Nazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301Persian Garden, Ever-Renewed BeingPersian Garden, Ever-Renewed Being51243399FAMehdi SheybaninullSeyed Amir Hashemi ZadeganJournal Article20170220The increase and diversify of Persian garden studies, in spite of their numerous advantages, because of not paying enough attention to the theoretical framework, leads to contentions which is relating to their internal more than external validity. a critical issue is the meaning of garden’s sacredness as paradise. the sacredness as a fixed model, or limiting sacredness to the physical realities and other thoughts, has not been differentiated clearly in studies. so the audience will be confused about wisdom of Persian garden. This paper aims at categorizing Persian garden studies based on their dominant theoretical framework in order to study their internal validity by focusing on the issue of sacredness. It also tries to explain that "sudden emergence of Persian garden seems very unlikely considering the current intellect". Therefore, by categorizing the existing literature (studies) in four major structures of thought including mythical, stable essence, materialist, ever-renewed essence, they will be analyzed in order to be used in further identification and elimination of contradictions. <br />The used survey method is logical argument from cultural/discourse types and it consists two phases: first, library studies and arguments for explaining internal validity; second interpreting a new relation among findings and contrasting it with Persian poetry to explain external validity. Results show that Persian gardens like numerous poets of Persian art in different levels are transcended understandings of Iranian poetry feature; a feature resulting from understanding of cosmos meaning in a cycle of virtuality- intensiveness- actuality (unrested motion). The emotional presentation of this understanding, in one of its highest peaks, from Mawlana viewpoint, is the continuous presence of God. The unique aspect of Persian garden architect artist is thr consideration of this uninterrupted presence. Changes of phenomena in the garden which satisfy material to conceptual senses show intoxication from this evidence-looking view whose kindness aspect finds sacred value. The quality of Persian garden has transcended from the emergence of beauties and benefits of the material world to supernatural and isn’t stable and pre-existing.The increase and diversify of Persian garden studies, in spite of their numerous advantages, because of not paying enough attention to the theoretical framework, leads to contentions which is relating to their internal more than external validity. a critical issue is the meaning of garden’s sacredness as paradise. the sacredness as a fixed model, or limiting sacredness to the physical realities and other thoughts, has not been differentiated clearly in studies. so the audience will be confused about wisdom of Persian garden. This paper aims at categorizing Persian garden studies based on their dominant theoretical framework in order to study their internal validity by focusing on the issue of sacredness. It also tries to explain that "sudden emergence of Persian garden seems very unlikely considering the current intellect". Therefore, by categorizing the existing literature (studies) in four major structures of thought including mythical, stable essence, materialist, ever-renewed essence, they will be analyzed in order to be used in further identification and elimination of contradictions. <br />The used survey method is logical argument from cultural/discourse types and it consists two phases: first, library studies and arguments for explaining internal validity; second interpreting a new relation among findings and contrasting it with Persian poetry to explain external validity. Results show that Persian gardens like numerous poets of Persian art in different levels are transcended understandings of Iranian poetry feature; a feature resulting from understanding of cosmos meaning in a cycle of virtuality- intensiveness- actuality (unrested motion). The emotional presentation of this understanding, in one of its highest peaks, from Mawlana viewpoint, is the continuous presence of God. The unique aspect of Persian garden architect artist is thr consideration of this uninterrupted presence. Changes of phenomena in the garden which satisfy material to conceptual senses show intoxication from this evidence-looking view whose kindness aspect finds sacred value. The quality of Persian garden has transcended from the emergence of beauties and benefits of the material world to supernatural and isn’t stable and pre-existing.http://www.bagh-sj.com/article_43399_e86045afb0c7316158691d9030359345.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301Comparative Assessment of People’s and Experts’ Perception of Urban Space (Case study of urban collection of Emamzadeh Saleh, Tajrish, Tehran)Comparative Assessment of People’s and Experts’ Perception of Urban Space (Case study of urban collection of Emamzadeh Saleh, Tajrish, Tehran)132643431FAAzam Karimi YazdinullNaser BaratinullMajid ZareiAssistant prof.