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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. -
Semiology Study of Shrine Geometric Patterns of Damavand City of Tehran Province1
Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 Semiology Study of Shrine Geometric patterns of Damavand City of Tehran Province1 Atieh Youzbashi Masterof visual communication, Faculty of Art, Shahed University, Tehran, Iran [email protected] Seyed Nezam oldin Emamifar )Corresponding author) Assistant Professor of Faculty of Art, Shahed University, Tehran city, Iran [email protected] Abstract Remained works of decorative Arts in Islamic buildings, especially in religious places such as shrines, possess especial sprits and visual depth. Damavand city having very beautiful architectural works has been converted to a valuable treasury of Islamic architectural visual motifs. Getting to know shrines and their visual motifs features is leaded to know Typology, in Typology, Denotation and Connotation are the concept of truth. This research is based on descriptive and analytical nature and the collection of the data is in a mixture way. Sampling is in the form of non-random (optional) and there are 4 samples of geometric motifs of Damavand city of Tehran province and the analysis of information is qualitatively too. In this research after study of geometric designs used in this city shrines, the amount of this motifs confusion are known by semiotic concepts and denotation and connotation meaning is stated as well. At first the basic articles related to typology and geometric motifs are discussed. Discovering the meaning of these motifs requires a necessary deep study about geometric motifs treasury of believe and religious roots and symbolic meaning of this motifs. Geometric patterns with the centrality of the circle In drawing, the incidence abstractly and creating new combination is based on uniformly covering surfaces in order not to attract attention to designs independently creating an empty space also recalls “the principle of unity in diversity” and “diversity in unity”. -
A Sacred Celestial Motif: an Introduction to Winged Angels Iconography in Iran
PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Mazloumi & Nasrollahzadeh, 2017 Volume 3 Issue 2, pp. 682 - 699 Date of Publication: 16th September, 2017 DOI-https://dx.doi.org/10.20319/pijss.2017.32.682699 This paper can be cited as: Mazloumi, Y., & Nasrollahzadeh, C. (2017). A Sacred Celestial Motif: An Introduction to Winged Angels Iconography in Iran. PEOPLE: International Journal of Social Sciences, 3(2), 682-699. This work is licensed under the Creative Commons Attribution-Non-commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. A SACRED CELESTIAL MOTIF: AN INTRODUCTION TO WINGED ANGELS ICONOGRAPHY IN IRAN Yasaman Nabati Mazloumi M.A in Iranian Studies, Shahid Beheshti University, Daneshjoo Blvd, Velenjak, Street, Tehran, Iran [email protected] Cyrus Nasrollahzadeh Associate Professor, Department of Ancient Iranian Culture and Languages, Institute for Humanities and Cultural Studies, 64th Street, Kurdestan Expressway, Tehran, Iran [email protected] Abstract Through history many motifs have been created and over the centuries, some of them turned into very well-known symbols. One of these motifs is winged angel. This sacred and divine creature which appears in human-shaped, serves intermediaries between the God and people, and during history, indicates legitimating and bestows God-given glory. This article aims to present the results of exploring the historical background of the winged angels in Iran, in order to understand its precise concept; where it comes from and what it resembles. -
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. -
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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. -
Tourism Boom by Islamic Art Spiritual Attractions in Iran Perspective Elements
