HONAR-HA-YE-ZIBA
Year:2007 | Volume:- | Issue:28|Papers Count:14

The urban-rural interface-or the intermingling of the urban, rural and natural environments-along with the sprawl of human settlements-is a continuum which usually forms as a result of urban formation and urbanisation processes upon rural and natural environments. Mutual impact of urban and rural areas and also natural environments not only results in the creation of problems but also presents opportunities, as these areas offer more varied socio-economic opportunities than the rural systems. An important manifestation of this urban-rural interface (URI) is the spatial inequality, not only in the peri-urban environment (PUE) but also in the inner urban areas. It is within both a strategic and spatial, i.e., the place related socio-economic inequalities) frameworks of planning and management of the environment that it has been possible to respond to the varying needs of different social areas.Tehran's urban region, similar to many metropolitan regions of, mainly the less developed countries of the world, suffer from problems such as social, economic and spatial inequalities, unbalanced settlement system, unsuitable quality of life (QOL), degradation of the natural environment, weak and disintegrated planning mechanism and dominance of property developers' intentions and activities over the pre-determined decisions of the public sector. All these added by the ignorance of the relevant authorities and the existing planning documents have helped the formation and escalation of income inequalities related problems. Tehran, as a metropolis is faced with two sets of trends; one is the dislocation of population from the inner areas and the other is the migration of population from either the other Settlements of the country or the rural areas within Tehran's urban region. Due to the disparity of the socio-economic situation of the migrants and the high costs of living within Tehran, these migrants are driven away to Tehran's PUE. In fact the continuation of inequalities (socio-economic and spatial), and of the damages to the nature and agricultural activities in the PUE of Tehran, reveals the inefficiency of the existing methods, and the necessity of devising and pursuing different but applicable methods in the planning and management of not only Tehran's PUE but also the totality of its urban region. It is within this framework that this paper intends to ill-trate the unequal picture, to consider briefly the factors behind the formation of such a structure and the consequences of the continuation of the existing trends.Thus is that the spatial inequalities of the different areas of the PUE of Tehran/its urban-region within the framework of the concepts which has been introduced worldwide under the headings of peri-urban interface (PUI), urban-rural interface (URI) and also under the basic rules of the strategic environmental planning and management (SEPM) approach will be concisely studied and analysed. An important concluding remark of this paper is that the continuation of the existing trends will definitely compound the historically unresolved problems of Tehran, its PUE and its urban region and will reduce the opportunities of applying any solution to resolve or reduce the intensity of the problems deep rooted in the unequal socio-economic structure.

Review and evaluation of urban planning process and assessment of development plans in past three decades in Iran confirms that these processes are not responding properly to the qualitative aspects of urban areas. The current situation stems from numerous reasons which could be found in rational nature or manipulative process of survey, development, approval and implementation of plans. To confront these problems and in order to learn from past experiences and develop an appropriate new process which could encompass both city planning and design the past trends of city planning process and its tradition has been studied. Consequently, design led planning approach is introduced as an intermediate approach which has been appeared at the commencement of 21 century in urban studies literatures. This approach which criticizes the linear relationship of urban planning and urban design disciplines, tries to relate the two disciplines together. In practice this approach can have positive outcomes at all levels of the new strategic planning hierarchy and policy oriented urban design. Planning and design process will overlap at a certain level at which supplementary planning document would be produced. The present article reviews the literature to realize the position, the role and the necessity of applying design led planning in contemporary urban studies literature. It then defines the principles and characteristics of this approach. Major principle of design led planning areas follows:- Is based on practical objectives - Flexibility of rules and regulations- Realizing the importance and interrelationship of public realm- Considering the effect of density, mixed used and architectural characteristics on the quality of urban environment,- Importance of environmental quality Characteristics of this approach are as follow:* The design led planning approach determines the elements, structure and hierarchy of planning based on the three dimensional environment and the image quality and considers the qualitative characteristics of the environment. * The design led planning approach emphasizes less on the land use standards. In this approach the preferred form and the quality of the environment is more important.* The design led planning approach determines the goals and design criteria. These goals and criteria must be considered in development and approval for plans and must be capable of introduction at large scales.* The design led planning approach evaluates the situation and priorities. This evaluation is based on the judgmental abilities of the experts, who can predict the qualitative and spatial outcomes of the development, prior to occurrence.The effect of this approach on the urban planning system of England is to the extent at which the qualitative urban environmental criteria are present in urban development plans at all levels, with more impact at lower levels. This article proposes some recommendations for introduction of this approach to Iranian urban planning system.

