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سال هجدهم شماره 102 (آذر 1400)

Between the 1970s to 1980s, the “Freezing Period” is one of the most prominent periods in Iran Darroudi's career. "Loss" is a recurring themes of the works of this period. This paper intendsed to shed light on an aspect of the latent content in these artworks using a psychological approach and theoretically expanding two concepts: "mourning" and "melancholia."

This paper gives a psychological interpretation of how “loss-related” forms and themes have been applied in Iran Darroudi's Third Period of artworks.

This paper is a descriptive-analytical investigation of form and theme in the artworks ofIran Darroudi in the Third Period, from the late '70s to '80s. The study used the library approach for data collection.

Darroudi's works in the "freezing period" present an interwoven embodiment of personal losses (the death of loved ones) and social-historical losses (lost glory of the homeland), and the artist has visualized her desire to preserve and immortalize the lost object in various forms. The image of "ruins" on an eternal horizon, the predominant element in Darroudi's works in this era, gives robust references to "homeland" and representation of "losing" it. The artist has tried to "immortalize" and "eternalize" the lost objects by freezing forms behind a curtain of ice. These representations involve streaks ofarchaism discourse remaining from the Pahlavi era as well as the effect of the death of loved ones, self-exile, and the imposed war with Iraq in the 1980s. The recurrence of the attachment between the concepts of "death," "ruins," "homeland," "eternalness," and "eternity" in the context of these artworks implies some sort of "melancholic mourning." In this regard, Darroudi's works in the Freezing Period can be interpreted as in line with the embodiment of a type of "aesthetics of loss".

Theosophical criticism has been developed from the Iranian thinker's and sages' opinions. There are scattered discussions and rules about art and the artist in the views of Iranian thinkers and philosophers. The theosophical criticism is criticizing artworks by these criteria; extracted rules and regulations from ancient Iranian mystical philosophical wise sources. The lack of written sources on art criticism using the views of Iranian sages and mystics highlights the need for this research. In this research, two questions have been answered: First, what is the concept of imitation of an artwork expressed from the real world based on theosophical criticism? How is the similarity of artwork with the eternal world expressed through the lens of theosophical criticism?

This study attempts to present Iranian scholars' views in art and art criticism on the issue of compatibility and similarity of work with the world. This article deals specifically with the similarities between a work of art and the universe (whether modeled on natural resources or the eternal universe.).

In terms of purpose, this study is a kind of basic theoretical research and in terms of nature, it is a qualitative study using content analysis.The method of data collection in this study is bibliographic. The sample of this study is the poetic works of Iranian mystics and sages, which belong to the post-Islamic period from the texts of the fifth to ninth centuries AH.Due to the multiplicity of mystical wise sources, five divans of poetic texts were selected as a sample through the purposive sampling method.

The results of the research have shown that the closer the work of art is to the source of nature or the more it is in harmony with the world of creation, the more beautiful, ideal, and better it is.The more an artist can align his work with the real world using the example of the universe, the more artistic he is.The artist must be a man of humor and imitation. He must have the power to draw and illustrate the real and strange world.

Absence of identity, lack of attachment to a place, and ignorance of history, nature, and climate, have created diverse problems for the architecture of different regions. A practical solution to improve the architectural condition is to study the vernacular architecture and the original architectural patterns in every region. The vernacular architecture reemphasizes the valuable architectural and cultural background of that region. In addition, the recognition and introduction of architectural patterns can resolve many cultural, social, and developmental needs in that region. Some places in the geographical area of Iran, despite their rich architectural background and valuable buildings, are less known and studied. Boroujerd city in Lorestan province is one of these areas.

This study aims to identify and categorize the physical-spatial factors used in vernacular buildings of the Sufian neighborhood in Boroujerd and to evaluate their impact on vernacular buildings.

A combination of two research methods was used in two steps in this study. In the first step, the descriptive-analytical method was used to understand the physical-spatial patterns. In the second step, the TOPSIS method was used to evaluate the recognized patterns. Moreover, bibliographic research using related documents and resources, field observations, and questionnaires were used as the research tools.

This study seeks to identify the spatial-physical patterns used in vernacular housing of the Sufian neighborhood. These patterns include spatial building components, decorations, building materials, and climatic features. Finally, using a questionnaire and TOPSIS method, it is determined that the most significant physical-spatial patterns in vernacular housing of the Sufian neighborhood in Boroujerd are the building materials and construction techniques.

