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An Analytical Approach to the Quality of Natural Light Within the Vault of Sepahsalar Mosque (Shahid Motahari School)

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An Analytical Approach to the Quality of Natural Light Within the Vault of Sepahsalar Mosque (Shahid Motahari School) ISSN: 2538-2594; Naqshejahan- Basic studies and New Technologies of Architecture and Planning. 2020;9(4):245-256 An Analytical Approach to the Quality of Natural Light within the Vault of Sepahsalar Mosque (Shahid Motahari School) A R T I C L E I N F O A B S T R A C T Natural light as the only source of light in historical buildings can play a crucial role in Article Type changing interior spaces. Iranian architects artistically directed the light beams to the interior Descriptive Study and partitioned integrated spaces without using separation elements or materials. The main question of this study is how does sunlight create spaces within southern vault of the Authors mosque by establishing a combination of light, shade, and darkness and what is the role of Tabibian S.H. 1 PhD, light is in spiritualization of the main altar of the mosque?. For this purpose, the light intensity Habib F.*2 PhD, was measured in the southern Shabestan and altar using devices and a 12-month light travel Garakani S.A.1 PhD simulation was performed by DIALux evo 7.0 and the data were analyzed. The results show that luminance is the highest at noon prayer time every day in a year, promoting the spiritual space of the altar. Also, intensity of the light with aforementioned functions within the vault instead of using separation walls resulted in functional separation of the spaces. The difference of the present study with previous ones is the use of photometric devices and quantitative analysis of the light in order to reach an analytical approach and to explain the importance of divine light in mosques. How to cite this article Tabibian S.H, Habib F, Garakani S.A. Keywords Divine Light; Vault; Altar; Semantics An Analytical Approach to the Qua- lity of Natural Light within the Vau- lt of Sepahsalar Mosque (Shahid Motahari School). Naqshejahan- Basic studies and New Technologi- es of Architecture and Planning. 