نشریه بنیان های حکمی - فلسفی هنر ایرانی
پیاپی 1 (پاییز 1401)

Architecture, beyond the technological matter, means the totality of human presence in the world; Therefore, the sacred as the most basic feature of human presence in the world has an essential relation with architecture. This relationship is established, on the one hand, with the temple and on the other hand, with religious prayers and rituals. Iranian architecture is one of the most valuable examples of indigenous architecture that has unique features, including semantic, mystical and conceptual features such as the sacredness. Throughout history, religious buildings, especially the tombs of imams and great men of science, have taken different forms and it seems that differences in the way of manifesting attributes and concepts have caused physical differences in them. This difference is crystallized not only in the physical features of architecture in general but also in details such as decorations. Because tombs have been used as shrines in Islamic lands and for this reason, they have been considered in terms of art. Architects have also sought to create a sacred place throughout history and have used the realm of meaning to achieve this. The most obvious semantic and essential manifestation of man can be explored in sacred art. In general, sacred art is summarized in meaning, which has emerged in the body of architecture. Sacred art is a reflection of the spiritual world, and this view emphasizes that sacred architecture is not just a place for human habitation and physical need, but also causes human growth and excellence in human space. This research intends to review the manifestation of the holy order in the tomb of Imam Reza (AS), the eighth Imam of the Shiites. The purpose of this study is to investigate the place of the sacredness in architecture as a visual art and to find the ideas formed in the body of the building. This study is qualitative and of argumentative and analytical type, so that the architecture of the tomb is examined theoretically based on the principles of the sacredness and based on logical reasoning. In this research, first the concept of the sacred matter has been studied and then according to the subject of place (the holy court of Imam Reza (AS)), the concepts of the sacred matter have been evaluated and reviewed. According to the findings of the studies done so far, the analyses show that Islamic architecture has used the sacred in terms of form and meaning, so that concepts such as signs and symbols, the originality of the tomb in organizing the spaces of the tomb, the location of the tomb in the space inside, the use of luxurious and richly decorated materials and the existence of a spatial hierarchy to reach the shrine (providing various spaces for the mental and spiritual preparation of the pilgrim, taking the pilgrim by various spaces and compassion and kindness with him, approaching the stage step by step to the beloved and perfect human being, attention and in essence, placing a perfect human being, instilling the feeling of meeting an important person (who has emerged in the holy shrine of Imam Reza (AS).

In the historical architectural research, in addition to building, there are many complementary data that are effective in understanding the cultural and social mechanisms of historical periods. Written texts are among the data that provide clear information on this subject. This article examines the notions of legitimacy and authority in Safavid remaining architectural texts to trace the role of Safavid ideology in the dynasty’s transformation from a Sufi order into a powerful Shiite monarchy. This article has a qualitative approach and the technique of collecting data was to review documents and observation. For this purpose, the texts have been examined in two formats from the beginning to the end of Shah Abbas I's reign. In the first part, the remaining texts of the court writers about the works of architecture, and in the second part, the text of the inscriptions in the buildings of this era have been considered. This study shows that these texts acted as a propaganda media at that time, and the sources of the Safavid legitimacy, that is, emphasizing on religious basis, hierarchical view to the cosmic system, and the attempt to increase the awe of the kings, were emphasized there.

Titus Burckhardt, on the basis of philosophia perennis, proposes a model for reading Islamic art which helps understanding it without violating its fundamental rules. Its point of departure is an understanding of inadequacy of modern methods in the reading of traditional cultures. Models that are unable to show and bear the spiritual foundations of the traditional world. In this regard, he shows how architecture , like other traditional arts, is able to analyze and show the mental horizons and the world of the traditional human being. An architecture in Islamic world is a complete reflection of Islamic culture, since Muslim architect breathes in an atmosphere full of Islamic theosophy and the taste of his audience is also shaped in this atmosphere.The characteristics of Muslim architect’s faith , which was formed and nurtured in this space, are undistinguishable part of Islamic architecture tradition; and these characteristics give unity and meaning to the whole of Islamic architecture in the first place. He mixes his skills with faith and sacred knowledge and sees his work as a way to materialize God's will on earth. This approach transcends simultaneously creator and constructed and removes profane aspect.

Studying the valuable architectural patterns of the past as the cultural identity of each society and its modernization using new technologies is a matter that in every period is one of the cultural priorities and necessities of each society. On the other hand, due to the rich foundations of Iranian-Islamic architecture, it is necessary to make a thoughtful return to housing architecture as one of the most important forms of social organization of space and use its main features and elements to create a new way of residential architecture along with new technology and requirements of the day. This descriptive-analytical study with case model strategy and using space syntax plugin and plan production graph tries to describe the mathematical relationships governing space in concepts such as spatial depth, control value, choice value, integrity and entropy, by evaluating and analyzing the relationship between space companionship to discover concepts that can play a role in today's architecture. The results indicate that although there is a structural difference between past and contemporary patterns in space massing, it is possible to express a pattern in contemporary language by based on the values mentioned and maintaining the position and relationships between different spaces in the graph.