- Faculty of Architecture & Urban Planning – Imam Khomeini International University- IRANJournal Article20170221The most important issue in urban design thought is consideration of designing process as a short time process rather than a long term and continual process that is entangled with social and political mechanisms. Therefore, designing may fail due to ignoring essential processes that are effective on forming projects. Processes form actions while adding meaning to it. This leads to flexibility and conservativeness in expressing definite solutions. The approaches that change urban design form a passive state of being into an active one, from formal to functional-formal , from being design-oriented into process-oriented and from administrative into participative situation, mostly focus on real quality enhancement. Here, both users’ and manufactures’ (urban planner and designer) role in considered in perception of urban space. Consideration of place quality perceived by users in an urban space accompanied by place components considered by urban designers demonstrates the social aspect of the space. Citizen’s reception of space according to their cultural origin and community norms, embody the users’ personal framework in use of space and demonstration of environmental and social behaviors. There are three main factors in the regeneration and reorganization of every urban environment: environment or urban space, users of space, and urban planners and designers of space. Each urban environment should continue its identifying and semantic structure basis throughout time in order to embody time (sense of time) into its place characteristic. What seems obvious in the background identity of urban spaces is the degradation of place from its epistemological foundations and undermining of the perception of different layers of time in space.The current study attempts to examine users’ and experts’ perception of place quality with an emphasis on their "common existential space". In this regard, urban collection of Emamzadeh saleh (The enclosed space across Emamzadeh Saleh and market place, between riverside space and Tajrish square) is assessed as a case study. This research specially tries to answer this question: What are the differences and similarities in assessment of perceptive measuring according to people’s and urban experts’ points of view in the case study (urban collection of Emamzadeh Saleh). <br />The quantity and quality data are obtained questionnaire that captured people and quality of place in frame of map and graph that is assessed descriptive - imaginative. The results are obtained from the research that indicates suitable measurement level of citizen rather than expert inform of factors that assess. But citizen’s measurement in two factors is less them average tend to well. So in assessment the total of one space by the time that first needs of individual don’t replied in facing to public space, the individual is unable to acquire higher stages perception of qualities environment. Use of the technique that approximates viewpoints of experts and users space must situate among specialist’s agenda of organizing spaces. <br /> <br /> The most important issue in urban design thought is consideration of designing process as a short time process rather than a long term and continual process that is entangled with social and political mechanisms. Therefore, designing may fail due to ignoring essential processes that are effective on forming projects. Processes form actions while adding meaning to it. This leads to flexibility and conservativeness in expressing definite solutions. The approaches that change urban design form a passive state of being into an active one, from formal to functional-formal , from being design-oriented into process-oriented and from administrative into participative situation, mostly focus on real quality enhancement. Here, both users’ and manufactures’ (urban planner and designer) role in considered in perception of urban space. Consideration of place quality perceived by users in an urban space accompanied by place components considered by urban designers demonstrates the social aspect of the space. Citizen’s reception of space according to their cultural origin and community norms, embody the users’ personal framework in use of space and demonstration of environmental and social behaviors. There are three main factors in the regeneration and reorganization of every urban environment: environment or urban space, users of space, and urban planners and designers of space. Each urban environment should continue its identifying and semantic structure basis throughout time in order to embody time (sense of time) into its place characteristic. What seems obvious in the background identity of urban spaces