The article tries to identify the most important aspect of participatory planning according to condition of Iran. The aspects explain under these titles: principles of participatory planning, duties of involved parties and special uses of participatory planning. Each title covers the specific part of participatory planning.To make a participatory plan, the first step is adopting the participatory framework. In order to this purpose the following items should be proceeding:1. Identify stakeholders and define their participation and responsibilities;2. Adopt a mechanism to involve all stakeholders in making and implementing the plan;3. Set up the organization. The organizational setup reflects the institutional arrangement which will take care of the process further coordination and conduction. This organization must be ensure all party's participation;4. Define the mechanism of protesting the plan and monitoring the implementation.According to the Ghale Abkuh, the stakeholders are identified as follows: Astan Ghods Razavi, Oghaf organization (as the formal landowner), local residents and Mashhad municipality. Some rights and duties are defined for each of them. Type of regularization and conditions of rehabilitation suggest based on the result of field studies through questionnaire and interview methods. The result of field studies are that some plan with minimum destroys the present buildings and removing the residents is desired for local inhabitants, also the residents believe that set up the elected committee to monitor the preparation the plan is needed.In order to set up an organization to prepare the plan, the steering committee that has the highest authority is necessary. The members of this committee as follows: 3 person from local residents, one person from Astan Ghos Razavi, one from Oghaf, one from Mashhad municipality and one from consultant corporation. This combination of membership in steering committee can ensure the public participation. Also to adopt a mechanism for dispute solving establishing a judgment council is necessary. This council includes trustful persons that have no profit in plan.Finally the strategy of regularization determine as the upgrading with empowerment. The minimum moving the present inhabitant is required. The physical model of the plan is to strength the local centers, define the hierarchy of the streets and improve the public spaces. Then the paradigm of the plan is suggested. This process that adopted according to the condition of Ghale Abkuh can uses in other urban texture of Iran. Furthermore there is an important factor has magnificent effect on quality of the participatory plan, this factor is real and serious political will. If there is some real political will exists, implementing the plan is probable, but there is no serious political will all the efforts won't be helpful. In developing countries like Iran, political will is one of the preconditions to a successful participatory plan. Real political will means the local authorities accept the public opinions and undertake the cost of making and implementing the participatory plan.

