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The effect of structural elements in Traditional and modern mosques on the minds of children in Iran
Seyed Bagher Hosseini, Mohsen Kameli,
Volume 2, Issue 1 (6-2014)
Volume 2, Issue 1 (6-2014)
Abstract
Mosque tells the religious mission of the society and its social mission. Actually, the mosque is like a mirror that shows your community's religious situation. The mosque's architecture is an interpretation of elite perceptions and the essence of subjectivity and the Muslim faith. From this respect the building of the mosque can tell the extent and nature of any Era. Furthermore, the architecture of the mosque has implications for the knowledge bases of Islam. And, therefore,Mosque Architect Understanding Dimension and Mental degrees of his time. This research has been done with The purpose of structural elements used in traditional and modern mosque and relationship with the child's mind. And argues this entry: Is will affect Structural elements of the mosque on the child's mind And how is it different from the traditional and modern mosques. In this study, The methods of research utilized is descriptive – analytical and the Methods of data collection are field investigation and library. Also, the statistical community has 96 children. In order to depict the children's perceptions of traditional and modern mosques, after their visit mosques have been applied to the analysis of the painting, pulp and toys. The finding of this research suggests that the elements of the traditional mosque and the child's mind, there is a very close relationship and deep. This result is very weak, about modern mosques that There are not traditional symbols in their mosque the mosque is recommended that the principles of the Prophet in the mosques.
1 Hirad Hosseinian, 2 Jamaluddin Soheili, 3 Fariba Alborzi,
Volume 11, Issue 1 (3-2023)
Volume 11, Issue 1 (3-2023)
Abstract
The process of figure structure and understanding message by the audience has a great value, as various visual elements such as point, line, level and volume can be affected on identifying this process. On one aspect, connection with human and its needs in architecture is determined, on the other hand, in some opinions and in relation to the architecture, set of available forces should be defined. Therefore, connection of this process has been linked with the principle of “geometry” and provides space integration as a creative composition. It is possible to obtain a productive structure based on set of rules, in lawful space of geometry in order to decompose complex shapes into a simple form. Where in Naqsh-e Jahan Square, which is one of masterpiece of Iranian architecture, these patterns are shown themselves in different history and periods. As far as, it has entered to the logical comparative phase, based on initial consequential analysis in the form of formation of the square with using logbooks and historical books and then with using geometric analysis of the square and turning this logic into a descriptive form which was in line with theories of Duran, Krier and Herdeg and based on principles such as integration, overlap, angular and rotational, in order to prepare a comprehensive principles for combining shapes toward a gradual evolution. Herdeg brings this overlap into the social classes from individuals to the clergy, which is a link between form and outlook of different stratums. In this research, it has been tried to winded up the effects of social and political principles on formation of the square with using classes such as individual, society and government and also with using visual tools that have been analyzed in this square in different times, and then by recognizing geometric principles between them and sharing with graphic geometry of each classes based on the combination of the complex and by answering to hypothesis such as: it is thought that evolution of Naqsh-e Jahan Square in various times has been due to overlap of geometry of the square with graphic geometry of each classes from individuals to the government, and, in order to prove a principle such as geometry as a basic principle in forming the square in various .times, because of assimilation of geometric quality of the space and connection of the classes.
Dr Akram Hosseini,
Volume 12, Issue 1 (3-2024)
Volume 12, Issue 1 (3-2024)
Abstract
In addition to the prosperity of the country in various fields and the establishment of a national government after a long period, the Safavid period, for the first time on a large scale, Shiism became the official religion of the country. Current thoughts in this period, originating from Iranian-Shiite approaches, had unique characteristics. Due to the major role of mosques in this period in the political and social structure of the country, it is expected that the architecture of mosques is also influenced by the mentioned ideas. This research was formed with the aim of answering the question of what changes the approaches of the Safavid period have caused in the physical characteristics of the domes of Safavid mosques and what effects these changes have had on the human perception of the architectural space.
The purpose of the research has been achieved by comparing the physical characteristics of the dome of mosques of the Safavid period with mosques before this period. Since domed mosques have become popular since the Seljuk period, the statistical population of the research is ten Seljuk domes, ten Ilkhani domes, twelve Timurid domes and eleven Safavid domes, which are divided into two groups of mosques based on the dimensions of the opening. They are divided into big and small. These 43 mosques include a large number of the entire documented statistical population. Due to the historical nature of this research, the interpretative-historical method was used in combination with quantitative methods and the data were analyzed in a logical inference manner.
This research shows an important conceptual point of view about the architecture of mosques of the Safavid period in Iran based on the aforementioned characteristics.
