HONAR-HA-YE-ZIBA
Year:2004 | Volume:- | Issue:16|Papers Count:10

Underly the urban and regional development Process are different theoretical aspects which deal with several effective socio-economic factors. Because of limitations in those factors, undeveloped cities or regions are moving backward in this process. For cities or regions with low level of productivity, it is possible to absorb improved production technology from more developed areas. This will begins with "Catching up" process. A necessity for "Catching up" process is to have sufficient "Social ability". Within two societies, the one with more social ability will develop faster, although eventually both will converge at same point.Level of social ability in each city or region points to the extent which a city or region can expect development in order to reduce regional disparities. Social ability in a city or region is related to two basic factors: "Convergence Capability" in from of "Spatial Transaction" and "Social Advantages" leading to some level of "Human Capital". This paper looks at the effects of those factors on urban development in Iran.It tries to analyze those with use of results of Case studies about urban development phenomena in Iran.

This article investigates economic, social, and physical factors affecting development of Sanandej City in Kurdestan, Iran. Data sources include, map data such as slope, geology, soil, topography, hydrology, aspect, Digital Elevation Model, Triangular Irregular Network, faultlines, land suitability, rural settlements, physical development. The attribute data such as land use, population, densities, social and economic criteria are also used in this study. Landsat satellite images (TM 1990-1998) are part of the database as well. In these study methods such as Boolean logic, Index overlay, and Image enhancement and geometric correction are used to analysis the data. After giving weight to the related data by second stage of Analytic Hierarchical Process, Boolean logic and Index overlay are applied to show the suitable development location. Here, it i shown that selected location for best urban development is a 12 square kilometer zone located to the northwest part of sanandej.

Architecture in regards to its nature has two dimensions; artistic and scientific. Considering the worldwide aspect of art, architecture from artistic point of view has special ontological meaning.The viewpoint of each person is very effective in understanding artistic ontological subjects, their meanings and the educational system that derives from them. Therefore, prior to the education and training of architecture, it is necessary to define the points of view influencing the architectural education. Also it is important to clarify the definition of architecture and its mental basis as a primary approach to examine any architectural educational viewpoint.From the traditional point of view, architecture is creation of art. The beautiful creation is necessity of true existence. Then architecture as an art of creation and decoration form of life is possessed with a sense of ontology. In modern movement, well known modern architects have mentioned of superior quality in architecture and some of them accept the value of ontology in architecture. However, understanding of the meaning of "ontology" has been manipulated in the modern world, which has considerably been under the influence of "rationalism".In this article, an attempt is made to approach the subject of architectural education with respect to the "modern" and "traditional" system of thoughts.

Iran has been recognized as the territory of an ancient civilization from olden times. One of the particularities of the civilized countries is to transfer her culture and civilization to other countries; and Iran has not been exempt from this rule. Therefore, one should not confound the decadence of the sas-sanid's power with the decadence of Iranians who were considered as an ancient nation.Iranians, after the appearance of Islam and its acceptance as an official religion, decided definitely to transfer their thousands year old culture and civilization to those nations with lower levels of civilization, and they proved to carry out this endeavor with pride. They were able to export most of their artistic and cultural heritage to the conquered people, and subsequently to some other Islamic territories including Egypt. Those, who were efficient in the development of the Islamic culture and civilization, transferred their artistic/cultural assets to other territories through.Here Egypt is considered as one of those countries which were influenced by Iranian architecture. The research question is this: What the influence of Iranian architecture has been in Egypt in a period between the Islamic conquests to the time of Mamalic appearance?Here while explaining this influence and the conditions within which the influence was brought about in Egypt, a study of buildings at the epoch of tulunids, fatimio and ayyoubi, are also present as evidences.

