BAGH-E NAZAR
Year:2020 | Volume:16 | Issue:79 |Papers Count:9

Problem statement: Balouch tribe can be considered one of the genuine Iranian tribes who has continued the livestock breeding and nomadic life in Iran. Various arts are common among this tribe, but the most important one is the art of needle-working. This art, with its geometric and highly abstract designs, displays the history of tribal Balouchi lifestyle. Like other Iranian nomadic arts, Balouchi life has a very high geometric dimension. One can also refer to the similarity of the geometric patterns of this art and the Neolithic arts. Balouch needlework art designs are categorized and studied in various humans, animals, plants, geometric shapes and marginal types. Research question: What is the most important aesthetic aspect of Balouchi’ s art of needle-working Research objective: The aim of this study is to recognize of the aesthetic elements of Balouchi needle working as the most important native art of the Balouchistan region. Research method: The research method is qualitative using logical reasoning. Library data and observation were taken into consideration in data collection of this research and also the objective observations of the writer and field information were effective in achieving research findings. Conclusion: The most important aspect of these designs is their geometricity and excessive abstraction. The aesthetics of this native art can be examined in the form of a line (right and with an angle), shape (based on the shape of the triangle), texture (dense and prolific), rhythm (alternating) and color (with the domination of the red color and combination of strong and powerful colors). Symbolic abstraction can be considered as the most important aesthetic aspect of Balouchi’ s art of needle-working.

Problem statement: Today’ s country of Armenia, a part of the ancient Urartu, as the first land that officially accepted Christianity, has built the oldest churches and has turned the old temples into churches. By the Armenians’ migration to Isfahan and, simultaneously, the establishment of the New Julfa during the reign of Shah Abbas the Great, the churches appeared in a different form. The construction of churches benefited ancient experiences whilst taking into consideration the Shah’ s decree that new constructions should not conflict with the capital’ s buildings. It seems that the previous studies on the New Julfa churches have not paid enough attention to the architectural and the cultural relations of the new context. Understanding the process of convergence between the Armenian religious architecture in New Julfa and the architecture of Isfahan, and its results could be applied in urban restoration and regeneration projects, especially in the Julfa neighborhood, which specifies the necessity of this research. Research objectives: The current study aims to find out the morphological transformations of the physicalspatial structure of the main building of churches in New Julfa, considering the interaction between the architecture of New Julfa and Isfahan’ s prominent architecture. The study tries to answer these questions: Which type is generative and the initiator of the progress of church building morphology? How the architecture of the main building of churches has been converging toward the prominent architecture of Isfahan within their morphology evolution process? Research method: The research is carried out using an interpretive-historic method and the data is collected according to available documents and field observations. Conclusion: The outcome of the research implies the principle of some kind of restriction in the form of the Armenian church building. The existence of a generative type and getting influenced by the architectural techniques of the Shah Abbas period is confirmed in the course of formal evolution. Compared to the Isfahan prominent architecture of this period, the morphological changes of the main building in the churches are indicative of a tendency to converge to the Iranian style. The St. George Church is the first church building with the features of Iranian architecture, which provides the possibility of subsequent physical-spatial developments. The physical-spatial structure of the church of Holy Mother of God and the Bethlehem church is comparable to the structure of Sheikh Lutfollah and Abbasi Jame’ mosques, which indicates how the physical-spatial structure of the generative type developed.

Problem statement: The Qajar era painting has a particular position in the history of Iran’ s art and portraiture is controversial as a prominent branch of painting during Fath Ali Shah’ s sultanate period. As one of the main subjects of the painters in this era, women have been frequently portrayed with no veil (hijab) while wearing heavy make-up and a lot of jewelry. Mehr Ali is one of the proficient painters of this era that, besides portraying the king, has also portrayed a few of the Qajar women, as well. In the painting “ the lady with the parrot” which is ascribed to Mehr Ali, a painter in Fath Ali Shah Qajar’ s royal court, a kind of clothing style different from the common Qajar women’ s, can be observed. Research objective: The present study aimed at analyzing the clothing and ornaments of the woman in Mehr Ali’ s painting and their consistency with the hijab and ornaments commonly used by Qajar women from iconographical perspectives. To do so, efforts have been made to unravel the latent layers of aforementioned artwork via describing and analyzing the themes therein. The article seeks to figure out the reason why the woman has been portrayed in this painting with those ornaments and clothing. Research method: The present study was carried out based on a qualitative (analyticaldescriptive) method using content analysis. The study’ s theoretical foundation was set based on Erwin Panofsky’ s school of iconography and the required data was collected based on the documentary method and library research. Conclusion: The study findings makes the audience familiar with a different type of female clothing that is less similar to the outfits commonly used by Qajar era’ s women and no historical book has pointed thereto. The type of hijab depicted in Mehr Ali’ s painting remind the audience of the Indian women’ s clothing in Mughal (Gurkanian) era and the woman’ s make-up style seem to be influenced by the literature and representation of its similes in painting.

