The Influence of Sufism on the Development of Persian Mosque Architecture Ali Goodarzi Dissertation Submitted in Fulfillment Of
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Is Fengshui Science Or Superstition? a New Criterion for Judging the Value of Knowledge Systems*
Journal of Literature and Art Studies, ISSN 2159-5836 January 2013, Vol. 3, No. 1, 61-69 D DAVID PUBLISHING Is Fengshui Science or Superstition? A New Criterion for Judging the Value of Knowledge Systems* ZHANG Yong-feng, DAI Wei Tsinghua University, Beijing, China Fengshui, which can be translated as Wind-Water literally in English, is an ancient Chinese system of laws considered to govern spatial arrangement and orientation in relation to the flow of Qi, and whose favorable or unfavorable effects are taken into account when sitting and designing buildings. Similar systems exist in many other cultures such as Vastu Shastra in India, which consists of precepts born out of a traditional and archaic view on how the laws of nature affect human dwellings. Although prospered in ancient society, modern reactions to Fengshui are mixed. The Skeptic Encyclopedia of Pseudoscience states that principles of Fengshui are quite rational, but folk remedies and superstitions have been incorporated into its eclectic mix. In this paper, we do not distinguish Fengshui and other similar systems between science and superstition, but try to propose a criterion for judging whether a knowledge system is valuable, and if so, to whom it is valuable. We will end up arguing that, a knowledge system satisfying the criterion of relatively true property is valuable at least to its community of believers, and the problem of whether a knowledge system has greater value is essentially a problem of whether it is relatable to other knowledge systems, so as to expand its community of believers. Keywords: philosophy of science, superstition, Fengshui, relatively true property Introduction Philosophy of science has long been an important research area for philosophers, which has also made great impacts on the development of science and technology. -
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. -
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. -
Vāstu Śāstra, Vastu Veda, Vastuvidya, Thachu Shastra, Thatchu Shasthra
Vastu shastra (vāstu śāstra, vastu veda, vastuvidya, Thachu Shastra, Thatchu Shasthra, "shastra of construction", "architecture") is an ancient doctrine which consists of precepts born out of a traditional view on how the laws of nature affect human dwellings.[1] The designs are based on directional alignments. It used to be applied in Hindu architecture, especially for Hindu temples, and covers other domains, including vehicles, vessels, furniture, sculpture, paintings etc. The foundation of Vastu is traditionally ascribed to the sage Maamuni Mayan (Mahaa-muni Maya, a daanava/demon reformed by tapasyaa/austerities) in South India, and Vishvakarman in North India. Vastu experts usually call it construction science, however main-stream scientists, and architects, consider Vastu as more of a superstition and pseudoscience. While Vastu had long been essentially restricted to temple architecture, there has been a revival of it in India, in recent decades, notably under the influence of late V. Ganapati Sthapati, who has been campaigning for a restoration of the tradition in modern Indian society since the 1960s. While the fields are related, Shilpa Shastra explicitly deal with sculpture – forms, statues, icons, stone murals etc. The doctrine of Vastu Shastra is concerned primarily with architecture – building houses, forts, temples, apartments and other buildings. Contents 1 Terminology 2 Fundamental concepts 2.1 Five elements 2.2 Vastu Purusha Mandala 3 Mandala types and properties 3.1 Mandala in siting 3.2 Mandala in construction 4 MahaVastu 5 Western reception 6 See also 7 References 8 Further reading Terminology The Sanskrit word vastu means a dwelling or house with a corresponding plot of land.[2] The vrddhi, vāstu, takes the meaning of "the site or foundation of a house, site, ground, building or dwelling-place, habitation, homestead, house". -
THE ANCIENT ARTS of VASTU SHASTRA and FENGSHUI Holistic
