BAGH-E NAZAR
Year:2016 | Volume:13 | Issue:42|Papers Count:10

In recent years and mostly in the shadow of modernism thinking in architecture and urban fields, some buildings and contexts have been emerged which their developers are, more than anything proud of their Avant-Garde and unique creations and even their whimsical features. Insistence of modernists on creating environments with same standards and different characters for people, has led to bewilderment, chaos, confusion and triviality in modern urban environments. However with passing of the time and clarification of the issues related to developing constructions without paying attention to the culture and history of nations, the necessity of thematic review led to start of new investigation in searching original basis for constructions and environmental elements which could reconnect the people and their local environment. With the rise of discussions in Environmental Psychology, history, native culture and etc., Archetypes were proposed as one of the most important and determinative aspects in designing human-built environments. Archetypes are defined as ‘The Basic, Original and Sustainable Ideas’ which is the result of thousands of years of history, experience and human collective memory which has been stored in human’s unconscious memory. Likewise in the cultural zone of Iran with all the past history, such basic ideas and various archetypes must have existed in order to integrate different social groups in this large and colorful society through relatively coherent set of environmental elements. Therefore this article is an effort to answer to the related questions; can the model and bipolar idea of ‘Up-Down’ be defined as an archetype or basic idea in Iran? Does the possible existence of this idea only belong to the past? Is this idea present at human environments and models of architectural and urban environments in the present time too? For this purpose, besides mentioning the meaning of Subjective/Objective axis of Up-Down and its vital relation with linguistic concepts, worthiness and behavioral patterns and templates of various local architecture environments, the existence of this archetype or basic idea is proved via research in different samples and cases and its application has also been analyzed here. The method used here is Descriptive Analysis, and in particular; Content Analysis and inferential Analysis. Research data have been quantified and analyzed using Cochran formula and the questionnaires have been distributed by random sampling method for each case, and the data has been descriptively analyzed. The results of the surveys show that our perception of traditional and even modern environments is still influenced by linguistic concepts and basic ideas and the Archetype mentioned in this research has an unmistakable presence in our life today.

Coffee house painting that is among few remained folk arts in Iran was originated from the public national and religious attitudes in Qajar era. These paintings are supported by the imagination and the myth, which are rooted in the intellectual talent and the collective spirit. The imagination constitutes the formal motif of the paintings as well as national and religious myths constitute the content motifs of the works, which are rooted in the Iranian rich culture and collective spirit. Coffee house painting that was founded by the artists who didn’t go to the school was according to the imagination and myth-oriented bases somehow the painters called this style as imagination-drawing and stated that its relationship with the imagination was the source of creating their works. Myth-oriented (drawing the national and religious myths) is also considered as one of the important elements of this art and the confrontation between the good and evil forces forms its main concept; these contrasting manifestations are hidden in the unconscious ego of the artist who didn’t go to the school and can be decoded by Gillbert Durand’s nocturnal regime and diurnalregime theory. Gillbert Durand knows that these conflicting manifestations are related to the unconscious ego of the human and his fear of the unknown death universe that is imposed by the time on the human; this case can be examined about the artists who were drawing the pictures in terms of their imagination and were painting their imagination without education spontaneously. This is a research based on the descriptive and analytical studies of the imagination and myth manifestations in the coffee shop painting; this was started by introducing the scope of the imagination, myth and Gilbert Durand’s theory and this important research has been conducted by the library studies, collecting the books and the articles and translating the essays. This paper tries to investigate the place of the imagination and the myth as well as the effective roles of the imagination and myth-making elements in the coffee house painting according to Gillbert Durand’s nocturnal regime and diurnal regime theory and by a documentary and library method. The results of this research indicate that the artists with the coffee house style drew the personal fear (fear of death) and the collective unconscious egos of their compatriots with the help of the imagination and its creativity power as well as with the assistance of myth-making and drew the contrasting elements against the fear simultaneously.

