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Title

The comparison of the principles of manifesting unity and colored aspects of traditional openings (With an emphasis on analyzing two traditional mansions in Shiraz)

Author(s)

 POURMOHAMMAD SOHA | MOKHTABAD EMRAEI SEYED MOSTAFA | HABIB FARAH | Issue Writer Certificate 

Pages

  252-265

Abstract

 manifestation is idiomatic that is commonly expressed the quality of insight and its perception from the sea of knowledge and recognition of God and his appearance in the world. And also in the arts depending on such a thought, it appears to different species. The article is responsible for this theory that there is a unity among the proportion of manifested colors of a single light in the colored windows of Iran's traditional mansions. Mysticism is an internal movement of the servant toward the creator (God) and also manifesting of tinted windows is a symbol of this movement that the principles of these are comparable. The fundamental goal of this research is (theoretical and experimental), and due to the nature of it (quantitative-qualitative), this research is based on an analytical-measuring method. The present research methods are collecting data from library resources and field inference that has been formulated after the collection of theoretical base of research, reviewing subjects and indexes through objective observation and the presence in the locality, and estimating of the building, the acquired statistics and information based on the format of the chart and the table. The middle of the camera in the form of flat, colored windows is estimated and then transferred to AutoCAD software. After drawing, the areas of their color levels are extracted. It has been done separately for each color, and finally, the ratio of colored levels in the form of quantitative data is extracted. and, the titled principles are compared with the proportions of colored glasses. What is noticeable in the first observation of color combination of windows, is restrictions and color constancy used in traditional windows; in these windows has been used only colors: green, yellow, blue and red. the stability of the colors used in Iranian architecture gives specific value and credibility to them. this stability doesn’ t apply in the human eye for the components of the necessity of composition, but it's like constant and valuable creatures, which put together in the time of work creation and provide the combination that causes to make the perfection. Also, the stability of colors makes them individually invisible easily from among the wide range of colors. According to analyzing the calculations and the tables; in this case study, four colors (green, blue, red and yellow) are used approximately the same in the windows of this mansion to have an optimal effect on persons. As it can be seen in analysis, the ratio of hot color to cold color is the distance between + and-0. 2, unless there may be the ratios of compensation in the total window, for example: in the module B1, yellow color is the most that include the hot colors, while in the module B2, the green color has the most amount that includes the cold colors, this matter keeps the ratio of the cold colors to the hot colors in the total window in the same distance. And it is nothing except the manifestation of unity in diversity and a single words: As the multiplicity of light forms after passing through the colored windows in the sense of the light source is not different and always is the same sun appear that causes the delight. The balance of using colors in case studies; the Khalil-Pasand and Zanjirchi houses are samples of this fact. As mentioned in the table, Iranian artists used the hot (red and yellow) and cold (blue and green) colors with a balanced ratio. Nearly the number derived from calculations is evidence for this claim, and it is the same issue of mysticism that the mystic achieved a balance after a hard austerity. Another factor that can be raised in Islamic mysticism is the discussion of proportion: "in addition to light and color, proportion also exists in order to add the design aesthetic: when colors and bright, pure designs are regulated normally and consistently are better than irregularities. "By investigating the samples is clearly invisible in using the colors. The colors are applied generally and with a slight difference in the windows so that each color beside another neutralizes the intensity of it and had highly significant influences on the people within the space.

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    • Cite

    APA: Copy

    POURMOHAMMAD, SOHA, MOKHTABAD EMRAEI, SEYED MOSTAFA, & HABIB, FARAH. (2021). The comparison of the principles of manifesting unity and colored aspects of traditional openings (With an emphasis on analyzing two traditional mansions in Shiraz). JOURNAL OF ARCHITECTURAL THOUGHT, 4(8 ), 252-265. SID. https://sid.ir/paper/375577/en

    Vancouver: Copy

    POURMOHAMMAD SOHA, MOKHTABAD EMRAEI SEYED MOSTAFA, HABIB FARAH. The comparison of the principles of manifesting unity and colored aspects of traditional openings (With an emphasis on analyzing two traditional mansions in Shiraz). JOURNAL OF ARCHITECTURAL THOUGHT[Internet]. 2021;4(8 ):252-265. Available from: https://sid.ir/paper/375577/en

    IEEE: Copy

    SOHA POURMOHAMMAD, SEYED MOSTAFA MOKHTABAD EMRAEI, and FARAH HABIB, “The comparison of the principles of manifesting unity and colored aspects of traditional openings (With an emphasis on analyzing two traditional mansions in Shiraz),” JOURNAL OF ARCHITECTURAL THOUGHT, vol. 4, no. 8 , pp. 252–265, 2021, [Online]. Available: https://sid.ir/paper/375577/en

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