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سال نهم شماره 21 (تابستان 1391)

Today، the word “pattern” has a wide application in Persian and each academic discipline has presented their own interpretation of it based on their specific requirements. The general meaning of pattern is synonymous to words like “example” and “model”. However، the truth is that the meanings of “pattern” as well as the meanings of its synonyms are more precise and profound than the general meaning of the word. The exact meaning of the word “pattern” and the concepts related to it are particularly important in architecture. This is because creating the desired quality in the architectural space – which is an important missions of all architects and researchers in this field – requires taking into consideration the concepts and methods which are based on human experience and the achievements that have been inherited from the previous generation. Therefore، the current article tries to study the meaning of pattern in comparison to its related concepts – which at times share certain similarities – and distinguish its role as compared to other concepts in the area of architecture. Hypothesis: Among concepts which are based on prior experience and presuppositions of mankind، only pattern can be used as a generative tool to present an authentic and non-repetitive representation of the qualities of life within the framework of architectural space. Other concepts in the same connection are either a recycled notion that existed in the past or lack the capability to create any form of space. Also، certain similar concepts are manifested in extra-material fields not in the architectural space. To prove the above hypothesis، the researchers have first tried to present a definition of pattern. This definition which is based on other articles by the researchers portrays pattern as an abstract and general issue and not a material and individual concept. Accordingly، pattern is responsible for creating order and building connections between the elements of the architecture space، just like computer software. This is meant to satisfy the basic needs of human kind. This definition is based on a holistic and systematic attitude toward the issue of architecture and believes that patterns are nothing but the result of human experience and is a tool to produce the form and space for architecture. Next، the definitions that have been provided by different scholars in the field of architecture about issues relating to the concept of pattern are presented. Then، the relation between those definitions is brought into the spotlight. These concepts include: Sophia Perennis، Schema، Archetype، Generic Solution، Typology، Paradigm، Prototype، Model and Symbol. A study over the above concepts and their comparison to the concept of pattern clearly shows that there are strong similarities between pattern and different other concepts in the architecture space. However، as explained before، it is only the pattern which can present the ideas of the previous generation through various artistic assets and without reliance on the experience of the previous generation. This is because: • Unlike symbol، pattern is not a complete and flawless product in a way that the subsequent products would be like it in appearance and at the level of surface. Rather، pattern is like a precise software which is certain to produce different products if the conditions in the environment change. • Just like model، pattern is not used only to interpret realities and make them understandable. Rather، apart from these، pattern generates realities. • The products of pattern can be recognized and used in the architectural space. This is while the manifestations of concepts like Paradigm، Schema and Archetype can be recognized in extra-material fields including the domain of thoughts، traditions، rituals and behaviors of mankind. In fact، they provide the ground for the formation of architectural patterns. • Species and the knowledge of knowing species are the only way to categorize and better understand the realities of the environment and can only be used to interpret and understand patterns. Nevertheless، knowing species lacks the capability to be used in turning concepts into representations and realities like patter.

The relation between philosophy and other disciplines is a prime area of concern to many scholars. In today's circumstances, philosophy as a knowledge that deals with matters of interpretation needs to have a stronger role beyond its primary principles and should lead to real changes in the society. In fact, determining the relation between philosophy and urban management has been one of the primary goals of the current research. The emergence of the phenomenon of urbanization and its consequences has provoked the attention of scholars from different disciplines. What is strongly felt about when studying this phenomenon is the role of researchers in the field of Islamic culture such as Farabi who have conducted historical researches about the concept of city and society. In fact, Islamic philosophers had a key role in providing definitions about the concept of city and its problems since ancient times. Among these scholars, Farabi’s who is also known as “The Second Teacher” has been frequently cited in related researches on urbanization and citizen’s affairs.The purpose of this study is to study Farabi’s planning talent for urban issues and especially those which involve the participation of citizens.The research method used in this study based on an analytical-descriptive study of the documents and library resources. At first, the researcher looked into Farabis’ views by using the available library and document resources. Then, the relation between these ideas and issues related to urban science is discussed through an analytical method.Results showed that the views expressed by Farabi had a great affinity and similarity with the contemporary views of modern scholars. In other words, it was realized by means of the current research that Farabi was a community–oriented and city-oriented person which had special foresight in relation to urban knowledge.His views are so close to public participation which can be one of the best important issues in human- oriented planning. These results make the role of philosophy between human disciplines especially in urban disciplines more applicable.In today's world, urbanization and city, issues related to utopia are related with sustainable urban development. One of the principles of sustainable urban development is the promotion of social justice in a way that limited resources should be divided equally between the people and civil rights of individuals are followed. This is what the current research realized about Farabi.The results of studies over the ideas of this great scholar indicate that he possessed supreme senses such as perfectionism, pluralism, philanthropy and concerns about humanistic values such as justice, cooperation, participation and teaching. The principles that Farabi has highlighted as necessary for the promotion of societies, the progress of citizens and the stability of civic societies are in fact the same mechanisms required for achieving the utopia which mankind is still looking for. Interestingly, about 1000 years ago, Farabi perfectly nourished this in his mind and presented it as a precious gift to humanity. Although many scholars believe that Farabi’s utopia is presented in an abstract and imaginative method, it seems that his views can be used as a model city for a utopia that would have the required characteristics.Finally, the interaction between science, philosophy and urban scholars will release them from their passive fence and will give them a more prominent role in affairs that requires cooperation of all related fields.

