HONAR-HA-YE-ZIBA
Year:2008 | Volume:- | Issue:35|Papers Count:14

City of Isfahan has been situated in the center of Iran in 320 400 north latitude, 51o 40 o east longitudes. Naghsh-e-Jahan square sited in heart of historical city Isfahan. It has 4 great and splendid monuments in its 4 sides which all consider as great architectural heritage of Iran. In west side there is entrance of "Alighapoo" palace; in east Sheikh Lotfolah Mosque; in south Imam Mosque (Shah Abbasi) and in north side entrance of Kaiser Bazar of Isfahan has been placed. Imam mosque has been built is Shah Abbas era and it has been told that the mosque has been designed by Sheikh Bahai'l who was one of the famous philosophers and scientists of mentioned period. In west yard of Imam Mosque, a stone block has been installed next to northern wall that through all days of year (365 days) shows noon time without shadow. That is exactly when crier calls people to pray. This clock stone consists of two parts: a rectangular shaped stone and triangular shaped stone which together form an orthogonal trapeze. In midday, sunlight shines to southwest body with 125 degree angle and tangent northwest body.Imam Mosque turns 45 degree toward southeast in order to be in direction of kiblah; that is while Naghsh-e-Jahan square has 14 to 17 degree turn to south east to adapt with ray of sun light. Imam Mosque and Sheikh Lotfolah Mosque reflected incredibly. This wonder also exists in clock stone which has been adjusted and installed by Sheikh Bahai'l. Clock stone of Imam Mosque demonstrate reflection of two angles of mosque toward kiblan (southwest) and square toward south east. The secret of this stone is not only in the vector of sun light but also in way of shadow coverage by triangular shape stone which is surveyed and discussed in this research. 

Landscapes change because they are the expression of the dynamic interaction between natural and cultural forces in the environment. Cultural landscapes are the result of consecutive reorganization of the land in order to adapt its use and spatial structure better to the changing societal demands. Today, the ecological changes of landscapes are seen as a menace, as a negative evolution because they cause a confusion between the order of “symbolic principles” and the order of “instrumental principles” of spatial patterning which in turn causes the characteristic confusion of the socio-spatial structure of cities and urban areas to achieve environment sustainability. The combined effect of the driving forces such as accessibility, urbanization, globalization and the impact of calamities have been different in different periods and affected the nature and pace of the changes as well as the perception people have had about the landscape. This paper is an attempt to define “the principle of organization in living systems” to show how the elevation-inquary function of the eco-social living system emerges from the firm establishment of a unity between man and environment derived from an ability to symbolically articulate the sense of eco-human place. After reviewing the descriptive-explanatory nature of current studies, the explanatory-simulative model of the study examines either the concept of unity of environmental science and policy or the concept of integration of different environmental sciences. The study also outlines an introductory explanation to introduce either the interdisciplinary-transdisciplinary nature of the landscape ecological change studies or the new concept of elevation-inquiry function of the environment eco-human network systems. The principal issue is that of connecting the notion of human action with structural explanation in eco-socio-spatial analysis. The making of such a connection, an adequate account of eco-human agency must situate action in time and space as a continuous flow of conduct. The major theme in order to show the interdependence of eco-human action and structure is the necessity to grasp the time-space relations inherent in the constitution of all living eco-socio-spatial interaction. Such an evolving of living systems as situated in time-space can be effected by regarding structure as non-temporal and non-spatial, as a virtual order of differences produced and reproduced in living eco-socio-spatial interaction. In this context, the term 'eco-socio-spatial structure' tends to include two elements: 'the patterning of interaction', as implying relations between actors (bio-socio) and elements; and 'the continuity of interaction in time'. This presents structure is concerned with the ordered relation of parts to a whole, with the arrangement in which the elements are linked together, and also the mode in which the relation between moment and totality expresses itself in ideal reproduction. As a conclusion, the ability of human being in pursuing the elevation-inquiry function of the environment sustainability is achieved through the binary dimension of planning process: the structural penetration of planning in creating eco-human criteria of social programming in time-space dimension; and the programmed function of planning in practicing eco-human values of social programming in eco-time-space dimension. 