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 7 No 4 S1 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2016 Tourism Boom by Islamic Art Spiritual Attractions in Iran Perspective Elements Susan Khataei Assistant Professor, Department of Graphic Design, Faculty of Architecture and Urban Design, Shahid Rajaee Teacher Training University, Tehran, Iran Doi:10.5901/mjss.2016.v7n4s1p40 Abstract Iran is one of the ten first countries in the world on the subject of tourism attractions. Iran, the land of four seasons simultaneously, and historical and scientific - cultural buildings is of interest for many tourists. Various works of Islamic art in the perspective of Iran that have been arisen in different periods and regions all have the same message and truth and have a sign of coordination and the greatness of Islamic civilization and culture. The artistic unity that stems from ideological unity, is able to attract many audience and can transcends the boundaries of time and place and communicate spiritually with all its contacts and believers. Islamic art and architecture is derived from religious sources and has an appearance (form) and the inside. Forms are created to give meaning and generally in Islamic art, nothing is void of the "meaning". General feeling of foreign tourists by observing Islamic-Iranian monuments is along with surprise, admiration and a sense of spirituality. In this study, the role of decorations in mosques and shrines in Iranian - Islamic architecture to establish spiritual relationship with the audience is emphasized. This is an applied research with analytical descriptive method which have been done based on observation and documentary studies. -
Use of Daylight in Mosques: Meaning and Practice in Three Different Cases
H.S¸. Arel & M. Öner, Int. J. of Herit. Archit., Vol. 1, No. 3 (2017) 421–429 USE OF DAYLIGHT IN MOSQUES: MEANING AND PRACTICE IN THREE DIFFERENT CASES H. S¸. AREL & M. ÖNER Department of Architecture, I˙zmir University, Turkey. ABstract Since the emergence of the first cultures, light has been used in various ways for illuminating indoor spaces with sacred and symbolic meanings. Light has almost the same meaning in every religion: how- ever, in Islam, we distinctly see different notions of light, such as divine light, divine unity and unity of God which sets Islam apart from other religions. Mosques have the most perfect use of light in Islamic architecture. There is no doubt that mosques are sacred spaces that give out an intense sense of the pres- ence of God. Therefore, the use of light in mosques matters for both symbolic and spiritual reasons. We see the most striking and generous use of light particularly in Islamic mosques because light is likened to God, while darkness symbolizes Satan. Therefore, different ways of lighting are employed in order to highlight these notions. In addition to having symbolic and spiritual meanings, the use of light plays a role, in enhancing the decorative and aesthetic aspects of the interior spaces of mosques. Muslims aim at highlighting simplicity, clarity and purity by letting light into the interior of mosques in different ways. Wide spaces with no load-bearing walls, dome windows, colourful windows and grilled windows are used in designing mosques to enhance the symbolic, spiritual and aesthetic sense of the interior. -
Kashan Kashan Is a City in the Isfahan Province of Iran. Kashan Is the First
Kashan Kashan is a city in the Isfahan province of Iran. Kashan is the first of the large oases along the Qom-Kerman road which runs along the edge of the central deserts of Iran. Its charm is thus mainly due to the contrast between the parched immensities of the deserts and the greenery of the well-tended oasis. Archeological discoveries in the Sialk Hillocks which lie 2.5 miles (4 km) west of Kashan reveal that this region was one of the primary centers of civilization in pre-historic ages. Hence Kashan dates back to the Elamite period of Iran.The Sialk ziggurat still stands today in the suburbs of Kashan after 7000 years. After world known Iranian historical cities such as Isfahan and Shiraz, Kashan is a common destination for foreign tourists due to numerous historical