per
پژوهشکده هنر، معماری و شهرسازی نظر
باغ نظر
1735-9635
2251-7197
2014-03-01
11
28
3
14
4859
Research Article
طرحواره سکونت عشایر
Scrutinizing the Nomadic schema of residence
رضا شکوری
re_shakouri@yahoo.com
1
الهام خدادادی
khoda.elham.arch@gmail.com
2
دکتری معماری، استادیار دانشکده هنر و معماری، دانشگاه یزد
کارشناس ارشد معماری، مدرس دانشگاه آزاد خوراسگان.
اسکان عشایر در دو شکل اجباری و خودجوش، منجر به ایجاد شهرکهای عشایری در کنار روستاها و شهرهایی از کشورمان شد. پدیده اسکان با ابعاد متنوع خود، موجب تغییرات بسیاری در وجوه مختلف زندگی میشود. عدم تطبیق ذهنیت کوچنشینان سابق با زندگی، معیشت و کالبد زندگی شهری کاملاً مشخص بوده و شدت و سرعت تغییرات، فرآیند گذار این افراد از یک زندگی عشایری به یک زندگی شهری را با دشواری مواجه میسازد. در طرحواره1 عشایر قشقایی مسکن به شکل چادر موجودیت پیدا کرده و در طی زمان با ریزترین جزییات رفتاری این افراد، محیط و دام خو گرفته است. مسکن شهری عشایر به دلیل ویژگیهای اساساً متفاوت خود با سیاهچادر، قادر به برقراری اتصال منطقی به تصویر ذهنی سکونت و کالبد آن نیست. همچنان که در برانگیختن حواس نیز متفاوت با سیاهچادر عمل میکند. هدف این پژوهش، پیداکردن عناصر مهم در زندگی و مسکن عشایری و به طور خاص عشایر قشقایی به عنوان جامعه مورد بررسی است تا طراحی به منظور ساخت و ایجاد شهرکهای عشایری بر پایه تصویر ذهنی سکونت و پیشینههای روانی اجتماعی زندگی و کالبد آن استوار باشد. ازاینرو بدن انسان در ضمن آنکه مجرای ادراک حسی محسوب میشود قابلیت به خاطرآوری دارد، فهم تصویر بدنی عشایر از سکونت و مسکن آن در کنار تصویر ذهنی اهمیت پیدا میکند. به منظور فهم این تصویر، دو روش مورد بررسی است. مشاهده رفتار عشایر اسکانیافته به عنوان خروجی تصویر ذهنی و ادراک حسی عشایر از زندگی به عنوان ورودی دستگاه شناختی مورد بحث است.
Abstract During the natural blessings of territory,due to climatic - geographical conditions of Iran, nomadic life has been formed with a proper kind of housing, a moveable tent. Following the events, led to the settlement of nomads in a mandatory or voluntary settlement process of nomads in Iran, little towns have been way, Little Towns has been formed in the margin of our cities. For these people, the multidimensional nature of the settlement results in multiple changes in various aspects of lifestyle In the settlement process, Lifestyle and consequently a change in the social livelihood patterns of life. Their have been changed. Unfortunately, most cases of settlement have been occurred without considering the specific situations of nomadic life and planning for varied faces of adaptation. The nomad’s mentality of life doesn’t accommodate with urban life, livelihood and shelter and the. The multidimensional nature of the settlement and many unseen aspects of it beside the high speed of transition from nomadic to urban life, causes the settlement process to be a difficult and suffering one. In this paper, the word schema is used in order to understand which factors of environment and nomadic experiences of life can be saved in the mind and which aspects have the role of association and recalling pleasant memories. Schema is a cognitive framework or concept that helps organizing and interprets information. In the nomad’s schema of sheltering, residence takes place in the tent and this schema is shaped in adaptation with. Over time, nomadic life and black tent (siah -chador) coordinated with each other. The details of human behavior, environment and livestock over time.livelihood and even different environmental faces match with the flexible tent. But it is not true to speak just about the immediate boundaries of tent, and describe the place of life. In a nomadic life Because of the features of surrounding environment and tent’s potential (like transparency) the perception boundaries expend to the out of the tent.To reduce settlement problems, it is necessary to repair the fragment in the schema of settlement. For a nomad,it is often impossible to logically join the image of nomadic shelter to the urban house since the features are generally different in these two kinds of life and it is , meanwhile black tent is generally difficult to stimulatedifferent in Stimulating the various senses. Satisfaction of life and the tent in an urban degree of house. comforting is not just affected by the quantity of space. The way in which a home weaves stands and furnishes, connect tent to the historical process of sheltering, the quality of space is important, this is the way that make life pleasant. This paper aims to seek significant factors in life and and residence of nomads and Finding and understanding the features of nomadic life and the important aspects of their environment, is necessary for the designers, In order to design for the settlement according to the nomadic schema of life. Surveying schema is important because it deals with the elements which form mental image and the memories that recall by brain, but it is simplistic to just attend to the mental image. Human body has a great role in remembering the world. Some of the perceptions memories of the world and experience of confronting the natural environment are saved specially Qashqayi nomads in the physical body. This memories most of time reminded by the same way that body affected by condition the world. In this physical image memory is saved in the movements. There is the unison among a nomad identity, his body and the natural territory surrounded by. So it is important to maintain the physical image as maintaining the case studymental one. In the nomadic life, the non-visual aspects of perception are important too. Perception (an identification, and interpretation of sensory information) in order to assure designing for nomads’ residents is based upon images,represent and understand the environment has a special role in the nomadic tent and life. In this essay, sound, haptic and the thermal sense have been studied. The way each sense means, affected by memories and social mental experiences that a nomad confront in his nomadic life. Human body conducts perception and has a great role in remembering the world; as a result physical image of nomads from residence is embodied alongside their mental images. The tight relation between the nomads and environment, make the nomadic life a combination of different senses. The unity boundaries between the house and natural landscape make the nature, one of the important aspects of aesthetic in the nomad mind. A great way of conceiving the nomadic aesthetic, taste and notion is nomadic crafts,which show the general unconscious manner and aesthetics of nomads in the time. Weaving the crafts and latf (siahchador sections) connect a nomad to his ancestors and the historic perception and aesthetic of life. To understand the live body images beside the mental one, two methods are suggested; studyingsuggested: 1. Study the settled nomad’s behavior as schema’s output as well as studying. Because one of the references that form the behavior is schema and difference between the norms of manner in urban town and nomads’ behavior could clarify some aspects of schema. 2. The perception of nomads, Because of its role as an input for the cognitive system. Finally the manner that an urban house could be associated the nomadic life, will be discussed. Some aspects of nomadic life and house could never adapted, some aspect partially relief by design solutions. Some aspects adapted by time passing and make new cultures of sheltering.