2020;9(4):245-256. C I T A T I O N L I N K S [1] Pattern of natural lighting in the space below of Isfahan [2] A look at theoretical foundations in architecture [3] Mosque architecture guide [4] Qualitative presence of light in the ancient architecture of Iran [5] Sheikh Lotfallah Mosque and its features [6] Persian architecture [7] Analysis and study of traditional Iranian architecture and the role of light 1Architecture Department, Pardis in them [8] Light and art verse [9] Material of spiritual identity overview and sacred Branch, Islamic Azad University, paintings in the architecture of Shia mosque [10] The wisdom of Islamic art [11] Reforms Pardis, Iran 2Architecture Department, Science article and architectural symbols in the holy Quran [12] The basics of Islamic art [13] & Research Branch, Islamic Azad Spiritual hadiths [14] Light and color in Iranian painting and Islamic architecture [15] University, Tehran, Iran Catching the light [16] Architectural elements from face to place [17] Poetry in space [18] Art of light and architecture (made of light) [19] Towards a new architecture [20] Sense of *Correspondence [21] Investigating the role of light in explaining the sequence of architectural Address: Architecture Department, space of mosques, case study: Sheikh Lotfollah mosque [22] Assessment of daylight role in Science & Research Branch, Islamic creatingunification spiritual mood in contemporary mosques [23] Climate-based daylight modelling- Azad University, Tehran, Iran LESD [24] Useful daylight illuminate: A new paradigm for assessing, daylight in buildings Phone: +98 (21) 22869212 Fax: - [25] Study of the space below the dome of the mosque and Sepahsalar school in Tehran [email protected] (Shahid Motahari High School) [26] Shahid