BAGH-E NAZAR
Year:2017 | Volume:14 | Issue:47|Papers Count:8

The garden is essentially an extensive open space that can include various types of closed spaces within.However, in some cases, there are various types of open space combined in the garden according to defined arrangements. This poses a new form and a variation in the structure of the classical Persian Garden, which is the subject of the present investigation.The general scheme of a Persian Garden is a wide and open space, and in the case of gardens of Birjand, garden space that is integrated with other types of smaller scale open spaces to create new combinations. These gardens are similar in structure, composed in an orderly yet simple layout and integrated with smaller open spaces. These auxiliary spaces range in scale from a small yard to an extensive area like a garden itself. They can even be the size of a bay of a mahtabi in front of the main building which overlooks the whole garden or can be the size of a stone-paved roof that looks out on its surrounding plains. These open spaces attach to the garden space in a number of ways, each with a distinct function. They include the andaruni courtyard, open courtyard, loading area, entrance yard, mahtabi, roof, soffeh, sharemi, meydancheh, jelo-khan, and orchard.The main function of these spaces relates to the residential aspect of a garden, i.e., they either form a private andarun area, or grow larger to house different activities pertaining to residential life in a garden, and important enough to be landscaped. Moreover, other types of these spaces provide special views to the garden, contributing to the recreational aspect of a garden. In addition, there are other spaces that create hierarchy and provide the possibility of extension of the garden space, or define a zone around which buildings can be arranged, all of which relate to the geometric structure of a garden. These spaces denote a special way of life which is investigated and categorized in this paper. Examination of gardens of Birjand is the clue to further research on Persian Gardens, and essential to determining whether other not-yet-studied gardens of Iran pose the same spatial combinations.

The term ‘Landscape’ with complex objective and subjective concepts and extensive physical and nonphysical aspects, has always been of special interest to authorities and theoreticians in the intellectual fields related to the Ecology, Geography, Urban Design, Landscape Architecture and other related disciplines and fields. Additionally, sometimes provided definitions have simply directed the concept of ‘Landscape’ toward an environmental issue, which has been taken into consideration from an ecological perspective. As a result, different definitions and approaches have been raised for the issue of ‘Landscape’. In this respect, sometimes there have been attempts to define the term ‘Landscape’ by looking at scholars’ and experts’ perspectives from other countries (beside Iran), or sometimes by typically considering their own perception of the term ‘Landscape’ as a definition. Moreover, the relationship between man and the environment and the interaction between these two elements in the discussions of Landscape experts and scholars, have created complex relations in the existing definitions of ‘Landscape’. Thus, sometimes the concept of ‘Landscape’ is regarded as an objective fact, which is apart from the man and his mind, and sometimes it is considered as an absolute abstract subjective reality. The objective and subjective complexity aspects of ‘Landscape’ have led the scientific disciplines, developed and grown in the Descartes’ bipolar world, to restraint ‘Landscape’ to merely one-dimensional concept and consider it as an abstract concept in its objective or subjective forms. Furthermore, stated definitions have always been the best indicator and criteria for evaluating the experts’ perspectives of the issue and their approach types. Therefore, by collecting and classifying library documents including inside-and-outside- country provided definitions of the concept of ‘Landscape’ in different areas and disciplines and also by qualitative analysis of inferential and analytical methods, this study attempts to examine the concept of ‘Landscape’ and understand the approaches to deal with it.

The term lifestyle which comprises social, cultural, and economic elements has a profound impact on behavioral patterns and mental attitudes of individuals in the society and affects the architecture of their living place. In the recent decades, the discourse of housing choice pattern and living space in relation to lifestyle as a new subject has attracted the attention of the researchers and scholars in various fields of study including architecture and urbanism. One of the manifestations of the lifestyle is the quality of housing choice pattern as well as the quality of the living place which in turn exerts an influence on the architecture of the houses. The present study sets out to investigate the extent to which western lifestyle affected people’s lifestyle in the late Qajar dynasty in Hamadan and the influence that this kind of lifestyle had on the architecture of the houses in this period. The study employed a historical-interpretive analysis methodology.The data for the study were collected using library resources and field study. The samples for the field study were selected based on purposive sampling. In order to select the sample houses, all the documented houses which dated back to the late Qajar period and lent themselves to field study were examined. As many as six houses which displayed greater architectural developments due to lifestyle changes were selected. More specifically, the houses which were affected more profoundly by the western lifestyle in terms of architectural features in three macro-level, middle level, and micro-level were selected. The results showed that lifestyle changes occurred in social, cultural, and economic levels which in turn overshadowed the architecture of the houses, too. These changes were first demonstrated in the houses belonging to the grandees and merchants. The architectural evolution in these houses was examined at macro, middle, and micro levels. At the macro level, the simplicity of form and the elimination of multiple courtyards were significant. At the middle level, an evolution in the organization of the interior space and its development was observed. Finally, at the micro level, the symbolic significance of some architectural elements such as columns, stairs, and decoration was notable.

