The Study on the Development of Ornamentation in the Architecture of Safavid Dynasty N
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14 Days Persia Classic Tour Overview
Tour Name: 14 Days Persia Classic Tour Tour Code: OT1114001 Tour Duration: 14 Days and 13 Nights Tour Category: Discovery / Cultural Tour Difficulty: 2 Tour Tags: Classic Tour Tour Best Date: 12 months Tour Services Type: 3*/4* / All-inclusive Tour Destinations: Tehran/Kashan/Esfahan/Yazd/Shiraz/Kerman Related tours code: Number ticket limits: 2-16 Overview: Landing to Persia, Iran is a country with endless history and tradition and you explore both ancient Persia and modern Iran. Our Persia Classic Tour program includes the natural and historical attractions old central parts of Iran. In this route, we will visit cities like Tehran, Kashan, Isfahan, Yazd, Shiraz and finally Kerman. Actually, in most of these areas, living in warm and dry areas has been linked with history and has shaped the lifestyle that is specific to these areas. Highlights: . It’s a 14 days Iran classic discovery and cultural tour. The tour starts and ends in Tehran. In between, we visit 6 main cities and 17 amazing UNESCO world heritage site in Iran. Visit amazing UNESCO world heritage sites in Iran Tour Map: Tour Itinerary: Landing to PERSIA Welcome to Iran. To be met by your tour guide at the airport (IKA airport), you will be transferred to your hotel. We will visit Golestan Palace* (one of Iran UNESCO World Heritage site) and grand old bazaar of Tehran (depends on arrival time). O/N Tehran Magic of Desert (Kashan) Leaving Tehran behind, on our way to Kashan, we visit Ouyi underground city. Then continue to Kashan to visit Tabatabayi historical house, Borujerdiha/Abbasian historical house, Fin Persian garden*, a relaxing and visually impressive Persian garden with water channels all passing through a central pavilion. -
Issyk-Kul 2020 International Exhibition of Photography
ISSYK-KUL 2020 INTERNATIONAL EXHIBITION OF PHOTOGRAPHY FIAP 2020/316 PSA 2020-151 FPC W2020/P06 2020 FIAP 2020/316 PSA 2020-151 FPC W2020/P06 ARE YOU GOING TO ORGANIZE AN INTERNATIONAL EXHIBITION? You make the policies and branding, Salon.Photo Platform will do the rest, automatically and errorlessly! Website, Gathering of Photos, Judging Software & etc. www.Salon.Photo [email protected] Salon.Photo Platform and Judgment® Software are made by Focus Team Software Group, it include a website for announcing the rules, news, status list and result and sing up entrants. Entrants can upload their art works(single or collection), edit their profile and entries, fill out the titles and pay their fee. The administrator also has access too several reports such as full information about entrants, entries, payments, statistic of country etc. All entries get uniquely renamed by the software. The entry later will be downloaded using FTP and will be import to Judgment Software for judging. Later on, all results will be exported from the software and will be imported to the website. As all the process is automated there will be no mistake. Judgment® Software has all the requirements for judging such as: high speed, network judging, several stages of judging based on acceptance/rejection or scores, selection based on percentage or numbers, ability to return to the previews stage and selecting between special groups of works etc. Every jury member can select works by his keyboard. All the requested information for FIAP/PSA catalogs such as list of acceptances and table of statistics can be exported from the software. -
A Program of the Stanford Alumni Association March 17 to April 1, 2019
STANFORD TRAVEL/STUDY JUDITH KEYANI, IRAN, 2016 MOSQUES AND MONUMENTS OF PERSIA March 17 to April 1, 2019 a program of the stanford alumni association Few countries in the world spark the imagination—or create misconceptions—in the minds of Americans as does Iran. In the past 10 years, Stanford has led scores of educational travelers to this cultural and historical gem, and time and again, they return with stories of the country’s amazing sights and of the Iranian people’s incredible warmth and hospitality. “Eye-opening,” “extraordinary,” “humbling” and “not to be missed” are just some of the glowing terms Stanford travelers have used to describe