BAGH-E NAZAR
Year:2010 | Volume:7 | Issue:14|Papers Count:7

The art of architecture was gloried in Azerbaijan throughout the 13th-14th centuries A.D. An architectural style coined as Azeri, introduced by Master Pirnia, describes the Iranian architecture in Ilkhanid-Timurid eras. It is ignored, however, the impression of local styles of Azerbaijani architecture on the Azeri style. Azerbaijan, furthermore, is presented as the forerunner and cradle of Ilkhanid glorious architecture that is well known by a series of engineering innovations and decorative elements which are grouped in seven categories by the author. In these categories, masonry masters from Tabriz and Nakhchivan have shaped six of them. To the author, in addition, the Azerbaijani style of architecture has been prominent by eleven main masonry characters which their formation process is affected by interactions of Tabriz-Nakhchivan schools of architecture and Khorasani one. This innovated style is created by some famous masters such as Alishah of Tabriz and Adjami Nakhchivani. What is more, not only Azerbaijan but Timurid Khorasan-Turkistan and Mamluks Egypt were affected by the waves of Azerbaijani style of architecture.

Rivers are vital natural resources. They became the starting point of most civilizations simply by providing men with drinking water, the means of irrigation and fishing. Rivers were also used to produce energy. Nowadays, they improve the look of urban landscapes and create natural green belts that cleanse the air.Unfortunately, these vital sources have been neglected in present-day Iran. Riverbanks with huge potential for improving urban landscapes have reduced to a mess and in some older cities like Shoushtar and Dezful installations like watermills and ancient bridges dating back to the Sassanide era are falling to decay.Undoubtedly, the way out of the current problem is to consider the principles of sustainable architectural development and use them in development activities in and around riverbanks. In this developmental study, we will attempt to describe these principles before introducing various approaches to draw a comprehensive plan for the creation of appropriate green belts across riverbanks that would also serve as dynamic urban centers.

This paper initially attempts to introduce the main factors behind the formation of nationalist ideas by studying the social and political grounds upon which nationalism developed in Iran and Turkey between 1920 and 1950. To do so, the authors have focused on the efforts made by the Iranian and Turkish governments to strengthen nationalism. They have also studied how official cooperation between the two sides influenced the formation of nationalist movements. The paper then introduces the nationalist architectural movements that were developed as a result of these nationalist policies in Turkey and Iran. The authors study and categorize these nationalist architectural movements and some of their creations based on the opinions of Iranian and Turkish critics. In the end, a comparative study is employed to discuss how government policies have influenced the emergence of nationalist architectural movements in Iran and Turkey.

Although historical texts and stone reliefs from the Achaemenid era offer valuable information about the way this vast and mighty empire was managed, archaeological findings that could help determine the detailed designs of ceremonial structures have been very limited. In addition, despite the fact that the construction materials used to build these ceremonial structures and their mere magnitude, were meant to render them indestructible, the scourge of time and the forces of nature have hit them so hard that their retrieval seems impossible without lengthy archaeological studies. If we add the number of royal structures constructed upon the orders of Achaemenid princes, subordinates (known as the Satraps) and other rulers to the number of various regional and seasonal palaces built for the kings, we can easily estimate that the vast territory under Achaemenid rule held tens of such structures. Nevertheless, questions about the exact number of these palaces, their geographical distribution, their forms and functions as well as the political ranks of their inhabitants and the methods used to construct them remain unanswered. The discovery of three palaces belonging to the Achaemenid dynasty near the city of Borazjan (in Iran’s southern Bushehr Province) will help researchers find some answers but at the same time begs further questions about the date of these palaces’ construction, the motives of their builders, their architectural style, as well as the time and causes of their annihilation.This paper, which has been prepared based on data collected from archaeological excavations at the aforementioned sites, is an attempt to answer those questions. Analysis of the collected data has revealed that all three palaces were built at the beginning of the Achaemenid Empire and probably by the same architects that constructed the Pasargad. Based on the same findings, it may also be concluded that the construction of at least one of the palaces was abandoned in an emergency wrought by foreign invasion and possible conflagration.

Physical erosion and poor standards of economic and social life in city slums, which also lack historical sites, evidently justify radical intervention for redevelopment regardless of local identities or values. But, the urban renewal process underway in Iran for the past several years has clearly shown that disregarding urban qualities can readily ruin the chances of achieving the main goals of the renewal process. One of the goals of urban renewal in Iran based on governmental and municipal urban development policies is protecting a city’s identity. Although the general and common concept of identity is as old as human civilization, urban identity is a relatively new concept. Simple as it may sound, the concept of urban identity can be described as a ultidimensional phenomenon.Since the Landscape Theory encompasses various aspects of urban concepts, it can prove efficient in dealing with the challenges of urban renewal. This article aims to outline a thesis to resolve the identity crisis resulting from urban renewal by focusing on the concepts of renewal, identity, urbanization, and landscape.

Studying the development of form in art history is a fundamental theory in artworks iconology. It is possible to study the history of art through investigating the shape of artworks, or art forms aesthetics. The history of art is established on the base of artworks build up and form creation rather than the power of artwork critics’ interpretation and criticisms.Although the artist's mentality is prior to their final objective work, but it is the objectivity and imaginary system of artworks that make up the history of art. Art is born by making up, although the artist, before creating his artwork, has an imagination of what is to be made. It is the knowledge and technical skills that make it possible that the mental pictures change into artwork.The artist with his active imagination power creates a form of what should be made and then by using the right material makes it perceivable. A subjectivity which does not gain visible form exists in the mind of its owner as an imagination. An inventor who is technically unable to give birth to his ideas is not reckoned as an inventor. A poet, who is not able to express or write down his poems, is not called a poet. Imaginary forms of an artist can originate from different tales, narratives, and motifs and subjects or even personal feelings. The content or massages that can be religious, moral, humanistic, social, political and ideological, or personal reaction of the artist. Artwork, visible quality and this kind of subjects which in form aesthetics and form creation manners, by the artist gain perceptibility.any understanding, interpretation and critic is possible only through art forms. An artwork is considered such on the base of its aesthetic values form and expression rather than its massage and content, neither on the base of its content perception by the addressee.Cognition and structural interpretation, methods and expression way of the artist can be studied through the morphological approaches, not through the semantics of the work. Indeed any meaning perception is possible only through morphology and structural interpretation of an artistic object.

The Achamenid art was assumed as royal and was always under the influence of the affiliated nations defined as a Mesopotamia, Egypt, Anatolia and specially Urartu. Curved reliefs and palace gates specially those of Persepolis reveal the great influence of Babylonia and Assyrian arts. Since the conquare of Anatolia by Cyrus the Great, the elegant and refined art of Greek culture emerged within the Achamenid architecture.Architectural monuments are known as the major element of Achamenid art which were under the influence of Elamite and Median architecture. Moreover, one can find the traces of Urartu Architecture elements as stone burial monuments and narrow passages within the burial chambers. Meanwhile as a result of conquered of Egypt by Darius I the Great and his long term residence in Egypt, he became so interested in Egyption Architectural monuments that he reflected such an eagerness of Persepolis architecture.