Besides destructing a part of Iranian cities during primary Mongol invasion that was inevitable in war with the aim of conquering for domination and separation of absolute rules, the appearance of other areas, especially Azerbaijan, not only witnessed no destruction of urban sections but also experienced bloom and revivification. Undoubtedly, religion has proved its role as one of the most prominent and powerful forces for unifying the regimens during their lifetimes. Besides controlling wasteful developments in the historic structures, the grasp of Mongols about this point prevented human disasters by establishing religious complexes outside residential areas. During this era, by appearing Ghazan’s personality and his different mentality about Islam’s frameworks through introducing new ideology around the submergence of burial tombs´ location, Ilkhanid architecture was pioneer in innovative and noble styles of complex making ways by centralizing religious units with the feature of mutual mentality about urban structures, unprecedented till that time.Designing and building the architectural collection of Ghazaniyeh with the national name of "Abvab- Alber" was an elementary attempt in this field in which the shrine of the founder was the core element of the complex. Recognizing the architectural form of Ghazan’s tomb as the oldest Mongol’s burial type in an extra-large scale besides different viewpoints of Mongols about traditional funerary methods has always been blurred; thus, this study aims to clarify different dimensions of Ghazaniyeh complex, recreating Ghazan tomb’s structure by analyzing its historic contexts. In this way, supposing monotype architectural patterns in tomb-making traditions of northwestern Iran during Ilkhanid area, the main focus of this project will be on the architectural dimensions and proportions of Ghazan’s tomb in his burial complex. According to the results, unlike stereotype mentalities around this issue, the plan of Ghazan’s tomb, not only is a dodecahedron cylinder charter, but also like most of Ilkhanid tombs, located in Azerbaijan, is a voluminous domical cylinder. Then, its architectural features in terms of proportions and spatial arrangements are comparable with outstanding types like Sultan Ahmet Khodabandeh’s tomb in Sultaniyeh.

Discussion of Logos in Heraclitus idea will be seen is represented with ontological sight of this Greek philosopher. Therefore, to clarify the concept of logos from his perspective and facing it to address it with questions about the epistemology of Cross Symbol’s role which is _the main purpose of this study, first, the term Logos in Heraclitus’ ideas is investigated. Heraclitus believed Logos as a worldwide principle and rule which surrounded the world. It is a unique matter but common for everyone and appears as a light in the middle of fire. In Iranian’s Mythology Asha Vahishta like Logos symbolize global system, Act of God and morality in the world which introduce fire as its representative on earth. This fire has an old relationship with Corss Symbol Pattern. Accordingly, in this study, some ideas have been taken into considerations which review the external and internal coordinates characteristics of Logos with Asha vahishta, being in line with their alignment with the Cross Symbol. Thus, to determine the epistemological relationship between these two transcendental concepts and symbol and to answer this the main question that if it is possible to consider the Cross Symbol as tangible symbol for Logos, concerning the possibility of regarding cross as the visual symbol of Logos, first, Heraclitus parts about Logos and the mystery of the universe which is hidden in it, along with its possible impact of ancient Iranians’ thoughts are studied we reviewed Heraclitus’ fragments about Logos and its hidden mystery of the universe as well as its possible impact on the ancient Iranians thoughts. Finally public analogy of Heraclitus ideas about fire which is visible sign of Logos, with ancient Iranians’ thought about fire that was strengthen by Asha Vahishta will be mentioned here as the result and findings of this survey.. It is done to Therefore, determine the transcendental relationship between Logos in Heraclitus’s ideas and Cross Symbol’s role among Iranians is determined. Descriptive-Analytical method of research has been chosen and resources have been collected in the library.

Due to the role of natural elements in human life, attention to these elements was common in many ancient cultures, including Iran. This consideration was so important that some cultures believed in the sacredness of these natural elements and held ceremonies for them. Water is one of these natural elements. Formation of cities and development of human civilization relies on it and wherever remained urban civilization from ancient times is encountered, footprint of spring and rivers can be found around them. This natural element is doubly important in the geographical area of Iran considering region’s warm and dry climate. These factors alongside the longtime water shortage problem in Iran are the underlying reason for many Iranians beliefs being about protecting water and preventing its contamination. Thus, in many parts of Iran, especially in the central plateau, sacred waters can be found. These waters include sacred springs, lakes and canals. Also waters with their origins and existence linked to holy people such as Prophets and Imams are considered as sacred waters. Cheshme Ali in Damghan, as the origin of the only permanent river of the city, is an instance of these sacred places that dates back to the pre-Islamic era. This place is sacred for inhabitants and people consider the root of the 1000 year old nearby tree as holy and sacred. According to evidence and documents in historical books, excavations and observations of the author, the reason for the sacredness of this place is the sacred water originating from the mountain. Perhaps this place was a Mitra temple for worshiping Mitra and Nahid along with water: triad of water, tree, and mountain.