ARCHIVE 1997 THE ANCIENT ARTS OF VASTU SHASTRA AND FENGSHUI Holistic approaches to building design An Interview conducted by architect Professor Balwant Saini (BS), with Vastu expert Prabhat Poddar (PP) and Feng Shui consultant Kerry Tabor (KT) 21 July 1997 Brisbane Australia BS: In many countries in the East and also in the West, there is increasing public interest in the ancient Chinese system of Feng Shui and the Indian art of Vastu Shastra. Both claim to enhance our quality of life, but most of us are fairly ignorant of how these two systems work. We don’t even know if they are as effective as their practitioners profess or whether there is any real difference between the two. Firstly Kerry, what is Feng Shui? KT: Feng Shui is the ancient Chinese art of conscious place- ment. It seeks to place people to their best advantage in space and time. As one of the limbs of Traditional Chinese Medi- cine, Feng Shui is a healing art. It works with the energy me- ridians of the earth and the flow of Qui [pronounced “tee”] in the landscape - just as acupuncture or Chinese herbs aim to balance the energy meridians of the body. 1 ARCHIVE 1997 BS: What is Qui? KT: Qi is a fairly new concept to our Western rational minds, and requires a new way of thinking about the energy around us. Qi is life force energy, vital essence, and cosmic breath. In India this is called “prana”. Qi is everywhere - present in everything. Feng Shui seeks to achieve just the right flow and quality of Qi appropriate to the situation and the time. -
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. -
The Sheikh Lotfollah Mosque Consolidating Shi’Ism, Forming Spirituality, and Creating the Infinite Dome
The Sheikh Lotfollah Mosque Consolidating Shi’ism, forming spirituality, and creating the infinite dome Nora Fathalipour M.A. candidate University of New Brunswick B.A. Law and History of Art and Archaeology, SOAS The truly unique Sheikh Lotfollah mosque Sheykh Baha’i, the Sheikh Lotfollah in the Naqsh-e Jahaan Square1 (henceforth mosque was the first monument of the “the Square”) in Esfahan, Iran is situated in Square to be finished; an inscription by the the heart and centre of the city. One enters chief calligrapher of the Shah on the tile the mosque of Sheikh Lotfollah through mosaic of the entry gateway to the mosque heavy wooden doors laden with geometric sets the starting date to 1012 AH/1603-04 carvings with intense anticipation. Not a CE.4 It was completed in 1028 AH/1618-19 single façade or inch has been left without CE, at the same time the Square itself was some sort of tile work. The colourful completed. portal skilfully hides, for the person outside, the ‘maze’ before the main room Used by the Shah himself for prayer, the that leads one to immediately face the mosque has had various names, though qibla, the direction that Muslims face to it currently bears the name of a learned pray. With a foundation in the same rare Safavid scholar.5 Exquisite, yet small, the marble employed throughout the square; Sheikh Lotfollah mosque is located on the entire colour scheme of the mosque is the east side of the Square. Of the Safavid refreshingly joyful and inviting. mosques, this is a unique building; its single dome is surrounded by resting Sheikh Baha’i was a cleric and polymath rooms and service areas, yet lacks the instrumental in formulating the Safavid typical features such as a court, and even ruler Shah Abbas I’s new religious policy minarets. -
Direction of Toilet As Per Vastu
Direction Of Toilet As Per Vastu Chad Wiley misteaches ingloriously or decerns arbitrarily when Woody is panoptical. Inerrant and styliform Kim words some rooters so violinistically! Cloudy Yves unbuild very larghetto while Eduardo remains pentameter and Scots. Olden days are now as per location? Vastu For North Facing House Plan. How to many others post is better compliance with william and pillows in the agnikund meant to the lord narayana to develop your say these vasthu shastra colours and as per vastu of direction toilet. West as per vastu shastra humans and toilet direction of as per vastu? It is as per toilet direction of vastu consultancy can be used externally or a harsh quality. Vastu For Kitchen 6 Vastu Tips For bloom to boost positive energy. You have any cost at how much as per vastu house plans for our elders may exist due diligence to admit, of direction toilet as per vastu. An astrologer and benefits as your toilet direction is cut or plot. Vaastu dosh in india ltd, no one water element represented by toilet direction of as vastu dosh in the mirrors if you are we have windows are some! Find a well as per toilet direction of vastu is considered for more damage plaster of. If by us to purchase please suggest you need help or areas are obscene, as per rera guidelines for a key component of shermukhi type. Previous photo in your wish you can view it be vastu of direction toilet as per vastu with water, an adverse effects different vastu remedies for the worst can. -
Art and Culture.Pmd