Problem statement: Hygiene and purification are very important in the religion of Islam. The importance is manifested more in paying attention to a type of architecture namely bathroom. Bathrooms, in addition to physical and material characteristics, have ritualistic and immaterial characteristics and in order to identify them, common physical structure of public should be studied. Of course, it should be noted that these structural patterns in architecture and particularly in traditional architecture have direct relationships with building functions and in fact, any building is constructed for special function and with a pattern appropriate to it. One of the main functions of bathroom is to perform rituals of purification and according to most researchers; rituals of the purification are of rites of passage. Now the question arises that what role did rite of passage play in the physical structure of Iranian public baths? Reaserch objectives: The present study has emphasized to find the effect of rites of passage on basic pattern of Iranian public baths. The results of the present study show that the threepart structure of rites of passage was considered as an inspirational concept in the design architecture of the bathroom. Research method: In order to study the role of rite of passage in physical structure of Iran’ s public baths in accordance with the research requirements, while using the logical reasoning based investigation, historical interpretation method is also used. The research data have been gathered via library resources and documentary studies. Conclusion: Iranian baths have three-part structure including a Bineh (caldarium), a mediator (middle corridor) and a hot chamber (tepidarium) and purification as the main function of bathhouses reflects the rite of passage. In general, rite of passage has three separate, purgatory and reintegration stages and this three-stage spiritual journey can be seen in bathing customs and purification rituals. The results of the present study show that three-part structure of passage is likely the inspired concept of traditional structure in architectural design of bathhouse and the use of three-part structure in its body.

Problem statement: The history of cinema exhibits numerous examples of filmmakers striving to critique and transform their societies by making films in a variety of genres in an attempt to realize their personal vision of utopia. Most proved, however, to be precarious and inconsistent on this quest, thereby turning their utopia into a dystopia and depicting it as such. Iranian cinema, too, has trodden this path and produced similar works. Imagination, illusionism, fatalism, disbelief, and Irreligion are the main constituents of dystopias and Iran’ s globally renowned cinema has long been a showcase for subjects fundamentally shaped by these elements. Research objective: This study examines the notion of idealism in Iranian cinema, with the applied objective of analyzing and explicating the manner and the processes in which Iranian filmmakers diverged from the path leading to their – and their audience’ s – aspired utopia and only created an unwanted dystopia through various historical periods. Research method: The study was conducted using a qualitative research method with a historical-analytic approach. The data were collected through library resources, watching films, a historical comparison of Iranian cinema, and interviews. Conclusion: The results indicate that, through all the historical periods since its inception, Iranian cinema has always tended toward dystopias.

Problem statement: In many cases, the lack of space causes the people’ s loss of the comfort and sense of territory. It further leads to unwanted spatial communication with each other. Physically, on the boundary of the space, if it is not an obstacle to communication, it causes olfactory communication, visual, audio, access, and violation of all types of privacy and ultimately violates the privacy of users. Research objectives: The present article aims at improving the theoretical foundations of the concept of privacy by determining the factors affecting the provision of privacy in contemporary housing space from the point of view of environmental psychology. Environmental psychology studies human behavior in order to perceive the relationship between privacy and social life. Research method: This research is a descriptive-analytic type with a research method of logical reasoning. Conclusion: The architectural representation of the spatial arenas, spatial boundaries, in-between space, hierarchy, spatial depth in responding to human needs: safety, respect, introversion, and the realm of contemporary housing are summarized. The main result of the research on 6 types of different types of units from the residential tower of Milad Tabriz indicates that the control of spatial communication in the architectural design leads to the control of behavioral communication in human interactions, which is one of the most important factors in providing types of privacy, including visual freedom, access, . . . and ultimately mental privacy in contemporary housing.