The result of this study is the classification of physical-spatial patterns of constructions of buildings in Boroujerd city, which include spatial constituent elements, decorations used in native buildings, building materials of different parts of the building and effects A climate is created in the emergence of indigenous buildings in the Sufi neighborhood of Boroujerd, and finally the most important patterns are identified separately using the TOPSIS method.

There is a consensus in the history of art that Peter Bruegel’s works are allegorical reflecting contradictory semantic implications. Bruegel’s the Tower of Babel, while being a visual representation of the mythological-religious narrative of the painting, has multiple and contradictory readings. Jacques Derrida, one of the poststructuralist theorists, has analyzed this narrative using a deconstructive approach and in contrast with the philosophical tradition of the originality and unity of meaning.

Using Derrida’s poststructuralist approach, this study attempts to examine the different aspects of the Tower of Babel Bruegel in its historical context. To this purpose, we analyzed and interpreted the existing documents and sources using structural analysis.

This study aims to provide a polyphonic and fluid interpretation in line with the developments of contemporary criticism and aesthetics. By rejecting the definite meaning of the work, this research seeks to answer these questions: What is the relationship between the painting structure of the Tower of Babel and extra-textual factors? What semantic aspects do emerge in the deconstructive critique of the work? How does the interpretive reading of the work relate to the orientation of contemporary criticism?

By revealing multiple contradictions and layers of meaning, deconstructive critique of the work shows that painting is at the same time a metaphorical image of the failure, inability, and decline of the political power of the contemporary government in the time of the painter in the historical context. At the same time, it reflects a positive embodiment of the construction of a utopia developed by human activity and effort aligned with the cultural and social context of the work. By rejecting holistic and absolute interpretations, the polyphonic interpretation can be considered as a manifestation of the pluralistic nature of contemporary critical action in the field of art.

Traditional motifs as an integral element of traditional Iranian-Islamic architecture are spiritual, symbols benefiting from the principles of geometry and mathematics. with the Seljuk’s reign over Iran and resulted from their increasing attention to science, philosophy, and art. Undoubtedly, the scientific and philosophical discourse prevalent in each historical period affects other aspects of society, including culture and art such as the Islamic rationalist philosophy that culminated in Avicenna’s thought of the subject. He believes that “invention” has come up with “internal senses” or “faculties of the soul”, especially the faculty of reason. Therefore, the hidden aspect of rationalism can be deliberated in the process of creating traditional motifs.

The current article aims at analyzing and explaining the hidden aspects of rationalism in the process of creating geometric motifs in Seljuk architectural decorations; which will eventually lead to the explanation of a theory on the rational invention of geometric motifs based on Avicenna’s theories. Therefore, the current paper starts with posing the question of how the components of Avicenna’s rationalism can be explained in the process of creating geometric motifs in Seljuk tomb architecture.

This is basic research. Data were collected from library sources and observational documents. This is a descriptive-analytical essay. Thus, geometric motifs and knots have been deliberately selected in the decorations of the five Seljuk tombs.

The design and application of motifs in the architectural decorations of the Seljuk period, based on Avicenna’s theories, are an “innovation” type and “rationalistic” process. In other words, the interaction of the faculties of the soul is the guide for designing and creating geometric motifs from the stage of observing objects in nature, analyzing and combining them in the faculty of imagination, and organizing and creating designs and motifs in the faculties of reason. The rational feature of the images contributes to human knowledge and mutual understanding by the audience. Also, the unity and coherence of the components of the building have been maintained through motifs and designs, and the necessary rational planning, coordination, and organization have been done to achieve the desired perfection.

‘Place’ has been one of the most critical subjects of architecture, urban design, landscape architecture, and environmental design. However, most of the studies have been influenced by objective-subjective duality. Scholars have studied the place as a fixed issue separated from social structure and the place concept has been limited to the personal perceptual areas. These issues have led to a downward approach to place studies. In this regard, the place even has been reduced to a nostalgic space.

