مجله هنر و تمدن شرق
پیاپی 39 (بهار 1402)

This study analyzes the constituent layers and effective factors in the construction of permanent buildings, as well as how to evaluate and classify the types of signs and semiotic and semantic views in, to emulate the original Iranian architecture. A comparative content analysis and a semiotic and semantics approach were used to analyze the data gathered through library and field studies. Different levels of semiotics and the views of theorists in this field were studied, and then a comparative study of the two museums was carried out and the similarities and differences between the basic components of these two buildings were studied. Then, with the initial coding and categorization, while analyzing the concepts, explicit meanings, implicit meanings, and symbolic meanings were extracted. The research findings show that museums are composed of different layers that are in unity and integration with each other and meanings and concepts through five layers with the titles of construction layer, environment, access, physical-functional layer, and landscape. The study shows that the legibility of the architecture of museums is achieved by paying attention to the layers of its structure and making sense of the design according to those layers. The designers of the museums under study have tried to pay attention to the levels and layers that make up museums while paying attention to the desired functional aspects. Reflect the aesthetic concepts of Iranian architecture while paying attention to the needs of users, recreating the concepts of Iranian architecture.

Representation of the image of women in Afghan painting is a subject worthy of attention due to the fundamental and ongoing changes in the type of political governments and the diversity of views on women’s issues, as well as the dominance of patriarchy and the limitations that exist about the sanctity of the image of women in religious governments. Also, considering the wide presence of women in the field of painting, both as painters and as subjects of paintings, after Karzai came to power, it became more necessary to investigate and analyze the representation of women in paintings. The current research aims to investigate and analyze the visual representations of women in the works of art created during the administration of Hamid Karzai in Afghanistan, to classify them. The question is how the images of women were represented in paintings during this period. This is a qualitative studying employing a descriptive-analytical method, using library resources and existing archives. The sampling technique was non-random and purposeful. The samples were selected from the works created during this period. Therefore the images of a woman have been in form of portraits and self-portraits, a woman’s body. The images represent women in everyday life. A woman’s image has been a sign of peace, resilience, and motherland and represents the women’s issues in Afghanistan through the combination of traditional and modern paintings. The painters’ stylistic forms of representation of women in paintings are realism, symbolism, and expressionism, with different common themes before and after the Karzai period. The works of the Karzai era in the representation of women are mostly critical and protesting, revealing the extent of women’s suffering and oppression. What is important in the representation of women in this country’s contemporary art is respect and adoration for their position.

A goat is one of the most influential animals in human culture, and it has been given particular and distinct characteristics in different parts of the world. In Iranian motifs, this animal is represented as “intelligence, astuteness, the protector of the earth and the tree of life, and is associated with water, the moon, and femininity.” By highlighting the noteworthiness of the goat’s role and images as well as its relationship with both water and the tree of life, this article attempts to introduce and analyze the myth of the goat in Iran and the world through linguistics, describes the roots and genealogy of the myth. Also, this research investigated and traced the words šahāz in Lori meaning “a goat leading the herd”, ožka in Lithuanian and այծ in Armenian, meaning “goat”, in the aforementioned motifs. The primary purpose of the research is to determine the modality of the process of concocting the sign of the goat as a symbol of water and guardian of the tree of life accomplished.The analytical research method commensurate with linguistics was used to explore the links between the roots of the goat words and the myths of the world. Additionally, the frequent appearance of this animal in artistic motifs has been studied.In keeping with the findings of this scrutiny, it has been demonstrated that mythological symbols in mankind originate from straightforward and non-abstract signifiers that in goats encompassing “leaping, fighting, smelling, chewing”.