this exceptional destination. Join us and faculty leader Ali Yaycioğlu as we delve deep into a country that is at once full of—and ever on the verge of making—history. BRETT S. THOMPSON, ’83, DIRECTOR, STANFORD TRAVEL/STUDY Highlights VIEW priceless archaeo- STROLL through PONDER the past logical treasures, including peaceful gardens where amid the ruins of legend- the Iranian crown jewels Sufi poets meditated in ary Persepolis, Darius I’s and a collection of rare medieval times, and marvel ceremonial capital and one miniatures, in the museums at the tiled mosques and of the best-preserved sites of Tehran. squares of Isfahan. remaining from the ancient world. COVER: ISFAHAN SHEIKH LOTFOLLAH MOSQUE, ISFAHAN Faculty Leader ALI YAYCIOG˘ LU was born and raised in Ankara, Turkey. His fields of interest include the transformation of the Ottoman Empire in the 18th and 19th centuries. His books and articles focus on the restructuring of economic, political and legal institutions and practices as well as ideas about social order, life and death in this transformative period. -
A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh
World Academy of Science, Engineering and Technology International Journal of Architectural and Environmental Engineering Vol:12, No:3, 2018 A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh as strength, comfort and expansion. Throughout history, Abstract—Architecture in Iran has a continuous history from at Iranian architecture had its own originality and simplicity. All least 5000 BC to the present, and numerous Iranian pre-Islamic parts of Iran, especially villages and ancient monuments are elements have contributed significantly to the formation of Islamic like a live but old book of art and architecture, history, which art. At first, decoration was limited to small objects and containers in a brief moment, each page of that opens the gates of several and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, thousand years of history to the visitors [7]. which was prevalent in the form of motifs (animals and plants) in Repeat motifs, symbolic role and decorations are one of the pre-Islam, was used in the aftermath of Islam with the art of main subjects in Iranian art. In Iranian architecture, the calligraphy in decorations. The splendor and beauty of Iranian symbolic elements generally embossed with carving and architecture, especially during the Islamic era, are related to painting integrated with elements of construction and decoration and design. After the invasion of Iran by the Arabs and the environmental, which makes it a new and inseparable introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy combination. -
Caravanserai
THE CARAVANSERAI This game has been designed as an extension kit to the OUTREMER/CROISADES sister games. The kit includes a new map (The Caravanserai), new counters for camels, this set of rules and additional scenarios. When not specified, the default rules of CROISADES apply (movement point allowance, charge rules, etc.). Many thanks to Bob Gingell for proofing these rules and suggesting many valuable enhancements. The Caravanserai – version 1.0 - 1992/2004 1 Table of Contents 1 The Caravanserai Map ........................................................................................................3 1.1 Description ..................................................................................................................................................3 1.2 Flat roofs......................................................................................................................................................3 1.3 The Alep gate...............................................................................................................................................4 1.4 The walls......................................................................................................................................................4 1.5 Terrain Type Summary...............................................................................................................................5 2 Camels....................................................................................................................................6 -