The new era is faced with the daily growth of new data in different fields. The processes of industrialization, globalization and networking have evolved all societies and cultures. These developments contain matters such as global economy, communication revolution, environmental issues, restoration of local cultures and globalization of science and technology. Moreover, the daily life in various aspects such as cultural, scientific-technological, economical, legal, political and security have been affected. In a more limited scale, only with the interpretation of technical developments, people’s minds are engaged with many challenges. The introduction of new technologies and the creation of a technological society are proposed challenges and pluralism in the field of political, economical, cultural and social and the most important of them is cultural crisis. This is because in comparison with elements such as land, race, ethnicity and so on, culture is considered as the most important element in defining identity. On the other hand, the arrival of new technologies to the regions with a rich identity and history in art and architecture are sometimes seen in contrast with the technological aspects. This already adds to the challenges because in most of these societies, like Iran, the necessary infrastructures are not provided in face of globalization. In the new millennium, the new world is being built and architecture is the most social art that can cause the persistence of time to develop a civilization with spatial coherence.Architecture, due to its direct contact with human life, plays an important role in deepening and weakening of culture and identity in the face of globalization. Contemporary architecture of Iran requires new solutions. This is due to the ever-changing needs of community and people in terms of physical, socio-cultural, economical and political issues. All of these, besides the review of relation between modern technologies and the rich architectural history of Iran, make the development of new architectural language in this era more complex and problematic. The main question of this research and the ultimate goal is to find out whether it can be possible to define some criteria for the application of new technologies, in order to enhance the spatial qualities of contemporary architecture with maintaining the basic identity of Iranian Islamic Architecture.In the first stage, this paper tries develops a theoretical framework and a methodology for conducting the research. This is done by adopting a holistic overview and considering various ideas used in important architectural projects in Iran and other countries according to the main aims of this research. Secondly, by examining the relationship between architecture and technology, the Islamic concepts and theories are evaluated. Furthermore, the basic principles of Islamic architecture in the Iranian traditional buildings are analyzed in order to get the factors to obtain the main factors of desirability in these buildings and their application in contemporary architecture. In the next step, 14 cases of successful and famous examples of built architecture, implemented in different sites, are selected and the hypothesis of the research is examined qualitatively by the consideration of these examples. A number of questionnaires are also prepared questioning the selected case-studies and the main objectives of the research. Main experts in the area of research are also interviewed in order to examine the hypothesis of the research. Based on the results, the main criteria – both qualitative and quantitative – will be evaluated and a paradigm for the implementation of innovative technologies in contemporary architecture will be proposed. It is generally believed that the correct way for improving today’s architecture in Iran is not to give up and not to complain, but to be a good actor in order to find the most suitable alternative for each architectural project. Considering Iran’s ancient and invaluable culture, the preservation of native and national culture and identity is one of the main necessities of our architectural mission. This research is intended to come to a solution that not only consider and maintain the beauty of Iranian architecture during the history and consider environmental, socio-cultural and economical features of Iran, but also identifies those aspects of the knowledge of architecture and the best technology to improve the Persian architecture. Therefore, the approach of this research is called a “global-native” solution for contemporary architecture of Iran. According to the results of this study, the utilization of innovative technologies by considering the main features of Iranian architecture is a must for contemporary architecture. None of them are supposed to be considered separately. This is because neglecting each of them may ruin both architectural identity and previous innovative technologies of Iranian architecture as can be seen in Persepolis as well as many other ancient buildings in Iran. This research also suggests that in the implementation of foreign construction technologies and materials in Iranian buildings, climatic and socio-cultural value of each part of Iran must be carefully considered. By considering all of these factors, it is believed that the high degree of desirability can be obtained in today’s architecture.