Some of the most important issues that concern in the residential areas of Tehran’s suburbs are: inappropriate urban designs which neglect the environment and living standards of the residents, the problem of nondurable construction materials, and pitiable construction technology. All these problems result in the illogical consumption of environmental and energy resources which leads to environmental pollution. In order to represent a frame work of onsite studies, the author has tried to use an objective expression of sustainable architecture basis and localized methods in residential designs. According to this frame work, the main focus of the onsite studies in the new residential cities around Tehran is on abuse of energy resources and materials, environmental pollutions, and the shortcomings of the planning and designing of these cities which has caused these problems. The author has compared the principles of theoretical studies with the advantages and disadvantages of onsite studies, and presented suggestions for hypothesize planning and designing residential areas around Tehran. These suggestions are being offered in order to find a sustainable way of architecture. The recommended techniques are in accordance with the specific characteristics and resources presented in the area, urban designs which are suitable for the resident’s lifestyle, and appropriate utilization of the construction materials. The remarks for this purpose are: 1) planning in procedure of choosing land for construction , acquiring primary installations and layout of residential areas can reduce pollution in suburbs and resources destruction. 2) Horizontal growth of cities will increase the distances between residential areas and city centers. So the fuel consumption and air pollution will have an increase too. 3) Surface topography must pursue the designs to a better architecture and every aspect of lands to be used for constructing buildings must be used to have a least effect in the environment. 4) The culture, methods and traditions linked to the way of life of peoples in suburbs must be taken into account for designing the residential areas and the result will be a happier life with less consequences. 5) Using the local construction materials and technology appropriate for the climate and materials recycling are the first priority for reducing energy consumption and environmental resources. 6) Good architectural design will not always end a good product. so Good construction procedure must be taken into account. 7) By predicting the forthcoming culture of peoples whom will live in newly designed residential areas and pushing them toward a way of life with less pollution and loss of resources, a better result is expected. 8) sometimes sustainable architecture will not come into existence if the construction procedure pollution is neglected 9) the use of advanced technology for safer house, upgrading standards in housing projects , new techniques in planning and construction with details for beautiful house , less loss of construction materials and a balance between all procedures of design to construction is necessary.

Place is the main element of its residents’ identities. Man can know himself through knowing place. One of the reasons that man is wandering today is that he has not proceeded with the concept of place and thus the lack of any place identity. Today, modernistic places have been made regardless of the surrounding environment and quality needs and they inevitably meet man’s temporary needs and excitements without any meaning or original characteristic. Place is somewhere in which we have full understanding of our lives and existences. Place becomes place once man stands in relation to the other layers of his existence. These layers can appear through joint activities with other fellow creatures, standing in relation to the nature and/or standing in the corner of an artificial environment and in this way, man becomes familiar with other layers of his existence that are present in some way in the objective world and in this way his knowledge of himself and the surrounding environment improves. Man has different images in his mind from different places. His feelings may influence on his perceptions from the environment and the formation of mental image from place. Man’s mental images give identity to place. In addition to mold structure of place, the memories of individuals are also effective in giving identity to place. Man and place have similar specifications like memory and identity. Man can grant identity to place and place can enhance man’s entity and these two are interdependent. Man needs to recognize the environment around him in order to know himself better and this is accomplished once he has a clear mental image from himself and his environment and place is formed when man perceives it with all his feelings and perceptions. Place finds a material definition through the physical structure and activity which occurs in it and finds meaning and spirit by the formation of its image and memory in man’s mind over the time, the meaning and the spirit which will last for ever and will remind man’s existence. In this article, we are seeking for the answers to some questions such as the following: What is place? What are the characteristics of a meaningful place? How is the identity of place created and under which factors? For this purpose, the terminology and concept of place is investigated from its classical viewpoint, i.e., the viewpoints of Iranian wise men and Greek philosophers in ancient times and also from the viewpoints of environmental phenomenologist-psychologist theorists in the contemporary times (such as Norberg-Scholtz and Edward Relft) and the relationship of place and collective memory and mental image resulted from the place will be dealt with. This research seeks the factors creating identity and the meaning of place and its impact on man, and the obtained results have been applied as case study in Niavaran Street and the effective factors in the formation of mental image from this street and its destructive factors have been tested. 