In this article, an applicable method for promoting public participation in urban planning and design at community level, using Information and Communication Technology (ICT) is discussed. The infrastructure and tools needed for implementation of this idea without disturbing the present managerial conditions in Iranian cities are introduced and the practical means for citizen participation in planning and design are visualized. The theoretical framework here is mainly based on advocacy planning. It is argued that although citizens know more about their neighborhood's needs than any city planner or manager, they are mostly unable to articulate them in a professional manner. On the other hand, the urban planning consultants have difficulty in understanding citizen concerns and in getting their ideas across to them. Advocate planners can fill the gulf between the citizens and the consultants by interpreting and promoting efficient and effective dialogue between the two sides. They can inform the citizens on the potential impacts of proposed plans for their neighborhoods in common language and relay the critiques or suggestions back to planners and city managers in professional manner. Therefore, the steps needed to coordinate the residents and the city managers in order to involve the members of a community in physical and spatial development of their neighborhoods are presented. Here, the existing relationships between interest groups in urban development plans in Iranian cities are examined and the weaknesses in the present system are identified. This is followed by a discussion on the necessary elements and structure needed for bringing about the said coordination. The main elements include the university infrastructure and instructors in urban planning and design, the NGOs which are active in this field, and a coordinating organization such as the Department of Social and Cultural Affairs within the Municipality of Tehran. The latter is considered as a public entity which safeguards the interests of citizens. Universities play their part by making spatial concepts clear enough to be understood fully by the citizens. On the other hand, they provide a setting in which students under supervision of their instructors can get involved in actual preparation of plans as part of their curricula. The coordinating center needs to be equipped with web sites in order to make communication easier between the other two elements. In the process, different neighborhoods are selected and each is divided into smaller areas. In each neighborhood, at least ten residents are selected as representatives. Public meetings are organized in order to identify neighborhood characteristics (limitations, strengths, etc.). In such meetings, residents concerns and suggestions are also reviewed. University students are selected to study and analyze neighborhoods' problems. Hardware and software as well as high speed internet connections are provided in each sub-areas in neighborhoods. For each neighborhood, a web site is designed to present not only the minutes but the results of studies done by universities on the issues. Planning consultants and City managers view the sites and prepare plans compatible with the results. This process continues until consensus between citizens and city managers and officials is achieved and final plans are agreed upon. The results point to strengthening of urban management and inclusion of each neighborhood's characteristics in urban planning and design.

This research is a theoretical approach on expression in architecture and aims to find out its impact on qualitative research methods and buildings analysis. Structurally, the paper is based on five subtitles including:* Definition of architectural expression * Interrelation between expression and language of architecture* Potentials of architectural expression* Reading and re-reading of established architecture* Convergence and divergence in expression: coexpression and self-expression in architecture By defining the quality of expression, this research distinctively focuses on both language and expression of architecture. The research finds that corporeal matter of architecture as a system could possess a linguistic structure and architectural elements could be defined as expressive tools of architecture in process of design. Establishing architecture is similar to writing a script by structural elements rather than words. Buildings analysis is a reading act and more specifically a re-reading act while every architect experiences each place to be built in her/his mind once before realizing. A harmony of space is characterized for certain activity by design and architect employs the measurable (corporeal matter of architecture) to express the truth of life that is supposed to happen in the place. Believing in the emergence of architecture as a human expression, re-reading of buildings can reveal main characteristics of case studies -according to main goal of each research- where expressive considerations can accurately determine both variable and invariable elements of architecture.On the other hand the mediatory role of architectural elements, as expressive tools, has a significant impact on determination of crucial criteria for qualitative analysis and it could distinguish sustainable principles of studied architecture from its temporal and local factors as well. In general it is also suggested that difference between old and Modem architecture refers to convergence and divergence of architectural expression.The research findings reveal that a building is a manifestation of the truth of architecture and expression is extemalization of ideas by which process of creating architecture makes sense. Hence architectural expression is an action by which incorporeal factors such as thoughts, ideals, imaginations, desires or intuitions are transformed into corporeal matters. For this reason architecture could be considered as a representation of truth of being- upon those aspects of life that take place in a building. Consequently, the paper finds that: * Objectivity of truth, which is an immeasurable quality, is realized by architectural expression.* In spite of the constancy of truth, architectural expression varies in shape and configuration. In other words, architectural expression potentially denotes not only the variety of shapes but also the constancy of forms and forming principles.* The more similarity in the essence of architecture exists, the more convergence in the architectural expressions is perceived.* However similar principles semantically make similar architecture, the more different local and temporal aspects of architecture are, the more diverse shapes could be observed in buildings.* Architectural expression has different layers; while semiotics deals with external layers, semantics deals with internal layers of expression in architecture. * Convergent expression defines the co-expressive characteristics of architecture while divergent expression denotes self-expressive aspects of architecture which are individually applied by architect.