http://www.bagh-sj.com/article_4859_c5f31e3d34aafa27963287589b0135e2.pdf
طرحواره سکونت
اسکان شهری عشایر
تصویر ذهنی
تصویر بدنی
residence schema
nomad’s urban settlement
Mental image
physical image
per
پژوهشکده هنر، معماری و شهرسازی نظر
باغ نظر
1735-9635
2251-7197
2014-03-01
11
28
15
24
4860
Research Article
مطالعه تطبیقی رقص شیوا و رقص سماع
The Comparative Study of "Shiva" Dance and "Sufi Whirling" Dance*
علیرضا نوروزیطلب
noroozi_110@yahoo.com
1
پدیده عادلوند
padideh_adelvand@yahoo.com
2
دکتری مطالعات عالی هنر، استادیار گروه هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران.
پژوهشگر دکتری پژوهشهنر، دانشگاه الزهرا. عضو هیئت علمی مرکز پژوهشی هنر، معماری و شهرسازی نظر، تهران.
هنر در فرهنگهای سنتی و دینی و آیینی، بستر مناسبی برای تجلی مضامین عرفانی، معنوی و روایی است، لذا میتوان از طریق پژوهش در این قبیل آثار هنری، علاوه بر کشف معانی نمادین به دریافت محتوای رمزی اشارهای آنها نیز نایل شد. بیان نمادین در رقصهای آیینی یکی از مهمترین شاخههای هنری است که میتواند، به مثابة مطالعاتی جامعهشناختی، دینی، عرفانی و اعتقادی و به طور کلی تحت عنوان مطالعات فرهنگی، خصوصیات زیباشناختی و محتوایی، آثار هنری را مورد پژوهش قرار دهد. رقصهای آیینی یکی از جذابترین حوزههایی است که علاوه بر جنبههای زیباشناختی در فرمهای حرکتی، دارای مفاهیم و معانی عرفانی، دینی و روایی است که در توالی زمان و مکان تحقق پیدا میکند. رقصهای آیینی در تمدنهای مختلف براساس مضامین معرفتی و عرفانی یا روایی- اساطیری و تاریخی- شکل گرفتهاند که در بعضی موارد، معانی مشابهی با یکدیگر دارند؛ به گونهای که گویا معنی واحدی به صورت دو یا چند شکل بیان شده است. آنچه اهمیت دارد، شکلهای متنوع و زیباشناختی بیان برای ظهور معناست. همواره زیباترین شکل بیان در عالم، هنر است که عالیترین صورت را برای تجلی معنا و قصد هنرمند فراهم میسازد. اغلب هنرهای آیینی، دینی، قدسی و سنتی، چون محتوا بر صورت غلبه دارد، بیانی نمادین و رمزی پیدا کردهاند، اما صرف بیان نمادین و رمزی، هنر نیست بلکه نمادها در حرکات و اشارات و حتی در نوشتار نیز باید ماهیتی هنری داشته باشد. کارکرد معنایی این صورتهای رمزی و کنایهای، امری ثانوی است. در غیر این صورت، معنا و قصد هنرمند امکان ظهوری متعالی نخواهد داشت. این قاعده در همة حوزههای هنر، خصوصاً رقص و موسیقی، جاری است. رقص شیوا در هند و رقص سماع میان پیروان اهل تصوف، مجموعه حرکاتی است که زیباییشناسی آنها از هماهنگیشان با طبیعت نشأت میگیرد به طوری که رقص شیوا و رقص سماع به لحاظ فرمی در زمره رقصهای کیهانی به شمار میآیند و مفاهیم عرفانی بر محتوای آنها مترتب است. این در حالی است که به لحاظ صوری کاملاً از یکدیگر متمایز هستند. این مقاله بر این فرض استوار است که رقصهای آیینی همچون رقص شیوا و رقص سماع در زمانها و مکانهای متفاوت، علیرغم صورتهای متفاوت بیانگر حقیقتی واحدند؛ حقیقتی که محتوای صورتهای رمزی، نشانهای و اشارهای است، و محتوایی معرفتی و متعالی دارند.