With increasing densities in limited denser areas of the cities, the number of building stories and consequently the depth of the excavations increase proportionately. The increase in excavation depth is usually accompanied by risks of instability and failure of the exterior parts and walls of the excavated areas. Articles 38 and 132 of the Civil Law of Iran and Issues 7 and 12 of Building Code of Iran allow excavation only when the necessary precautionary measures for the safety of the adjacent areas have been taken into consideration. Therefore it is important to make sure that the necessary safety factors have been taken into consideration for the life span of the stabilizing structures. The results obtained from a research project entitled “A survey on the degree of implementation of issue 12 of the Building Code of Iran in the City of Tehran”, carried out in the year 1383 by this author, indicate that 40 percent of the cases studied had followed the necessary stabilizing measures for the exterior parts of the excavated areas and in only 17 percent of the cases studied the steps taken towards stabilization of the exterior parts of the excavated areas were found to be appropriate and adequate. The appropriate technique for excavation is usually selected based on many factors such as: soil type and property, underground water table level, depth and the dimensions of the excavation, site condition, the condition of the adjacent area, earthquake vulnerability of the area, legal requirements especially principles of safety provision of adjacent areas and people, stabilization cost, costs associated with the surface failure or displacement and the difficulties and limitations of implementation. The soil nailing technique which in recent years has been widely used for stabilizing the exterior faces of excavation sites in large cities of the country includes building a wall by soil nailing and reinforcing it in situ, expanding work as excavation continues by putting passive reinforcing bars that work in tensile conditions. In designing the soil nailing technique, the details of the nail, the concrete facing and the metal bearing plate, surface and underground water drainage and horizontal and vertical displacements of the nailed wall should be taken into consideration. The soil nailing technique has considerable relative advantage. This is one the most appropriate techniques of stabilizing the exterior faces of the excavation site for the following reason: the speedy implementation, reasonable cost, easy and speedy compatibility with different site conditions, non-use of heavy machinery, speedy and reliable implementation of humidity insulation and non-interference of the supporting structures with principal construction functions. The limitations of this technique are: entrance into adjacent property, possible lateral and vertical displacements in the face of the excavation sites and in the adjacent land, and possibility of cracks in the adjacent buildings. Due to specialized nature of this technique and in order to prevent failure of the exterior walls of the excavation sites, it is necessary to rank and approve the qualifications of the performers of the soil nailing techniques in the country. 