is the degradation of place from its epistemological foundations and undermining of the perception of different layers of time in space.The current study attempts to examine users’ and experts’ perception of place quality with an emphasis on their "common existential space". In this regard, urban collection of Emamzadeh saleh (The enclosed space across Emamzadeh Saleh and market place, between riverside space and Tajrish square) is assessed as a case study. This research specially tries to answer this question: What are the differences and similarities in assessment of perceptive measuring according to people’s and urban experts’ points of view in the case study (urban collection of Emamzadeh Saleh). <br />The quantity and quality data are obtained questionnaire that captured people and quality of place in frame of map and graph that is assessed descriptive - imaginative. The results are obtained from the research that indicates suitable measurement level of citizen rather than expert inform of factors that assess. But citizen’s measurement in two factors is less them average tend to well. So in assessment the total of one space by the time that first needs of individual don’t replied in facing to public space, the individual is unable to acquire higher stages perception of qualities environment. Use of the technique that approximates viewpoints of experts and users space must situate among specialist’s agenda of organizing spaces. <br /> <br /> http://www.bagh-sj.com/article_43431_371f83a476d93dea87db6bd4f21f8c08.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301Rethinking in the Residential Environment’s Physical Changes’ Pace from Resident’s Point of View
A Case Study in Niavaran Neighborhood, Tehran, IranRethinking in the Residential Environment’s Physical Changes’ Pace from Resident’s Point of View
A Case Study in Niavaran Neighborhood, Tehran, Iran274243402FAHadi PendarnullKamran ZekavatnullJournal Article20170220Residential environments are constantly changing. Permanent Changes in the physical properties and residents’ constant contact with the never-ending cycle of construction is particularly important in assessing the quality of the residential environment by them. On the other hand, understanding how physical changes lead to interruption, or vice versa residents’ effective link with the environment, to assess the quality of the residential environment is essential. However, controlling the type and speed of physical changes in resident’s satisfaction have not been enough attention from policymakers in urban neighborhoods. Similarities and differences between the effective indices of residents’ affective appraisal in terms of satisfaction scale pace of physical changes, is the main question of this research. The aim of this research is achieving a theoretical framework for understanding the adaptation process and residents’ satisfaction with physical changes at different magnitude at residential alleys. Therefore, knowing how the type and intensity of physical changes identify by residents and their affective appraisals, is beneficial for understanding the complex process of adaptation and the factors influencing it. This mixed and exploratory research combined with qualitative and quantitative data gathering techniques such as interviews and morphological surveys over the last twenty years. Field of study was alleys of Niavaran neighborhood in north of Tehran. Qualitative phase of research, provide the question’s exploration, data analysis by phenomenological interpretive research method and result’s space in low, medium, high and transformed pace of physical changes. The Likert Scale in five point scale questionnaire used to assess the validity and reliability of the results in the main and control alleys and purposive sampling was conducted.Using SPSS software, variance analysis and validation of questions in each species, Post-hoc analysis (LSD) and comparative analysis of six factor of the conceptual framework was done by Kruskal-Wallis test. The results of research approved the experience and affective appraisal criteria in the theoretical framework. But the satisfaction criteria shows significant differences at different speeds. Based on results, evaluation criteria and residents’ satisfaction in transformed alleys become different from the other cases. Because of the qualitative nature of getting resident’s experience in different environments. It’s running in the same neighborhoods can be a good background for meta-analysis studies and achieve a theoretical framework responsive to the same conditions of the Tehran metro polis.Residential environments are constantly changing. Permanent Changes in the physical properties and residents’ constant contact with the never-ending cycle of construction is particularly important in assessing the quality of the residential environment by them. On the other hand, understanding how physical changes lead to interruption, or vice versa residents’ effective