Motahari School (Sepahsalar): A look at Qajar [27] The quality of light-openings in Article History iranian domes (with the structural approach) [28] Decoration in Iranian architecture and Received: June 14, 2019 artarchitecture, (Islamic period space withflourishing, an emphasis and construction on mosques) [29] A new current in contemporary Accepted: September 16, 2019 Iranian architecture ePublished: March 17, 2020 Copyright© 2020, TMU Press. This open-access article is published under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License which permits Share (copy and redistribute the material in any medium or format) and Adapt (remix, transform, and build upon the material) under the Attribution-NonCommercial terms. ۲۴۶ ﯿﺳ ﺪﺣﺴﺎماﻟﺪ ﻦﯾ ﻃﺒ ﯿﺒﯿ ﺎن و ﻫﻤﮑﺎران ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ روﯾﮑﺮدی ﺗﺤﻠ ﯽﻠﯿ ﺑﺮ ﮐ ﺖﯿﻔﯿ ﻧﻮر ﻃﺒ ﯽﻌﯿ در ﻓﻀﺎی "ﻧﻮر از ﻋﻨﺎﺻﺮ ﺟﺪاﯾﯽﻧﺎﭘﺬﯾﺮ ﻓﻀﺎ ﺗﻠﻘﯽ ﻣﯽﺷﻮد و ﺑﺎﯾﺴﺘﯽ در ﻣﻌﻤﺎری اﯾﺮان از اﻟﮕﻮﯾﯽ ﺧﺎص ﺗﺒﻌﯿﺖ ﮐﺮده ﺑﺎﺷﺪ. اﯾﻨﮑﻪ ﭼﮕﻮﻧﻪ ﻣﯽﺷﻮد ﮔﻨﺒﺪﺧﺎﻧﻪ ﻣﺴﺠﺪ ﺳﭙﻬﺴﺎﻻر (ﻣﺪرﺳﻪ ﺷﻬ ﺪﯿ ﻣﻄﻬﺮ ی) اﻟﮕﻮﻫﺎی ﻓﻀﺎﯾﯽ را از ﻣﻌﻤﺎری اﯾﺮان اﺳﺘﺨﺮاج ﮐﺮد و آﻧﻬﺎ را در ﯾﮏ ﻧﻈﺎم ﻣﺮﺟﻊ ﺟﺎ داد و از اﯾﻦ ﻃﺮﯾﻖ دوﺑﺎره آﻧﻬﺎ را اﻧﺘﻘﺎل داد، ﻣﺸﮑﻠﯽ ﯿﺳ ﺪﺣﺴﺎماﻟﺪ ﻦﯾ ﻃﺒ ﯿﺒﯿ ﺎن PhD اﺳﺖ ﮐﻪ ﺑﻪﺷﺪت اﻣﺮوزه ﺟﺎﻣﻌﻪ ﻣﻌﻤﺎران ﺑﺎ آن درﮔﯿﺮ ﻫﺴﺘﻨﺪ" [1]. ﮔﺮوه ﻣﻌﻤﺎر ،ی واﺣﺪ ﭘﺮدﯾﺲ، داﻧﺸﮕﺎه آزاد اﺳﻼﻣ ،ﯽ ﭘﺮدﯾﺲ، ﯾا ﺮان * روﺷﻨﺎﯾﯽ و ﺗﺎرﯾﮑﯽ در ﻣﺴﺎﺟﺪ ﺗﺎرﯾﺨﯽ اﯾﺮان ﺣﺎﻣﻞ ﭘﯿﺎمﻫﺎﯾﯽ ﺑﺮای ﻓﺮح ﺣﺒ ﺐﯿ PhD ﮔﺮوه ﻣﻌﻤﺎر ،ی واﺣﺪ ﻋﻠﻮم و ﺗﺤﻘﯿﻘﺎت، داﻧﺸﮕﺎه آزاد اﺳﻼﻣ ،ﯽ ﺗﻬﺮان، اﯾﺮان ﻧﻤﺎزﮔﺰاران و ﻣﺮاﺟﻌﻪﮐﻨﻨﺪﮔﺎن ﻫﺴﺘﻨﺪ ﮐﻪ ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﻧﻮر و ﻣﺘﻨﺎﺳﺐ ﯿﺳ ﺪاﻣﯿﺮﺣﺴ ﻦﯿ ﮔﺮﮐﺎﻧﯽ PhD ﺑﺎ ﻧﯿﺎزی ﮐﻪ ﺑﻪ آن دارﻧﺪ، رﻓﺘﺎرﻫﺎی ﺧﻮد را ﺗﻨﻈﯿﻢ ﻣﯽﮐﺮدهاﻧﺪ. ﻧﻮر در ﮔﺮوه ﻣﻌﻤﺎر ،ی واﺣﺪ ﭘﺮدﯾﺲ، داﻧﺸﮕﺎه آزاد اﺳﻼﻣ ،ﯽ ﭘﺮدﯾﺲ، ﯾا ﺮان ﻣﺴﺎﺟﺪ ﻓﻘﻂ ﺑﺮای روﺷﻨﺎﯾﯽ ﻧﯿﺴﺖ، ﺑﻠﮑﻪ ﺟﻮاﺑﮕﻮی ﻧﯿﺎزﻫﺎی روﺣﯽ و ﻋﺮﻓﺎﻧﯽ ﻣﺨﺎﻃﺒﯿﻦ ﻧﯿﺰ ﺑﻮده اﺳﺖ. "ﻫﯿﭻ ﻧﻤﺎد و ﻣﻈﻬﺮی ﻣﺎﻧﻨﺪ ﻧﻮر ﺑﻪ ﭼﮑﻴﺪه وﺣﺪت اﻟﻬﯽ ﻧﺰدﯾﮏ ﻧﯿﺴﺖ. ﺑﻪ ﻫﻤﯿﻦ دﻟﯿﻞ اﺳﺖ ﮐﻪ ﻫﻨﺮﻣﻨﺪان ﻧﻮر ﻃﺒﯿﻌﯽ ﮐﻪ ﺗﻨﻬﺎ ﻣﻨﺒﻊ ﺗﺎﻣﯿﻦﮐﻨﻨﺪه روﺷﻨﺎﯾﯽ در ﺑﻨﺎی ﺗﺎرﯾﺨﯽ ﺑﻮده اﺳﺖ ﻣﯽﺗﻮاﻧﺪ اﺳﻼﻣﯽ ﻣﯽﮐﻮﺷﻨﺪ ﺗﺎ در آﻧﭽﻪ ﻣﯽآﻓﺮﯾﻨﻨﺪ از اﯾﻦ ﻋﺎﻣﻞ ﺗﺎ ﺣﺪ ﻣﻤﮑﻦ در