Since the early years of 1950, which represent the development period of modern Iraqi art, the “return to the roots” movement has been an impartible mainstream in Iraq. The first generation of modern artists like Jewad Salim and Shakir Hassan Al-Said considered “cultural continuity” and the link between “tradition and modernity” and “inspiration from heritage1” as the main essence of their artistic creation and bequeathed this approach to their next generation.Having analyzed and described a selection of artworks of modern Iraqi artists, this paper discusses the evolution of modern Iraqi art, and aims to determine cultural and artistic continuity in modern paintings of Iraq. It also seeks to answer the questions that investigate the socio-cultural factors that underlie the formation of art and establish a link between traditional and modern ideas and lead to continuity in tradition. Therefore, the research hypothesis is put to scrutiny on the basis of Robert wuthnow’s theory.According to Wuthnow, although configuration and the objective production of this movement is rooted in the “mobilization of resources”, the artistic content and approach of the painting movement (i.e. the continuation of the tradition along with addressing modern ideas) is influenced by factors such as “social Horizon”, “existing discursive context” and “cultural capital” of the painters.Research results that are derived from historical-analytical methods reveal that modern Iraqi artists used the four Islamic, pre-Islamic or Mesopotamian, modern source and folkloric sources to create paintings which were modern and Iraqi at the same time that could be definitely called “Modern Iraqi art”. The impact of these mentioned sources can be seen in form and content or generally in aesthetic values of these works which are obviously traceable in large exaggerated Sumerian eyes, dark and thick tracing lines in Abbasid painting, indigenous colors and amulet, letters, Islamic calligraphy, crescent, dome, and themes of the Karbala incident. It can be asserted that the Iraqi artist depicts the forms and contents that offer a strong link to “place”, which is “Iraq”, as the place is the most important element in maintaining and preserving identity.

In Iranian art history, Kazem Chalipa is recorded as one of the pioneer Iranian artists who are known as painters of Islamic Revolution. He has been a painting student of Hannibal Alkhas at Tehran University Faculty of Fine Arts and under his supervision he learned and gained experience. Since being grown up in a religious family, with the advent of the revolutionary movements, he joined the artists who believed in committed social art and created works influences by the society. These artists artistically returned to the society the sense they have received from; the path that continued during the years of Iran-Iraq war and then after. In this paper, the artist’s viewpoints about Islamic Revolution and Sacred Defense paintings are discussed. Then, among twelve works of his which have reflections of Iran-Iraq war, three works focusing on the role of women/mother are analyzed. These studies showed that Chalipa is an ethnographer. He uses a variety of symbols. Signs of Ghahve Khaneh (Coffee House) Art can be clearly traced in his works and women/ mothers are the subjects of many of his works. Chalipa has painted them in different ages: young, adult and aged and has tried to depict them with their ethnic garments while his main intention is to emphasize the role of women and their protective spirit and role in contemporary social events, particularly in Islamic Revolution and Sacred Defense.

Landscape architecture is a multidimensional approach that experts definit various aspects for it. Also, it is a interdisciplinary profession that find its way by interaction with different sciences. Cultural and natural environment, leisure times, visual arts, humanities sciences, technical sciences that are related to the nature understanding, plant species, infrastructures and many other fields are used in a target and arranged process for achieving the theory of landscape architecture. because of involving numerous variables parameters, academic review of this field has so many complexities. Despite of existing of researches that have been done in related to the landscape architecture dimentions and its qualities, there is a few specific methods and frameworks for checking the studies of this field yet. So this article is codified in the same line with this issue and the aim of it, is recognition of major tools that are related to analysing of different dimentions of landscape. It wants to make regular and arranged the studies of landscape field approximately. Analysis tools mentioned in the article are collected with reference to previous studies and then are catogorized based on their studing subject in the framework of mentioned objects for the landscape architecture. After a brief introduction of some tools, finally five case of them inclusive of LAA, VIA, EIA, SEA, SIA with aesthetics, environmental and sociocultural subjects and are more comprehensive are studied more. Characteristics of each tool in terms of methods and techniques to advance the process are described. finally we have an comparative checking between tools of an object to better understanding and ease selection. The conclusion of this article is determiner of a framework for classifing and introduction of existing methods of landscape analysing based on objects, tools and analysis techniques and can be a base article in the field of different dimentions of landscape studies.