Recently and following the paradigm shift of social studies and philosophy, the reason for the creation and transformation of the place has been discussed. This qualitative research attempts to focus on the nature of place change through reproductive strategy. This article, using a retrospective approach, and with a descriptive-analytical method and qualitative content analysis, tries to categorize previous studies on the place in a qualitative study to address why the place is evolving.  And by taking a critical approach, examine the main (problematic) issues of these studies and then redefine the place.

Available studies on the place have usually addressed the quiddity of place, its perception, and the physical aspects, or the mental aspects of individual perception of the place. The current study examines the reasons “Why” place has been created and the manifestation of the social structures in place and studied the role of the social practice in creating place and explained the components of social practices. 

The place simultaneously has objective manifestation, physical dimension, and social-economic process. In addition to the three mentioned aspects that usually are considered for the place by positivists (Form, function, meaning), the place also has three other aspects that could reveal social structure: difference, convergence, frequency. Through these components, the place would reflect social practices. Through difference, the place results in social interactions and contributes to vitality and improvement of the collective identity. By convergence, the place receives its value, and various groups get together regarding one specific event and goal rather than isolation and being away from the center, and create the place centrality. Through frequency, time could emerge in places.

Under the influence of  Imam Reza (AS) holy shrine, the Waqf institution has played a serious role in the spatial organization of Mashhad in different periods, especially in the Safavid era, but this issue has been less studied due to the difficulty in representing the urban spatial organization of previous eras.

The present study intends to explain the effects of the Waqf socio-economic institution on the spatial organization of the city by representing the urban spatial organization in the Safavid era and examining the endowments of Mashhad in this period.

First the map of Mashhad urban spatial organization in the Safavid era was drawn based on maps, documents, and historical books, and in the next step, by examining historical sources and endowment letters, 45 identifiable endowed properties were located in the map and finally the location of these endowed properties in the relationship with the urban spatial organization were analyzed.

The result shows that the most important endowment-based change of the city of Mashhad in the Safavid era is the construction of the main street called “Chaharbagh (Khyaban)”, “Atiq Square” and two gates of Bala Khyaban and Paeen Khyaban. Urban spatial organization, including urban spaces, the arterial network of the main city, centers of activity, urban landscape and landmarks, natural organs, socio-cultural structure, and political-security structure, has been seriously transformed by endowment-based changes. Endowment-base changes while maintaining the organic connection with the old structure, changing the north-south structure of the city to the east-west direction structure. It organizes the centers of activity and the key elements of the urban and metropolitan scale, such as educational, religious, Sanitary, accommodational, and commercial land uses (which have been mainly endowed) in this axis. This has facilitated access to the holy shrine to the two gates and Arg-e shahi, making the two unique visual corridors and creating four significant landmarks.

The Zayandehrood River as the most important ecological factor in Isfahan plain, is the main factor in maintaining habitat and regulating of the region’s ecosystem. In recent years, due to different reasons, the Zayandehrood has faced some issues include climate change, drought, traditional view on dam construction, population increase, using the age-old farming method, water-based industries, excessive water withdrawal, integrated management segregation and unprofessional and illegal resolutions, dehydration and dried-up crisis. These issues have caused intermittent interruption of river water flow in the Isfahan city, and consequently, deficiencies in the cultural, social, economic and tourism dimensions of the city.

The research is based on the theoretical origin of landscape architecture discipline and adopts a systematic view of natural phenomena, considers the most important issue regarding the Zayandehood River crisis in Isfahan in the separation of its constituent components as a result of the lack of a systematic and holistic view in its analysis and management. Therefore, the main strategy to solve this issue is the overview of the river as an integrated system, continuous understanding of ecological issues, and analyze the impact of society on the perception of an urban river.

This is a case study based on library resources, field observations, visual documents, and the adaptation of “understanding and analysis of the urban river as an integrated social-ecological system” theory as research method deals with understanding the subsystems, discovering its internal relations, conditions, pressure and flow rate of water in accordance with the situation of the Zayandehrood river.

The result of this study shows that the inconsistency between pressure and internal flows in ecological and social subsystems in this structure unbalance this complex, and its adaptability and self-organization properties have been disrupted. The issue should be noticed by recovering the neglected relationships between key social components (values, people, and government) and the lost relationships between ecosystem conditions and processes and the role of social infrastructure in massive decisions, also by implementing multilevel programs, timely and strategically return this balance to the system.