ﺗﻐﯿﯿﺮ ﻣﺎﻫﯿﺖ ﻓﻀﺎی داﺧﻠﯽ ﺑﻨﺎ ﺗﺎﺛﯿﺮ ﺑﻪﺳﺰاﯾﯽ داﺷﺘﻪ ﺑﺎﺷﺪ. ﻣﻌﻤﺎران اﯾﺮاﻧﯽ [2] ﻣﯽﺗﻮاﻧﺴﺘﻨﺪ ﻧﻮر را ﺑﺎ ﻫﻨﺮﻣﻨﺪی ﺧﻮد ﺑﻪ داﺧﻞ ﺑﻨﺎ ﻫﺪاﯾﺖ ﮐﻨﻨﺪ و ﺑﺪﯾﻦ ﺗﺮﺗﯿﺐ ﺑﺎ ﺑﻬﺮهﮔﯿﺮی ﮐﻨﻨﺪ" . در اﯾﻦ ﻣﺴﺎﺟﺪ ﻣﯿﺰان ﻧﻮر در ﻗﺴﻤﺖﻫﺎی ﻣﺨﺘﻠﻒ اﯾﺠﺎد ﻓﻀﺎﯾﯽ از ﻧﻮر و ﺗﺎرﯾﮑﯽ، ﻓﻀﺎی ﯾﮑﭙﺎرﭼﻪای را ﺑﺪون اﺳﺘﻔﺎده از ﻣﺼﺎﻟﺢ و ﻣﺜﻞ ﻣﺤﺮاب، ﺷﺒﺴﺘﺎن و راﻫﺮوی ورودی ﯾﮑﺴﺎن ﻧﯿﺴﺖ و ﻣﺘﻨﺎﺳﺐ ﻋﻨﺎﺻﺮ ﺟﺪاﮐﻨﻨﺪه، ﺑﻪ ﺑﺨﺶﻫﺎی ﻣﺠﺰا ﺗﻘﺴﯿﻢ ﮐﻨﻨﺪ. ﺳﺌﻮال اﺻﻠﯽ ﻣﻄﺎﻟﻌﻪ اﯾﻦ اﺳﺖ ﺑﺎ ﻧﯿﺎز روﺣﯽ و ﻣﯿﺰان روﺷﻨﺎﯾﯽ ﻣﻮرد ﻧﯿﺎز، ﻃﺮاﺣﯽ ﺷﺪه اﺳﺖ. اﺳﺘﻔﺎده ﮐﻪ ﻧﻮر ﺧﻮرﺷﯿﺪ ﭼﮕﻮﻧﻪ در ﻓﻀﺎی ﮔﻨﺒﺪﺧﺎﻧﻪ ﺟﻨﻮﺑﯽ ﻣﺴﺠﺪ ﺑﺎ اﯾﺠﺎد ﺳﺎﯾﻪ و روﺷﻦ از ﻧﻮر ﺑﺮای اﯾﺠﺎد ﻓﻀﺎﻫﺎی ﺳﺎﯾﻪ و روﺷﻦ، درﺧﺸﻨﺪﮔﯽ و وﯾﮋﮔﯽﻫﺎی و ﺗﺎرﯾﮑﯽ، ﻓﻀﺎﺳﺎزی ﻣﯽﮐﻨﺪ و ﻧﻘﺶ ﻧﻮر در اﯾﺠﺎد ﺣﺲ ﻗﺪاﺳﺖ ﻣﺤﺮاب اﺻﻠﯽ ﮐﯿﻔﯽ ﻧﻮر، ﺑﺨﺸﯽ از ﮐﺎرﻫﺎﯾﯽ اﺳﺖ ﮐﻪ ﻣﻌﻤﺎران ﺑﺮای اﺛﺮﮔﺬاری ﺑﯿﺸﺘﺮ ﭼﯿﺴﺖ؟. ﺑﻪ اﯾﻦ ﻣﻨﻈﻮر ﺑﺎ اﺳﺘﻔﺎده از اﺑﺰارﻫﺎی ﻧﻮرﺳﻨﺠﯽ، ﻧﻮر ﻓﻀﺎی ﺷﺒﺴﺘﺎن و ﻣﺤﺮاب ﺟﻨﻮﺑﯽ ﻣﺴﺠﺪ اﻧﺪازهﮔﯿﺮی و ﺳﭙﺲ ﺑﺎ ﻧﺮماﻓﺰار دﯾﺎﻟﻮﮐﺲ ۷ ﺳﯿﺮ ﻧﻮر ﻃﺒﯿﻌﯽ ﻓﻀﺎ ﺑﺮ اﺳﺘﻔﺎدهﮐﻨﻨﺪﮔﺎن از آن اﻧﺠﺎم دادهاﻧﺪ. در ﮐﻞ ﺳﺎل ﺷﺒﯿﻪﺳﺎزی و ﺑﻪ واﮐﺎوی و ﺗﺤﻠﯿﻞ اﻃﻼﻋﺎت ﭘﺮداﺧﺘﻪ ﺷﺪ. اﻫﺪاف ﻣﻄﺎﻟﻌﻪ ﻧﺘﺎﯾﺞ ﻧﺸﺎن ﻣﯽدﻫﻨﺪ ﮐﻪ ﻣﯿﺰان درﺧﺸﻨﺪﮔﯽ ﻧﻮر در ﮐﻠﯿﻪ روزﻫﺎی ﺳﺎل در زﻣﺎن اذان - ﺑﺎزﯾﺎﻓﺘﻦ ﺟﺎﯾﮕﺎه ﻧﻮر در ﻣﻌﻤﺎری ﺑﻨﺎﻫﺎی ﻣﺬﻫﺒﯽ و ﺑﻬﺮهﮔﯿﺮی ﻣﺠﺪد ﻇﻬﺮ در ﻣﺤﺮاب ﺑﻪ ﺑﺎﻻﺗﺮﯾﻦ درﺟﻪ ﺧﻮد ﻣﯽرﺳﺪ ﮐﻪ ﺳﺒﺐ اﻓﺰاﯾﺶ ﺣﺲ ﻗﺪاﺳﺖ و از ﺗﮑﻨﯿﮏﻫﺎی ﻣﻌﻤﺎری ﺳﻨﺘﯽ ارﺗﻘﺎی ﻓﻀﺎی ﻣﻌﻨﻮی ﻣﺤﺮاب ﻣﯽﺷﻮد. ﻫﻤﭽﻨﯿﻦ در ﻓﻀﺎی ﮔﻨﺒﺪﺧﺎﻧﻪ ﺑﻪ ﺟﺎی - دﺳﺘﯿﺎﺑﯽ ﺑﻪ اﺻﻮﻟﯽ ﺑﺮای اﺳﺘﻔﺎده ﻫﺪﻓﻤﻨﺪ و ﻣﻨﺎﺳﺐ از ﻧﻮر ﻃﺒﯿﻌﯽ اﺳﺘﻔﺎده از دﯾﻮارﻫﺎی ﺟﺪاﮐﻨﻨﺪه، ﻣﯿﺰان ﺷﺪت ﻧﻮر ﺑﺎ ﻫﻤﺎن ﻋﻤﻠﮑﺮد ﻣﻮﺟﺐ ﺗﻔﮑﯿﮏ ﻓﻀﺎﻫﺎ از ﻧﻈﺮ ﻋﻤﻠﮑﺮدی ﻣﯽﺷﻮد. ﺗﻔﺎوت ﻣﻄﺎﻟﻌﻪ ﺣﺎﺿﺮ ﺑﺎ ﺗﺤﻘﯿﻘﺎت ﮔﺬﺷﺘﻪ در ﺑﺮای ارﺗﻘﺎی ﮐﯿﻔﯿﺖ ﻣﻌﻤﺎری ﻣﺴﺎﺟﺪ ﻣﻌﺎﺻﺮ اﺳﺘﻔﺎده از دﺳﺘﮕﺎهﻫﺎی ﻧﻮرﺳﻨﺠﯽ و ﺑﺮرﺳﯽ ﮐﻤﯽ ﻧﻮر ﺑﺮای رﺳﯿﺪن ﺑﻪ روﯾﮑﺮد ﮐﯿﻔﯽ ﺿﺮورت ﻣﻄﺎﻟﻌﻪ و ﺗﺒﯿﯿﻦ ﺟﺎﯾﮕﺎه ﻧﻮر ﻣﻌﻨﻮی در ﻣﺴﺠﺪ اﺳﺖ. در ﻣﻌﻤﺎری ﻣﺴﺎﺟﺪ ﻣﻌﺎﺻﺮ ﮐﻤﺮﻧﮓﺷﺪن ﻣﻌﻨﻮﯾﺖ و ﻫﻮﯾﺖ ﺑﻪوﺿﻮح ﮐﻠﯿﺪواژهﻫﺎ: ﻧﻮر ﻋﺒﺎدی، ﮔﻨﺒﺪﺧﺎﻧﻪ، ﻣﺤﺮاب، ﻣﻌﻨﺎﺷﻨﺎﺳﯽ دﯾﺪه ﻣﯽﺷﻮد. زﻧﺪﮔﯽ اﻧﺴﺎن اﻣﺮوز ی و ﺻﻨﻌﺘﯽﺷﺪن روزﮔﺎر ﮐﻨﻮﻧﯽ ﺗﺎرﻳﺦ درﻳﺎﻓﺖ: ۲۴/۰۳/۱۳۹۸ ﻣﻮﺟﺐ ﺷﺪه اﺳﺖ ﮐﻪ ﻣﻌﻤﺎری زﯾﺒﺎ و ﻣﻌﻨﻮی ﻣﺴﺎﺟﺪ ﻧﯿﺰ ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﺗﺎرﻳﺦ ﭘﺬﻳﺮش: ۲۵/۰۶/۱۳۹۸ ﻗﺮار ﮔﯿﺮد. ﻋﺪم اﺳﺘﻔﺎده از ﻧﻮر ﻃﺒﯿﻌﯽ در ﻃﺮاﺣﯽ ﻣﺴﺎﺟﺪ ﻣﻌﺎﺻﺮ و * ﻧﻮﻳﺴﻨﺪه ﻣﺴﺌﻮل: [email protected] اﺳﺘﻔﺎده از