquoise and blue tiles are also used in its body. In other words, the integration of several types of materials in the decoration of the Gonbad-e Sorkh, such as the combination of "brick and tile" and "brick and plaster" in one role, has been from the other initiatives that have been used in this building. The writing and decorative system of the inscriptions of the Gonbad-e Sorkh has been executed in three ways without additional makeup and decoration, combined with geometric motifs and with geometric and Arabesque motifs. The making of Gereh (knot) is in two ways inside the frames and independent of the inscriptions and is divided by the continuation of the inscription letters. These inscriptions made of engraved bricks, along with plaster decorations are other forms of decorative features of this building.