Seeking the missed time or saying your words in a language that be understandable for all people in all period of time, is a hard task. But in modern architecture, where it is accompanied historical architecture, this task changes to a special meaning. It Seems that it a tablet which is erased to be used again. But the traces of its text or design is remained which can be used as a background in the modern design. Iran land has so much archeological site. Because it has a long time in history in the world. For along time we study in historical buildings but we have a little experience about historical site and we know that some of works around them may be destroy them Toos is a historical area in north of Mashad, in a section of great Khorassan that bears the most significant weight of Iranian history and culture. Although at the present time this area is mostly archeological remains but beside its architectural point of view it passed through 2 events and 2 cultural ages which are considerably explained in the architecture. The events are ruling considerably explained in the architecture. The events are ruling of Arabs over Iran, its affect and how Iranian faced to it, and the ravage attack of Mongols. The historical periods are Samanids Saljughids and llkhanids- Taymoorids (before and after attack) Comparative studies of city of Toos Tabaran with others of the same age, referring to historical documents, different texts and papers, practical studies and of course its cultural aspect, little by its cultural view. This jop along with measuring the other existed abilities gives an opportunity for a new design to relive it (with the use of previous lines) so that it shows all its historical mysteries and secrets during the history. This construction, destruction and reconstruction the historical layers will be the continuation of cultural thought and, of course, architecture which forms the base of the design by thinking of methodology more than designing again. Toos is an important site of Iran and has two period, Islamic and before it. These people and monument are cultural landscape This paper tries to show you this potentials and the ways of keeping them. It will do with knowing the shape of history city, world laws and etc...

Nowadays, the increasing growth of Tehran, has changed the primarily sight of the Qajar city. Extension of the city and irregular layout of streets in quarters dating back to 100 years ago, were the first step to overcome the difficulties resulted from arrival of modemization, which itself created so difficulties because, its side effects suddenly changed the traditional structure and resulted to separation of historical fabric. this process is also continuing in Oudlajan, one of changes resulting from irregular layout of streets in Oudlajan in period of Pahlavi, was constructing of serious street, which was crossing from Sarcheshmeh rasteh bazar passage, darbe madreseh passage and destroyed lots of characteristic and historical elements, such as, house of hessam-ol-molk , a part of rezagholi tekiyeh, etc. also we can point to construction of naser-khosro street on the east canal of citadel, Pamenar street on Pamenar passage, and its extension  up to Bouzar-jomehr street, that allied to demolishing of many historicalelements. At the beginning of Naser-al-din shah kingdom, the number of its residents, who were of the rich and king's relatives increased and buildings were constructed instead of big gardens. Period of Qajar can be known as climax of this quarter and the contemporary period can be known as decline of the quarter.And without support of govemment, the essential reason for this decrease can be empting this quarter from its main residents. Since, vast changes were made in social structures and investments in field of many educational, public and servicing quarters became the responsibility of govemment and its related organizations, the role of people in this matter decreased and this simultaneously led to classification of residential parts and districts of cities and this problem created a kind of local immigration of people and families based on their social positions. So by emptying the quarter from its original residents, immigrants who didn't belong to these quarters substitute the main residents. When local people left the quarter, there began to wear. It seemed that the places understood that there is no more sympathetic people in the quarter whom thought the quarter belongs to them and the picture of the places were familiar to them. So deserting of places was beginning of demolishing them, and demolishing equals to erasing the past and eventually destroying the memories. Therefore some acts must be done according to the historical fabric of the quarter to maintain the urban identity and memory in this quarter, this is the only way to keep the public memory and urban memory to increase its historical thickness. In this research, in addition to library studies, map studies and study of new and old study of new and old photos, field mapping was used and the results of comparing and analyzing the maps are provided in this essay.We hope this research can help researchers and students and paves the way for special attention to other old quarters.