In the center of Tabriz, there is remains of an ancient hurge and glorious monument building which has been named Ark of Tabriz, Ark of Alishah, Tagh i Alishah and Mosque of Alishah through the times. The Ark of Tabriz is the collapsed remains of an Iwan which is bigger and higher than Tagh i Kasara in Tisfoon. Architecturally, the Ark of Tabriz is one the most important and great monuments in architecture of Iran because of its height and huge dimensions. Some scholars have studied Ark of Tabriz through historical documents since there has never been an archaeological approach as well as architecture one before. Therefore, they had believed that Ark of Tabriz is the remains of the glorious Mosque of Alishah. However, not only historians have clearly described the Mosque of Alishah but also there is no evidence pointing to the Ark of Tabriz as being that mosque. This paper, which is based on the archaeological evidences, architectural analysis and critical approach to historical documents, has established that Ark of Tabriz is not the remains of Mosque of Alishah.

The Iranian Miniature is one of the most important sub branches of the Islamic Arts. In spite of the significance of its figurative, symbolic and content aspects, there are a series of confusing ambiguities about it.It is possible to classify the above mentioned ambiguities into three classes:The ambiguities of the history of art related to Miniature.The visual and formalistic ambiguities of Miniature.The ambiguities related to the theoretical origin of Miniature.Of the three, the third one is chosen to be discussed in this research. By examination of the miniature painted scenes of the first meeting of Khosro and Shirin and Shirin's death, based on the story of Nezami's Khosro and Shirin, some aspects of form and content of Iranian Miniature will be put into discussion. A study of the scenes reveals that the motif of "Love", a spiritual love, is embedded in the scenes as an independent variable so that it would incline the visual and content elements from concrete and exoteric, realistic and natural planes to esoteric ones. It is through this that the incomparable and the unattainable notions, concealed deep in the scenes, is revealed.

Aliquli Beg Jabadar, Persian painter, worked in the Second half of the 17 th century who painted in "Farangi" manner. He referred to himself as Farangi. This Led Ivanov and A. Welch to suggest That Aliquli was a European who arrived in Persia in the mid-17 th century and was converted to Islam and then taken into the service of the Shah. A more convincing explanation is that he came from Georgia, as had other soldiers and artists attached to Safavid Court. In my opinion, Aliquli was born in Persia and the was son of Garachughai Khan II, who became the governor of Mashhad. He had posts of Kitabdar (Librarian) and jabadar (Keeper of the Armoury). He referred to himself as ghulamzada-I qadimi, From Which it seems that he was born a bondsman. In this Article, his household, his ties with the Georgians, and his distinctive style are discussed.

The number of scientific work on Iranian hand-woven carpet is very limited. Therefore, a research on weaving methods, tools and designs has always been. This research work has been carried out to recognize the specifications of Arabic carpets in the southern parts of Khorasan Province, such as: Tabas, Ferdous and Birjand. The research was conducted on two bases: literature review and field research. Results show that weavers are not inclined to use any map for weaving. Women on a horizontal and metallic frame produce all the carpets in different small sizes. They use very simple weaving tools such as: knife, comb and scissors. The warp and weft yarns are totally cotton and the piles are woollen, dyed by chemical or chemical/natural dyes. The weavers use two thick wefts with the same thickness. The asymmetrical knot is very common for weaving. Trimming the carpets may be done either during weaving or at the end in the finishing workshops. The most important designs are Lachak-Torange, Torange Torange and Moharramat. Ramadani Arabs produce a special design named "Namazi" with religious symbols such as people praying, mosque, tree and animal figures.

Iranian music is the abstract expression of different manifestations of the enriched legacy of Iranian culture, as the case is with other forms of art.The formation of words and development of sentences in the music in question are associated with other forms of arts especially decorative arts.This essay, through comparison and contrast of these two forms of arts, attempts to offer the appropriate methodology for a better insight towards Iranian music as well as training of this form of music based on a better understanding, repetition and combination of different, and the same time limited, confined and specific, motifs. The pivotal points on which this research is based on consist of juxtaposition of common elements in these two forms of art such as order, repetition, rhythm, light and shade, decoration in Iranian music, the combination and development of Iranian music motifs, and their similarities to the formation of decorative patterns, arabesque movement of musical sentences and utilization of symbols.