link with the environment, to assess the quality of the residential environment is essential. However, controlling the type and speed of physical changes in resident’s satisfaction have not been enough attention from policymakers in urban neighborhoods. Similarities and differences between the effective indices of residents’ affective appraisal in terms of satisfaction scale pace of physical changes, is the main question of this research. The aim of this research is achieving a theoretical framework for understanding the adaptation process and residents’ satisfaction with physical changes at different magnitude at residential alleys. Therefore, knowing how the type and intensity of physical changes identify by residents and their affective appraisals, is beneficial for understanding the complex process of adaptation and the factors influencing it. This mixed and exploratory research combined with qualitative and quantitative data gathering techniques such as interviews and morphological surveys over the last twenty years. Field of study was alleys of Niavaran neighborhood in north of Tehran. Qualitative phase of research, provide the question’s exploration, data analysis by phenomenological interpretive research method and result’s space in low, medium, high and transformed pace of physical changes. The Likert Scale in five point scale questionnaire used to assess the validity and reliability of the results in the main and control alleys and purposive sampling was conducted.Using SPSS software, variance analysis and validation of questions in each species, Post-hoc analysis (LSD) and comparative analysis of six factor of the conceptual framework was done by Kruskal-Wallis test. The results of research approved the experience and affective appraisal criteria in the theoretical framework. But the satisfaction criteria shows significant differences at different speeds. Based on results, evaluation criteria and residents’ satisfaction in transformed alleys become different from the other cases. Because of the qualitative nature of getting resident’s experience in different environments. It’s running in the same neighborhoods can be a good background for meta-analysis studies and achieve a theoretical framework responsive to the same conditions of the Tehran metro polis.http://www.bagh-sj.com/article_43402_d3cbec97ae9537aeb16e05a5db5e5a2d.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301New Insight into the Creative Urban Clusters
(The potentials of joint space between Naqhsh- e Jahan Square and
the Art University of Isfahan as an attractive place for the creative class)New Insight into the Creative Urban Clusters
(The potentials of joint space between Naqhsh- e Jahan Square and
the Art University of Isfahan as an attractive place for the creative class)436043403FAMinou Gharehbaglounull0000-0003-2639-2906Tannaz KargarStudentJournal Article20170220The creative city is a place for the development of creativity in dynamic of community’s creative clusters; which these clusters maintain and nurture creative class of experts with the wide range of skills. Universities can provide a setting for interaction of creative talent with intellectual power within a community, such spaces should be regarded as a valuable asset for a city that can be used as a creative cluster to achieve a creative city’s goals. The purpose of this paper was to analyse the joint space between the Art University of Isfahan and Naqhsh- e Jahan Square as a cluster for creativity. Analysis focused on potential of open spaces for nurturing a creative class and promoting a culture of creativity. In this regard, this paper seeks to answer these questions: "What criteria do Naqhsh- e Jahan Square and the Art University of Isfahan as urban spaces have in order to adapt to urban creative clusters? What potential does the joint space between the Art University of Isfahan and Naqhsh- e Jahan Square have in order to convert to creative cluster? And how and how much this space has been successful in attracting and promoting the creative class?". In this regard, these questions of paper were addressed through a qualitative, theoretical study, using analysis of the related literature, and the term creative class is defined followed by investigation of the role of urban creative clusters to attract the creative class in a society. Then by analysing the Naqhsh- e Jahan Square and the Art University of Isfahan as two creative clusters; by qualitative approach and by analysing the interactive relationship between these clusters extracted the absorbent place criteria of creative class in the joint space between the Art University of Isfahan and Naqhsh- e Jahan Square. In the end, with quantitative analysis the permeability of Naqhsh- e Jahan Square and the Art University of Isfahan by the joint space between them as a place with potential of absorbing creative class has been done. The final outcome of this article is to achieve the absorbent place criteria of creative