Banal Nationalism in Iran: Daily Re-Production of National and Religious Identity
Elhan / Banal Nationalism in Iran: Daily Re-Production of National and Religious Identity Banal Nationalism in Iran: Daily Re-Production of National and Religious Identity Nail Elhan* Öz: 1979 yılında yaşanan İran İslam Devrimi sonrasında İslamcı politikalar kurulan yeni rejimin hem iç hem de dış politikalarının temelini oluşturmuştur. Ancak milliyetçilik de göz ardı edilmemiş ve daha da ileri gidilerek Şii İslam ve İslam öncesi Pers kültürünün harmanlanması ile bir İranlılık kimliği yaratılmıştır. Bu kimlik devlet tarafından, Şii mitolojisi, İslam öncesi Pers kültürü, anti-emperyalizm, Üçüncü Dünyacılık ve anti-Siyonizm gibi ögelerle harmanlanmış ve çok etnikli İran toplumuna ortak bir aidiyet olarak sunulmuştur. Bu aidiyet olgusunun hem İran içinde hem de İran dışında cereyan eden olaylar üzerine inşa edildiği iddia edilebilir. Bunu yaparken, İran Devleti basılması kendi tekelinde olan banknotları, madeni paraları ve posta pullarını gündelik milliyeçiliğin aracı olarak kullanmış ve bu ‘banal’ yollar ile İranlılık duygusunun her gün yeniden üretilmesine katkı yapmıştır. Böylelikle, banknotlar, madeni paralar ve posta pulları gibi görsel semboller aracılığı ile devlet, kendi oluştur- duğu kimliği yine kendi içerisinde bulunan alt-ulusal kimliklerin bu resmi kimliğe saldırılarına karşı bir savunma aracı olarak banal milliyetçilik vasıtası ile kullanmış olmaktadır. Anahtar kelimeler: İran Devrimi, Banal Milliyetçilik, Şiilik, Fars Kimliği, Milli Kimlik. Abstract: After its 1979 revolution, Islamism became Iran’s main policy as regards its domestic and foreign affairs. However, nationalism continued to exist. After the revolution, the national identity of Iranianness based on Shii Islam and pre-Islamic Persian history was created. By merging Shii traditions, pre-Islamic Persian culture, anti-imperialism, Third Worldism, and anti-Zionism, this new identity was introduced as one of belonging. -
Zero Carbon & Low Energy Housing; Comparative Analysis of Two
World Academy of Science, Engineering and Technology International Journal of Civil, Structural, Construction and Architectural Engineering Vol:8, No:7, 2014 Zero Carbon & Low Energy Housing; Comparative Analysis of Two Persian Vernacular Architectural Solutions to Increase Energy Efficiency N. Poorang II. CLIMATE OF IRAN Abstract—In order to respond the human needs, all regional, As it was mentioned the climate of Iran is varied according social, and economical factors are available to gain residents’ comfort to the vast geographical locations, Fig. 1. Iran is basically and ideal architecture. There is no doubt the thermal comfort has to satisfy people not only for daily and physical activities but also divided into four climatic regions: creating pleasant area for mental activities and relaxing. It costs • Mild – Humid Climate energy and increases greenhouse gas emissions. • Cold Climate Reducing energy use in buildings is a critical component of • Hot – Humid Climate meeting carbon reduction commitments. Hence housing design • Hot – Arid Climate [1]. represents a major opportunity to cut energy use and CO2 emissions. In terms of energy efficiency, it is vital to propose and research Hot-arid Climate prevails in most parts of the central modern design methods for buildings however vernacular Iranian plateau, it receives almost no rain for at least six architecture techniques are proven empirical existing practices which month of a year, and hence it is very dry and hot. In this have to be considered. This research tries to compare two climate, summer is very hot and dry and winter is very cold architectural solution were proposed by Persian vernacular and hard. -
Analysis of Plant Designs of Seven-Color Tile
Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND January 2016 CULTURAL STUDIES ISSN 2356-5926 Analysis of Plant Designs of Seven-color Tile )This article was adopted from a research project1( Parisa Mehdipoor Young Researchers and Elite Club.Qeshm Branch,Islamic Azad University,Qeshm,Iran Email: [email protected] Abstract Tiling is one of the pleasant methods of architectural decoration in all Islamic lands. Tiling has been one of the most important aesthetic manifestation of creator spirit and Iranian artists’ aesthetic, and plant designs used in the seven-color tile are evidence for this claim. Plant designs are beautiful and simple. Despite diversity, they have unity and cohesion. The aim of this paper is to introduce seven-color tiling and plant designs used. In this study, we examined the cedar, Khataei, and pot designs. The, we will respond to this question: 1- what are the features of plant designs? Methodology Library method and content analysis method were used in this study. Library method was used as the main tool to collect data and note taking and video documents were also used in this regard. Keywords: tiling, seven-color tiles, plant designs. 1 This article is a result of a research project titled as "investigating the role of nature designs in the Safavid era" conducted in Young Researchers and Elite Club of Qeshm in Islamic Azad University of Qeshm. Executive cost of the project was provided and allocated by Young Researchers Club. Thereby, I appreciate Young Researchers and Elite Club of Qeshm. http://www.ijhcs.com/index.php/ijhcs/index Page 1257 Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND January 2016 CULTURAL STUDIES ISSN 2356-5926 Introduction Those who are familiar with Islamic architecture know well that tiling is one of the valuable arrays of architecture that Iranian artists have developed it to such level of beauty that it has aroused the admiration of viewers. -
Treasures of Iran
Treasures of Iran 15 Days Treasures of Iran Home to some of the world's most renowned and best-preserved archaeological sites, Iran is a mecca for art, history, and culture. This 15-day itinerary explores the fascinating cities of Tehran, Shiraz, Yazd, and Isfahan, and showcases Iran's rich, textured past while visiting ancient ruins, palaces, and world-class museums. Wander vibrant bazaars, behold Iran's crown jewels, and visit dazzling mosques adorned with blue and aqua tile mosaics. With your local guide who has led trips here for over 23 years, be one of the few lucky travelers to discover this unique destination! Details Testimonials Arrive: Tehran, Iran “I have taken 12 trips with MT Sobek. Each has left a positive imprint on me Depart: Tehran, Iran —widening my view of the world and its peoples.” Duration: 15 Days Jane B. Group Size: 6-16 Guests "Our trip to Iran was an outstanding Minimum Age: 16 Years Old success! Both of our guides were knowledgeable and well prepared, and Activity Level: Level 2 played off of each other, incorporating . lectures, poetry, literature, music, and historical sights. They were generous with their time and answered questions non-stop. Iran is an important country, strategically situated, with 3,000+ years of culture and history." Joseph V. REASON #01 REASON #02 REASON #03 MT Sobek is an expert in Iran Our team of local guides are true This journey exposes travelers travel, with over five years' experts, including Saeid Haji- to the hospitality of Iranian experience taking small Hadi (aka Hadi), who has been people, while offering groups into the country. -
Tribes and Empire on the Margins of Nineteenth-Century Iran
publications on the near east publications on the near east Poetry’s Voice, Society’s Song: Ottoman Lyric The Transformation of Islamic Art during Poetry by Walter G. Andrews the Sunni Revival by Yasser Tabbaa The Remaking of Istanbul: Portrait of an Shiraz in the Age of Hafez: The Glory of Ottoman City in the Nineteenth Century a Medieval Persian City by John Limbert by Zeynep Çelik The Martyrs of Karbala: Shi‘i Symbols The Tragedy of Sohráb and Rostám from and Rituals in Modern Iran the Persian National Epic, the Shahname by Kamran Scot Aghaie of Abol-Qasem Ferdowsi, translated by Ottoman Lyric Poetry: An Anthology, Jerome W. Clinton Expanded Edition, edited and translated The Jews in Modern Egypt, 1914–1952 by Walter G. Andrews, Najaat Black, and by Gudrun Krämer Mehmet Kalpaklı Izmir and the Levantine World, 1550–1650 Party Building in the Modern Middle East: by Daniel Goffman The Origins of Competitive and Coercive Rule by Michele Penner Angrist Medieval Agriculture and Islamic Science: The Almanac of a Yemeni Sultan Everyday Life and Consumer Culture by Daniel Martin Varisco in Eighteenth-Century Damascus by James Grehan Rethinking Modernity and National Identity in Turkey, edited by Sibel Bozdog˘an and The City’s Pleasures: Istanbul in the Eigh- Res¸at Kasaba teenth Century by Shirine Hamadeh Slavery and Abolition in the Ottoman Middle Reading Orientalism: Said and the Unsaid East by Ehud R. Toledano by Daniel Martin Varisco Britons in the Ottoman Empire, 1642–1660 The Merchant Houses of Mocha: Trade by Daniel Goffman and Architecture in an Indian Ocean Port by Nancy Um Popular Preaching and Religious Authority in the Medieval Islamic Near East Tribes and Empire on the Margins of Nine- by Jonathan P. -