Art-Nouveau movement, as one of the avant-garde movements of the late 19th century in European art and architecture, had a definite impact on the formation of the architecture of the 20th century and the architecture of the modern era. The expansion and diversity of this movement is a characteristic which differentiate it from other artistic movements of the contemporary period. Most critics of art and architecture historians in the West, share the view that the beginning of modern art has its roots in the developments of the late 19th and early 20th century which is called the Art-Nouveau movement. In fact, it should be remembered that Art-Nouveau is not a style, but has a wide range of meanings and is generally applied to all the avant-garde in Europe in late 19th century and early 20th century. The aim of this movement was presenting independent and unprecedented art works which shared “novelty” in common. This school, besides believing in the commencement of a new era and letting the artists free from the past limitations, has brought various and different methods and inclinations in architecture.The observation of some of the contemporary architectural works in Iran (especially in Tehran), which have evidently been under the influence of some of the stylistic tendencies of this movement, shows the vast entry of this western artistic movement into the contemporary Iranian architecture in a special period. Diversities, similarities and differences of these stylistic tendencies are to an extent that makes a comparative study on this period of stylistic tendencies, with the aim of separating and recognising these styles in the contemporary history of architecture of Iran, inevitable. This article tries to come close to a new stylistics of this western architectural movement in contemporary Iran with the help of a comparative analysis of the Art-Nouveau architectural tendencies in the west and a logical comparison of them in Iran. Also in the pursuit of this objective, this article will probe the possibility of classification of these styles in the contemporary architecture of Iran in a definite time period. In order to gain the objectives of this article, we will at first study and criticise the opinions of the critics in recognition of the style and stylistic specifications of Art-Nouveau movement in the backdrop of its formation and then we will classify these styles in the contemporary architecture of Iran by reviewing the examples of architecture influenced by this movement in Iran and by considering the works which have been done in this field. At the end, this article will show that despite stylistic diversity in the architecture of the first Pahlavi era in contemporary Iran, all this architecture is a stylistic sub-category of Art-Nouveau movement. In field of typology of contemporary architecture of Iran, so important attempts have been taken place and all of them are appropriate for scientific appreciate. But regard to architectural stylistic of Art-Nouveau in Iran, as study of an era base on comparative method, in this paper, is absolutely novel and its results are unique. 

This paper is going to evaluate general qualities of University of Tehran Campus to recognize its weak and strong points. This will be helpful to specify suitable developing strategies for this campus and also to define appropriate patterns for new university campuses in Iran. In the first part, a primary introduction of University of Tehran and its history has been mentioned. This university is the oldest university in Iran. It has designed by Andre’ Godar, French architect in 1924. The University design is inspired by pattern of traditional Iranian Garden. The complex is designed and performed in nearly three periods and has had wide socio-cultural effects on its context. In theoretical discussion, history and principles of university campuses introduced. The history of nowadays campus goes back to the era after the Second World War specially in America. At this time, the deficiencies of the society after the war along by growing modern movement, affect the new tendencies. One of the approaches was to build separate and detached buildings in a campus. In the next years, other characteristics like extensibility and organic growth was considered. In order to choose evaluation criteria, it is considered theories about university campuses that indicate similar characteristics of campuses, public spaces and cities. These similarities lead to the idea of “university similar to a city” that is the base theory for the evaluation. This idea arises from resemblance of functional and formal characteristics that has been changed during the time. This idea is also affected by developing democratic tendencies and social intercourses that lead to the theories of “open university”, university that is accessible to all people and is programmed to offer public services. Thus the criteria of good city form, by considering special characteristics of university spaces can be used for evaluating university qualities. According to this, Lynch’s criteria in his book “A Theory of Good City Form” which are vitality, meaning, access, fit, control are used. The performance criteria of each one are assorted in 3 scales in this paper. The first one is in external large scale, in the scale of interaction of site with the context. The second one is the middle scale, in the scale of interaction of site as a public domain. The third one is the internal scale, in the scale of main characteristics of a university as a place for education and research. The weak points of the site can be introduced in 2 groups. The first one is the problems which are caused by the further interferences or erosion during the time. This group of deficiencies can be modified by simple primary proceedings. The second group is problems which are caused during the time because of restrictions of locating in the urban context. This group can be proportionally modified after accomplishment of suitable developing program. The conclusion of evaluation discussion is the predominance of strong points to weak points in spite of their manifoldness. This shows the high architectural values of university of Tehran as a main (mother) university in Iran. 

