فهرست مطالب

پژوهشگران فرهنگ - پیاپی 32 (بهار و تابستان 1392)
  • پیاپی 32 (بهار و تابستان 1392)
  • تاریخ انتشار: 1392/05/20
  • تعداد عناوین: 11
|
|
  • Dr. Yadollah Agha Abbasi Page 13
    Saeed Nafisi is from a Kermanian learned family who was born in Tehran but never loses his affection towards his ancestral city. His paternal family, in his own words, was doctor for eleven generations, but he became famous in literature and art. Most of his popularity is for writing, emendating and translating hundred books and articles. But another strong aspect with less popularity is his interest in theatre which has been studied according to the attention of Iran's intellectual society to the role of theatre in the improvement of cultural society. In this field his activities consist of protecting perfect and progressive theatres by recommending them, analyzing the works, constituting group and finally writing drama. One of his impressive dramas is "memento of Naser-al-din shah" that propagated and revived "national pride" by presenting the occupation of Tabriz by Russia's army. On that time this expression was repeated by intellectual society all the time. It is the necessity of that time in which Shahrokh Maktoob called it "historical destiny" means nationalism and reviving the spirit of devotion in the early 20th century A.D. in Iran. This article has been written in analytic library method to present this aspect of Saeed Nafisi's life.
    Keywords: Saeed Nafisi, National theatre, Memento of Naser, al, din Shah
  • Abbas Afzali Naniz Page 29
    Hadi Meshkat is one of the oldest artists in the fields of photography and Haji Agha's son who was the first founder of public photographer's studio in Kerman. In teen years he was taught photography by his father and started his professional activities; when Haji Agha got old, Hadi Meshkat took the studio. He has been introduced in order to document some parts of photography's history in Kerman. As a reporter of Etelaat newspaper and the audiovisual chief of the fourth principle, Hadi Meshkat recorded most of the important events of that time on the photographic paper. In 1951 A.D. he left Kerman forever and went to Tehran with his family and father; shortly after living in Tehran he photographed in the Cinema of Iran professionally and became popular in this field. He was one of the busiest photographers for a long time and took picture in 321 films; then, after the Revolution he worked as a producer. Also his children continued their father's job separately. This article studies the artistic life of Hadi Meshkat, his father and children. The research method in this article is based on interviewing and searching library sources.
    Keywords: Hadi Meshkat, History of photography, Kerman, Iran's cinema
  • Maryam Beigmoradi Page 47
    This article studies paintings of the main entrance in Ganjalikhan bath house of Kerman in parallel with the effect of prevalence of lithography illustrations on the emergence of them. These paintings which are above the main entrance in the bath house are just unskilled ones joining this historical building maybe for this reason it hasn’t been studied so much. These painting are the continuation of Qajars paintings and at the time of their drawing the building changed in to a coffeehouse for a while. the author presumes that the painter of these paintings has used the illustrations of lithography books which were popular on that time. In this direction among explaining the painting of main entrance he tries to find the similarities of them and the illustration of lithography books and also studies the cultural and social atmosphere in which these kinds of paintings were adopted. The research method was descriptive library and the comparison of the paintings on main entrance with the illustration of lithography books was done in order to prove the existing similarity and their influence on the painter. The results show that from the viewpoint of both from and subject these are a lot of similarities between the mentioned paintings and the illustrations of lithography books and it is very likely that the painter of these popular illustration on the main entrance was Mirza shokr-ol-lah.
    Keywords: Ganjalikhan Bath House, Paintings, Illustration, Lithography
  • Kamran Hosseinkhani, Asma Pour Rezaei Page 71
    Compare to fuzzy weaves such as carpet, Kilim is a plain weave made by weaving warps and wefts. Despite this proportional simplicity, it has several methods of weaving related to the weaving tradition of each area and a particular identity in the form of their cultural features. On the other hand, the influence of designing traditions related to the weaves- both fuzzy and simple kind- in other aspects of the weaver's life is considerable. In this article it has been tried to present and explain more about the traditions, weaving method, and the Kilim weaving in Kerman Province. Other aim of this research is to consider the cultural believes related to the hand-woven society. The authors believe that the native traditions of weaving in each area could be recognized by searching the Kilim weaving costumes in Kerman Province and by separating different types related to the tribe's traditions regionally. This article has been done by analyzing the illustrative and library sources. Then, the data has been studied by the applied methods in "qualitative research" and using the "context analysis".
    Keywords: Kilim, Weaving methods, Design, Traditional, cultural beliefs
  • Hassan Salajeghe Page 85
    This research paper has been studied some aspects of naturalism in the works of Tehran's painters such as Hadi Tajvidi and Abootaleb Moghimi who is one of his outstanding students. Therefore this article has been written by gathering data, analytic-descriptive method and selecting some preeminent paintings of the mentioned masters. It has been analyzed their features of naturalism which are based on applying perspectives penumbra and the natural motions of human's body and face. The results showed that naturalism in the works of Tehran's masters lead to the formation of a divergent art which contains some aspects of painting but never an allied one by applying perspective, light and shadow, designing the face and body according to the anatomy and being faithful to the traditional painting.