class in the joint space between Naqhsh- e Jahan Square and the Art University of Isfahan and in this context, the proposed solutions such as promoting social interaction, increasing security and improving user manipulation in order to generalizing the open space of university with the aim of transforming the joint space into the commissure of university and city, will be presented.The creative city is a place for the development of creativity in dynamic of community’s creative clusters; which these clusters maintain and nurture creative class of experts with the wide range of skills. Universities can provide a setting for interaction of creative talent with intellectual power within a community, such spaces should be regarded as a valuable asset for a city that can be used as a creative cluster to achieve a creative city’s goals. The purpose of this paper was to analyse the joint space between the Art University of Isfahan and Naqhsh- e Jahan Square as a cluster for creativity. Analysis focused on potential of open spaces for nurturing a creative class and promoting a culture of creativity. In this regard, this paper seeks to answer these questions: "What criteria do Naqhsh- e Jahan Square and the Art University of Isfahan as urban spaces have in order to adapt to urban creative clusters? What potential does the joint space between the Art University of Isfahan and Naqhsh- e Jahan Square have in order to convert to creative cluster? And how and how much this space has been successful in attracting and promoting the creative class?". In this regard, these questions of paper were addressed through a qualitative, theoretical study, using analysis of the related literature, and the term creative class is defined followed by investigation of the role of urban creative clusters to attract the creative class in a society. Then by analysing the Naqhsh- e Jahan Square and the Art University of Isfahan as two creative clusters; by qualitative approach and by analysing the interactive relationship between these clusters extracted the absorbent place criteria of creative class in the joint space between the Art University of Isfahan and Naqhsh- e Jahan Square. In the end, with quantitative analysis the permeability of Naqhsh- e Jahan Square and the Art University of Isfahan by the joint space between them as a place with potential of absorbing creative class has been done. The final outcome of this article is to achieve the absorbent place criteria of creative class in the joint space between Naqhsh- e Jahan Square and the Art University of Isfahan and in this context, the proposed solutions such as promoting social interaction, increasing security and improving user manipulation in order to generalizing the open space of university with the aim of transforming the joint space into the commissure of university and city, will be presented.http://www.bagh-sj.com/article_43403_8d234e6ceabb12afc578f3097ffc9eba.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301Recognizing The Meaning of Home in Quran: A Way to Explain Home Theoretical BasesRecognizing The Meaning of Home in Quran: A Way to Explain Home Theoretical Bases617643432FAAli KabirisamaninullAlireza MalakootystudentZohreh YadeghariPh. DJournal Article20170221This study considers the meaning of house and settlement in Quran. First, considering Surah An-Nahl verse 80, God proclaims: "And Allah has made for you from your homes a place of rest …", and He explains that "rest" is the first condition for settlement. Then, He explains the relationship between "rest" and "tranquility" in Quran. By referring to Surah Ar-Rad verse 28, He proclaims "remembrance of Allah" is the main key to reach rest. He concludes that homes are places to attain rest when they are places to remember God. Then He mentions remembrance of Allah in creation as days and nights, earth, and spouses that are examples of rest among divine blessings. According to Quran clear text and regarding the fact that world has been created based on size and measure which is called geometry, it is obvious that geometry and measure are the main architectural keys in world creation. Thus, the key and secret of creation in nature should be found so as to build a house which leads into rest and remembrance of Allah. Second, in order to design and make a house, a direct relationship should be made among nature, house frame, and atmosphere. Then, home architecture will be like a window opened into God sings. Therefore, according to Quran, a house geometry which helps God remembrance and his sings can provide human settlement and rest. Since God remembrance is an introduction to human thought and contemplation, it will lead into human contemplation as well. Finally, it is stated that a house with the feature of God remembrance is a peaceful and thoughtful house. This study is a qualitative research which attempts to derive house related words in Quran through a Hermeneutic and interpretative method. In order to refer to Quran