In the suburbs of northeaster city of Kermanshah, the capital of Kermanshah province, There lies a place known as Taq-i Bustan. There is a larger Grotto in front of which remarkable drawings have been incurved which reflect the Sasanides era. Unfortunately, despite the studies so far conducted on these rock reliefs the true identification and the historical contents still lie in ambiguity.Up to now various views and opinions have been expressed on the true identity and historic content of these reliefs. E.Herzfeld a German archaeologist believes that the collection of the elevated carvings belongs to the larger Grotto of Taq-i Bustan inhabited by khusraw II (591-628 A.D). It is depicted in different scenes including royal hunt, investiture by Ahura Mazda, riding on a horse known as Shbdiz. K.Erdeman a German coin expert believes that the elevated king's carving belong to Peroz I (457-484 A.D) rather than to Khusraw II. The Japanese archaeologist K.Tanabe relates the two prominent and elevated carvings to Ardashir III (628-630 A.d). K.Tanabe's view is the last and the most controversial view. He believes that the King of Kings represented in the larger Grotto at Taq-i Bustan is Ardashir III. He also believes that Ardashir III did not keep the throne more than two or three years. Therefore it is quite understandable to insist that it is almost impossible to complete such a big monument as the larger Grotto or Iwan within such a short span of time, although some parts of the hunting reliefs are not completed. He also agree at such a criticism. It is impossible to hew out the rock and almost complete such big reliefs within two or three years. However, He still insist that all the images of the kings depicted in this grotto are modeled after Ardashir III, because the monument of the Larger Grotto was not constructed to give glory to any particular Sasanian king including this child king but to revive the legitimate Sasanian king ship which was menaced by the confusion after the death of khusraw II in 628. Therefore the ground design of this monument was decided during the reign of Ardashir III and eventually his royal effigy was adopted simply as the representative one by the designers in order to visualize the Sasanian king ship which had been symbolized by the so-called Takht-i Taqdis destroyed by Byzantine emperor Heraclius in 623. He also suggested that this huge monument was not constructed only for one child king to demonstrate his investiture by the supreme Zoroastrian god, Ahura Mazda. The unusual participation of goddess Anahitah in the investiture in addition to Ahura Mazda means that the investiture scene in the upper register is not ordinary one for a newly enthroned King of King but quite exceptional and unprecedented. Tanabe also believes, this fact also supports that the Larger Grotto is not personal nor private. Therefore the larger grotto was the substitute for the lost Takht-i Taqdis or something like second Takhti-i taqdis and its constructions started after Ardashir III became the King of Kings to be continued until the defeat of Yazdgerd III at Nahavand by the Arabs in 642 or the Arab occupation of Ctesiphon in 637. This identification ( Tanabeُs view ), in fact, gave the author a pretext to consider and demonstrate, through documentary evidence, that the King of Kings in the rock reliefs at Taq-i Bustan is Peroz I, not Khusraw II, not Ardashir III or anybody else. 

With birth of safavid dynasty, an eyecating change appeared in all of the artistic and industrial matters, subject as safavid pottery. Shah-abas’s planning lead to the renaissance of making ceramic, in safavid period. The potters to profit by tacts according to times and make attention to native elements, to resulting in producing the potteries with synthetic characteristics. ceramics of this period incloding, Kubachi wares, blue and white, Gombroon, Luster, Celadon, and also importing wares, that have been affected on producing internal wares. For excample Chinese procelines that leaded to producing blue and white, Celadon, and Iznik pottery, that send in huge mounts to the Iranian bazaars and therefore, European Faience, deboosted the last safavid potteries. A Kubachi ware has no confirmed place of origin but it is thought that the pottery was once traded for arms. The pieces called Kubachi ware consist of black and turquoise ceramics that suggest the ceramics of the early Chinese Ming dynasty, blue and white ware, and polychrome ware. Blue and white wares had already reached the Islamic world towards the second half of the fourteenth century and its imitation may have started soon after. One of the pottery centers in Iran where blue and white pottery were manufactured is Mashhad. Chardin in the seventeenth century mentioned Mashhad as one of the major ceramic centers, while towards the end of the same century the British East India company refers to it and to Kirman as the two most important. Gombroon is perhaps the finest ware that was ever produced in Iran. It is made of hard, compact and white fritware which comes very close to Chinese porcelain. The resurgence of Luster-painting was probably due to renaissance of the Iranian spirit, culture and arts in safavid times. Celadon wares like the blue and white, was always admired and in great demand in the Islamic world. This pottery had been treaded in larg numbers in Iran from tenth century. Safavid artistic schools such as Tabriz and Isfahan, had much effects in all aspect of visual art in safavid period. Iranian potters to follow the example of artistic schools, Spacialy School of Harat, try to revive ceramic art with miniature motifs. The potters with inspiration from masterpieces of miniature motifs use the a new designs and distinct features such as, birds in natural forms, actul animals, vegetational motifs, an elements that has been adopt from literature, on the ceramics in form of vessels such as plate, pot, bowl and etc. having shifted capital to Isfahan by Shah-Abas in 15 century, prevailed image of beggars and princes on the vessels and this forms have been painted with costly clothes and Amame. While the foreign merchants and producers was holding Bazzar by manfacture of chip potteries, Iranian potters tried to offset In commercial exchanges by joinery lot of their products. This paper gives brief survey in ceramics of safavid dynasty, and studys influences of prevalent motifs of artistic miniature schools in decoration of ceramics of the Safavid dynasty. 