Art in traditional, religious and ritual cultures is a suitable context for manifestation of theosophical (mystical), spiritual and narrative implications, thereby researching these artworks can lead us to the exploration of encoded content will and perception of symbolic meanings. The symbolic expression in ritual dances is one of the most important branches of art studies that can be researched from sociological, religious and theosophical aspects generally as cultural studies, aesthetic characteristics and the contents of artworks. Ritual dances are among the most attractive areas containing mystical, religious and narrative concepts in addition to having aesthetic aspects of movement forms which could be realized in consecution of time and space. They are formed based on different civilizations and mystical knowledge or narrative themes, mythology and history which, in some instances comprise similar meanings as it seems the same meaning is expressed in two or more forms. The important thing here is the presence of diversity in forms of shapes and aesthetic aspects of expression to manifest the meaning. Art, as the most beautiful form of expression could provide the greatest appearance for manifestation of meaning and the intention of artist. Most of the religious, sacred and traditional art due to the dominancy of content over appearance, have found symbolic and mystic expression; these symbolic characteristics, per se does not resemble art symbols but beyond this, the symbolic features must convey artistic concepts not only in gestures and movements but also in writing as well. The conceptual function of these symbolic and metaphoric features in form and appearance is considered merely as a subordinate affair, otherwise the intention and purpose of the artist could not be emerged at higher and transcendental level. This rule applies in all areas of the arts, especially dance and music. The Shiva dance in India and the Sufi whirling dance among the followers, comprise a set of movements with aesthetics features both arisen from their equilibrium with nature, as these two dances in from and shape are categorized as cosmic dances so that the mystical concepts are associated with their contents, although in terms of appearance they are quite apart from each other. This article is based on the premise that such a ritual dances as Shiva Dance and Sufi whirling dance despite appearing in different times and places and having distinct characteristic features in appearance both express a common fact and reality which represent symbolic and mystic characteristics with conceptual and celestial contents.
http://www.bagh-sj.com/article_4860_8d63ad244aa4f74217d7bf61563811e2.pdf
آیین هندو
رقص کیهانی
شیوا
آیین تصوف
رقص سماع
Hinduism
Cosmic Dance
Shiva
Sufism
Whirling Dance
per
پژوهشکده هنر، معماری و شهرسازی نظر
باغ نظر
1735-9635
2251-7197
2014-03-01
11
28
25
38
4861
Research Article
روح مکان در باغ ایرانی
Spirit of Place in Persian Garden*
لیلا مدقالچی
l.medghalchi@yahoo.com
1
مجتبی انصاری
ansari_m@modares.ac.ir
2
محمدرضا بمانیان
bemanian@modares.ac.ir
3
پژوهشگر دکتری معماری دانشگاه تربیت مدرس
دکتری معماری، دانشیار دانشکده معماری و شهرسازی دانشگاه تربیت مدرس.
دکتری معماری، استاد دانشکده معماری و شهرسازی دانشگاه تربیت مدرس
در طی سده اخیر، واژه مکان همراه با طیف وسیع معانی، تقریباً در تمامی فضاهای معماری مطرح شده است. ساخت مکان، به معانی و باورهای انسان تجسد بخشیده و ارتباط عمیقی با ساحتهای وجودی انسان و ارتباط وی با محیط اطراف خود دارد. از این رو پرداختن به چگونگی ارتباط انسان با طبیعت به صورت تحدید شده در حوزه منظر و شناساندن نوع ارتباط شکل گرفته، گام اولیه در بررسی مفهوم مکان است. از سویی دیگر، باغ ایرانی به عنوان نمونه متعالی از منظر ایران، تصویر باورهای انسان ایرانی ـ اسلامی در بطن تاریخ است که علیرغم ناملایمات، همچنان به عنوان الگویی موفق از آن یاد میشود. بدین منظور، پژوهش حاضر در تلاش است تا با بررسی عناصر باغ ایرانی، و تطبیق آنها با مفاهیم و اجزای مکان کیفیتهایِ واجدِ معنایِ روح مکان در باغ ایرانی را شناسایی کند. نگارندگان این مقاله، به سبب باور به ارتباط ناگسستنی انسان و محیط، از رویکرد پدیدارشناسانه نسبت به مفهوم مکان و باغ ایرانی استفاده کردهاند. روش تحقیق در این کار، روش توصیفیـ تحلیلی و ابزار جمعآوری اطلاعات، کتابخانهای بوده است. نتایج، حاکی از آن است که هر کدام از اجزای باغ، علاوه بر دارابودن کیفیتهایی شناختهشده، به سبب داشتن کیفیتهای لاهوتی و قدسی به انضمام بار معنایی و تاریخی، در جهت القای حس مکان به مخاطب نقش بهسزایی دارند. مفاهیمی چون محصوریت، گستردگی، هندسه و فضا که از ارتباط بین عناصر باغ ایرانی به وجود آمدهاند، دارای کیفیتهایی مادی و معنایی هستند که باغ ایرانی را واجد حس مکان (روح مکان) میکنند.