In contemporary times, many artworks from the Qajar era are being regenerated in various art fields, including carpet weaving. The carpet of Mashahir (the figure of famous people) woven in the Milani factory is another example of artwork from the Qajar era, which was designed and woven again by Mousavi Sirat after the Islamic Revolution of Iran. Considering the changes in the reproduction of the carpet and pointing to the research objectives, which deal with the differences between the two carpets according to the common signs and discourse of each time, this study aims to: 1. address the possible differences and similarities between these two carpets, and 2. evaluate the influence of different signs and textures in these carpets on the interpretation of the carpet in two different discourses. This study is a descriptive-analytical and comparative research method based on library data. The research findings indicate that the signs and symbols used in the carpet of the Milani factory represent the identity of individuals, and they are considered the main elements of the artwork rather than merely decoration items. In the contemporary era, it is difficult to identify famous figures if these symbols are removed or replaced. Given that the carpet of the Milani factory was created with respect to political-cultural considerations, the identification of each figure in the carpet is of great importance. In addition, to accurately represent the physical characteristics of people, some symbols have been used to introduce them better. In the contemporary carpet, it seems that according to the discourse of neo-Qajarism, the aim of weaving the second work was to regenerate merely a work of the Qajar era, as targeting the identity of the individuals was not very significant.

The native architecture of the village is a rare story of connection with nature and landscape, which, while giving identity and integration with the environment, has turned biological crises into the dynamics of life. The energy crisis and the need to use renewable solar energy in cold and mountainous villages is the basis for the recognition of a word called "sunlit space". The sunlit space is an open space or a semi-open space that can be effective in creating a favorable microclimate. The purpose of this research, while introducing this space, is to know the patterns of the sunlit space and introduce its dominant specie in the mountainous villages of Shemiranat, and the main question of the research is what is the typology of the sunlit space in the mountainous villages and What are the effective characteristics of the dominant specie in creating a favorable microclimate?This research has been conducted using a qualitative method and based on library studies and a wide range of field researches. based on certain criteria, 10 villages were selected and about 40 houses were visited. In order to answer the problem, while collecting and preparing complete documents from each house, qualitative conversations and interviews with residents have also been conducted. According to the results of this research, there are 4 different types of sunlit spaces in the surveyed villages Which The dominant type of sunlit space, in mountainous and cold villages , is the court and area that faces the south front, is on the second floor and above the ground level, and is located on the space of the stable and warehouse. Paying attention to the sunlit spaces in the houses of the mountainous villages, although it is focused on the native architecture and the past; But paying attention to solar energy is not limited by time And the mutual and inevitable connection of the native houses and new constructions represent this fact that to maintain the kinship between structures and reduce energy consumption, it is vital and valuable to reflect on local patterns and create a link in the form of new architecture for the villages.

The importance of the “beautiful” goes even before the 5th century BC, when Plato suggests a difference between rational and logical facts, Noêta and the good, the sensitive, and the perceptible fact, Aisthèta. This phenomenon, which already existed among philosophers well before the appearance of its scientific definitions and of which societies had an intuitive perception, affected academic discourse through the course of the centuries and the experience of the various evolutions of societies: “the Science of the Sensitive”, definition proposed in the middle of the 17th century by Alexander Gottlieb Baumgarten. The apprehension and understanding of the “beautiful”, therefore, began to evolve, and far from being limited to the discourse of art and concerning the subjective dimensions, this phenomenon reached an objective and pragmatic dimension. A concrete example of this mutation in urban literature would be the appearance of the expression “Urban Aesthetics”. Since the appearance of Roman cities and ancient Greece, societies have been familiar with aesthetically driven urban interventions or urban interventions with aesthetic aims. Measures such as the decoration of urban facades with a variety of patterns, the creation of framed visual perspectives, and the embellishment of urban public spaces with vegetation contribute to the aestheticization of cities. Urban management, using objective and sensitive tools on the one hand and relying on subjective and mental capacities on the other, seeks to achieve aesthetic goals in the urban context. However, what remains to be discussed is that in addressing this issue, urban management in Tehran has failed to recognize aesthetic capacities, potential, and needs. As a result, rather than being aligned with aesthetics, such methods seem to have confronted it.