Examining the physical characteristics of the domes of the great mosques under study showed that the opening and correspondingly the area of the domes of the mosques of the Safavid period have grown a lot compared to their previous periods. In the Safavid period, the average external diameter variables, the overall height of the mosque and the height of the dome increased compared to the previous periods, which indicates the construction of bigger and higher mosques than the previous periods. The physical characteristics of the dome of the Safavid mosques showed the greatest similarity to the physical characteristics of the Seljuk mosques. It was shown that Iranian golden proportions were the basis of the average external proportions of the Safavid dome, but the average internal proportions have changed towards a more human-centered spatial presentation. Despite the increase of all the physical components of the dome of the great Safavid mosques independently compared to the previous periods; The average interior proportions in Safavid mosques are much lower than the overall average and even the average of each period. Therefore, it can be said that the architecture of Safavid period mosques in the design of domes are considered from two important angles: the dimensions and size of the dome in order to create a visual impact from the outside and a pleasant sensory experience for people inside the space. In the architecture of Safavid mosques, attention to creating a balance between external grandeur and internal humanity has been the criterion of action in the design.
Although in the smaller mosques of the Safavid period, there was also a tendency to create large and lofty mosques like the mosques of the first group, but these mosques did not appear much different from their previous periods and are often located in the same physical area. Of course, it can be said that some of the investigated structures of Safavid mosques were closer to the Seljuk period. The only significant changes in the variables of the Safavid period compared to before are related to the internal height, the internal proportions of the dome and the external proportions of the dome in order to create more proportional spaces.
In the mosques of the Safavid period, the choice of geometric form, the outer height of the dome, the alignment of the dome with other architectural elements and complex artistic patterns, all to create a dramatic experience in order to create a sense of dramatic grandeur and power and attract the attention of foreign observers and religious and social influence. (Monumentality) However, this does not mean that inside the architecture of Safavid mosques human experience and human scale have been ignored as much as the external observer. (Human Scale) In the architecture of Safavid mosques, in response to the convergence between the needs of greatness with the needs of comfort and human experience, the two concepts of dramatic grandeur and humanity have been integrated in parallel and balanced. This balance and harmonious relationship between the interior and exterior of the mosque made mosques as religious places still influential for visitors and at the same time instilling people with a sense of comfort and positive interaction with the interior environment. In this way, while the space does not cause an unpleasant sensory perception in the audience, the architecture of the mosque acts as a foundation for the promotion of human dignity, and in this way, the architecture fulfills its social-religious responsibility.
The purpose of the research has been achieved by comparing the physical characteristics of the dome of mosques of the Safavid period with mosques before this period. Since domed mosques have become popular since the Seljuk period, the statistical population of the research is ten Seljuk domes, ten Ilkhani domes, twelve Timurid domes and eleven Safavid domes, which are divided into two groups of mosques based on the dimensions of the opening. They are divided into big and small. These 43 mosques include a large number of the entire documented statistical population. Due to the historical nature of this research, the interpretative-historical method was used in combination with quantitative methods and the data were analyzed in a logical inference manner.
This research shows an important conceptual point of view about the architecture of mosques of the Safavid period in Iran based on the aforementioned characteristics.
Examining the physical characteristics of the domes of the great mosques under study showed that the opening and correspondingly the area of the domes of the mosques of the Safavid period have grown a lot compared to their previous periods. In the Safavid period, the average external diameter variables, the overall height of the mosque and the height of the dome increased compared to the previous periods, which indicates the construction of bigger and higher mosques than the previous periods. The physical characteristics of the dome of the Safavid mosques showed the greatest similarity to the physical characteristics of the Seljuk mosques. It was shown that Iranian golden proportions were the basis of the average external proportions of the Safavid dome, but the average internal proportions have changed towards a more human-centered spatial presentation. Despite the increase of all the physical components of the dome of the great Safavid mosques independently compared to the previous periods; The average interior proportions in Safavid mosques are much lower than the overall average and even the average of each period. Therefore, it can be said that the architecture of Safavid period mosques in the design of domes are considered from two important angles: the dimensions and size of the dome in order to create a visual impact from the outside and a pleasant sensory experience for people inside the space. In the architecture of Safavid mosques, attention to creating a balance between external grandeur and internal humanity has been the criterion of action in the design.
Although in the smaller mosques of the Safavid period, there was also a tendency to create large and lofty mosques like the mosques of the first group, but these mosques did not appear much different from their previous periods and are often located in the same physical area. Of course, it can be said that some of the investigated structures of Safavid mosques were closer to the Seljuk period. The only significant changes in the variables of the Safavid period compared to before are related to the internal height, the internal proportions of the dome and the external proportions of the dome in order to create more proportional spaces.
In the mosques of the Safavid period, the choice of geometric form, the outer height of the dome, the alignment of the dome with other architectural elements and complex artistic patterns, all to create a dramatic experience in order to create a sense of dramatic grandeur and power and attract the attention of foreign observers and religious and social influence. (Monumentality) However, this does not mean that inside the architecture of Safavid mosques human experience and human scale have been ignored as much as the external observer. (Human Scale) In the architecture of Safavid mosques, in response to the convergence between the needs of greatness with the needs of comfort and human experience, the two concepts of dramatic grandeur and humanity have been integrated in parallel and balanced. This balance and harmonious relationship between the interior and exterior of the mosque made mosques as religious places still influential for visitors and at the same time instilling people with a sense of comfort and positive interaction with the interior environment. In this way, while the space does not cause an unpleasant sensory perception in the audience, the architecture of the mosque acts as a foundation for the promotion of human dignity, and in this way, the architecture fulfills its social-religious responsibility.
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