“And those who believed (in the Oneness of Allah and His Messengers and whatever they brought) and did righteous deeds, will be made to enter Gardens under which rivers flow, - to dwell therein forever (i.e. in Paradise), with the permission of their Lord. Their greeting therein will be: Salam (peace!) ” (Surah Ibrahim: 23) During the last century, the place term with a wide range of meanings, is described virtually in all architectural spaces. Creating place has given embodiment to human’s morality and beliefs and has had a deep connection with the realm of human existence and his relationship with his surroundings. Therefore, studying the way human communicates with nature restricted in field of landscape, and identifying the type of these formed relationship, are the first step in scrutinizing the concept of place. On the other hand, Persian Garden as an excellent example of Iran’s landscape is the image of Islamic-Iranian human beliefs through the history which is still reminisced as a successful pattern despite the hardships.. If there is a speech about Iranian landscape, perhaps the first and only word that will come to minds is Persian Garden that despite much research about it, today it does not have a good place in designing landscape architecture. Numerous researches have already studied about the concept of place; from among of them Schulz has spatial classification in natural and man-made places. Schulz’s categorizations discusses about patterns for distinguishing Spirit of place. In this issue, we study Schultz’s visions about place, sprit of place and compare them with Islamic view about relationship between human and nature. The results of this comparison showed that segregation points of this thinking situate in human religious dimensions and their effects on Persian gardens design. In spite of these differences, studying different viewpoints could be useful for finding out the structures of the spirits of Persian garden and Characters of its elements. Persian Garden, despite its disguise values, is known only by its physical geometry; although this geometry is strong, thoughtful, and results of the principles of irrigation and agriculture and does not have little importance; but studying it only and without paying attention to other identity former features and concepts such as place, spirit of place (Genius loci), its sacred quality and etc. that has caused continuity of Persian Garden at different ages; is a nominal imitation and an incomplete job. Also studying lonely the elements of Persian Garden without attention to their relationship with each other and with the emergence of the concepts of the garden, can reduce the reliability and durability in many years. Certainly importance of the holistic views to human and existence phenomenon, relevance of Garden’s elements and quality associated with elements placed together, can perform a key role in identifying effective factors in enhancing the understanding of spirit of place (sense of place) in Persian Garden. Therefore, this study attempts to identify eligible qualities of concepts of spirit of place in Persian Garden by discussing the elements of Persian Garden, and their comparison with the concepts and elements of place. This paper uses, by a review of human relationship with nature and showing the relationship that leads to creation of spirit of place in Persian Garden and analysis of garden elements with each other using phenomenological approach to the concept of place and Persian garden since the authors believe) that separation of man and environment is despicable) is seeking to answer the following question: Which environmental qualities of Persian Garden make it a container of spirit of place? The method in this research is, descriptive, analytical and an instrument of collecting data is the library. In this study, to determine the position of man in relation to nature and its capture by human, first the types of human relation with the nature is examined and position of Persian Garden in human’s reaction to nature ( as soul of place ) is expressed. Then with attention to the concepts of structure and meaning, to achieve the spirit of place in Persian Garden is analyzed by the phenomenological approach and characteristics of each are recognized separately. According to the present approach, our structure and relationships between the elements of Persian Garden is noteworthy and it is avoided to point out directly to some elements of garden (although important). The results showed that each of the components of garden have a great role in instilling a sense of place to the audience not only for having known qualities, but also for having theological and sacred qualities as well as meaning and history. Concepts such as enclosure, distribution, geometry and space, which have been created through the relations betweenof the elements of Persian Garden, do have material and moral qualities that make Persian Garden eligible of sense of place (spirit of place).
http://www.bagh-sj.com/article_4861_ec65d286c66ec27e399660363bcf3969.pdf
باغ ایرانی
روح مکان
رابطه انسان با طبیعت
عناصر باغ ایرانی
Persian Garden - spirit of place - Relationship between human and nature- Elements of Persian Gardens
per
پژوهشکده هنر، معماری و شهرسازی نظر
باغ نظر
1735-9635
2251-7197
2014-03-01
11
28
39
46
4862
Research Article
قواعد و ویژگیهای معرفی شهرها در متون کهن مطالعه موردی : شهرهای سامانیان
Recognition of principles and characteristics of presenting cities in ancient texts
(Case study: the Samanid city)
حمیدرضا توسّلی
hamidtavasoli_b@yahoo.com
1
دکتری تاریخ هنر. عضو هیئت علمی دانشگاه هنر اصفهان
این مقاله تلاش دارد تا با گذر از محتوا، نثر و معرّفی آثار متون کهن، به قواعد و ویژگیهای موجود در معرفی شهرها بپردازد. در این راستا ده شهر از عصر سامانی در تمدن اسلامی ایران انتخاب شده، آثار و منابع مورد بررسی با توجه به ساختار و طرح پژوهشی درپنج عنوان طبقهبندی شده است. معرّفی شهرها، به ترتیب از “اقلیم و شهر” شروع شده و به “شهر و فرهنگ” خاتمه یافته است. موضوعات مقاله با توجه به بستر مطالعه ی موردی که عصر سامانی را شامل میشود به شناسایی”ماوراءاانّهر” پرداخته و کلیاتی از شهرهای این دوره معرّفی شده است. بدنة اصلی مقاله شامل برشمردن ویژگیهای تفکیکی و موضوعی شهرها و تحلیل آنها است. در بین شهرهای مورد مطالعه این نوشته، سه ویژگی در معرّفی شهرها مورد توجّه بوده که بیشترین و کاملترین معرّفی مربوط به شهر “سمرقند و بخارا» است. آنچه که به عنوان پرسش اصلی مقاله و فرضیة “قاعده مندی در معرّفی شهرهای متون کهن” مورد توجّه بوده است در بدنة اصلی مقاله پاسخ داده شده و اطلاعات طبقهبندیشده مورد تحلیل قرار گرفته است. معرّفی شهرهای بزرگ نیز دارای قاعده ویژه و کاملی بوده است به شیوهای که نکتهای از جامعیّت معرّفی شهرها کاسته نشده است.
