BAGH-E NAZAR
Year:2017 | Volume:14 | Issue:46|Papers Count:7

The Last Supper, as a great work of art in religious scope and in the world, is one of the main scales for most of the artists who worked after Da Vinci; as if many great painters have tried to paint their works with the theme of the last supper based on Da Vinci’s work. Here a question raises whether Leonardo Da Vinci was successful in creation of this great painting that is whether he could paint these great event based on Holy Bible successfully. Obviously, this event was described in Bible based on four narratives told by four gospel writers. Accordingly, Da Vinci should paint his Last Supper based on one or a combination of these four narratives. Although Leonardo Da Vinci tried to paint the apostles’ total reaction based on the content of Bible in the climax of the story, he painted their facial expressions and details of their reactions based on the totality of their characters depicted throughout Bible. Thus, this part of the painting seems to be based on Vinci’s extraordinary imagination. Many of art historians have different opinions about the origin of the Last Supper inspiration. Some of them have not mentioned or referred to its origin while others have investigated the origin of the Last Supper inspiration and told their opinion about it. Some art historians believe that Matthew’s narrative was da Vinci’s source of inspiration while others believe he combined the four narratives and painted a combination of the narratives on the mural based on his imagination; so that, from each narrative some signs can be found in the mural. In this article, it has been tried to find out whether Leonardo Da Vinci was successful in painting this great event. In so doing, the art work would be analyzed through both its artistic style and scrutinized review of all four narratives of the Holy Bible. First, It would be tried to assess the details of the painting and the da Vinci’s style in painting this mural and scrutinize the four narratives. Then the details would be matched with the four narratives to find out based on which narrative the mural was pained or whether it was pained based on a combination of all narratives. According to the analysis, it was found that Gospel of John was da Vinci’s source of inspiration in painting the Last Supper. This is based on five reasons: First is in the mural, there is no sign of performing Eucharist by Jesus and this has only been mentioned in John’s narrative. Second is the seating arrangement of the Apostles is exactly based on what John narrated in his Gospel. Third is John’s head turning to the Saint Peter has only been mentioned in John’s narrative. Fourth reason is in the mural, it is clear that Saint Peter is whispering in John’s ear and this is also among the points that has only been mentioned in John’s narrative and the last one is the details of Jesus and Apostles’ reactions have only been mentioned in John’s narrative. Based on these reasons it can be concluded that Saint John’s narrative was Leonardo Da Vinci’s source of inspiration in painting the Last Supper. But Da Vinci’s imagination and ingenuity in creating faces and reactions should not be ignored.

Many of the plans for the purpose of renovating worn-out areas in urban setting are deficient and whatever accomplished partly have no effective cultural and social advantage, not to mention their negative effect. Without considering time and the relevant cost no prominent opportunities or trends are defined when determining this aspect in urban management, since the related organizations have not fulfilled their obligations. Establishing the renovation plan for Zeinabieh Dist. in the city of Isfahan is on the urban planning agenda. The international and domestic experiences indicate that establishing regional office for this purpose should be considered during the project design and end it with conveyance of the project to public or private executing bodies and facilitating their execution processes. The lowest rate in renovating constructions in recent years in the worn-out areas of this city is allocated to District 14 (the study zone). This district is facing urban decay due to its informal background on settlement thus confronting an intensive shortage of specific urban services. Based on the unique physical fiber and social texture the establishment of renovation and facilitating office in this area and the analysis of the plan execution could be an appropriate approach in generalizing the findings of this study to fit similar areas through comparative analysis of the plan and effective contributions by the district office. Within the past three years, the accomplishment level of each policy is determined. The level of project accomplishment in social and confidence building is promising with a high percentage in inhabitants’ point of view regarding the plan. The first question of this study is based on acceptability approve the possibility to fulfill these actions. Also, the 2nd question of the research about lack of accomplishment of the proposals for the renovation project of the worn-out area of Zeinabieh was approved by 25% in other aspects, especially for the physical proposals. Moreover, in response to the research question, the rate of fulfilling economic proposals, traffic proposals, urban views, spatial organization and housing were determined to be 10%, 18.75%, 31.25%, 18.33% and 33.33%, respectively. Identifying the effective factors at comprehensive, intermediate and micro levels and finding their correlations and coordination with the district renovating office could prominently effects the success of the operations by their office. Informing, introducing and considering inhabitants participation role are among the main factors and essential conditions for promoting economic, social and physical conditions of the worn-out urban areas. This alone would not suffice. State, provincial and municipal authorities should support these offices in this humanistic endeavor. Here, the (BSC) and (AHP) procedures are applied. An excuse indicating the inhabitants’ unwillingness in participation causes inefficiency in drawing policies in this respect. Despite the fact of what has been going on so far, this office has to a certain degree, accomplished some awareness regarding the social aspects of the issue by determining the strategic plans with respect to their quantitative weights.