روﺷﻨﺎﯾﯽ ﻣﺼﻨﻮﻋﯽ ﻣﻨﺠﺮ ﺑﻪ ﺗﺎﺛﯿﺮ ﻣﻨﻔﯽ ﺑﺮ ﻫﻮﯾﺖ ﻣﻌﻨﻮی ﻓﻀﺎی ﻣﺬﻫﺒﯽ ﻣﺴﺎﺟﺪ ﺷﺪه اﺳﺖ. ﻣﻘﺪﻣﻪ ﻣﺴﺎﺟﺪ ﻣﻌﺎﺻﺮ اﯾﺮان ﮐﻪ در ﻣﻌﻤﺎر ی ﺧﻮد ﻧﯿﺎز ﺑﻪ روﺷﻨﺎﯾﯽ ﻃﺒﯿﻌﯽ در دورهﻫﺎی ﻣﺨﺘﻠﻒ ﺗﺎرﯾﺦ اﯾﺮان، ﮔﺮاﯾﺶ اﻧﺴﺎن ﺑﻪ ﺳﻮی ﻧﻮر ﻫﻨﮕﺎم دارﻧﺪ ًﮐﺎﻣﻼ ﺑﻪ روﺷﻨﺎﯾﯽ ﻣﺼﻨﻮﻋﯽ واﺑﺴﺘﻪ ﺷﺪهاﻧﺪ و درواﻗﻊ اﺳﺘﻔﺎده ﭘﺮﺳﺘﺶ ﺧﺪاوﻧﺪ در ادﯾﺎن ﻣﺨﺘﻠﻒ ﻣﻬﺮﭘﺮﺳﺘﯽ، زرﺗﺸﺘﯽ و اﺳﻼم وﺟﻮد از ﻧﻮر ﻃﺒﯿﻌﯽ را ﮐﻪ ﻣﻨﻄﻘﯽﺗﺮﯾﻦ، ﺳﺎﻟﻢﺗﺮﯾﻦ و ﻣﻌﻨﻮیﺗﺮﯾﻦ ﻧﻮع داﺷﺘﻪ اﺳﺖ. ﺑﻪوﯾﮋه در اﺳﻼم و ﺟﻬﺎنﺑﯿﻨﯽ اﺳﻼﻣﯽ ﻧﻮر، از ﻣﻘﺎم روﺷﻨﺎﯾﯽ در ﺳﺎﻋﺎت روز اﺳﺖ در ﻣﻌﻤﺎری ﺧﻮد ﺑﻪ ﻓﺮاﻣﻮﺷﯽ ﺳﭙﺮدهاﻧﺪ. ارزﺷﻤﻨﺪی ﺑﺮﺧﻮردار ﺑﻮده اﺳﺖ. ﻫﻨﺮﻣﻨﺪان اﺳﻼﻣﯽ ﻫﻤﻮاره ﮐﻮﺷﯿﺪهاﻧﺪ ﺑﻨﺎﺑﺮاﯾﻦ در اﯾﻦ زﻣﯿﻨﻪ ﺗﺤﻘﯿﻖ ﺑﺮای ﮐﺸﻒ راﻫﮑﺎرﻫﺎ و ﺑﻪﮐﺎرﮔﯿﺮی ﺗﺎ در ﺧﻠﻖ آﺛﺎر ﺧﻮد از ﻧﻮر ﺑﻪﻋﻨﻮان ﻧﻤﺎد و ﻣﻈﻬﺮی ﻧﺰدﯾﮏ ﺑﻪ ﺧﺪای ﺗﺠﺮﺑﯿﺎت ﺑﻮﻣﯽ ﺑﻪﮐﺎررﻓﺘﻪ در ﻣﻌﻤﺎری ﻏﻨﯽ ﮔﺬﺷﺘﻪ اﯾﺮان ﺿﺮورت ﭘﯿﺪا ﯾﮑﺘﺎ ﺣﺪاﮐﺜﺮ ﺑﻬﺮهﺑﺮداری را داﺷﺘﻪ ﺑﺎﺷﻨﺪ. در ﻣﻌﻤﺎری اﺳﻼﻣﯽ اﯾﺮان ﻣﯽﮐﻨﺪ ﺗﺎ ﺑﺘﻮاﻧﺪ راهﮔﺸﺎﯾﯽ ﻣﻨﺎﺳﺐ ﺑﺮای ﺣﻞ ﻣﺸﮑﻞ ﻓﻘﺪان ﻣﻌﻨﻮﯾﺖ ﺟﻠﻮهﻫﺎی ﺑﺼﺮی و ﻣﻌﻨﻮی ﻧﻮر را ﻣﯽﺗﻮان در ﻣﺴﺠﺪ ﮐﻪ ﺷﺎﺧﺺﺗﺮﯾﻦ در ﻃﺮاﺣﯽ ﻣﻌﻤﺎری ﻣﺴﺎﺟﺪ ﻣﻌﺎﺻﺮ ﺑﺎﺷﺪ. ﺑﻨﺎی اﺳﻼﻣﯽ اﺳﺖ ﺑﯿﺸﺘﺮ از ﺟﺎﻫﺎی دﯾﮕﺮ ﻣﺸﺎﻫﺪه ﮐﺮد. ﻣﻌﻤﺎران ﺳﺌﻮاﻻت ﻣﻄﺎﻟﻌﻪ اﯾﺮاﻧﯽ ﺑﺎ اﺳﺘﻔﺎده از ﺗﺠﺮﺑﻪﻫﺎی ﺧﻮد در اﺳﺘﻔﺎده از ﻧﻮر روز ﻣﯽﺗﻮاﻧﺴﺘﻨﺪ ۱ - ﭼﮕﻮﻧﻪ از ﻧﻮر ﻃﺒﯿﻌﯽ در ارﺗﻘﺎی ﮐﯿﻔﯿﺖ ﻓﻀﺎی ﮔﻨﺒﺪﺧﺎﻧﻪ ﻣﺴﺠﺪ ﺳﺎدهﺗﺮﯾﻦ ﻓﺮمﻫﺎ و ﻣﺼﺎﻟﺢ ﮐﻢارزش را ﺑﻪ ﻋﻨﺎﺻﺮ و ﺗﺰﯾﯿﻨﺎت ﮔﺮاﻧﺒﻬﺎ ﻣﺪرﺳﻪ ﺳﭙﻬﺴﺎﻻر و ﺑﺎﻻﺑﺮدن ﺣﺲ ﻣﻌﻨﻮی آن اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ؟. ﺗﺒﺪﯾﻞ ﮐﻨﻨﺪ. در ﻣﻌﻤﺎری اﯾﺮاﻧﯽ ﻫﻤﯿﺸﻪ ﻧﻮر ﻋﻨﺼﺮی ﺟﺪاﻧﺸﺪﻧﯽ از ۲ - ﭼﮕﻮﻧﻪ ﻧﻮر ﻃﺒﯿﻌﯽ در زﻣﺎنﻫﺎی ﻣﺨﺘﻠﻒ روز و در ﻓﺼﻮل ﻣﺨﺘﻠﻒ ﻣﺬﻫﺐ ﺑﻪ ﺷﻤﺎر ﻣﯽرود. ﻋﻼوه ﺑﺮ دﯾﻦ اﺳﻼم ﺑﺴﯿﺎری از ﻣﺬاﻫﺐ، ﻧﻮر ﺳﺎل ﺑﺮ درﺧﺸﻨﺪﮔﯽ و اﯾﺠﺎد ﺣﺲ ﻗﺪاﺳﺖ در ﻣﺤﺮاب اﯾﻮان ﺟﻨﻮﺑﯽ ﺧﻮرﺷﯿﺪ را ﻧﻤﺎدی از ﺧﺪاوﻧﺪ ﻣﯽداﻧﺴﺘﻨﺪ. ﺗﺎﺛﯿﺮ ﻣﯽﮔﺬارد؟. ﻓﺼﻠﻨﺎﻣﻪ ﻋﻠﻤﯽ - ﭘﮋوﻫﺸﯽ ﻧﻘﺶ ﺟﻬﺎن دوره ۹ ۴، ﺷﻤﺎره ، زﻣﺴﺘﺎن ۱۳۹۸ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ روﯾﮑﺮدی ﺗﺤﻠﯿﻠﯽ ﺑﺮ ﮐﯿﻔﯿﺖ ﻧﻮر ﻃﺒﯿﻌﯽ در ﻓﻀﺎی ﮔﻨﺒﺪﺧﺎﻧﻪ ﻣﺴﺠﺪ ﺳﭙﻬﺴﺎﻻر (ﻣﺪرﺳﻪ ﺷﻬﯿﺪ ﻣﻄﻬﺮی) ۲۴۷ ﭘﯿﺸﯿﻨﻪ ﺗﺤﻘﯿﻖ ﻋﻼوه ﺑﺮ رﻓﻊ ﻧﯿﺎزﻫﺎی ﺑﺼﺮی در ادراک ﻣﺤﯿﻂ، ﺑﻪﻋﻠﺖ ﺑﺎر ﻣﻌﻨﺎﯾﯽ و ﺗﺸﮑﯿﻞ اﻧﺠﻤﻦﻫﺎی ﺑﯿﻦاﻟﻤﻠﻠﯽ ﻧﻮر ﻣﻮﺟﺐ اﻧﺠﺎمﺷﺪن ﺗﺤﻘﯿﻘﺎت و ارزش ﻧﻤﺎدﯾﻦ ﺧﻮد ﻫﻤﻮاره روح ﻋﺒﺎدی ﻓﻀﺎی ﭘﺮﺳﺘﺸﮕﺎهﻫﺎ را ﺗﻘﻮﯾﺖ ﺗﻮﻟﯿﺪ اﺳﺘﺎﻧﺪاردﻫﺎی ﻧﻮرﭘﺮدازی (اﻋﻢ از ﻧﻮر ﻃﺒﯿﻌﯽ و ﻣﺼﻨﻮﻋﯽ) ﺷﺪه ﮐﺮده اﺳﺖ" [3].