In the assessment of art history in Qajar era, in addition to their aesthetic elements, the social, historical, and political processes influencing on the formation of the works must be taken into account. These studies never detract from the values of the artworks, but demonstrate the share of ultra-aesthetic elements in them. The historical evidence of Qajar era reveals to us some manifestations of the impact of policies, especially those of the governmental elite1, on the art of this period. The headlines of governmental offices, orders, notifications, circulars, and political themes of the artwork are evidenced. In the second half of Qajar government, the growth of modern ideas created a new discursive space, the development of which had a significant impact on the emergence of artistic styles and appearance of eclectic styles.Focus on the interaction between art and politics and analysis of the factors affecting the formation of artwork are among the topics that have been less paid attention to by the researchers in this field. Yet, from among the factors influencing on the creation of works of art, governance policies have played a decisive role. The two fundamental questions this paper was formed to answer were what relationship there has been between art and politics during the Qajar era and what factors have influenced on it. This article aimed at evaluating how the governing elite dealt with artists, artworks, and their outcomes by using a descriptive-analytical method. The article has been further theoretically inspired by the relationship between knowledge and power based on Michel Foucault’s thoughts. Therefore, according to Foucault’s theories and viewpoints on the relationship between knowledge and power, the relations between art and politics were analyzed. The results of this study were indicative of the interactions between politics and art in the form of politics supporting art, and in some cases, contrasting it, the manifestations of which could be found in the critical aspects of the works of art.

Zurkhaneh is a firm phenomenon of Iranian-Islamic culture which contains some didactic characteristics of our ancestors’ traditions. These characteristics are formed by holistic thinking of our ancestors. This holistic thinking a whole has unified different parts of these characteristics. According to the holistic minds of the Iranian people, all elements of a phenomenon have been seeking to achieve a goal. Architecture and music as, respectively, the objective and the subjective elements which are located at the two ends of the spectrum of Zurkhaneh phenomena are proofs for the claim that Zurkhaneh is formed for training and education of heroic and humane characters.This study aims to find the educational perspective which is common between these objective (architecture) and subjective (music) elements of Zurkhaneh. Based on the findings of this study, the architecture and the music of Zurkhaneh aim to, make people interested in Zukhaneh ideas and, moreover, to place these ideas in their minds. They try to achieve this goal through simplicity and getting close to people’s lives, getting away from artificiality and specialized complexities as well as adherence to the principles of simplicity and convenience. In this framework, architectural and musical components are selected such that one can easily create them or keep them in mind. Scrutability, simplicity, and humanism were of the features which realize the aim of the establishers of zurkhaneh phenomenon. All of these features are manifested in zurkhaneh architecture and music. This is a qualitative study which seeks some instances of the two elements of architecture and music by incorporating field and library methods for data collection. Finally, using content analysis and content comparison of the data obtained by information analysis, it explores the correspondence between these two elements.

Two major different approaches have been considered for "power". One of them is an oriented approach with a direction from the top towards down, in which the subject of power is applying factor on the object of power; in contrast the other one is the Foucault’s approach of "power" which lacks direction and the matter can be either subject or object at one time. In this approach, it is possible to resist against power and this kind of power is forming human life. Several tools can be used in the exercise of power, especially in gender power. One of the most important tools is "the look". The Gaze theories which investigate the ways of male’s power exercising especially on the female figure by peruse of the gaze, particularly the voyeuristic male gaze, develop a way to the expression of power in the visual arts. In present study, the main aim is to answer the manner in which the power is exerted in representation of women in paintings, and to seek how a woman is represented as a power agent and the relation of the look of the figure to the audience. The hypothesis, is that the artist resists against the dominance of the governmental supervising institution, but on the other hand due to the cultural and religious reasons, by using visual techniques the woman is abstained of being the subject of the gender power stereotypes. The relationship between the use of visual elements, the look, power and resistance has been investigated by studying the gaze types. Hence, by using library-mining and choosing samples from the paintings of the members of Association of Iranian Painters and considering the gaze theory the works which has depicted woman’s figure have been analyzed. The statistics were analyzed by IBM SPSS software, and results have discussed according to the Foucault’s approach of power. The results show that the represented woman is not considered as passive and dominated being by the artist. It means, the woman is not the subject of the action of looking. This is aligned with proposed resistance by Foucault. The returned look, particularly the gaze to the viewer, makes woman as the agent of power. The artist uses all the factors and basics of visual arts, strictly the woman is placed in level eye angle which means the equal power position with the artist and the viewer; but the relation between artist and audience is a common kind of power. The audience has no opportunity to exercise power over artist and the artist guides him/her how to look by technical skills. Cultural exclusions that are affected by social and religious culture of artist have more effects on hedonistic intuitive feelings and led the artist to be in accordance with the cultural, social and political power which monitors the activities of AIP. Showing naked women to be the subject of voyeuristic gaze is refused but his propensity of representing woman without hijab is not ignored.