Motaleate-e Tatbiqi-e Honar
Year:2013 | Volume:3 | Issue:5|Papers Count:11

The full text article is in Persian language. Please click on here to view the Persian full text.

The ceramic art of Iran in early Islamic period followed the same way as the historical periods of Iran before Islam (Parthian and Sassanid). Arab’s poor knowledge of art caused them to enjoy the fruits of cultural and artistic heritage of their conquered realms. Since their religion inhibited them from eating and drinking in golden and silver dishes, they inclined to use ceramic dishes. They also enjoyed the fruits of ceramic art of pre-Islamic periods in Iran. Hence, a lot of ceramic works of early Islamic period in Iran have been affected by the art of pre-Islamic periods and consequently the similarities between these works resulted in some misunderstandings about the two periods. Therefore, it is necessary to shed light on the similarities between the potteries of the pre-and-after Islamic periods in Iran. It is also necessary to find out the portion of Iranian ceramic art in the success of Muslim ceramic artists all over the world. The present paper tries to investigate the subject analytically and descriptively by using library sources and historical methods. In this article, by Iran we mean the ancient Iranian Empire (particularly Parthian and Sassanid periods), not contemporary Iran with its geographical and political borders.

Semiotics is a theory and method which helps us to analyse the creation of meaning and signification in texts by using discourse analysis. The aim of this paper is to explore the semiotic and phenomenological discourse analysis of the visual/verbal interaction in calligraphies. The hypothesis of this research is that any interaction should be meaningful in the framework of the discourse and, regarding the problem of identity, it will necessarily be a tentative relationship. As a conclusion, it can be understood that the text, relying on its material capacity, has changed the situation of the self/other by creating a new pictorial semiosphere and thus there happens a revolution in the relationship between word and image (visual and verbal elements) of the calligraphy in the new world of the text. The research offers us new theoretical frameworks which help us to go beyond the borders of the theory of Kress and van Leeuwen about the motivational character of the signs in the interest of Paris School point of view. Besides that, we can combine the Discursive Systems of Landowski theory with the Somiosphere theory of Lotman and claim that discursive system is another name for semiosphere and vice versa. Finally, the research affirms the view of Lyotard about the anti-discursive character of the ‘image’ which plays a great role in the world of text for creating an accidental discourse via playing the role of the ‘other’ in front of the ‘text’.

The full text article is in Persian language. Please click on here to view the Persian full text.

The full text article is in Persian language. Please click on here to view the Persian full text.

The art of Sassanid period is considered as the last stage of ancient Persian art. Animal motifs in Sassanid art have been identified as an important characteristic of Persian art because of their beauty and symbolic meanings. In the survey of Transoxiana’s art, the special influence of Sassanid art is quite remarkable. Imitation of various Sassanid designs, especially animal motifs, was common in the textiles of this area. Therefore, the main questions of this research are about the exchange of animal motifs and the reasons behind such common artistic themes between the artists of this region.The works of Persian art brought to the Transoxiana through different ways such as political, religious, cultural and commercial, created a number of common designs and motifs. In order to demonstrate the effects of animal motifs of Sassanid art on Transoxiana textiles, after reviewing special physical features and symbolic meanings of animal motifs used in Sassanid art, the reasons for the transfer and effectiveness of such motifs are investigated analytically. Moreover, comparing the obtained samples and explaining their similarities and differences, it is concluded that these motifs were transferred to this area through the Silk trade Road and were welcomed due to religious communalities existed between the residents of this region and Persian people. Finally, it can be said that the designs used in Transoxiana’s textiles have been under the direct influence of Sassanid art with a few differences.

The full text article is in Persian language. Please click on here to view the Persian full text.

Trying to propose a harmonious interaction between human and Nature, new ontological theories have been developed in the course of recent decades, resulting in different approaches to nature in architecture. The multiplicity and variety of these theoretical and practical frameworks is a definite confirmation of the unclear understanding of Nature and its interaction with architecture.This paper addresses the question what is the true interaction between Nature and the built environment? Clarifying such a relationship between Nature and architecture, different aspects of Nature’s manifestation in the built environment and architectural approaches to Nature will be explored both in theoretical and practical points of view. Investigating Islamic doctrine via deductive argument, it is going to be proven that the quality of architecture depends on the quality of its relation to Nature at different levels and aspects. Accordingly, different types of Nature manifestation and architectural approaches to Nature will be presented. Achieving this aim, the approaches of Iranian traditional architecture will be studied by concentration on four houses in Kashan, Naeen and Yazd and using the ground-based method of research.As a result, this paper is going to emphasize the all-embracing presence of different aspects of Nature through two fundamental architectural notions, i.e. perfection and harmony.

Scholars believe that those who want to theorize should possess two types of specialized knowledge: knowledge of a phenomenon about which they want to theorize and knowledge of methodologies of theorization. Codifying the method of research is a separate branch of science which is called methodology. Methodology is a knowledge which focuses on processes and tools applied in the system of knowledge accumulation and the procedures of applying it. This knowledge can be considered as the translation of a paradigm’s principles into the language of research methodology. Accordingly, two main approaches to methodology, that are quantitative and qualitative, can be distinguished. On the other hand, theory, in its most fundamental form, is a kind of model. Theory was created when man used logic instead of myth in confrontation with realities and tried to discover cause and effect relations between phenomena. Moreover, theory summarizes the past, animates the present and elucidates the future. Nowadays, each scientific discipline needs an appropriate definition of theory and the field of architecture is not an exception. Architects and designers face with theory in different fields but, comparing with other disciplines, the scope and borders of theory in architecture are not very clear. The application of theory in architecture requires an exact and deep knowledge of theory and paying attention to its characteristics.By a comparative-analytical investigation of the subject and studying the books, articles and authentic sources in the fields of methodology and theorization, this article aims to explore two key concepts of method and theory in applied researches and elucidate various meanings of the two concepts from quantitative and qualitative perspectives. Furthermore, it investigates the characteristics of architecture theory in order that the features of theory in architecture are understood better.