This paper attempts to introduce the principles and characteristics of existing cities with studying the content, style and presentation of the historic periods of ancient texts from Islamic period historians – specially the authors of the fourth century to the seventh century AH. In this regard,ten cities have been selected as a sample fromSamanid era of Islamic civilization (Jowzjan, Chouchanian, Katl or Katlan, Karazm, Gorjestan, Sistan, Bast and Gazneh, Kerman, Samarkand and Bukhara).Due to the structure of the project,reviewed works and sources are classified in five titles: Introducing cities, respectively, started from “Climate and City” and terminated to “City and Culture”. Due to the case study that includes Samanid era, thepaper’s subjects are trying to identifyTransoxania and introducing cities’ characteristics in this period. The main body of the paper includes identifying and examining five topics from introducing and analyzing cities. These features are as follows: 1. Geographical and climate features of cities 2. Kings’ qualification and a brief description of their behavioral characteristics 3. Introducing counties and townships of cities 4. Economic characteristics of cities 5. Cultural features Among the cities which studied in this paper, the first three featuresare used for presenting considered cities which authors choose that these cities have the largest and most complete introduction to cities as “Samarkand and Bukhara” and have discussed economic and cultural characteristics of these cities. The paper’s question and the assumption of “regularity introduced in the cities of ancient texts” were answered in the main body of the article and classified information has been analyzed. Also, the introduction of large cities has special and complete rule in away that the point of introducing the integrity of cities has not diminished. Study’s achievements demonstrated the following findings: a. In all of the cases presented by historians;Issues such as climate and city, regional divisions, and describing princess’ circumstances has been discussed. b. The content ofhistorical and geographical contexts in Iran’sclassical era has high-capacity for variety of description. c. Review and classification of knowledge recorded in ancient texts is underlying principles of indigenous science in order that the scholars can be able to link these texts to “interdisciplinary topics”. d. With paying attention to the content of the resource,we can extract general rules and its details and organize elements and rules of historical research.
http://www.bagh-sj.com/article_4862_14441cdbbe93d49a8163836bd686e95d.pdf
شهرهای سامانی. متون تاریخی. خراسان و ماوراءالنهر. مشاهیر اسلامی
Samanid cities
historical texts
Khurasan and Transoxiana
Islamic notables
per
پژوهشکده هنر، معماری و شهرسازی نظر
باغ نظر
1735-9635
2251-7197
2014-03-01
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54
4864
Research Article
بررسیِ بینامتنیِ نگارة پادشاهی جمشید از شاهنامة بایسنقری
An Intertextual Study of Jamshid’s Kingdom painting in Baysonqor’s Shahnama
اکرم احمدی توانا
a_ahmaditavana@yahoo.com
1
کارشناس ارشد نقاشی دانشگاه الزهرا، مدرس دانشگاه فنیوحرفهای.
از آنجا که بخش عمدة تاریخ نقاشی ایران را کتابآرایی تشکیل میدهد، برای ریشهیابی سابقة تصویری بسیاری از مضامین، همچون اساطیرِ ایران باستان، باید به این منابع مراجعه کرد. جمشید یکی از شهریاران مطرح اساطیری با ریشههای هند و ایرانی است که در شاهنامههای مصور بسیاری به تصویر درآمده است. مجلس پادشاهی جمشید که در شاهنامة بایسنقری و مکتب هرات و در عهد تیموری خلق شده، از جمله سرآمدان آثاری با این مضمون است. نقاش این نگاره ناشناس است. به این ترتیب برای شناخت ویژگیهای نگاره به بررسی اجمالی مکتب هرات و شاهنامة بایسنقری پرداخته شده است. با توجه به پیوند کتابآرایی با ادبیات و با استناد به مصداق مفهوم بینامتنیت در مطالعات مربوط به نقاشی ایران، تحلیل تطبیقی متن تصویری با نوشتاری روش این پژوهش در نظر گرفته شده است. این نگاره با دو رویکرد ویژگیهای صوری و جوهری در رابطة بینامتنی تحلیل شده است. به این منظور جستجوی ریشههای این اسطوره در متون نوشتاری ناگریز مینماید. در نهایت از طریق تحلیل بینامتنی این نگاره میتوان دریافت پیوند میان متن نوشتاری و تصویری در هر دو سطح مذکور به شکلی جامع نمود پیدا کرده است.