In painting art, form unity and color is the realization of imaginary effigy which the painter creates it in his mind when encountering nature. Painting is not similar to music notes or scripts which refer to something other than it. Artistic figure creation is based on the artist perception, and or it is a naked inherence of the artist which is so- called openness of the artist in facing nature; the way in which nature as a subject reveals herself. Nature in mechanical viewpoint is taken as the object, while in art world nature is the object and the artist is the subject of nature. That to say it is the front posted of nature not visa versa. An artist listens to the whisper of nature and it is during such an interaction with nature that the subject visage of nature reveals its beauties and truths to the artist. Nature as an original entity is the antecedent of artistic creations and it is not reducible to the observer's limited mind (mankind limited perception). Beauty (pulchritude) is superficial cause and god names (elegance) which nature (cosmos) is its manifestation. In such a view in which the love of nature as a heavenly, eternal beloved creation and unique beauty is its fountain, nature stimulates inherence senses of the artist and imagination senses (artistic inherence) changes that performance into artistic form. Painting art work is the visualization of nature imaginary essence on the canvas which is put worth in a unique form and color and final composition of the work which reveals the harmony in the painting. The beauty of an artwork is exactly the same figure which the artist created. In visual arts especially in painting, beauty is identical to the very figure expression of the artist and it doesn't refer to anything other than itself. Painting is not referring picture to the subject (nature) rather it is an aesthetic quality which nature has been its subject. Such a quality has innate independence and should not be compared with any thing else (even nature). An artwork by nature is an artwork not in comparison with anything. A landscape painter while working may gain a complete perception of what he is trying to create (nature creation in the world of art) and arrives at perfect intuition. In such a case the stroke of the brush, composing, mixing, designing and contrasts the colors and shadows, and all techniques that the painter uses in creating lights and shadows and their distribution which is shown in the form of aesthetics form and colors directed by the artist intuition force. The artist with such an intuition and selflessness and the charm formed inside him/her creates an artwork. Nature appears in the intuition of the artist in a way that stimulates the artist's talent towards the configured figure in the artist imagination. In other word the love and passion of the artists drops the curtain from nature visage and uncovers the hidden beauties to the artist. The artist figurate this uncovered beauty. 