QUICK REVISION NOTES www.iasscore.in ART & CULTURE National symbols of India 1. National Flag • It is a horizontal tricolor of deep saffron (kesaria) at the top, white in the middle and dark green at the bottom in equal proportion. • The ratio of width of the flag to its length is two to three. In the centre of the white band is a navy-blue wheel which represents the chakra taken from the Sarnath Lion Capital of Ashoka. It has 24 spokes. 2. National Emblem • It is an adaptation from the Sarnath Lion Capitol of Ashoka. Carved out of a single block of polished sandstone, the Capitol is crowned by the Wheel of the Law (Dharma Chakra). • The words Satyameva Jayate from Mundaka Upanishad, meaning ‘Truth Alone Triumphs’, are inscribed below the abacus in Devanagari script. 3. National Anthem • The song Jana-gana-mana, composed originally in Bengali by Rabindranath Tagore, was adopted in its Hindi version as the National Anthem of India on January 24, 1950. • It was first sung on December 27, 1911 at the Kolkata Session of the Indian National Congress. 4. National Song • The National song of India is Vande Mataram. It was composed by the famous poet, Bankim Chandra Chaterjee in the year 1875. 5. National Calendar • The National Calendar is based on the Saka Era, with Chitra as its first month. 6. National Flower • Lotus 7. National Fruit • Mango 8. National River • Ganga 9. National Tree • Indian Banyan 10. National Animal • Royal Bengal Tiger 11. National Aquatic animal • River dolphin 12. National Bird • Indian peacock Notes Art & Culture 1 www.iasscore.in Performing Arts A. -
Ecological Literacy, Environmental Ethics and Contextual Conceptions of Education: the Case of Shia People of Fashapooyeh Village, Tehran County, Iran
ECOLOGICAL LITERACY, ENVIRONMENTAL ETHICS AND CONTEXTUAL CONCEPTIONS OF EDUCATION: THE CASE OF SHIA PEOPLE OF FASHAPOOYEH VILLAGE, TEHRAN COUNTY, IRAN by Mahtab Eskandari A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Curriculum Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April, 2020 © Mahtab Eskandari, 2020 i The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, a thesis/dissertation entitled: Ecological Literacy, Environmental Ethics And Contextual Conceptions Of Education: The Case Of Shia People Of Fashapooyeh Village, Tehran County, Iran. Submitted by Mahtab Eskandari in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Curriculum Studies. Examining Committee: Dr. Samson M. Nashon, Professor, Curriculum and Pedagogy, University of British Columbia. Research Supervisor Dr. Tracy Friedel, Associate Professor, Curriculum and Pedagogy, UBC. Research Committee Member Dr. Sayyed Mohsen Fatemi, Adjunct Faculty, Psychology, York University. Research Committee Member Dr. Hartej Gill, Associate Professor, Educational Studies, UBC. University Examiner Dr. Susan Gerofsky, Associate Professor, Curriculum and Pedagogy, UBC. University Examiner ii Abstract The main questions addressed in this study are in the domains of ecological literacy, environmental ethics and contextual conceptions of education. Hence the study uses the case of Shia people of Iran and their environmental ethics to investigate the trans-historical realities in conceptualizing science-humanism in association with dominant notions of nature, the environment and ecology. In particular, special focus is directed at understandings and practices associated with environmental education in the context of local Shia people in Fashapooyeh, a traditional village in the county of Tehran in Iran. -
Finding the Patterns of Indian Mosques Architecture
Vol.14/ No.48/ Jun 2017 Received 2017/03/04 Accepted 2017/05/15 Persian translation of this paper entitled: الگویابی معماری مساجد هند is also published in this issue of journal. Finding the Patterns of Indian Mosques Architecture Ehsan Dizany* Abstract India is one of the countries that has had diverse civilizations from the distant past, so in architectural standpoint, this country is rich and varied. The arrival of Islam in India and the formation of Islamic governments led to the formation of a certain type of Islamic architecture in this subcontinent. The architecture of Indian mosques is evaluated as a prominent model of Islamic architecture of subcontinent. This study is based on the assumption that the pattern of Indian mosques architecture is a combination of early Iranian-Islamic architecture of mosques and Indian vernacular architecture. Finding the roots of Architectural features of Indian mosques is the subject of this article. In this paper, the influence of early Islamic mosques’ architecture and rich and historical architecture of India on Indian mosques architecture before the arrival of Islam and the architecture of developed Islamic civilizations in the Indian neighborhoods such as Iran, is studied. Generally Indian mosques architectural features include prayer-hall in the Qibla direction, existence of courtyard, Four-Iwan pattern, crusts odd divisions, especially triple ones, presence of mosque in plaza and its position on a Soffeh (in height), access to the mosque entrances by wide stairs, triple divisions of Gonbad Khane in the Qibla direction and the use of transparent porticos around courtyard (Half of the outer crust that has external view).