Complex situations of today’s life have led to the complexity of urban issues and changed meanings of many urban places. Public realms are transformed to ways for connections between private spaces. A significant emphasis on speed، technology and time encourages men to move swiftly between private spaces. Enhancing the quality of urban life and social life in urban spaces are prominent challenges in designing of urban field and many comments are posed based on situations and different experiences in this field of research. The creation of responsible and sociable places requires the application of behavioral and social sciences and general analysis of environmental qualities. A great deal researches have been carried out that address the importance of social aspects of urban places only based on qualitative concepts of urban design. The current research tries to establish a logical relationship between environmental qualities and social aspects of urban places through a systematic procedure. To do that، the research tries to keep the qualitative concepts of urban life and urban design in mind. The case study for the research is Jolfa district in Isfahan. Jolfa is a part of historical fabric of Isfahan city where in some of its sections are highly commuted due to its connections with the main structure of the city. However، the rest of it lacks the above-mentioned advantages. Therefore، there are no active social life and interaction in a satisfactory level in that neighborhood. Based on the final goal of this research، the social capital as a prominent aspect of social dimensions and on the other hand، environmental qualities should be assessed in the selected district. Social capital is one of the main factors discussed in sociology and social sciences. It has recently been though as a conceptual tool in urban design field. The current study tries to find a logical relationship between the level of social capital and urban qualities in order to offer an urban approach of social capital and apply it as a functional tool in urban design. This is done by taking into account that improving of urban qualities and their sub-qualities are the main strategies to promote the social life of the city. For evaluating the level of social capital in the selected district، carefully designed questionnaires were prepared which are based on the statistical indicators and were distributed among a certain number of people in the neighborhood (334 people in this study calculated based on Cochran relation). This is done after picking initial questionnaires and reviewing them in terms of clarity and straightforwardness and the capability of questions to convey the desired concept. The analysis of the results obtained from these questionnaires was used to review the level of social capital in social nodes and paths connecting them in the studied district. After calculating the level of social capital، urban qualities should be investigated in the selected social nodes and paths between them. In this research، the main focus was on those qualities which are in close relation with space users’ behavioral needs. Other issues that were taken into consideration were creating sociable urban spaces، improving social capital، and enhancing social interactions in urban fabrics. Walkability، security، safety، sociability، permeability، and sense of richness are environmental qualities which focused in this paper. For each of mentioned qualities، based on review of literature، several sub-qualities are identified and a method is selected for each of sub-qualities for assessment in the selected district. Methods like evaluating the collected questionnaires، field observation، analysis of the maps of the district، and interview were also used in the current research. Since this research tries to find logical relationship between the level of environmental qualities and social capital، the researchers tried to qualify the selected environmental qualities and rephrase them in the shape of digits. In other words، the quantified scales for analyzing the sub-qualities were defined. In order to better compute the ultimate results and achieve the research goal، the technique of Analytical Hierarchy Process (AHP) was applied. Because of simplicity، flexibility، and simultaneous application of qualitative and quantitative criteria، AHP has been extensively utilized in urban planning and design issues. In the current research، AHP technique is applied in two stages. In the first stage، the weight of each sub-quality is calculated for computing the resultant of each quality. In the second stage، the weight of each quality is calculated for computing the resultant of all selected qualities in the specified node or path. Ultimately، by this procedure the environmental qualities and the resultant of them are calculated and processed as digits. In the last part of research، the resultant of environmental qualities is compared with the level of social capital in each node or path. The results proved the existence of a direct relationship between social capital and resultant of urban qualities in Jolfa district in Isfahan city as a case study. The comparison of the pair of the above-mentioned factors also indicated that the relationships between the urban qualities and social capital are nonlinear. This is because of the impact of several other factors on social capital and the complexity of the relations between them.