Persian book illustration is closely and undeniably related to textual and literary works. On the other hand intertextuality, as a prominent term in cultural and reflectional extent, places an inevitable relation between texts. Intertextuality can be applied to form and meaning in Persian illustrated manuscripts and be used in analyzing the art works. Each painting is the collocational consequence of textual and visual structures. The texts are often on page, found as scene titles and verses in particular frams. This intertextual relation can be studied at visual and substantial characteristics. Baysonqor’s illustrated Shahnama was created as Baysonqor Mirza ordered in Herat school, finish date 833 A.H. The manuscript is the highlight of Teymurid painting in terms of composition and elaboration in the 9th A. H. century. Jamshid’s kingdom image, the main concern of this literature, is of the outstanding works by this theme. Jamshid, one of the greatest Persian myths, originally Indo- Iranian has found his way into Ferdowsi’s Shahnama with a modified portrait. He is the mightiest Pishdadid king in Shahnama to whom quiet a few of mankind civilization aspects is attributed. He reigned for seven hundred years, in the end cut in half by Zahhak. This painting’s analysis is conducted intertextually and in visual and substantial surfaces. Visual level: this painting’s verses cover Tahmourth’s thirty-year era. Only four verses include Jamshid. Scene titles and the new chapter of the epic (Jamshid ruled for 700 years) content table is precisely situated in theses four verses. Substantial level: Composition, arrangement, and coloring build a sanctuary in mind definitely inspired by the dream of Jamshid’s seven hundred-year reign and his royal responsibility for the subjects’ prosperous and untroubled lifestyle. Fourteen men encircle Jamshid. One of them is busy with a hawk indicating hawk training costume in Teymurid era and the birds’ and mythical creatures’ obedience to Jamshid. Three other standing men, poised to make conversation and observe, appear to be merchants. The other eight are busy doing something of the similar nature. These people points out Jamshid’s training of how to make wrought iron, war and feast costumes and spinning and weaving. Textile and metalwork are of the mankind’s remarkable skills influencing their lives drastically. Jamshid’s kingldom image in Baysonqor’s Shahnama is a Persian painting masterpiece; illustrated faithfully to the text, including crystal clear immense intertextual relations. Compositional style is quite perceptible in text margin arrangement to illustrated verse choice and on the other hand artistic references in two leveles. Thus intertextual method is identified not only a mean for Persian painting interpretation but also as a reliable method of penetrating into Persian painting mystic layers book illustration in particular.
http://www.bagh-sj.com/article_4864_b53c076ddd25a70527ef2df8fd3e061a.pdf
نقاشیایرانی
بینامتنیت
جمشید
شاهنامة بایسنقری
Persian Painting
intertextuality
Jamshid
Baysonqor’s Shahnama
per
پژوهشکده هنر، معماری و شهرسازی نظر
باغ نظر
1735-9635
2251-7197
2014-03-01
11
28
55
64
4865
Research Article
بازشناسی تاریخی و تزیینات کاروانسرای آلاکی
An exploration of historical recognition and decorations of Alaki Caravansary
امین مرادی
aminmoradi66@yahoo.com
1
بهروز عمرانی
parva_8@yahoo.com
2
کارشناس ارشد باستانشناسی. دانشگاه محقق اردبیلی.
دکتری باستانشناسی. عضو هیئت علمی پژوهشکده سازمان میراث فرهنگی و گردشگری.
رزمین آذربایجان در معماری ایران مرتبه نخست را دارد. آغاز فعالیتهای معماری ایلخانان به مرکزیت تبریز با بهرهگیری از تجربیات و سنتهای متقدم، فصلگشای عصر جدیدی در هنر و معماری این منطقه بوده است. کاربرد تزیینات معقلی و تلفیق آن با ویژگیهای ممتاز سبک آذری در قالب تأکید بر ارتفاع بیشتر، استعمال سنگ تراشیده و بهرهگیری بیشتر از هندسه، در یکی از زیباترین و منحصربه فردترین آثار معماری این دوران، موسوم به کاروانسرای آلاکی، برآیند تداوم سنتها و اسلوبهای برخاسته از مکاتب بنیادین محلی آذربایجان بوده است. مطالعات انجام شده در زمینه ساختارشناسی و معرفی تزیینات بنای آلاکی در زمرة مهمترین اهداف این تحقیق محسوب میشود؛ بدیهی است احیاء و شناخت ویژگیهای معماری و تزیینی یک بنای ویران شدة عصر ایلخانی میتواند ما را در شناخت هرچه بهتر سیر تحول معماری و تزیینات وابسته به آن به خصوص در منطقة آذربایجان یاری کند. پرداخت اطلاعات در پژوهش حاضر به شیوة توصیفی، مقایسهای و تحلیلی بوده و روش یافتهاندوزی در آن به صورت کتابخانهای و میدانی است. حاصل این مطالعه، شامل معرفی ساختار کاروانسرای آلاکی در زمرة قدیمیترین طرح چهار ایوانی کاروانسرا در شمال غرب کشور و بررسی تزیینات بسیار پرتکلف آن است. بنا بر یافتههای تحقیق، فنون به کار رفته در اجرای تزیینات کاروانسرای آلاکی را میتوان قدیمیترین نوآوریهای معماری ایلخانان در زمینة تزیین انواع فرمهای کاروانسرا در منطقة آذربایجان دانست. از بارزترین مصادق سبک تزیینی این بنا میتوان به الگوی خاص تزیینات سردر ورودی آن در قالب طاقنماهای تزیینی و تطابق آن با آثار و دستآوردهای مذهبی معاصر ایلخانان اشاره کرد.