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  • Manifestation of Modernity in Iranian Public Squares: Baharestan Square (1826–1978)
    Asma Mehan, Int. J. of Herit. Archit., Vol. 1, No. 3 (2017) 411–420 MANIFESTATION OF MODERNITY IN IRANIAN PUBLIC SQUARES: BAHARESTAN SQUARE (1826–1978) ASMA MEHAN Department of Architecture and Design, Politecnico Di Torino, Italy. ABSTRACT The concept of public square has changed significantly in Iran in recent centuries. This research inves- tigated how modernity is manifested in the public squares of Tehran. In this regard, Tehran has been chosen as the main concern, while in its short history as the capital of Iran, the city has been critically transformed: first because of constant urban development during the Qajar Dynasty and then due to its rapid growth during the late Pahavi era and second because of the culture of rapid renovation and reconstruction in contemporary public spaces. Considering these facts, the urban transformation of Baharestan Square as one of the most influencing public squares of Tehran in the recent century leads us to understand the process of Iranian modernization, which is totally different from common patterns of western modernity. Analysing the historical changes of Baharestan Square based on manuscripts, western travellers’ diaries, historical images and maps, from its formation till the Islamic Revolution (1978), shows how the traditional elements of the square as well as its form and function have been totally transformed. Analysing the spatial qualities of Baharestan Square clarifies that its special loca- tion near the first Iranian Parliament building, Sepahsalar Mosque and Negarestan Garden represents it as the first modern focal point in Iranian’s political and social life. Keywords: Baharestan Square, Iranian modernity, public square, Tehran.
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    The Role of Climate and Culture on the Formation of Courtyards in Mosques Hossein Soltanzadeh* Associate Professor of Architecture, Faculty of Art and Architecture, Tehran Central Branch, Islamic Azad University, Tehran, Iran Received: 23/05/2015; Accepted: 30/06/2015 Abstract The process regarding the formation of different mosque gardens and the elements that contribute to the respective process is the from the foci point of this paper. The significance of the topic lies in the fact that certain scholars have associated the courtyard in mosques with the concept of garden, and have not taken into account the elements that contribute to the development of various types of mosque courtyards. The theoretical findings of the research indicate that the conditions and instructions regarding the Jemaah [collective] prayers on one hand and the notion of exterior performance of the worshiping rites as a recommended religious precept paired with the cultural, environmental and natural factors on the other hand have had their share of founding the courtyards. This study employs the historical analytical approach since the samples are not contemporary. The dependant variables are culture and climate while the form of courtyard in the jame [congregational] mosque is the dependent variable. The statistical population includes the jame mosques from all over the Islamic world and the samples are picked selectively from among the population. The findings have demonstrated that the presence of courtyard is in part due to the nature of the prayers that are recommended to say in an open air, and in part because this is also favoured by the weather in most instances and on most days.
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  • Manifestation of Modernity in Iranian Public Squares: Baharestan Square (1826–1978)
    Islamic Heritage Architecture 133 MANIFESTATION OF MODERNITY IN IRANIAN PUBLIC SQUARES: BAHARESTAN SQUARE (1826–1978) ASMA MEHAN Department of Architecture and Design, Politecnico Di Torino, Italy. ABSTRACT The concept of public square has changed significantly in Iran in recent centuries. This research inves- tigated how modernity is manifested in the public squares of Tehran. In this regard, Tehran has been chosen as the main concern, while in its short history as the capital of Iran, the city has been critically transformed: first because of constant urban development during the Qajar Dynasty and then due to its rapid growth during the late Pahavi era and second because of the culture of rapid renovation and reconstruction in contemporary public spaces. Considering these facts, the urban transformation of Baharestan Square as one of the most influencing public squares of Tehran in the recent century leads us to understand the process of Iranian modernization, which is totally different from common patterns of western modernity. Analysing the historical changes of Baharestan Square based on manuscripts, western travellers’ diaries, historical images and maps, from its formation till the Islamic Revolution (1978), shows how the traditional elements of the square as well as its form and function have been totally transformed. Analysing the spatial qualities of Baharestan Square clarifies that its special loca- tion near the first Iranian Parliament building, Sepahsalar Mosque and Negarestan Garden represents it as the first modern focal point in Iranian’s political and social life. Keywords: Baharestan Square, Iranian modernity, public square, Tehran. 1 INTRODUCTION Public squares are significant parts of the history and the culture of the cities.
