BAGH-E NAZAR
Year:2016 | Volume:13 | Issue:40|Papers Count:6

Throughout history, “creation of garden” has been one of the most spectacular human activities. Art of gardening is considered as one of the ancient Iranian arts that has valuable traditions and spiritual power. Stepping into an Iranian garden compels us to think about this idea that what mysteries have been concealed behind its adorned appearance. It has not gotten old over the centuries. Also invites modern human being for a visit with its tempting perspective. Surrounding environment and the amount of water cause the appearances of gardens in Iran. Since the information about the gardens of Samarkand are limited to reports of Clavijo and a number of articles, and most gardens of Samarkand and Isfahan don’t exist now, the physical structures of gardens in Samarkand and Isfahan are the main issue of this paper so that the present contents in this study will be a step for further studies in this field.Accordingl this study by a descriptive – historical approach, intends to identify the elements that have formed Timurid gardens and Safavid gardens and the similarities and differences between these gardens in two different eras. Indeed, the descriptions that represented in these two periods have more detailed than previous periods and these have helped to recognize the gardens in these periods. Also the question will be responded that how much Timurid gardens and especially the gardens which had built in Samarkand by Timur, affected on the subsequent gardens. We consider gardens in these two eras i.e., Timurid and Safavid eras, by the aid of historical descriptions, itineraries and documents and comparison them with each other as well as studies which done by contemporary researchers, it is concluded that Safavid style landscape gardening, especially the Chaharbagh avenue, roots in Timurid era.

The holy Quran as the most significant religious text of Muslims has a remarkable aptitude in various aspects of human knowledge which is often neglected. Many researches have studied the Islamic city since city and city elements are mentioned in this holy book. Accordingly, this paper tries to investigate if the common difference between city and village is a matter of importance in the holy Quran. In other words, this paper seeks the indicator(s) of city and village distinction in the holy Quran. Therefore, Medina (village) and Gharieh (village), as the two main keywords, are analyzed in the holy Quran and investigated by a combination of research methods (combination of qualitative content analysis method and logical reasoning method). The findings suggest that unlike the current theories in the field of urban development, Quran does not recognize different economic, social and even population factors as the main factors in distinguishing villages from cities. In Quranic literature, the factor that makes a city distinct from a village is the level of faith in God and commitment to Islam. So that a habitat, disregarding of population and size city, cannot be entitled as Medina (city) in case it lacks these factors. The claim has been established and proved in the body of this study by comparison of various Quranic literatures containing the words Medina (city) and Gharieh (village).

“Intuition” is one of the most salubrious and mysterious parades of human being religious life. Recognition of essence and its spirit, value of knowledge, evaluation of pureness from spurious among critique masses of theories, brought concerns to many thinkers and intellectuals. An artwork becomes unique and everlasting when from one hand, rooted in transcendent and sensual intuition of the artist and from other hand through the understanding of its addressees. The “intuition” reveals the truth in the mind of artist and finally the truth of the artwork. The “intuition” is one of the most fundamental concepts of Immanuel Kant’s philosophy and to the extent of an infrastructure; it plays a key role in Kant’s knowledge system. Kant emphasizes on sensual intuition and put the subjectivity as the main theme of his work and this attitude has been instrumental in the formation of the great artworks and schools in the era of modernism and even postmodernism. In review of artworks, we observe the presence of intuition in triangle of artistic work, artist and addressee.In this article we intend to determine the intuition status in creation of artworks and based on Kant’s first critique (critique of pure reason) to explain and emphasize its place in artworks. This paper is based on hypothesis that artworks output of disposure and intuition, and artist has created an art by using his own unique act of mind such as precedence intuition. Based on Kant’s first critique the intuition is nothing but, the direct understanding of the meaning that exists at the present and has essential role in Kant’s intuition of art that along with artist’s ability will communicate with audience. This paper has been emphasized and compared the descriptive analytical methods by using books and articles.

Today, the dominance of modern media is growing thanks to various soft wares, graphic patterns and fonts. Although it has created a visually universal language to ease communication, it has also marginalized certain visual cultures around the globe. Such threats in Iran have appeared in the form of damaged views of cities and monumental patterns replaced with unfamiliar elements. In order find solutions to such concerns, every now and then, issues like Iranian identity, applications of Iranian pictures, and Iranian domestic content have come to the fore. The present study aimed to reach a comprehensive approach to deal with the problems mentioned and with how to represent domestic visual culture effectively. In fact, it aimed to revitalize national archetypes and to represent them in a new way based on modern graphic principles. The questions of the research include: what is the Iranian visual culture? What is meant by representation of Iranian visual identity graphically? The result indicated that Iranian visual identity is the visual similarity of a work to other Iranian works so that it is distinguished from the works of other nations. Iranian visual identity is divided into general and corporate identities. Iranian visual identity is inspired by representation and recreation of Iranian pictures and motifs. Visual corporate identity include formally approved symbols, and flags which generally follow certain norms and principles. Graphic representation of Iranian visual culture implies a given degree of similarity to Iranian visual culture so that the quality of being Iranian can be readily recognized. The present study is an applied qualitative research. Data were gathered based on library sources and media databases.

A carpet is a product of arrayed meaningful elements or arranged artistic motifs set together. The practical and spiritual applications of carpet indicate that this Persian art can deliver meanings in different aspects. Carpets have long been used in religious, rituals and funeral ceremonies. Not only are these artistic creations applied for covering various spaces, but also they are dedicated to holy places due to the strong tie they have with lives of Iranian people. Accordingly, this paper studies the carpet dedicated to the Holy Shrine of Imamzadeh Zeid that was woven by the order of Taghi Khan Dorrani, governor of Kerman. This study aims to explore the hidden layers of meaning in the text inscriptions of the carpet and find answers to the followings: What are the implicit meanings that the carpet inscriptions imply? Can we investigate the meaning of the carpet text by using a comparative study? Can we find a significant relationship between the text components and other written texts of the carpet by using an intertextual approach? Here, the research data is obtained from library researches and museum observations and studied in comparative, historical and analytical research methods. Not only does the discovery of implicit and explicit layers of the inscription describe the relation between the writing order and the pictorial order of the carpet, but also it reveals the public wisdom of the public during Zand era.

As a masonry structure, buttresses have the role of controlling the sliding force of the main wall. This architectural element has been used in residential and non-residential buildings in various methods and ways from distant years. In this regard, archaeological evidences are the only valid indices by referring to which we can tacitly learn about the record of buttresses. Where and how it has first been used is not known, and nowhere has it been explicitly referred to. Even archaeologists have tacitly and briefly referred to it in their excavation reports. However, based on accessible limited reports, expansive application of this structure can be dated to post-Neolithic era when architects became aware of structural performance of this element and gradually with their part experiences; they used it in a different way with better structural performance. In this research, studied about Buttress types in terms of position, form and shape, used material, execution technique, ornament and technical function. By studying buttresses built during prehistoric and historical period, it will be seen that there were no structural scientific frameworks based on findings related to the strength of materials and mechanical rules. Little by little and through time, architects began to understand structural performance and structural perception of buttresses, owing to the experience and deep attitude towards the nature and behavior of masonry buildings. They emphasized not only the balance in forces, but also their appearance and esthetics. Lack of comprehensive research in this regard necessitated this research, and this issue was dealt with through library studies and descriptive and analytical research method.