verses, Quran interpretation or verse to verse interpretation has been used. This study considers the meaning of house and settlement in Quran. First, considering Surah An-Nahl verse 80, God proclaims: "And Allah has made for you from your homes a place of rest …", and He explains that "rest" is the first condition for settlement. Then, He explains the relationship between "rest" and "tranquility" in Quran. By referring to Surah Ar-Rad verse 28, He proclaims "remembrance of Allah" is the main key to reach rest. He concludes that homes are places to attain rest when they are places to remember God. Then He mentions remembrance of Allah in creation as days and nights, earth, and spouses that are examples of rest among divine blessings. According to Quran clear text and regarding the fact that world has been created based on size and measure which is called geometry, it is obvious that geometry and measure are the main architectural keys in world creation. Thus, the key and secret of creation in nature should be found so as to build a house which leads into rest and remembrance of Allah. Second, in order to design and make a house, a direct relationship should be made among nature, house frame, and atmosphere. Then, home architecture will be like a window opened into God sings. Therefore, according to Quran, a house geometry which helps God remembrance and his sings can provide human settlement and rest. Since God remembrance is an introduction to human thought and contemplation, it will lead into human contemplation as well. Finally, it is stated that a house with the feature of God remembrance is a peaceful and thoughtful house. This study is a qualitative research which attempts to derive house related words in Quran through a Hermeneutic and interpretative method. In order to refer to Quran verses, Quran interpretation or verse to verse interpretation has been used. http://www.bagh-sj.com/article_43432_709f73ae79e3d43a3332eeee0c083391.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301The Nature of Abstract Motifs in Ghashghaie Hand-woven ObjectsThe Nature of Abstract Motifs in Ghashghaie Hand-woven Objects779043405FAMohammad Afroughnull0000-0002-4866-8232Asghar JavaninullAmir Hossein ChitsaziannullFathali QashghaifarnullJournal Article20170220One of the key questions concerning nomadic hand-woven objects in Iran deals with designs and motifs used in them; with the nature of the motifs and the techniques applied to create them. Generally, the intended designs and motifs used in nomadic Persian hand-woven objects are broken (abstract) in shape and as simple as possible. In addition, they are often woven quite subjectively or intuitively; a feature that has made such hand-woven objects unique in terms of aesthetic criteria. Another outstanding feature is the application of a wide variety of weaving techniques. This is true especially in Ghashghaie hand-woven objects. In fact, the weavers take advantage of various techniques (sometime a combination of them), through making different arrangements with wefts and yarns. First, various kinds of nomadic Persian hand-woven objects were classified in terms of application and weaving techniques. Then, the views of three distinguished experts, Parviz Tanavali, Armen Hangeldin and Cecil Edwards, concerning the nature of broken and/or abstract designs and motifs used in nomadic Persian hand-woven objects were reviewed and examined. Finally, the views of the experts were compared with those of the nomadic weavers themselves in order to discover the real explanation for applying such motifs and designs. In order to extract the nomadic views on the rationale behind applying the indented motifs, the weavers were asked two key simple questions. This study is descriptive-analytic in nature. Data were gathered based on library sources and field studies. <br /> <br /> <br /> One of the key questions concerning nomadic hand-woven objects in Iran deals with designs and motifs used in them; with the nature of the motifs and the techniques applied to create them. Generally, the intended designs and motifs used in nomadic Persian hand-woven objects are broken (abstract) in shape and as simple as possible. In addition, they are often woven quite subjectively or intuitively; a feature that has made such hand-woven objects unique in terms of aesthetic criteria. Another outstanding feature is the application of a wide variety of weaving techniques. This is true especially in Ghashghaie hand-woven objects. In fact, the weavers take advantage of various techniques (sometime a combination of them), through making different arrangements with wefts and yarns. First, various kinds of nomadic Persian hand-woven objects were classified in terms of application and weaving techniques. Then, the views of three distinguished experts, Parviz Tanavali, Armen Hangeldin and Cecil Edwards, concerning the nature of broken and/or abstract designs and motifs used in nomadic Persian hand-woven objects were reviewed and examined. Finally, the views of the experts were compared with those of the nomadic weavers themselves in order to discover the real explanation for applying such motifs and designs. In order to extract the nomadic views on the rationale behind applying the indented motifs, the weavers were asked two key simple questions. This study is descriptive-analytic in nature. Data were gathered based on library sources and field studies. <br /> <br /> <br /> http://www.bagh-sj.com/article_43405_a4c071ec2608767a934b7f7b86719c60.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301Semiotics Content of the Fields affecting on Graffiti