سIlkhani period in Azerbaijan holds the first place in Iranian architecture. Ilkahnid architecture commenced since Tabriz became the capital and it began to flourish by using the past experiences and Iranian traditions to configure a new era is an important period in creating local styles in art and architecture of this land. The utilization of cut-patterned tile whose effect on formation of artistic traditions of Iran is considerable. Grandeur observed in the architecture of this period especially in Azerbaijan province is premium full of care taste, and selectivity. The existence of magnificent and artistic monuments in this area is not surprising because Azerbaijan has been cradle of art and zeal in all periods. This position is clear for the people who have recognized the styles of Azerbaijan in traditional Iranian architecture and are familiar with their techniques. Although the lack of recording these achievements and study shortage along with technical examinations are the big deficiencies in anonymity of this monument, there are clear and valuable evidences in this area that necessitate more studies in this regard. During this period and regarding central monarchy of Mongols as well as their specific attention to the trends of developing international business in main paths of silk route the areas around it gained great importance. In this regard, they pay higher attention to flourishing those places. They tend to making magnificent buildings in their architecture. Among the most significant attempts in this regard, building and decorating caravansariesin the framework and time period of first era of Azeri style as the most grandeur business body and the most eminent social service can be mentioned. The monuments ofIlkhani caravansaries are seen in different places of Azerbaijan province. The view and tendency ofIlkhani monarchy to founding caravansaries in North West of Iran has differentiated it from other eras in a way that it is considered as the start period ofcaravansary foundation in Iran and paying specific attention to protecting from business routes. The question which comes to the mind is that what chain of events can be considered for the creation of such structural bodies in that era. The answer to this question lies in the location of Azerbaijan province which is concerned as one of the most important business-communicative centers. It has always been a strategic area in Iran and its eminent role in economic interactions and oversea transactions and domestic fields is not something to be denied. Although because of full destruction of other sections of Alaki caravansary, it is not possible to study and examine its elements in a comprehensive and favorable manner for the researchers, the arch of entrance door left from the ruins is so magnificent that is actually graceful and appropriate for the dignity of a king’s entrance. These details reveal higher welfare level compared with that of other known caravansaries beforehand in Iran. Therefore, it necessitates building a different construction and decoration combined by superb Azari architectural features of creating grandeur, the using of carved stones and principals. A specific attention to creating grandeur in the minds of observers that is the main feature of Azeri style in architecture and their harmonic structure reveal the existence of a specific module for the construction of Alaki caravansary. The ratio of width to the length of its arch in a background made of turquoise tiles for making it more significant is an unusual and exotic feature of this monument. As a matter of fact, such view and feature today seems much less unusual for its era than for the observers of it at the moment. The basis of decoration in this structure is on considering geometric rules in a module which has appeared in the most delicate form in it. Full follow of geometric rules in the patterns and symbols are all embodied in a unique building of this style called Alaki Caravansary which is the product of continuation of local traditions and is the sign of harmony and order which are main features ofIlkhani art. The margins around are arranged using decorations with tiny-pattern tiles in order which is beyond the normal style of the caravansaries in the area and that era. The structure of Alaki caravansary differs with other caravansaries in Azerbaijan considering two aspects: first, the plan with four balconies in caravansary building belongs to it and is registered in architectural records. The caravansary in Mongol monarchy era which starts its development in Azerbaijan province and becomes quite indigenous modes of Azerbaijan. Therefore, studying the structure and introducing the decoration of Alaki building is considered the main objective of this research; obviously the restoration and recognition of architectural and decorative features of a ruined Ilkhanid building could lead us to a better understanding of architecturefor that area becomes pioneer for other caravansaries in the area such as Ayrandibi and Darediz. From this aspect, it is completely different with roofed construction of Azerbaijan caravansaries that are formed proportional with cold and mountainous weather of this province. From the other hand, its flamboyant decorations seem to form in passage from Razi style to Azeri style, parallel with religious beliefs. In fact, engineering and decoration evolution, especially in the area of Azerbaijan.of this monument is a kind of reflection and reference of religious architecture of Ilkhani which is revealed in gravestones and altars of that era. This study is descriptive-comparative and analytic. To gather data, field and library methods were utilized. This paper was provided in an attempt for examining the construction and high decorations of Ilkhanid caravansary as the oldest example of four-balcony caravansaries in northwest of Iran. According to the findings of this research, the techniques used in the implementation of the Alaki Caravansary decorations are among the oldest Ilkhanid architectural innovations for decorating various forms of Caravansary in the area of Azerbaijan. One of the most distinctive examples of the decorating style of this building is reveled on the unique pattern of the main entrance gate in form of decorative arching which are parallel with Ilkhanid religious works and achievements.
http://www.bagh-sj.com/article_4865_34a3ef26ee5825fcec1f4e0ad3d0a84e.pdf
عصر ایلخانی
کاروانسرای آلاکی
تزیینات معماری
منطقة آذربایجان
Ilkhanian period
AlakiCaravansary
Architecture decoration
Azerbaijan era
per
پژوهشکده هنر، معماری و شهرسازی نظر
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1735-9635
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2014-03-01
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4866
Research Article
الگوهای خلق فضا در معماری با تکیه بر پارادایمهای نظری پسامدرن
The patterns of creating space in architecture
Relying on theoretical paradigms of postmodernism
سارا سوهانگیر
sar.sohangir.art@iauctb.ac.ir
1
محمدرضا نصیرسلامی
moh.nassir_salami@iauctb.ac.ir
2
دانشجوی دکتری تخصصی معماری، دانشگاه آزاد اسلامی واحد تهرانـ مرکزی، استاد مدعو دانشگاه آزاد اسلامی واحد تهران شمال.