From the very beginning of human civilization the fascinating world of Nature has been a continuous source of inspiration to the greatest painters, composers, sculptors, philosophers, poets, designers, architecture and engineers. The living world of today has gone trough many cycles of change and adaptation to reach the level of beauty we see today. In that process, only the most efficient and strongest and most resilient forms of life have survived the challenge of time. The natural world has reached its present state of development trough millions of years of evolution. Usually we are inspired by feeling Nature's beauty through smell, color, shape, form and sound. Often, without looking for the deeper meaning and without questioning Nature's form of expression, intuitively we follow our natural instinct and copy the sounds, colors and shapes that surround us. It is almost certain that the earliest structures employed by prehistoric humans were natural forms. Well before mankind had developed the ability to shape the world around him to his own needs, he would have made use of caves for shelter from the elements, trees for protection from predators or hiding places while hunting, conveniently fallen trees to bridge gaps over streams. Nature has an over-riding priority in developing "efficient" structural forms. Perhaps what makes Nature's creations very special is that beauty of forms and efficiency of structure are achieved simultaneously. There is almost without exception a clear logic to the structural principles that somehow in a magical way create aesthetically pleasing forms that we all want to look at and admire, touch and feel in our hands or listen to. By understanding the laws of Nature, and applying them to their own creations, humans have been able to produce efficient structures that, to a certain degree, have the shape and proportions that we recognize as "beautiful". When beauty and efficiency have been combined in a structural form, by following the laws of Nature, approach the examples of Nature. The process of creating natural forms, which we consider to be inherently beautiful, has been a long evolutionary development that happened over millions of years. Natural forms have developed by finding ways to adapt to a great rang of external factors (climate, availability of food and shelter, etc). The synthesis of functionality and structural constraints summarizes that multitude of factors. The result of using natural forms in architecture is a wonderful maze of structure, where structural efficiency, functional utility and aesthetic appeal blend seamlessly together. Nature's lessons learned and applied appropriately, but not dogmatically. In this article the existing structural forms in Nature will be introduced and in concerning the various sample such as trees, eggshells, seashells and ..., similarities and differences to man kind structures will be analyzed.

According to the gold edge of Iranian painting, we find Mirajnama has a book that illustrated based on the stories of prophet "Muhammad's (pbuh) life". It is one of the religious stories that are talking about a holy journey of Prophet Muhammad (pbuh).There for, we have an album that belongs to ilkhani period. One of the central atelier of ILKHANI period is in Tabriz, Called (rabe -rashidi), this center was assisted by (Rashid-eedin) who was the Prime minister of Ghazan khan, the king of Mongols. Rashid-e-edin had invited the artist and poets from all over the world, in (rabe-rashidi) to create the literary books. In this album we can see great differences between this mirajnamah and the other contemporaries' manuscripts. The illustration of mirajnamah based on mystic consideration of their artists. They had inspired by their religious believes they find the world as the creation of God and they believes in God as the greatest love, so their brush leads by god, and he made their art holy. The naturalistc aspects of mirajnamah improved these manuscripts in this period. During these periods of time in Tabriz, we find a great master of miniature called Ahmad moosa, he had a great effect on this periods. He was also change the way of Iranian painting. Representing the big figure is a specific character of these manuscripts. There for we can recognize the Chinese and Byzantines effects in these manuscripts it shins through the figures ,as we understood that the Chinese figurative painting is fluid and the Byzantines manuscripts has no tolerance in drawing and their lines are solid. In this mirajnamah we can find out the brilliant method of Iranian artists .theses artists could mix these two methods with his special way; the way winches was the best combination that reflected the Iranian character in a wonderful way. The Iranian artist had selected the best point of view of whole story. They had also found the best techniques for displaying his goal. The color play a gate role through these manuscripts. The shiny colors seems familiar for us, we faced them in Demoot Shahnamah. But the shines of color in miraj namah are more. The method of drawing of figure based on live model, the artist mix the live model with his own imagination and make anew image. We can find many visual new aspects through this mirajnamah, the harmonized color has made of exact balance. The expression of the portraits is wonderful and they expressed more emotional feelings than the last manuscripts. Drawing plays a big role through this painting, and it has an individual value. Perspective is another aspect of these manuscripts; the artists had a great inspiration of perspective. He shows them in the suitable way that he can ever do. He learns them from the chine's painters. in this essay, we are going to find the aesthetical visual aspects of these manuscripts and after that we can find the different astatically parameters of them.