The first attack of the Mongols on Iran in around 616-619 AH caused a lot of destruction in the Trans-Nahr and Khorasan regions, and these bloody and brutal attacks caused the destruction and destruction of many cities and regions of Iran. The attacked areas' social, economic, and political structure was destroyed and caused widespread disturbances. After the establishment of Halaku and the establishment of patriarchal rule in Iran, a period was opened in Iranian art in which the influences of Far Eastern art can be clearly seen. The Great Ilkhani Shahnameh is one of the artistic achievements of the period of the Mughal patriarchs during the time of Abu Saeed Bahadur Khan Mughal. In this Shahnameh, the distinct artistic features of the Mughal period flourished and came to fruition, and it recounts the special features of this period well. In this Shahnameh, factors such as political and social influences are well seen, and the expression of these influences in the paintings of this Shahnameh, by showing political and social scenes, expressed the position of the Ilkhans during their reign. In the meantime, dealing with the story of Alexander is often seen in this edition, and twelve pictures deal with the subject of Alexander in different situations. The main question of this research is: What is the goal of the Mongols in portraying Alexander in the Shahnameh and what is the reason for the presence of the Mongol rulers in Alexander's delegation?Based on the research on the subjects of these paintings, we come to the conclusion that by placing themselves in Alexander's delegation, the Mongols intended to create identity in the minds of Iranians.so that the faces of kings like Alexander and the kings of ancient Iran help their acceptance and popularity. This descriptive-analytical research has been done by the library method.

Rozbehan Baghli (died 606 AH), known as Sheikh Shatah, is a famous Sufi. His name shines so brightly in Persian Romantic Sufism that no one can deny it. One of his most important works, which is also considered valuable from a literary point of view, is Abhar al-Ashqin. This book includes chapters related to love and romance and the quality of this great state in Sufism, which is the foundation and principle of this spiritual school. In this book, Roozbahan has discussed topics such as love and the lover, the quality of communication and the unity of this secret, the commitment of the beauty of love and the inseparability of these two unseen beauties from each other, the stability of existence over love and the superiority of human beauty. This wonderful discussion, which is mixed with the most expressive Persian phrases, the most eloquent poems and the most beautiful pictures and similes, is very charming and attractive because Rozbahan's mystic state, which according to his own words has an occult source and a spiritual source, with his special ecstasy, taste and charm, has shed such a light on the expressions of the book that if we say that most of his expressions are alive and dancing, we are not wrong. What helps to bring life to most of the book's expressions is the author's use of rehetoric and especially simile. Similes is everywhere in this book and decorate most of the pages of this work. In this article, types of similes in this book are examined and a general analysis regarding the mystical and literary language of Rozbahan is presented.

After moving Armenians to Isfahan, Shah Abbas I ordered to build churches for them so that they would adhere to the urban life in Isfahan. These churches, which were initially formed with the help of Iranian architects, had an Iranian taste. Most of the researchers who have written about the churches of Isfahan's New Jolfa have relied on the fact that the architecture of Isfahan's churches is Iranian. The main goal of this article is to compare the paintings of Imamzadehs and churches in Isfahan, remained from late Qajar era, in terms of theme, structure, image and relationship with the environment. The research question is “what effect did the painting of churches have on the wall paintings of Imamzadehs in the late Qajar era?” This study is library and field-based to collect the data, descriptive-analytical and comparative in terms of methodology. It attempts to find the similarities and differences of the tone and shape of the wall paintings of the churches and imamzadehs of Isfahan as one of the manifestations of sacred art in terms of concept and expression according to the characteristics related to their roles. The findings of the research show that the subject of Imamzadeh's paintings are pictorial narratives of the favorite themes of Iranian Shia people. The blessed images of the Prophet Muhammad, the Imams, the visual narration of the Ashura incident, are all clear examples of the interests and beliefs of every Muslim who enters a place like Imamzadeh. The subject of the paintings on the walls of the New Jolfa churches in Isfahan is generally the sufferings of Christ and his relatives and other religious traditions mixed with people's beliefs. In the imamzadehs of Isfahan, the religious stories and sufferings of the imams have been depicted mixed with folk beliefs, and the composition, colors and icons have been influenced by the churches. The execution of painting and the work materials of the painters have been almost common in both. Despite the similarities, the painting of churches has been a state art in a sense, but none of the creators of imamzadeh wall paintings were related to the ruling class, and this issue is very influential in the execution and richness of the work.