Although, subjective aspects of architectural spaces were taken into consideration by scientific circles during last few decades and after the development of environmental sciences, current experiences in the field of maintaining architectural heritage in Iran shows the little attention paid to this aspect, against the focus given to the structure and function in related planning. The "sense of place" concept, as one of environmental science’s meanings, has helped specialists and designers to identify subjective characteristics of natural and built spaces. This paper believes that by considering the "sense of place" notion, spatial aspects of conservation can be recognized and can form practical strategies to establish a comprehensive connection between space and human beings. Due to the fact that the "sense of place" shapes the relation between human and space by introducing the meanings of space, it will be a proper basis for cognition of the meanings of heritage spaces and explanation of an appropriate attitude towards protective measures. According to this view, the hypothesis are; A. Semantic preservation is the main basis of architectural conservation, B. Paying attention to the "sense of place" is an important part of semantic protection and C. Conservation that is based on the "sense of place" explains the pattern of physical and functional conservation. Studying the relation between architectural conservation and the "sense of place" shows that recognizing the "sense of place" in heritage spaces, results in understanding their structure and character, and thus leads the architectural protection towards policies containing physical and functional measures which finally results in the preservation of people’s sense of belonging to those spaces. This research is done by relying on analytical and descriptive methods and using interpretation and classification of library resources.

Hamedan with suitable climate has had great gardens. Unfortunately, many changes have taken place in the structure of city and many gardens have been added to the urban fabric for construction and a limited number of them have been rebuilt. Understanding the elements, reconstruction and rehabilitation of gardens should be based on scientific principles and integrated studies of the different of historical and cultural layers of gardens should be carried out.. As integrated studies on Hamadan gardens are not codified and on the other hand, the past and current situation is not documented, it is necessary to study and assess the reconstruction of their elements. This paper is based on the Charter of Florence and cataloging methods to study Nazari and American gardens in which there is an attempt to determine the spatial structure of the past and present through descriptive and analytical method in way of comparison and qualitative approach with a collection of documents, and the field work to answer these questions. What is documentation of Hamadan historical gardens to be used to rebuild them? How is the restored Hamedan garden structure evaluated on the basis of the Charter of Florence? How are different and common features found in the restoration and preservation of Hamedan gardens? The whole garden, garden characteristics - the physical structure of gardens-and garden history are document repertoires that should be taken into consideration in the reconstruction and rehabilitation of historical gardens. Studies of Nazari and American gardens show both gardens have been renovated on the present situation and not on the basis of Florence Charter. American garden has changed over time more and more. The greatest changes in both gardens according to data indexing method have been found are in the organization of the garden, building use the passage of time and the physical structure.

Bannai Kufic script is made up of repeating geometric units in vertical, horizontal and parallel forms over a grid (ruler1) and due to the unique visual aspects and its close relationship with architecture, it has many features to be used in contemporary art. This article is about the identification of effective factors on Bannai Kufic script sustainability in modern times and its use in logotype design. By studying structural and geometric properties of the script, the reason for its sustainability as a traditional script with a new spirit can be examined, and extend these properties to logotype design. The structural feature of this line, certain relationships and interaction between savad2 and bayaz3, its simplicity and explicitly of components, having clarity in logic, readability and lack of thickness variations, non-vowel, a traditional history and modernization capacity, the ability to change its positive and negative spaces and textures, has established a set of unique features in this script that makes it suitable for use in the visual arts, especially logotype design. In addition, simplicity, logical order, cryptography, equal thickness of black and white spaces, proportionality in letter composition, use of flat surfaces, vertical horizontal, and parallel movements, and ability of creation positive and negative spaces, high elasticity and evoking geometric forms, having the highest capacity for layout and composition, alphabetical letters variability in terms of layout and using minimal words, positive and negative spaces and textures are among inherent characteristics of this script, which in modern times, they can have valuable, effective and modernized role and simply be used for textual graphics and logos by modern graphic designers.Research objectives Identifying effective factors in Bannai Kufic script survival Identifying the most important formal and structural features of Bannai Kufic script for logotype design. Research questions: Which are the effective factors in Bannai Kufic script survival. Which aspects of Bannai Kofi script structural features can be used in logotype design. Hypothesis It seems that Bannai Kufic structural form is responsible for its modernization in modern times, and this script can meet the needs of visual communication of modern times.

Apart from functional aspect; architecture can convey the meaning and express its own meanings clearly. Other arts such as painting also can deliver several messages that can be different in various madeia. Many contemporary architects constantly attempts to convey a message of an artwork to architectural media and in this regard, they try to restate the ideas and concepts in a symbolic environment. Without doubt, the meaning of an artwork can be imported with components or other expressive symbols, and thus the litigant meanings of an artwork can be transited to another. In this regard, one of the issues that is missed in architecture area, is the discussion of conveying the meaning from other art media to the architecture. This paper tries to explain how to convey the meaning from Painting to architectural media. It is assumed that conveying the meaning of other art medias to architectural media can help the architects to create the meaning and B) Using metaphor, plays an essential role in conveying the meaning from other art media such as painting to architecture. In this paper, in order to answer the research hypothesis, the way John Hejduk restates the Madame D’Haussonville painting by John Auguste Dominique Ingres and the studio series by Georges Braque in the architecture of the wall house 2 are discussed. The Methodology of this paper is based on descriptive analytic methods and logical reasoning. It also relies on the discussing and analyzing the library information. Finally, this study shows that conveying the meaning from one art media to another can develop ideas from other arts such as painting to architecture and vice versa and be effective in the enhancement of both of these art media.