In ancient civilizations, the geometry and its usages, especially in the proportions of human body in artistic works, had been a device for showing the worldview of each culture about human. This article, as the first step to investigate this matter in Achaemenid art, attends to define the mathematical relations and various ratios of body organs in Achaemenid figures. The variety of postures of Apapda stairway relieves in Persepolis complex, Specially the Medes and Persian dignitaries shows that unlike the previous doctrine of foreign researchers about the repetitious usage of limited patterns of organs in the composition-as an adoption of Mesopotamian or Egyptian art - as the way for ensuring the Harmony of whole work, The relief designers of Apadana Palace had predetermined a specific proportion system of Human body organs as an instrument for designing the individual figures. This basic proportion enabled them to create various postures that were harmonized by the usage of these symmetric sizes in various angles and shapes.In this paper we consider the Human proportions of Achaemenid artistic figures in Apadana palace Stairway relieves as a significant artistic work of that Period. These figures are the primary patterns of repeated figures in other Persepolis complex buildings relieves. Notwithstanding the best figure for this research is the emperor figure in the central stairway scene that called "Baare-Am", the deformation of this figure to adapt with sitting posture and lack of proper information to determination the front view posture, this Study focuses on immortal soldiers and Medes and Persian dignitaries' relieves. At first, distances of some parts are transferred by geometric solutions in order to create an image of the front elevation of body as a proper view to measure the length of organs and their proportions. Owing the limitation of lateral view of figures in this relieves, for determine some of front view dimensions, especially in face part used from council chamber stairway sphinx as an external reference. This examination shows the size and ratio of each body organ in base of body height. Next, it is compared with Leonardo OaVinci Human proportion as an idealistic Figure proportion to specify the similarities and dissimilation of these figures with a real human body. At least the proportion of Achaemenid Figures compared with Egyptian, Mesopotamian and Grecian Human proportion systems as Origins of Achaemenid eclectic Art. Finally, it is shown that the Human proportion of Achaemenid Art in Persepolis - unlike the primary artistic works of this period such as Bihstun inscription figures that are based on Mesopotamian proportion system - is different from other cultures Human proportion systems. The human figures of this artistic work have a specific proportion in all organs especially trunk divisions and head size that never had origins in other cultures. This Human proportion system is based on usage of a hypothetical primary square with dimensions of predetermined height of figure and a definite ratio between Various Parts of body based on the multiples of 1/14 divides of this basic square dimensions.

Ceramic and pottery are the first tools and techniques which are at human service from long time ago. Ceramic as a tool to cure the needs of human or as a place for the first innovates and human talent manifestation was a good center and has a special and an unforgettable Place. In the study of art works sets, that discussed under the pottery and hand made manufactured titled, granting to two basic categories that outshined consistently this art-industry is a proper affair. A) Functional aspects.B) Artistic-Symbolic manifestation and aesthetics value.In recent investigation to avoid from functional category of pottery art-industry that caused the second aspect of it which is industry ,animal earthen wares are considering that are evident repeaters of artistic and symbolic manifestations of pottery art-industry. Therefore it seems a preface definition for this kind of hand made earthen wares:Animal earthenware's attributed to the kind of pottery art-industry that its external form and shape in an imitated abstract manner of different animals caused a new and dynamic structure. Animal earthen ware's in respect of visual and aesthetic aspect, embrace a great part of pottery history of Pre-Islamic IRAN.Aesthetic aspect of which embraced the psychological dimensions and old originals the foremost human.So, lack of attention to the aesthetic indicators and artistic functional standards of this sort of hand made ceramics may be the first and only evidences related to their artistic beliefs and creationistic which get lost and became interdicted. If we take a look to some of this earthenware's history, definitions rout will be smooth for us: Animal earthenware's are the first aspects of mental ground presentation of artists who learned to create art, to lecture fully the things that in our belief are the unique of humanity. Animal earthenware's are crystallization of symbolic and aesthetics thoughts of civilization makers human that are asleep among history pages. What ever that caused us to declare that animal earthenware's are crystallization of first human artistic and aesthetic is that this hand made manufactured cause of being heaped up of visual messages had found a value and a credit equal to worth full art works, and have the art works main indicators like: contents, statement, and decoration. So, in the recent investigation interim of these arts works inspection from oldest from oldest animal inspection, under the pretext of subjective groundings criticism of these art works creators and Its aesthetics value analysis, we examine the three important cases of the most important subjects.A) Animal earthenware's aesthetics value.B) Priority of artistic and symbolic aspect of animal earthenware's to its functional aspects.C) The high capacity of pottery as a suitable station to appear artistic values.

