ATHAR
Year:2021 | Volume:42 | Issue:2|Papers Count:6

Water transfer technology has played an essential role in forming and survival of urban centers in different periods. One of the features of this technology is the water disposal system, which has not been addressed as it should be. It seems that the Sassanids have worked hard in this regard and have shown to what extent, as an infrastructure, it has been decisive, effective, and important for other water transfer methods. Questions were raised after field studies and literature review on water transfer methods in Firuzabad plain. 1-According to the geographical and environmental features of Firuzabad plain, what strategies were considered for the disposal of surface and groundwater during the Sassanid and Islamic Periods? 2-What effect has made the implementation of this coherent system on the formation and continuity of settlements and the economy of Firuzabad plain? The research approach is historical-descriptive-analytical and has been done using library and field studies. The field study covers the extent of Firuzabad plain with an area of 276 square kilometers. The water facilities, including river, spring, waterway, qanat, bridge dam, flood dam, and annual rainfall, were studied in this area. These studies clarify that in the Sassanid period, the water disposal system was one of the most important and determining factors in forming infrastructure and urban development and other systems and technologies of water transfer in Firuzabad plain. The exact policies adopted have been maintained and exploited by the plain inhabitants until the present century. Also, the native names used in this regard are very important and significant. More importantly, it deals with the reasons for the formation of Ardeshir Khowarah in the eastern part of the river. Using archaeological and anthropological findings in this research identifies the water disposal methods of this plain and introduces the advantages of using them.

The running intellectuals prevailed during each age, has always influenced the architecture of the relevant period. To understand the influences more deeply, creating a meaningful relationship between the architecture and urban planning of each period with the prevailing ideas of that period can be effective. Safavid period as one of the most brilliant periods in the history of Iran is also not exempt from this rule. Therefore, it is worthwhile to examine the ideas that led to the flourishing of this period. In this period, there have been three mainstreams of thought: Shia, Ishraq and mysticism. These streams of thought have also affected on the architecture and urbanism of this era especially gardens, palaces and Chaharbagh Avenue and have led to innovations. Isfahan school is a term used to demonstrate the growth in philosophical, theological and art activities during the 17th and early 18th centuries in Isfahan and established principles and rules in architecture and urbanism. This study describes the characteristics of the Isfahan school and examines the impact of its principles on the architecture and urban planning of Isfahan. For this purpose, the architecture of gardens and palaces as well as the macro level including Chaharbagh Avenue in the school has studied Isfahan with a descriptive-analytical approach and relying on historical documents, evidence left from the architecture and urban planning of the Safavid era and the studies of contemporary researchers. It has also answered the question of what was the connection between the Isfahan school and architecture and urban planning and what was the representation of the Isfahan school principles in gardens, palaces and Chaharbagh Avenue. The research findings indicate that the architecture and urban planning of the Safavid period and its gardens, palaces and streets are rooted in the principles establishing the school of Isfahan.

It is a common perception that the Persian garden, if is located in a flat space, is based on the fixed pattern of four gardens, and if it is built next to a mountain and its topography allowed, it has a platform and stepped shape. But sometimes, as historical evidence shows, there are other patterns. In this context, a question rises as what had gardening been like in the Safavid period? Had it always followed the pattern known as the Persian garden? This article challenges the hypothesis of a set pattern for the garden, focusing on the Beyromabad garden in Kerman. Beyromabad Garden is the only surviving garden from the Safavid era in Kerman. Beyram Beyg Afshar first built it during the reign of Shah Ismail. Ganjali Khan, the ruler of Kerman, in the late 16th century (During the reign of Shah Abbas), at the same time as creating civil changes in the structure of Kerman city, restored and developed the garden. Two mansions both belonging to the Safavid, two main axes and locating a part of the main building outside the garden wall, are of the different examples of the well-known pattern of the Persian garden. In this research, the main question is for what reason the different form of Beyromabad garden is? The hypotheses are as follows: 1-Safavid gardening did not pursue a specific pattern and one of the influential points has been the different condition and facilities of the garden land. 2-Political and social concepts have influenced Beyromabad Garden’ s development plan and this influence has become so powerful that the concept has prevailed over garden’ s design based on the earth’ s morphology. In this article, after collecting information through library and field research, the structure of Beyromabad garden is reviewed and studied by descriptive-analytical method and an attempt is made to show the correctness of these hypotheses.