دکتری معماری، استادیار و عضو هیئت علمی گروه معماری، دانشگاه آزاد اسلامی واحد تهرانـ مرکزی.
این نوشتار، پیرامون بررسی الگوهای خلق فضا در معماری، با تکیه بر پارادایمهای نظری مطرح شده در دوران پستمدرن به نگارش درآمده است. یکی از بسترهای پژوهشی مطرح در حوزه نظری معماری، بحث بهکارگیری پارادایمهای نظری در حیطه علوم کاربردی معاصر است. در این بررسی نخست به طور خلاصه پیشینهای از نحوه ورود بحث پارادایمها از حوزه علم به حوزه معماری ذکر میشود سپس با توجه به اهمیت بهکارگیری مبانی نظری در روند طراحی و خلق فضا، با استفاده از پارادایمهای مطرح شده در حوزه معماری توسط «کِیت نِسبیت»، مانند پدیدارشناسی، زیباییشناسی، زبانشناسی، نشانهشناسی، ساختارگرایی، پساساختارگرایی و شالودهشکنی، به بررسی الگوهایی پرداخته میشود که امروزه معماران بهطورآگاهانه یا ناآگاهانه در خلق فضا از آنها بهره میجویند. نظر به اینکه بحث فضا همواره یکی از بااهمیتترین و در عین حال چالشبرانگیزترین بحثهایی است که در حوزه معماری وجود داشته و لزوم ورود مفاهیم آن از حوزه نظر به عمل، یکی از چالشهای پیش روی معماری معاصر است، هدف از انجام این پژوهش، نزدیکشدن به پاسخ این پرسش است که هر یک از عناصر تشکیلدهنده فضای معماری به چه صورت در فضاهای برآمده از پارادایمهای نظری پسامدرن به کار گرفته میشوند؟
بدین منظور سه بخش اصلی مورد بررسی قرار گرفته است :
پیشینه پژوهش (بررسی چگونگی ورود بحث پارادایمها از حوزه علم به حوزه معماری)، مروری بر پارادایمهای نظری معماری در دوران پستمدرن و بررسی الگوهای خلق فضا در معماری با تکیه بر پارادایمهای نظری پسامدرن (در قالب عناصر تشکیلدهنده فضای معماری).
در نهایت ویژگیهای فضایی هر یک از الگوهای مطرح شده، به اختصار مورد بررسی قرار میگیرد. این مقاله با تکیه بر بررسی کیفی و تحلیلی، قصد دارد این واقعیت را روشن کند که علیرغم اینکه دوران پستمدرن به دلیل تحولات متعاقب آن با چندگانگی و تعدد مفاهیم در بحثهای نظری مواجه بوده است لیکن بحث فضا نیز مانند سایر بحثهای نظری معماری، قاعدهمند بوده و میتوان الگوهایی را در این زمینه، به منظور کاربردی کردن مباحث نظری پارادایمها در حوزه معماری مطرح کرد.
This essay investigates discussions surrounding the issue of space creating patterns in architecture based on paradigms in the postmodern era. An area of research which is of great concern in today’s researches on theoretical origin of architecture is the use of theoretical paradigms in contemporary applied sciences. In the beginning, the history of how paradigms of science were brought to the field of architecture is briefly discussed. Then, due to the importance of the application of theoretical principles in the design and creation of space, using paradigms in the field of architecture by Kate Nesbitt, such as phenomenology, aesthetics, linguistics, semiotics, structuralism, post structuralism and deconstruction patterns ,which consciously or unconsciously, have been using by architects to create spaces are discussed. Regarding the significance of the challenging issue of space in the field of architecture as well as the necessity of projecting the concepts of the space from the theory to act as one of the major challenges every contemporary architect confront, the aim of this study is to answer the question of how each constituent element of space which are used in the spaces derived from theoretical paradigms of postmodern architecture?
Therefore, this research includes three main sections:
Section I: Background research (discussing how paradigms were imported to the field of architecture from science), Section II: A review on theoretical paradigms in the era of post-modern architecture, Section III: Discussing space creation patterns in architecture based on postmodern theoretical paradigms (in terms of the constituent elements of architectural space)
Eventually, the spatial features of each paradigm are briefly discussed. This article is based on a qualitative and analytical review and intends to shed light on the fact that despite the diversity and multiplicity of contexts faced in theoretical debates of postmodern era , the debates about space are organized in a way that we can formulate the models of space in this context like other theoretical debates discussed in architecture so that they can be applied to theoretical paradigms in the field of architecture.
http://www.bagh-sj.com/article_4866_e1f400a0c6c11fa09b48cb80eaf77735.pdf
پارادایمهای نظری
کِیت نِسبیت
عناصر تشکیلدهنده فضا
عناصر کالبدی
عناصر محیطی
الگوهای خلق فضای معماری
Theoretical paradigms
Kate Nesbitt
Constituent elements of space
Structural elements
Environmental elements
Patterns of creating architectural space