The history of Iran during the beginning of the 16 century improved a lot in various branches of science & art. The generous aids of Safavid Shah-Esmail and after him, Shah-Tahmasb to artists and craftsmen in their newly established capital, Tabriz, bolstered arts such as book illustration in parallel with Persian-Painting. Tabriz-Painting-School whose foundation was the achievements of Turkman and Harat school was established in 16Century.The genius of bright Harat-Painting-School, Kamal al-din Bihzad was assigned as the head of the Safavied royal library after his residence in Tabriz and like Soltan Mohammad-e-Tabrizi trained students who had an important role in the progress of book illustration in Tabriz-School. Mughal governors who had gained authority under the protection of Safavied-Court, in most branches such as science and art, took Iran as their model. The vast communication between Iran and India which many factors strengthened it, let to resembling artworks that shows Tabriz-School influence on Indian-Art. The bright period of Tabriz-School declined during the Shah-Tahmasb monarchy. Shah-Tahmasb after transferring the capital to Qazvin changed his way and stopped supporting The art and artists. On the account of stopping Safavid protection of art, Tabriz-Painting declined and some artists of Safavid-Court were invited to India by Mughal governors, Homayoon-Shah and after that Akbar-Shah. The presence of these artists and their supervision of book illustration workshops attributed to Mughal-Court, Caused transferring and expanding many of Tabriz miniature aesthetic achievement in the new Mughal-Painting-School, consequently, noteworthy similarities between Tabriz-Painting and Mughal ones were revealed. But gradually in Mughal-Paintings an eclectic style consisting of Iranian, Indian and European elements was formed and this same matter caused some obvious differences between these two schools despite their outstanding similarities. The aim of this paper is to find the degree of India-School adaptation of the Tabriz aesthetic elements and to investigate graphic features and dimensions in these Painting-Schools. Following this, the similarities and differences between two Tabriz and Mughal-Schools of painting have been introduced and finally based on obtained results, their strength has been investigated. For this purpose, six exquisite copies of these two Schools have been selected and three miniatures from each copy were extracted for the purpose of analysis. All of them were created in 16century but our purpose was to select artworks which had been made at closed period of time and were influenced by Tabriz-School. For this reason, the works of Sha-Tahmasb in Iran, and Akbar-Shah in India were selected. The copies of Tabriz-Painting-School consist of: 1-Khamse Nezami, 2-Zafar Name and 3-Shahname, and Mughal-School: selection consist of: 1-Hamze Name, 2-Baber Name and 3-Akbar Name, were chosen. To find an undaubtable result, three paintings from each book randomly with different subjects were chosen. The specifications and aesthetic principles of paintings, in four tables were analyzed. The first table analyzes the paintings frames and borders, the second analyzes their images, the third analyzes their calligraphy, and the last analyzes their compositions. The obtained results in the paper shows that Mughal Painting, because of some Tabriz masters attendance, had taken some of the specifications of Tabriz. 

Films are influenced by social conditions of any society. Since there is a relationship between entity of society and this fact that some people had more power and advantages than others, it can be said that the difference in social role and status of first characters in films can be considered in parallel with real society. The aim of present study is to investigate these differences during decade of 1370. Since “Dovvom-e Khordad” movement has occurred in half of decade of 1370, it is expected that there is a considerable difference between social role and status of first characters in films which made in the first and second half of decade of 1370. “Dovvom-e Khordad” movement was a social reality which caused so many people, groups, mass media, political and religious personalities and others to be interested in reaching to some objectives such as democracy reinforcement, responding of government, civil associations reinforcement and active participation in elections. After transformations due to “Dovvom-e Khordad” movement, women were after equality which was accelerated and women took part in general and public sphere. This political event had a great influence on making democratic approaches less effective which were dominant on Iranian traditional society. In this study, these deep transformations and influences in two sexes relationship in films of decade of 1370 as a representation of real society of Iran. In the pattern of this hypothesis that there is a significant difference between social role and status of male and female characters in the films of decade of 1370, was followed. This hypothesis is basic hypothesis in this study. For testing basic hypothesis that mentioned above, 47 films were selected as sample among 464 shown films in decade of 1370 in the manner of random systematic sampling method and based on the amount of films sale were studied. The selected films were studied by qualitative content analysis method. Qualitative content analysis is a suitable method for studying the films and other media genres. After selecting samples, researchers indicated social status as a basic variable in this study. Social status in this paper based on Pierre Bourdieu, Carl Marx and Max Weber’s viewpoint indicated by three other variables (economic capital, cultural capital and prestige capital). Our analytical unit in this study is a film sequence. The findings show that in the second half of decade of 1370, women were shown in the roles of occupation, citizen and gender more than the films of first half of decade of 1370. In all investigated films, males have been portrayed in a higher social status than females. Of course the difference between male and female social status in films of second half of decade of 1370 was not significant. Also the social status of females in the films which made in second half of decade of 1370 was higher than their true social status. At last these findings collectively show deep influence of “Dovvom-e Khordad” movement on departure towards democratic structures and removing gender prejudices. 

