هشت بهشت

Flowers and birds have an ancient history and in Iranian beliefs reach the tree of life or the tree of all seeds on which Simorghi is the guardian. During the Timurid period, attention was paid to tashir, including the companionship of Khatai flocks with birds that had a natural aspect. In this field, before the Safavid period, there are no significant murals. The aim is to visually study the symbolic themes of flower and bird paintings on a case-by-case basis in the murals of the Safavid palaces of Qazvin and Isfahan (chehelsotoun), Hasht Behesht and Rakibkhaneh tower in Isfahan and the Qajar extensions in them. The paintings on the walls of these palaces are decorated with paintings from the battle of the kings to the feasts and battles of lovers and flowers and birds.The findings show that the flower and birds paintings of the mentioned palaces have been visually and thoughtfully engraved on the walls and their visual composition has been studied in five categories: Golshan or Yaleh, flowers and vases, Golboteh, Khatai and birds, Afshan and Flowers and angels. The flower and the bird can be considered as an abstract form of the tree of life before Islam and the Touba tree after Islam, which, although it has undergone changes in form and appearance, still retains its original pattern. Painters interpreted mystical stories in Iranian literature for kings who considered themselves the heirs of the religion and the guardians of Islam, using their imagination to create a second paradise. One of the main reasons for the presence of Qajar rulers in Safavid palaces and subsequent Qajar additions in the architectural decorations of these palaces was that the early Qajar kings showed themselves as heirs to the Safavid right. In the study of flowers and birds in the murals of palaces, although in terms of execution technique, the composition and symmetry are different, but both emphasize a religious theme. The choice of the role of the cypress tree to the flowering plant is a sign of the importance of the solitary bird, and the depiction of the rose plant for the bird's nest shows the importance of the bird and the rose and their literary conceptual relationship. In the paintings of flowers and birds studied in the Safavid period, the location of the flowers is outside the axis of symmetry, the bird is identifiable and its location is on a tree or branch of a flower; But in the Qajar extensions, most of the flower plants are centered on the symmetry of the effect, the bird is not recognizable, the bird's location is above the rose or centipede. The flowers of Isfahan's Chehelston Palace match the flowers of Hasht Behesht Palace, and the flowers and birds of Rakib Khaneh match the flowers and birds of Hasht Behesht Palace.

The Pavilion can be outlined among the most important architectural identity elements in Persian gardens. Usually these structures were built in the middle of the garden and at the confluence of two longitudinal and transverse axes in such a way that it could be seen from four sides to maximize the geometrical composition of the Persian four-garden. Although relatively different reasons for the formation and structural categorization of these architectural spaces can be seen in Persian gardens. Nine-part divisions in Iranian pavilion are of an extensive use. This type of architecture is the result of the fusion of three basic requests in architecture: Attention to beauty, function and stability. Thus, the right mix of volumes, adds to their beauty. The existence of hierarchy to achieve empowerment for the palace’s performance and also the inhibition of central thrust loads, have made significant contributions to the sustainability of these Persian environments. On the other hand, this plan has strengthened the permanent request of centralization in four-part buildings, adorned Persian gardens from the Achaemenids period so far in two major forms of introvert and extravert. In this article firstly the need for such spaces in the existence of hierarchies and response to promotional aspects of palaces is demanded. Another question is that, in the same condition and in the heart of the Persian garden, why is this map implemented sometimes completely closed (Châhâr-Sofe), at times a combination of closed and semi-open spaces (Hasht-Behesht) and in rare cases like the central building of Qajar palace in Tehran, completely semi-open (Canopies)? The results of this study show that the existence of four homogeneous facades that open to the axis of the charbâgh, empowered the architectural mass over the mass of landscape and helped their coalescence and spatial fusion and in general, the hierarchical architecture in the heart of a four-garden structure would not have a better answer than a nine part space. Also it seems that, on one hand, a climatic-seasonal usage and on the other, paying attention to the bio-ritual and occasionally ceremonial functions, in order to meet the demands of the governments, are among the main reasons for these changes.

otifs differences and similarities indicate artistic and historical characteristics of different art schools. Special principles had been employed for artistic works at each historical era which indicate the art school qualities. Wall painting widely boomed, in Isfahan School, due to necessity of palaces, public and private monuments arrangement. Hence wall painting changed to an indispensable part of architecture.
It sould be considered that Aligapoo, Chehel Sotoon and Hasht Behesht were constructed at the same historical era. Present study tries to examine arabesque designs of these three palaces to play a role in clarifying and deepening theoretical issues related to Isfahan School. According to what was mentioned earlier using comparative-analytical research method, present investigation tries to divide and compare arabesque motifs according to this motif development and special characteristics in all three palaces. Moreover present investigation tries to answer the question that: do identified arabesques in these three palaces inscribed in the same form. And in what palace they have been formed in exclusive form and what changes have occurred to the nature of these motifs and What was the influences of time on the designs?
Results obtained from Field researches, and their analysis from design, color and internal construction of arabesques analysis indicate that, the existence of such motifs has been diminished in Aligapoo, Chehel Sotoon and Hasht Behesht palaces, respectively and the more we go away from start date of this school the less arabesque motifs have been used by artists, tending toward Khatayi designs. To replace the span and abundance and diversity of the arabesque design in the House Alighapoo well- known and rarely seen in heaven, Hasht Behesht palace.