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  • Revitalization of Values in Urban Open Spaces (Tekiyeh -Dowlat)
    Bagh- e Nazar, 15 (63):43-56 /Sep. 2018 DOI: 10.22034/bagh.2018.67365 Persian translation of this paper entitled: احیای ارزش در فضای باز شهری )تکیه دولت) is also published in this issue of journal. Revitalization of Values in Urban Open Spaces (Tekiyeh -Dowlat) Mohammad Reza Pourzargar*1, Parichehr Moafi Ghaffari2, Maryam Amjadi3 1. Faculty Member of Islamic Azad University, Tehran Branch, Iran, 2. Islamic Azad University, Qazvin Branch, Iran. 3. Islamic Azad University, Tehran, Iran. Received 2017/12/11 revised 2018/03/12 accepted 2018/05/15 available online 2018/8/23 Abstract Statement of the problem: The components of the historical core of Tehran used to be integrated and united in the past; that is to say despite the plurality of the constituents of Tehran, its original form was featured with unique identity and integrity.Dramatic and fast growth in Tehran city has caused acute problems whose roots are different socio-economic - political and cultural issues. Such problems have reinforced a negative image of the city.The coherent image of the city in the past included the mass of constructions, buildings, roads (open and covered paths) and open spaces (fields and squares). The disunity or disintegration among the urban components has been caused by two factors: a) Rapid development of the city without considering the rules of historical zones and b) the production of massive and irrational architecture. Currently, the concept of the city has undergone serious changes in terms of social relations and values.The problem is that the historical context of Tehran has seen such a drastic change despite the effort of urban organizations.
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  • Travel to Tehran-Iran
    Travel to Tehran-Iran ABOUT IRAN- HISTORY & HERITAGE The plateau of Iran is among the oldest civilization centers in the history of humanity and has an important place in archeological studies. The history of settlement in the Plateau of Iran, from the new Stone Age till the migration of Aryans to this region, is not yet very clear. But there is reliable evidence indicating that Iran has been inhabited since a very long time ago. Settlement centers have emerged close to water resources like springs, rivers, lakes or totally close to Alborz and Zagross mountains. After the decline of the Achievement dynasty, and the destruction of Persepolis by Alexander, his successors the Seleucid dominated over Iran for a short period of time. During this time the interaction between Iranian and Hellenic cultures occurred. Around the year 250 BC, the Parthians, who were an Aryan tribe as well as horse riders, advanced from Khorassan towards the west and south-west and founded their empire over Iran Plateau in Teesfoon. This empire survived only until the year 224 AD. The Sassanian, after defeating the last Parthia n king in 225 AD, founded a new empire which lasted until mid-7th century AD. With respect to its political, social, and cultural characteristics, the ancient period of Iran (Persia) is one of the most magnificent epochs of Iranian history. Out of this era, so many cultural and historical monuments have remained inPersepolis, Passargadae, Susa (Shoosh), Shooshtar, Hamadan, Marvdasht (Naqsh-e-Rostam), Taq-e- bostan, Sarvestan, and Nayshabur, which are worth seeing. The influence of Islam in Iran began in the early 7th century AD after the decline of the Sassanide Empire.
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  • Nationalism, Politics, and the Practice of Archaeology: the Case Study of Iran
    Durham E-Theses Nationalism, Politics, and the Practice of Archaeology: The Case Study of Iran DAROOGHEH-NOKHODCHERI, RANA How to cite: DAROOGHEH-NOKHODCHERI, RANA (2014) Nationalism, Politics, and the Practice of Archaeology: The Case Study of Iran , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10658/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Nationalism, Politics, and the Practice of Archaeology: The Case Study of Iran Rana Daroogheh-Nokhodcheri Thesis submitted for the degree of Ph.D The Department of Archaeology Durham University 2014 Abstract Since the first pillars of the discipline of archaeology were laid in the nineteenth century, archaeologists have been aware of the potential employment of their research for political purposes. Despite the recognition of the role of archaeology in politics, and specifically in the instigation and promotion of different brands of nationalism, there have been few studies that focused on Iran.
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  • Wikivoyage Iran March 2016 Contents
    WikiVoyage Iran March 2016 Contents 1 Iran 1 1.1 Regions ................................................ 1 1.2 Cities ................................................. 1 1.3 Other destinations ........................................... 2 1.4 Understand .............................................. 2 1.4.1 People ............................................. 2 1.4.2 History ............................................ 2 1.4.3 Religion ............................................ 4 1.4.4 Climate ............................................ 4 1.4.5 Landscape ........................................... 4 1.5 Get in ................................................. 5 1.5.1 Visa .............................................. 5 1.5.2 By plane ............................................ 7 1.5.3 By train ............................................ 8 1.5.4 By car ............................................. 9 1.5.5 By bus ............................................. 9 1.5.6 By boat ............................................ 10 1.6 Get around ............................................... 10 1.6.1 By plane ............................................ 10 1.6.2 By bus ............................................. 11 1.6.3 By train ............................................ 11 1.6.4 By taxi ............................................ 11 1.6.5 By car ............................................. 12 1.7 Talk .................................................. 12 1.8 See ................................................... 12 1.8.1 Ancient cities
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  • Iranian Modern Art During the Pahlavi Dynasty (1925-1979)
    Iranian Modern Art during the Pahlavi Dynasty (1925-1979) DISSERTATION to Obtain the degree of Doctor of Art History at the Institute of Art History, University of Regensburg 2021 Presented by Solmaz Keshavarzi First appraiser: Prof. Dr. Christoph Wagner Contents Preface ............................................................................................................................ 10 Abstract ........................................................................................................................... 11 Introduction .................................................................................................................... 12 Methodology ................................................................................................................... 13 1 Modernity .................................................................................................................. 1 1.1 The beginning of modernity in Iran ....................................................................... 2 1.2 Modernity in Iran under Pahlavi rule .................................................................... 5 1.3 Chronology ............................................................................................................ 8 1.3.1 1911-1942 ................................................................................................... 8 1.3.2 1942-1958 ................................................................................................... 8 1.3.3 1958-1979 ..................................................................................................