places.Kashan Province is renowned over the centuries for its ceramic tiles, potter) textiles, carpets and silk, Kashan is an attractive oasis town and also the birthplace of the famous poet Sohrab and the artist Sepehria. Kashan is also of interest for its connections with Shah Abbas it was favorite town of his, and he beautified it and asked to be buried here. There are a surprising number of things to see in and around Kashan, so it's an ideal place to stop for a day or two . Tabatabei House The Borujerdi House is a historic house in Kashan, Iran. The house was built in 1857 by architect Ustad Ali Maryam, for the wife of Seyyed Mehdi Borujerdi, a wealthy merchant. -
Synthesis of Three Novel Silane-Based Carboxylic Acids for Application in Methacrylated Epoxy-Based Oligomers and Their Ability in the UV Curable Hybrid Coatings
Synthesis of three novel silane-based carboxylic acids for application in methacrylated epoxy-based oligomers and their ability in the UV curable hybrid coatings Hamid Javaherian Naghash ( [email protected] ) Islamic Azad University Majid Kolahdoozan Islamic Azad University Niloufar Ranjbar Islamic Azad University Original Research Full Papers Keywords: Silane based acids, Hybrid sol–gel coatings, UV curing, MEK rubbing test, Siliconated/methacrylated soybean oil Posted Date: February 9th, 2021 DOI: https://doi.org/10.21203/rs.3.rs-193633/v1 License: This work is licensed under a Creative Commons Attribution 4.0 International License. Read Full License Synthesis of three novel silane-based carboxylic acids for application in methacrylated epoxy-based oligomers and their ability in the UV curable hybrid coatings Niloufar Ranjbar, Majid Kolahdoozan and Hamid Javaherian Naghash* Department of Chemistry, Shahreza Branch, Islamic Azad University, P.O. Box 311- 86145, Shahreza, Isfahan, I. R. Iran, Tel. No. 0321- 3292507, Fax No. 0321-3232701- 2, E-mail: Javaherian @ iaush.ac.ir *To whom correspondence should be addressed 1 1 ABSTRACT In this study, bromoacetic acid was reacted with 3-(mercaptopropyl) trimethoxy silane (MPTS) and trimethoxy silyl propyl thioacetic acid (TSTA) was produced. Also, bromoacetic acid was reacted with 3-(triethoxysilyl) propylamine (APTS), and triethoxysilyl propylamino acetic acid (TSPA) was synthesized. Finally, from a reaction between trimellitic anhydride (TMA) and APTS, trimellitylimidopropyl triethoxysilane (TMIS) resulted. In all reactions mentioned above, a carboxylic acid head and a trialkoxy silane tail including reactants were obtained. Furthermore, hybrid coatings based on methacrylated bisphenol A epoxy (MBAE) and synthesized carboxylic acids were obtained by photopolymerization. -
Mirrored Interiors of Iran Palaces and Holy Places Lustrzane Wnętrza Irańskich Pałaców I Świętych Miejsc
1/2019 PUA DOI: 10.4467/00000000PUA.19.006.10009 Olga Shkolna orcid.org/0000-0002-7245-6010 Borys Grinchenko Kyiv University Mirrored interiors of Iran palaces and holy places Lustrzane wnętrza irańskich pałaców i świętych miejsc Abstract Typical mirrored interiors of Iran from the eighteenth to the beginning of nineteenth century are discussed in this article. Aesthetic, plastic, architectural and design peculiarities of such places in the Persian tradition are researched using examples of the Golestan and Saadabad royal complexes in Tehran, religious sights of Qazvin (the holy place Hossein Imamzadeh grave mosque and Friday mosque); the mausoleum of the descendant of Abraham, the prophet Keydar in Ostan-e Zanjan; the Sayed Alaeddin Hussein mosque, the Shah Cheragh mosque (blue or mirrored mosque), and Ali Ibn Hamzeh mausoleum in Shiraz. Peculiarities of the addition of mirrored sculptural elements, precious stones and silver plates to amalgamated glass in such complexes are clarified. Keywords: Iran, mirrored interior, palaces, mosques, holy places, eighteenth to the beginning of nineteenth century Streszczenie W tym artykule omówiono typowe lustrzane wnętrza Iranu od XVIII do początku XIX wieku. Cechy estetyczne, plastyczne, architektoniczne i projektowe takich miejsc w tradycji perskiej są badane na przykładach królewskich kompleksów Golestan i Saadabad w Teheranie, zabytków religijnych w Ka- zwinie (mauzoleum Hossein Imamzadeh wraz z meczetem piątkowym); mauzoleum potomka Abra- hama, proroka Keydara w Ostan-e Zanjan; meczet Sayed Alaeddin Hussein, meczet Shah Cheragh (niebieski lub lustrzany meczet) i mauzoleum Ali Ibn Hamzeha w Shiraz. Artykuł wyjaśnia specyfikację dodawania lustrzanych elementów rzeźbiarskich, kamieni szlachetnych i srebrnych płytek do amal- gamowanego szkła w takich kompleksach. -