Due to the connection of the Islamic world with the West and entrance of Western elements in to Islamic art, a profound change in mural painting art happened. The mural that was in the possession of the court before the 18th century – by fading out of its court aspect-became popular among the people and by becoming a popular art, it appeared as public decorations in houses of nobles and businessmen. Murals had a special place in the historical houses of the Qajar and Ottoman periods (which were one of the most important governments in the Islamic world in the 18th century). Thus, Qajar houses in Tabriz and Ottoman houses in Tokat can be a good source for studying and investigating these designs. This research was done according to descriptive-analytical method based on library studies, trying to answer the questions that renovations in Qajar and Ottoman society, caused what kind of changes in the murals of the Qajar and Ottoman period? And what are the commonalities and differences between Qajar and Ottoman murals in terms of visual themes characteristics? Accordingly, the present study, identifies, categorizes and compares the designs by surveying the murals of houses in the cities of Tabriz, Iran, and Tokat, Turkey, based on the available visual and written documents. The results showed that regardless of the quality and level of relations between Iran and the Ottoman Empire with the West, murals can be studied from two perspectives: topics and methods of execution. According to the topic, the themes in the murals were divided into three main categories (human-animal motifs, nature-architectural motifs and decorative motifs). After investigating the designs, it was found that these images, not only show the impact and trend of European modernity on Iranian and Ottoman society, but also have similarities and differences in themes and techniques. Despite the commonalities such as the nature of the image (character clothing, the presence of modern equipment, landscaping, perspectives, flower-filled vases) and the principles and rules (perspective and backdrop, shading, framing) lack of mastery of the rules is clearly seen in the examples. Distinctions have been made due to the locative coordinates of Tabriz and Tokat. One of the main differences is the variety of patterns and colors, higher quality and better execution of Qajar motifs due to adherence to the principles of rich Iranian painting compared to Ottoman motifs. It also seems that the closeness and connection of the Ottomans with the West world and eclecticism and greater influence is the most important reason of the distinction between the murals of the Qajar and Ottoman periods.

The Karbandi is one of the original elements of Iranian architecture that has been an outcome of Iranian architects' dominance on geometry and mathematics. Designing Karbandies, choosing the base is a crucial key. It has always been a question "How to easily found related Karbandies for a Specific base? " and "By what pattern are the regular bases in Karbandies repeated? '. The present study is done to answer these questions. To achieve this goal, first, all the drawable Karbandies were drawn and then the bases in them were examined and explored. Bases in Karbandies were divided into two general coincidental and non-coincidental categories. Then the number of Karbandies with squares, rectangles, equilateral triangles, and regular polygons and corresponding repetition pattern for each plan was determined. It was shown that for each regular polygon the general pattern of repetition is an=kn*n k, nϵ N. Also, the relationship between chord length in planar geometry of Karbandi, the height of Karbandi, and area of Shamse was examined and it was stated that the more we move in the types of one specific number of Karbandi, the length of the chord, the height of Karbandi and number of internal divisions in its geometry increases, but the area of the Shamse decreases. Besides, by examining a special type with the ability to generalize to all number of Karbandies, it was concluded that the length of the chords and consequently the height of the Karbandi is decreasing, but the area of the Shamse is increasing.

A mural is beyond painting on the wall canvas. In this process, the artist, choosing the correct concept, space application, wall location, and other features, tries to make a stable relationship between room, design, wall, and environment, and create an integrated and high-quality space. Mural has long been associated with human societies; a trace of the association that began with wall paintings in caves, and as they pass through various eras of art and history, they are nowadays portrayed in a variety of fields including architecture and urbanism. This art peaked during the Qajar period in Iran that was the place of the confrontation between the clash of tradition and modernity. Seyed Javadi's mansion in Tehran, as a legacy of the Qajar period, has also benefited from murals in its interior decoration. Considering the presence of structure and visual elements of naturalism style in the murals of Seyed Javadi mansion, it seems that the creation of these works was influenced by this style. With regard to this issue and with the aim of discovering this relationship, the present study, while describing the foundation and features of the school of naturalism, has examined the common visual elements and concepts in the murals of this building and naturalist style paintings. As a result, the structure and visual components of these works are completely in line with the patterns of the style of naturalism. Considering that the above-mentioned paintings are custom-made on the wall with the opinion of the employer, a member of the ruling class, it seems that the owners of this building, under the influence of the ruling spirit of the society, imitate it in full and without considering hidden concepts. In this structure, (so-called postcard) they have in mind some of the currents in the West, including naturalism.