and Decorations of Zand Era with an Emphasis on Folk Art ThemesSemiotics Content of the Fields affecting on Graffiti
and Decorations of Zand Era with an Emphasis on Folk Art Themes9110443406FATaban GhanbarinullHossein SoltanzadehAssociate Professor of Architecture, Islamic Azad University, Central Tehran, Iran.Mohammad Reza Nasir SalaminullJournal Article20170220Art and architectural works of the Zand period are a unique collection of Iranian architecture before cultural developments of the Qajar period. According to most literatures, they have a simple-oriented structure and borrowed fields of art and ancient architecture (Achaemenid era) and some techniques of Safavid period compared to works before and after them. But the content of the art of this period has not been studied with a deeper analysis of the roots and folk art of the Zand tribe yet. This study aims at decoding and understanding the concepts and semantics metaphors and areas affected by illustrations and images of this period using attitudes and folk art themes of the Zand dynasty with a historical-cultural method and a cultural semiotic strategy as a tool for analysis and interpretation of the affirmative and implicit implications of the phenomena as a system of socio-cultural implication. The results show that tribal art has some degree of creating a non-representational world in which another visual reality independent of any representational and expressive character is raised. Considering this process (items such as simplicity, freestanding, connection with nature, joy, happiness and peace) approves the absence of any absolute functional and conservative look, at the content of art and architecture of the Zand period and clarifies that "Deliberative Functionalism of Ethnic Art" has been effective as the third important theme of folk art in graffiti and internal and external decorations of buildings in this period after the themes: "Naturalism" and "Simplification of Abstract Concepts". Wide diversity and a strong presence of graffiti with abstract designs and abstracting of Lachak (a small scarf tied tightly to the head), bergamot and framings which are themed with realistic designs of natural elements such as plants and birds in government buildings (castle, courthouse , Haft Tanan and Kolah Farangi mansions) are the best places to publish and represent modern motifs, to emphasize on tendency to abstracted affairs in expression and the reflection of pure concepts abstracted in the nature of folk art as an indicative of the flexible spirit and adaptability of this art with the cultural context and lyrical atmosphere of Shiraz in this course.Art and architectural works of the Zand period are a unique collection of Iranian architecture before cultural developments of the Qajar period. According to most literatures, they have a simple-oriented structure and borrowed fields of art and ancient architecture (Achaemenid era) and some techniques of Safavid period compared to works before and after them. But the content of the art of this period has not been studied with a deeper analysis of the roots and folk art of the Zand tribe yet. This study aims at decoding and understanding the concepts and semantics metaphors and areas affected by illustrations and images of this period using attitudes and folk art themes of the Zand dynasty with a historical-cultural method and a cultural semiotic strategy as a tool for analysis and interpretation of the affirmative and implicit implications of the phenomena as a system of socio-cultural implication. The results show that tribal art has some degree of creating a non-representational world in which another visual reality independent of any representational and expressive character is raised. Considering this process (items such as simplicity, freestanding, connection with nature, joy, happiness and peace) approves the absence of any absolute functional and conservative look, at the content of art and architecture of the Zand period and clarifies that "Deliberative Functionalism of Ethnic Art" has been effective as the third important theme of folk art in graffiti and internal and external decorations of buildings in this period after the themes: "Naturalism" and "Simplification of Abstract Concepts". Wide diversity and a strong presence of graffiti with abstract designs and abstracting of