    Keywords: Contemporary painting, Tehran school, Hadi Tajvidi, Abootaleb Moghimi
  • Babak Shahpasand Zadeh Page 115
    Years before the discovery and usage of fossil fuel, in different parts of the world and also in Iran, architecture used to form under the influence of geographical and climatic conditions. For the lack of facilities and high intellectual ability of architects, architecture and construction was sensible about the nature and variety in climatic conditions used to cause the diversity of architecture in different lands. Architecture complex harmonized with the existing conditions and nature used to apply the benefit by the recycled sources. Meanwhile, as a study sample, a traditional house in Kerman Province (Rostam Farrokhzad's house located on Shohada street) with a high climate and latitude of 30 degrees N has been studied. This article has been done as a case study and with the qualitative-descriptive method and "radiation factor" has been selected among the main four climatic factors. It has been studied by applying modern diagrams such as: sun protractor, the diagrams of energy radiated on the vertical plane and climatic calendar related to the receiver elements of sun radiation. In this article it has been studied some cases with emphasis on the inactive method of solar heating and cryogenics and applying daylight which are angle of building's rotation, inside immigration considering the direction of building's rotation in tow important months (January and July) and the elements relating to the radiation topic.
    Keywords: The direction of building's rotation, Radiation, Inactive system of sun, Shadow, sun, renewable energy
  • Mohammad Javad Karamad Page 133
    Although industrial dyeing age (Dyeing with synthetic colors) is just less than one and a half century, similar to other technology sources, with an unbelievable speed it has replaced the traditional dyeing with 50 centuries age. But(separate from cultural topic) even from the viewpoint of expense- efficacy, the comparison of these two methods shows some advantages in traditional dyeing that industrial one is devoid of them completely. In this article it has been tried to explain and headline traditional dyeing and also present the advantages of this method. At the end, it has been shown some copies of traditional dyeing of Kerman's carpet that were popular in past but unfortunately today they are putting out of mind.
    Keywords: Traditional dyeing, Multiple advantages, Industrial dyeing
  • Alireza Hashemi Nejhad∗ Page 151
    Kerman has never been one of the important centers of calligraphy in Iran, but certainly some of the important Iranian calligraphers were from Kerman. Asad-ol-lah Kermani, Mohammad Zaman Tabrizi, Morvarid Bayani, Mohammad Momen Kerman, Mirza Hassan Kermani and … are among them who are popular and lived before the 10th Century A.H. But before this date Kerman had some popular calligraphers too; because from the viewpoint of the history of calligraphy’s evolutions and bibliography it has remained three important and determinative manuscripts in Naskh1, Nastaligh2 and taligh3 styles:1- Quran written by Mahmood-ibn-al hossein Al Katebol- Kermani in Naskh style in 559 A.H. 2- the complete works of Khajoo written by Mohammad-ibn-e Omran-ol-Kermani in Taligh in 750 A.H. 3- Taj-ol-maser Hassan Nezami written by Faraj-ibn-e Karim-ol-matab in 781 A.H. which present the important role of Kerman in the history of Iranian calligraphy's evolution. Understanding of historical position and value of the manuscripts has been done by studying the references and analyzing the works.
    Keywords: Calligraphy, Kerman, Nashkh, Nastaligh, taligh, Mahmood, ibn, al hossein Al Kateb, ol, Kermani, Mohammad, ibn, e Omran, ol, Kermani I, Faraj, ibn, e Karim, ol, matab
  • Mojtaba Yazdanpanah, Mahdi Gharbavi Page 171
    The industry of carpet weaving has a long background in Kerman. It seems that this art has been fund in Kerman before the Saffavid era and flourished just like all other arts. Variety in designs, the quality of primary elements and the particular dyeing of Kerman's carpet are the effective factors in its popularity among the carpet merchants. In Qajar era, the expert of Kermanian exquisite carpets to Europe and America caused the travel of these two continent's merchants to Kerman which led to the foundation of the first foreign companies in Kerman; therefore Americans and some Englishmen manufactured and traded carpet in Kerman. But the beginning of the First World War in 1914 resulted in the recession of foreign markets and this industry subsequently. After the end of war Kerman's carpet again was in demand, but the defeat of Germany decreased the activity of carpet's merchants who made the middle Europe as the center of their transaction. Records show that from 1562 to 1569 the development and quality of Kerman's carpet reached to its highest point and meantime, there were 5000 carpet weaving machines in Kerman. Economic crisis of America damaged Kerman and its carpet industry; therefore American companies closed their workstation and stores down and gave up this industry. Thus domestic merchants invested and entered into this industry. This article studies the emergence of American business companies and export of Kerman's carpet. The research method is descriptiveanalytic and the information is gathered by library researches.
    Keywords: Trade, American merchants, Carpet, Kerman, Qajar, the First Pahlavi