sufi rituals are show like performances which developed through the time and evolved into their current theatrical forms. Sufism, like many cultural characteristics of Turkey, has been strongly influenced by the international relations of Islamic Art and Literature (Arab, Farsi and Turk). Persian language and literature is the most deep-rooted circle of connection among the cultural effects of Islamic chain, Mevlana's Mesnevi has been the origin of emerging and flourishing of common ritual-religious effects among the Iranians and Turks, during their six centuries relationships. Sema (s?ma: the religious ceremony of Sufi Dervishes), is deeply inspired of Mevlana's mystical instructs. The ritual of Turkish Dervishes contains many theatrical aspects and conventions, however so unorganized and unaware, that duplicates it's richness in any new production, Refusing to claim existing any "theatricality" features, Mevlavilik (Turkish Sufi cult, followers of Mevlana), use many conventions which justify the "show likeness" attitudes of Sufis rituals. Dramatic aspects of these religious rites are influenced of the richness of Persian language and literature, especially Mesnevi's impact. The following research aims to study the dramatic aspects of Sema rituals influenced by Mevlana's Mesnavi. Briefly describing literary and dramatic history of Turkey, we will focus on the inevitable contribution of Persian literature and language to developing the united Islamic chain (including Arab, Farsi and Turk's arts).Then we willdiscuss the major trends of Sufism developed in Turkey. The comparison of Mesnevi's dramatic aspects with Sufi s performance will show us the histori-cultural effects of interaction between IRAN and TURKEY. Theatrical elements such as accessories and props, dances and movements, setting, music, narrative and verbal effects are amongst the most dominant facets of these historical exchanges. Sufi dervishes often use special properties during a mystical ceremony inspired by the religious cosmology; for example, flag is a symbol of sufi 's legitimacy while candle or sheep skin mean the Devine's light and sacrifice of "self' for the eternal truth. Perfectly influenced by Mevlana's mystic instucts, Sufi dervishes usually gather Mar a.cemetery where they believe the mortal body may pass to soul and immortality. Location works as a symbol of passage to Devine's realm. Xa?n-qa, Za?vi'-ye and Teki-ye are completely influenced by mesnavi. On the other hand, Sema is a joumey to achieve Joyousness through the whirling dances. Musical effects play an important role during Sema, partly because the opening verses of Mesnavi are musical. Mevlana is metaphorically the center of a solar system where Sufis whirling around his majesty. All evidellces indicate that Persian characters of Mesnavi had important influences on performative forms of Turkish Sema. Performance, Theatre and, basically, dramatic elements of this mystical journey (sema) work together as a intercultural bridge among the nations from IRAN to TURKEY and beyond. Mesnavi obviously inspired by Iranian cultural backgrounds had a great role in Sufism prosperity. Mevlana's instructs as well as the dramatic effects of Mesnevi, as a testimony of his mystic journey for the followers, is the major fac" for of establishing a cultural shift between Iran and Turkey. The final evidences are collected within a simplified table.