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  • An Investigation About Human Qajarid Era Tiling
    World Applied Sciences Journal 27 (7): 898-906, 2013 ISSN 1818-4952 © IDOSI Publications, 2013 DOI: 10.5829/idosi.wasj.2013.27.07.137 An Investigation about Human Qajarid Era Tiling Arzollah Najafi Department of Archeology, Faculty of Humanities, Abhar branch, Islamic Azad University, Abhar, Iran Abstract: Tiling and tile-making art, which has been mostly used for decorating Iran’ architecture-especially in the religious buildings-, has special characteristics like Pottery. From the distant past, this art was manifested in the form of a synthetic object as a result of the craftsmanship, the taste and the sense of the tile-maker, thus the artist achieved different harmonic forms by using and blending various colors or by putting together the tiny particles of the colorful stones based on a predesigned plan. As the tiling art began in the Achaemenid period until the late Islamic era, this art has been through many ups and downs. Its climax of development was in the Ilkhani, Timurid and Safavid eras. Qajarid tiling evolves under the impact of previous eras and the Western countries’ tiling, which shows the importance of studying this art in the Qajarid era. Key words: Qajarid Achaemenid Tilling_@ INTRODUCTION the noble art of tiling. Therefore, by the gradual prevalence of the foreign style of architecture, the signs In the Islamic era architecture, tiling art and industry of retrogression and degradation of many of the noble has a special place. This art like the decorative arts related arts like tiling is seen in big cities, especially in Tehran. to architecture such as plasterwork and brickwork has achieved a special function and since during the Islamic Historical Background: In general, using decorations in eras it has developed, evolved and expanded with its architecture has a special importance.
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  • The Struggle for Freedom, Justice, and Equality: the History of the Journey
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2010 The trs uggle for freedom, justice, and equality: The history of the journey of Iranian women in the last century Poupak Tafreshi Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Tafreshi, Poupak, "The trs uggle for freedom, justice, and equality: The history of the journey of Iranian women in the last century" (2010). All Theses and Dissertations (ETDs). 929. https://openscholarship.wustl.edu/etd/929 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY University College International Affairs THE STRUGGLE FOR FREEDOM, JUSTICE, AND EQUALITY: THE HISTORY OF THE JOURNEY OF IRANIAN WOMEN IN THE LAST CENTURY By Poupak Nassir Tafreshi A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts in International Affairs May 2010 Saint Louis, Missouri As a woman, you gain strength, courage and confidence by every experience that you face. To the brave women of Iran and to my amazing mother (Shoukoh al-Zaman Bigdeliazari) who has taught me that even the impossible is possible. Table of Contents I. Introduction 1 II. Chapter 1: Role of Iranian women during the Constitutional Revolution 7 III. Chapter 2: The Pahlavi Era 28 IV.
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  • Heritage and Continuity in the Bazaar Erbe Und Kontinuität Im Basar
    Heritage and Continuity in the Bazaar The case of Religious Association of the Drapers’ Guild of the Tehran Bazaar Erbe und Kontinuität im Basar Eine Fallstudie religiöser Versammlungen der Tuchhändler-Gilde des Teheran Basar A thesis approved in partial fulfillment of the requirements for the degree of Master of Arts in World Heritage Studies Ali Haj Khan Mirzai Sarraf 3643200 BTU Cottbus-Senftenberg Under the Supervision of Prof Anna Amelina Chair of Intercultural Studies Brandenburg University of Technology Prof Arang Keshavarzian Department of Middle Eastern & Islamic Studies New York University 2019 HERITAGE AND CONTIUITY IN THE BAZAAR Keywords: Bazaar, Guilds, Hey’at, Muharram, Iran, Tehran, Collective Identity, Trauma, Heritage Preservation. i HERITAGE AND CONTIUITY IN THE BAZAAR Summary Tehran Bazaar has been the most influential marketplace in Iran, over the last two hundred years, since Tehran became the capital of the country. The Bazaar has been a significant socio-political agent in Iranian society. Nevertheless, less attention has been given to its internal atmosphere, where the bazaaris, have tried to conserve their traditions and preserve their heritage. One of these heritages are “hey’ats”, religious formations for holding mourning sessions in Muharram month, as a ritual in Shi’a Islam. “Hey’ats” give the guilds a sense of collective identity, they represent them, and also build a shared heritage for them. The Drapers’ Guild was the first guild in Tehran Bazaar, founding a hey’at. They founded this hey’at in 1883 and named it “the Drapers’ Hey’at”. After the Islamic Revolution of 1979, the Drapers faced difficulties preserving their heritage.
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  • Architecture of Iran in Qajar Era
    International Journal of Academic Research in Business and Social Sciences May 2015, Vol. 5, No. 5 ISSN: 2222-6990 Architecture of Iran in Qajar Era Zinat Azimi Yekta Islamic Azad University, Abhar branch, Iran Email: [email protected] DOI: 10.6007/IJARBSS/v5-i5/1638 URL: http://dx.doi.org/10.6007/IJARBSS/v5-i5/1638 Abstract The status and rating of Qajar architecture in the architectural history of Iran's past (before the new era) can be discussed and thought. In short, Qajar architecture is the continuation of the prior periods' architecture especially Safavid. In many cases, due to the entrance of elements such as street and square to Iran as well as traveling to Europe and … some changes occur in the Qajar architecture and architecture is formed based of these elements. In the Qajar era, some elements and shapes such as arc-shaped and crescent-shaped fenestrations above orsi, santouri, springhouse entered in architecture which are counted as architecture characteristics of this era. Therefore, in the Qajar era, despite the entrance of new elements such as streets and squares (today meaning), we are witness to the growth and evolution of the architecture. Thus, in this paper, we attempt to introduce Qajar architecture and its common elements. Keywords: Architecture, Qajar, Architecture Elements, Decoration Introduction In the first century of governance of Safavid, Shah Abbas divides Qajar tribe – which is one of the most powerful Turkish tribes – into three parts and deploys the first part in Merv, the second part in Georgia and the third part which itself is divided into two branches of "Ashatq Bash" and "Youkhari Bash" besides Gorgan river (Saidian, 1992; p.
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