Curriculum Vitae
Curriculum Vitae Mohammadjavad Mahdavinejad, Ph.D. Associate Professor, Department of Architecture Faculty of Art and Architecture Tarbiat Modares University, Tehran, Iran [email protected] Cell: +98 912 214 2250 Tel: +98 21 8288 3739 Fax: +98 21 88008090 Personal Details Name: Mohammadjavad Surname: Mahdavinejad Scopus Author ID: 53164158600 h-index=13 Affiliation 2008 Assistant Professor, TMU (Tarbiat Modares University), Tehran, Iran. 2013 Associate Professor, TMU (Tarbiat Modares University), Tehran, Iran. 2020 Professor, TMU (Tarbiat Modares University), Tehran, Iran University Education 1996 Diploma, 1996, Exceptional Talented School, Iran. 2003 M.A. in Architecture, 2003, University of Tehran, Tehran, Iran. 2007 Ph.D. in Architecture, 2007, University of Tehran, Tehran, Iran. Honours and Honorific 2009 Honoured for Gifted Research -"Description of Principles of Identity in Islamic Architecture; Explanation of Identity in Islamic Architecture with Particular Reference to the Meaning of Taarof in Quranic Culture", National Institution of Elites, 28 & 29 Oct 2009, Tehran: The Islamic Republic of Iran International Conference Center 2010 "The Most Cited scientist of Iran in era of Art and Architecture", based on citations to articles in scientific journals and research of the country, The Institute of Avant- garde scientists of Iran 2010 "The Book-friend Citizen", The First Festival on Reading Development in the City of Tehran, Culture and Art Organization of Tehran Municipality, 7 Dec. 2010, Tehran: Arasbaran Conference Hall 2011 "The Devoted Architects to Islamic Architecture" – “Khadem-E-Masjid”, Deputy of Architecture and Urbanism of Tehran Municipality, 19 & 20 Apr. 2011, Tehran: Milad Tower Conference Halls 2011 "The Season Book of Islamic Republic of Iran – winter 2011", As the Author of "Urban Regeneration of Heritage of Future", June 21, 2011, Culture, Art & Architecture Research Center. -
Day 1: Flight from Your Home Country to Tehran
Day 1: Flight from your home country to Tehran We prepare ourselves for a fabulous trip to Great Persia. Arrival to Tehran, after custom formality, meet and assist at airport and transfer to the Hotel. O/N: Tehran Day 2: Tehran After breakfast, full day visit Tehran: Niyavaran Palace, Imamzadeh Saleh & Tajrish Bazaar O/N: Tehran The Niavaran Complex is a historical complex situated in Shemiran, Tehran (Greater Tehran), Iran. It consists of several buildings and monuments built in the Qajar and Pahlavi eras. The complex traces its origin to a garden in Niavaran region, which was used as a summer residence by Fath-Ali Shah of the Qajar Dynasty. A pavilion was built in the garden by the order of Naser ed Din Shah of the same dynasty, which was originally referred to as Niavaran House, and was later renamed Saheb Qaranie House. The pavilion of Ahmad Shah Qajar was built in the late Qajar period.During the reign of the Pahlavi Dynasty, a modern built mansion named Niavaran House was built for the imperial family of Mohammad Reza Pahlavi. All of the peripheral buildings of the Saheb Qaranie House, with the exception of the Ahmad Shahi Pavilion, were demolished, and the buildings and structures of the present-day complex were built to the north of the Saheb Qaranie House. In the Pahlavi period, the Ahmad Shahi Pavilion served as an exhibition area for the presents from world eaders to the Iranian monarchs. Imamzadeh Saleh is one of many imamzadeh mosques in Iran. The mosque is located at Tajrish Square in Tehran's northern Shemiran district.