Zoomorphic vessels with two holes for pouring water are recognized as rhytons. These drinking vessels are commonly used in the Persian art. Different animals are used in making the rhytons. Diversely hybrid or real animals can be seen in the rhytons. During the Parthian era، different styles were used in making rhytons. This was because of vast territory of Parthians. Studying the style of rhytons perfectly shows the effects of different tribes like the nomads of Central Asia، as well as the art of the Persians and the Greek. In fact، the art of the two nations are the main styles of making rhytons. To put it better، the Parthian ryhtons can be categorized in three main groups: 1-Persian –Hellenistic style، 2- Local style and 3-Persian style. In all three styles، the forepart of the body of an animal is used in making the rhyton. Horn shaped rhytons are commonly used in Persian-Hellenistic style while the conical forms are mostly seen in the Persian style group. In Persian-Hellenistic style، they have a long shaft and a conical part resembling much to the horns of the animals. They all ended to the forepart of the body of an animal. In some examples، a human body is used. In the Persian style، the conic part is connected to the animal head in a 90-degree angle. These rhytons are the most important artifacts that show the cultural impact of Persia and Greek in Central Asia. The decorations on the body of Persian style rhytons are simple. On the conical parts، horizontal grooves are used. The decorations in Hellenistic style show the pantheon of Greek gods or the body of them around the neck of the rhyton. The impact of the arts of Central Asian tribes is recognized through the usage of stag or floral motifs. Generally، the construction and decoration of the Parthian rhytons include: 1 - Characteristics of Greek culture with religious and symbolic images، like pantheon of Gods. 2- The characteristics of Hellenistic art like nude figurines، flouncings and protomes that are not common in Persian art. 3 - Usage of hybrid creatures common in Greek art like centaurs. 4 - Special attention to Persian hybrid creatures like griffins. 5- Some special forms in Persian art like the style of wings or the repose figures with quiet dignity. 6 - Native art and culture with a vibrant and lively display mode and motion in animal bodies.

The Spanish monk Beatus wrote The Commentary on the Apocalypse in the 8th century. This work became famous as Beatus de Liebana. Afterwards، many different copies and illustrations of the Beatus of Liebana were published. These copies are all known as Beatus. Beatus are amongst the masterpieces which are well-known for their perfect beauty، color qualities and the artistic way they illustrated the metaphysical world. Some of these copies are affected by Sassanid arts. Research questions are: 1) Which of Sassanid motifs have affected Beatus artworks? 2) How have these Sassanid works been moved to Spain art workshops? Hypothesis: There are four images typical to Sassanid artworks which exist in Beatus. They are: 1) Sassanid Simurgh 2) The eagle hunting the gazelle 3) Sassanid royal ribbon 4) The mounted shooters going back to work. Research There is no research done about this subject until today. A comparative methodology is applied in this research. The book Beatus was widely appreciated in Spain in the 10th century. Many calques، with so many miniatures، were drawn copying this work. It seems that all the illustrated copies have followed a single model and style in a way that it is deemed that only one artist has created such fantastic combinations loyal to the Visigoth (Pentateuque Ashburnham) tradition and style. The oldest version was accomplished certainly before 930 AD، signed by Magius. To illustrate The Commentary on the Apocalypse، it seems that Magius was inspired by Byzantine and Visigoth miniatures. Beatus of Saint-Gerone is another version of Beatus in 965 AD which innovated a new artistic style informing of Roman art rhythm and style. Muslim countries of the Mediterranean coast had a major role to play in transferring the Sassanid motifs to the Spanish workshops during the early years after the advent of Islam. Countries such as Egypt، Syria، Jordan and Morocco، which were Spain’s neighbors and had constant contact with the Muslims، were facilitating access for Spanish artists to the Sassanid artistic works such as silver utensils، seals and exquisite fabrics، etc. A great number of silk cloths with Sassanid style designs entered West through trading sacred objects during the crusades of the 11th and 12th centuries. Such designs were particularly seen in precious clothes which were used to wrap the bones of the saints. The Persian cloths were very renowned during the Sassanid era and were widely traded by merchants between Mediterranean countries. Today، several European cathedrals still keep the precious Sassanid cloths in their treasures. They were mostly applied for wrapping the saints’ sacred objects and were also used as model patterns for Byzantine artists. The metallurgy of the early Byzantine era has also tracks of close relation with Iranian art and the metallurgy of Balkans has much more eastern features. For instance، the famous treasure of Nagi of Saint Mikelos which was discovered in eastern Hungary contains Sassanid features. Supposedly، there were close relationships between Bulgarians and the Sassanids and it is improbable that some part of patterns and details of the Sassanid designs and patterns were brought to Eastern Rome by Bulgarians. The brocades of Sassanid era are very famous and are imitated by other countries. The design and patterns of Persian cloths had a great impact on the Roman cloths for centuries. The Mozac cloth which the fifth Constantine، Byzantine Emperor، has bestowed upon Mozac bishop has Persian patterns. By studying the artworks and considering the principle of symmetry، it is revealed that the art of the European middle ages emperor was highly influenced by the Sassanid art for a long time. Few civilizations can have such impact on the most distant parts of the world. The footprints of the Sassanid art and style effectively spread over the east and west of the ancient world، from the old Chinese earthenware of the T’ang dynasty to the friezes of transoms of the Quintanilla Visigoth abbey in Las Vinas of Spain، which illustrate the imaginary and supernatural animals inspired from the Sassanid art. In the first years of the Muslims’ invasion of Spain، the Arabs resided in the buildings of Visigoths، not only for official affairs، but also for applying them as sacred places for prayer and worship. Western artists have certainly had direct or indirect access to Sassanid artworks. The effective role of Hispano-Muslims in transferring the Islamic culture and art from Islam countries such as Iran to Andalusia and southern Europe is obvious. In addition to the designs، which are visually and conceptually rich and of prime quality، the materials and containers presenting the images and designs were very expensive and rare. They were made by gold، silver، silk، etc. The preciousness of the materials caused their illustrated images seem more voluble. Therefore، the images found more applications due to their values. This was particularly evident when they were appeared over the exquisite fabrics such as shroud or coffin as well as religious manuscripts such as Beatus de Liebana.