Turkish Language in Iran (From the Ghaznavid Empire to the End of the Safavid Dynasty)
42 Khazar Journal of Humanities and Social Sciences Turkish Language in Iran (from the Ghaznavid Empire to the end of the Safavid Dynasty) Zivar Huseynova Khazar University The history of Turks in Iran goes back to very ancient times, and there are differences of opinion among historians about the Turks‟ ruling of Iranian lands. However, all historians accept the rulers of the Turkish territories since the Ghaznavid Empire. In that era, Turks took over the rule of Iran and took the first steps toward broadening the empire. The Ghaznavi Turks, continuing to rule according to the local government system in Iran, expanded their territories as far as India. The warmongering Turks, making up the majority of the army, spread their own language among the army and even in the regions they occupied. Even if they did not make a strong influence in many cultural spheres, they did propagate their languages in comparison to Persian. Thus, we come across many Turkish words in Persian written texts of that period. This can be seen using the example of the word “amirakhurbashi” or “mirakhurbashı” which is composed of Arabic elements.1 The first word inside this compound word is the Arabic “amir” (command), but the second and third words composing it are Turkish. Amirakhurbashi was the name of a high government officer rank. Aside from this example, the Turkish words “çomaq”(“chomak”) and “qalachur”(“kalachur”) or “qarachur” (“karachur”) are used as names for military ammunition. 2 It is likely that the word karachur, which means a long and curved weapon, was taken from the word qılınc (“kilinj,” sword) and is even noted as a Turkish word in many dictionaries. -
'Ūd 'Arbī: Evocations Through Senses
Salvatore Morra Page 52–66 The Sound of the ʻŪd ʻArbī: Evocations Through Senses Salvatore Morra Abstract: This article investigates the possibility of assessing sound and music in terms of somatic values, norms and practices. I discuss ways in which the Tunisian musical instrument ʻūd ʻarbī is connected to its sound and the player’s body. I explore the reflexive dynamic by which the intersensorial experience (Connor, 2004) of ʻūd ʻarbī roots the instrument's sound in Tunisian society. Qualities, the effects of the plectrum's special position and touches, hands movements, resonances and stroking gestures, recall the intimate sense of crafting the instrument, the shaping of its organic matter and the potential relationships between the player's body, the instrument, and its maker. Keywords: ʻūd ʻarbī, musical instrument, body, intersensorial experience, somaesthetics, Tunisian culture. In line with the development of studies in the body-centered discipline of somaesthetics (Shusterman, 1999), we are currently witnessing a growth in research into music in terms of experiences of embodiment, for example in McCartey (2004), Vitale (2010), Tarvainen (2018). For Shusterman (1999, p. 308), the body is now viewed not only as an object of aesthetic value but also as a crucial sensory medium for enhancing our understanding and practice of arts, music and sound. After all, the body is the essential tool through which cultural values are transmitted, inscribed, and preserved in society. Provocative developments in the social sciences argue for the re-cognition of human body interactions with raw matter, including work of craftsmanship (Sennett, 2009). Taking up the challenge of such voices, this article will consider the relationship between body and sound, focusing on the reflexive dynamic by which the intersensorial body experiences (Connor, 2004) involved in musical instruments (both making and playing them) root the instrument's sound in society.