Lachak (a small scarf tied tightly to the head), bergamot and framings which are themed with realistic designs of natural elements such as plants and birds in government buildings (castle, courthouse , Haft Tanan and Kolah Farangi mansions) are the best places to publish and represent modern motifs, to emphasize on tendency to abstracted affairs in expression and the reflection of pure concepts abstracted in the nature of folk art as an indicative of the flexible spirit and adaptability of this art with the cultural context and lyrical atmosphere of Shiraz in this course.http://www.bagh-sj.com/article_43406_a9cee571083b80df453378f39ad0e55f.pdfNazar Research Center for Art, Architecture and Urbanism (NRC)The Monthly Scientific Journal of Bagh-e Nazar1735-9635134520170301Studying the Role and Symbolic Meanings of Cypress Tree (Sarv)
in Miniatures of “Tahmasbi Shahnameh”Studying the Role and Symbolic Meanings of Cypress Tree (Sarv)
in Miniatures of “Tahmasbi Shahnameh”10511443407FASaba Alebrahim DehkordinullJournal Article20170220According to different beliefs and cultures, trees are considered as valuable and sacred beings, and Iranians also have much respect for the tree. Cypress tree is one of the trees with symbolic concepts and mythological power among the Iranians who has won the attention of the poets and authors in different periods, especially the 4th and 5th centuries AH Hakim AbulQasim Ferdowsi is one of the poets, who has used all types of plants, particularly cypress and its symbolic concepts and, considering its various types, has attributed many traits to it; thus,he could present many pleasant descriptions from the nature and human Tahmasbi Shahnameh, as a Persian miniature masterpiece, has depicted the same symbolic and mysterious concepts in the miniatures. There has been no independent research on the role of cypress tree in the miniatures of Tahmasbi Shahnameh. Detail analysis of the miniatures in this Tahmasbi Shahnameh required the symbolism of plants, particularly the cypress tree. The present article is a response to the questions such as "Is the cypress tree important in these miniatures?" and also "How much this element is associated with other elements?" The hypothesis indicates that the cypress plays an effective role in images, both visually and symbolically, and it is highly associated with heroes and prominent characters of the miniature. The research method is analytical and some of the most important miniatures of Tahmasbi Shahnameh are described based on symbolism literature and other references. The results show that Iranian miniaturist, considering the symbols of nature, has presented the symbolic meanings and concepts of cypress and its association with heroes and characters in the miniatures using other symbols such as water, mountain, stone, and other trees along with cypress. In these miniatures, the cypress tree is also the symbol of immortality, great men, eternity, grandeur, goodness, and freedom.According to different beliefs and cultures, trees are considered as valuable and sacred beings, and Iranians also have much respect for the tree. Cypress tree is one of the trees with symbolic concepts and mythological power among the Iranians who has won the attention of the poets and authors in different periods, especially the 4th and 5th centuries AH Hakim AbulQasim Ferdowsi is one of the poets, who has used all types of plants, particularly cypress and its symbolic concepts and, considering its various types, has attributed many traits to it; thus,he could present many pleasant descriptions from the nature and human Tahmasbi Shahnameh, as a Persian miniature masterpiece, has depicted the same symbolic and mysterious concepts in the miniatures. There has been no independent research on the role of cypress tree in the miniatures of Tahmasbi Shahnameh. Detail analysis of the miniatures in this Tahmasbi Shahnameh required the symbolism of plants, particularly the cypress tree. The present article is a response to the questions such as "Is the cypress tree important in these miniatures?" and also "How much this element is associated with other elements?" The hypothesis indicates that the cypress plays an effective role in images, both visually and symbolically, and it is highly associated with heroes and prominent characters of the miniature. The research method is analytical and some of the most important miniatures of Tahmasbi Shahnameh are described based on symbolism literature and other references. The results show that Iranian miniaturist, considering the symbols of nature, has presented the symbolic meanings and concepts of cypress and its association with heroes and characters in the miniatures using other symbols such as water, mountain, stone, and other trees along with cypress. In these miniatures, the cypress tree is also the symbol of immortality, great men, eternity, grandeur, goodness, and freedom.http://www.bagh-sj.com/article_43407_6fa4ba457429bdcef1b8a5811c7b1b28.pdf