The motif of hunting has always existed in the Iranian art from the primary wall paintings of Paleolithic caves to the modern artifacts and has raised different concepts over time and as the result of contributions by different cultures. As agriculture and animal domestication progressed، a decrease occurred in the primacy of hunting. Nevertheless، its religious aspects remained in the process of dedicating the hunted meat as an offering to the temples. Meanwhile، it is interesting to know that kings and princes throughout the Persian history have hunted with diverse intentions. In various historical eras، especially during the Sassanid period، this evolutionary process took different concept as hunting became the most common subject of the Sassanid reliefs and the Sassanid kings established special places named as “Shekar Gah” which means hunting place or hunting garden. Khosrow Parviz besides making a hunting place in Taq-e Bustan established two other hunting places near Ghasr-e Shirin. These places are so similar to the hunting place of Taq-e Bustan from the standpoint of climatic conditions and structural features. This article aims to investigate the concept of hunting in the Sassanid Period، specially the hunting places of the Khosrow II. Therefore، the hunting place of the Khosrow II at Taq-e Bustan and the wild boar and deer hunting motives in both sides of the Taq-e Bozorg or the great vault of Taq-e Bustan and their influence on the formation of hunting place of Fathali Shah in the Tang-e Vashi as well as his Relief over there has been investigated. The study of reliefs of the Taq-e Bustan has revealed their derived inspiration from the wall paintings of the late Parthian and Sassanid periods، as wall paintings with hunting motives of the Sassanid period is affected by the Parthian wall paintings. Taq-e Bustan hunting reliefs have influenced the Islamic hunting motives as are mainly observable in the Qajar Period’s reliefs. This influence is obviously visible in Fathali Shah-e Qatar’s hunting reliefs in Tang-e Vashi. The reason of this influence can be found in the social and political conditions of that period. Both areas (Taq- e Bustan and Tang-e Vashi)، are similar in the favorable climate and environmental conditions for making hunting place and hunt relief، but they are different in combined and shaping features. Moreover، the main difference remains in the purpose of making the reliefs. As in Taq-e Bustan with existence of Anahita goddess and sanctity of hunting in the Sassanid period، more religious intentions along with representing of king’s power are participated in its establishment، but it seems the main purpose of Tang-e Vashi relief in such arduous and out of sight area cannot be connected with the aspect of indicating the king’s power or to represent religious concepts. Rather، it was more intended to show the persistence of Qajar dynasty and Fathalishah’s descendants. Here the king uses the reliefs to portray the persistence of Qajar dynasty and the transfer of power to his own sons. His second purpose could be establishing a resemblance between ancient Iranian kings and his efforts to expand his kingdom and provide services to the public. Overall، the hunting places and the hunting relief in Taq-e Bustan comprise a banquet-religious complex، but in Tang-e Vashi more attention has been paid to banquet complex alongside representing of persistence of king’s dynasty. The method that has been used in the current research is based on the study of written resources، archeological field research and analysis of the achieved data. Various resources and written documents have referred to hunting and hunting place in the period of Sassanid dynasty، but so far no one has paid enough attention to the content of hunting as the important aspect of the Sassanid culture.