The current study seeks to present a comprehensive view of the trend governing the published volumes of the HONAR-HA-YE-ZIBA journal from the first on spring 1376 to the 33rd on spring 1387. It also partially investigates the quality and quantity of the journal considering 9 parameters, including: “subjective portion of the articles“ , “scientific grade of the authors“, “involvement of the scientific institutions“, “articles acceptance interval“, “participation of the scientific – specific departments“, “references and resources“, “classification of the articles based on their resources“, “methods and techniques“ and “achievements“. The method of the study has been descriptive – applied survey. In this study 370 articles from 33 volumes have been studied based on the 9 above – mentioned parameters. Results of the study indicate that there has been a notable ongoing change during these 12 years. Articles on Architecture, Urban planning and visual arts devoted most of the portion to themselves. Study the author’s section, the highest number points at the authors who are graded as assistant professors. In the scientific institutions involvement case, Tehran University individualy shares more than one third of the articles presented. The average time for the articles to accept is 6.5 months. Numerous Participating authors of the articles are from 25 scientific – specific departments. Resources and references referred to by the authors of the articles are 10.7 from Persian, 7.2 from English and 30from Arabic languages by average. 40 percent of the articles derived from the pervious scientific – research articles. Among any other, the applied research methodology is the attributive method of research with the analytic- theoretic techniques. The construction of the journal also faced some bright changes which resulted in winning the “Premier Journal Award” for two times among all other journals of the University of Tehran and being accepted in the international “Ulrich’s Periodical Dictionary“ index on 25 July 2003. Investigating implemented research methodologies in under-study articles, however, it is deduced that the authors are not generally that much persistent in implementing a specific research methodology in developing their own articles. Generally speaking, what observed consequently after the quantitative and qualitative evaluation of the volume series is an ascending trend in both quantitative and qualitative areas. Along with the increasing number of published volumes of the journal, articles are no longer subjectively and methodologically mere theoretical, but lead to descriptive – applied subjects and methods. Framework and listing of the articles are also altered into distinguished and detailed sections and topics rather than general and vague ones. Thus, tangible changes in studied parameters are observed from which numerable and continuous qualitative achievements of the journal are resulted. Despite the so called desirable improvement in the process governing publication of the volumes of the journal, yet HONAR-HA-YE-ZIBA requires much more serious concentration and severity, though it will keep ascending quantitatively and qualitatively and so play its leading role in the state’s scientific and art society. 

Beethoven wrote sixteen string quartets, plus a grosse fugre in a period of more than twenty five years, coping with three different phase of his artistic life. The first six Quartets belong to the final period, composed around 1800, when the composer was thirty years old. In the second period Beethoven wrote five quartets (nos 7 to 11) known as midde quartets. The Quartets nos 7 to 9 (the three Razumovsky quartets) was commissioned in 1806 by count Andreas Razumovsky the musian ambasador to viena, who was an ardent patron of music and himself as amateur violinst. the three quartets are in F major E minor and c major and are considered to be a sublime pieces of music. Quartets nos 10 in E flat and 11 in F minor were written 1809 and 1810. No 10 op. 74 drives its nickname "Harp" from passages in the first movement. And the f minor Quartets inscribed "serioso" by Beethoven himself. During the last years of the master life, Beethoven concentrated almost exclusively on the composition of string Quartets. No 12 in E flat major op 127. no 13 in Bfiat op 130. no 14 in C sharp minor of 131. no 15 in A minor op132. no 16 in Fop 135 and the grosse fugue in B flat op 133. These celestical works are among the best pieces of music ever written in the history of music.