Showing 4 results for Composition
Shahab Shahidani,
Volume 6, Issue 1 (6-2018)
Abstract
Existing approaches to inscriptions tend often to regard various literary aspects, some considerations on the text content, historical importance, and tendency to the past events illustrated in the inscriptions, and this has led to the typology and classification of inscriptions in terms of endowment, decree, memorial, and construction themes, and in another way, the recognition of stuffs and materials.
In the meantime, it has been underestimated the artistic aspects of the inscriptions in terms of high-value calligraphy. An important part of this failing goes back to the lack of fundamentals and methods for the critique of inscriptions based on calligraphic considerations and its principles and rules. Although such principles and rules are regarded as an important source and criterion for understanding beauty, recognizing and analyzing calligraphy works, however this measure has been applied in non-engraving forms, piecewriting ,chalipa, scribing manuscripts, book binding, but neglected in the practice of inscription.
The purpose of this study is to provide theoretical and analytical bases and fundamentals on how to benefit from the principles and rules of calligraphy in inscription from the perspective of calligraphic art. The study is conducted in an analytical and descriptive method based on library studies and field data on inscriptions. Answering to the main question and issue of the research, i.e. how to analyze the inscriptions in terms of the principles and rules of calligraphy, an referring to the treatises and related researches on calligraphy, the findings of the study indicate that It is possible to use the principles and rules contained in the calligraphy treatises, with special considerations on inscription and architectural requirements with some necessary modifications and bearing in mind the degree of adaptation of some of them in the inscription.
The principles of proportion (alignment), composition (coordination), and seat are of more value. And the principles of Safa (succulence) and Shaan (pleasant) and the rule of the theoretical and practical writing are at the next importance. The way of recognition of the style and method as an essential component in the analysis of inscription, given the quality and quantity of inscriptions, is also important. It is obvious that the proposed principles, along with other methods and typologies of inscription studies, can lead to a more systematic understanding of the values of inscriptions, and provide a more fresh perspective for assessment and analysis of aesthetic aspects of the inscriptions.
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Volume 6, Issue 2 (9-2018)
Abstract
Introduction: The plant decorations are considered as the most obvious designs that are used elaborately in different works of art. They are also used frequently in architectural decoration, particularly the ones made of stucco. The way these plant ornaments are composed characterizes the period in which they were created though many of these compositions have been repeated frequently over centuries. The goal of this research is to study the typology and classify the significant plant compositions in the stucco decorations from the Islamic period to the fourteenth century. In order to achieve this goal, the following questions should be answered:
- What are the most popular plant compositions in the stucco decorations from the Islamic period to the fourteenth century?
- Which compositions can be considered as the significant features of plant ornaments in a certain period?
Conclusion: The data was collected based upon written sources and field research (photography, linear print of the images) and analyzed through comparative-historical method. The results of this study suggest that the compositions existing in the samples can be classified into 9 groups some of which have been repeated in all historical periods, like the two and three-arabesque compositions in the margins and delicate joint/ stems with snail-shaped arches. But some of these compositions, including multi-layered plant compositions, delicate plant stems in the backgrounds, snail-shaped arches, etc., were evolved in some centuries, i.e. 13th and 14th centuries, or used more frequently.
Elahe Fatehi, Alireza Sheikhi,
Volume 8, Issue 1 (6-2020)
Abstract
The holy shrine of Razavi is among the most magnificent monuments with a treasure trove of calligraphy. Including these works, inscriptions and motifs of the stone floor of the entrance to the two domes of Hatam Khani and the Tohidkhaneh, which is visually effective in terms of quality. The purpose of this research is to identify and adapt the structure of the visual structure and the theme of inscriptions and Carved decorations in the plinth stones of the two porches. So, what is the visual and visual structure of the inscriptions on the walls of the hutmakhani and the Tohidkhaneh? And what is the content? Research methodology is descriptive-analytical and comparative and data collection, library and field photography. The findings show that the inscriptions are based on Qur'anic concepts and prayers with the Sols line, literary pieces on the line of Nastaliq, and with the themes of friendship and charity with Ahl al-Bayt and the status of God's forgiveness. The inscriptions are the Sols, Nastaliq and Naskh edition, which have a dynamic front by their circular shape and form. The use of these lines in the Sols and Nastaliq letter inscriptions relates to the calligraphy basics, which is coordinated with the visual capabilities of these two types of lines for easy visualization and readings. The inscriptions of the two porches were observed as scrolls, belts and textures, and the visual structure of the inscriptions was in geometric, ellipsoidal, circular, and square shapes, often with horizontal and vertical combinations, repeated with a visually repeating, intermittent, and Repeated with symmetry, intermittent and contradictory.arabesque and Khatai designs, as well as triangular next to the inscriptions, have been used to decorate and emphasize the text
Samaneh Taghdir, Fatemeh Samimifar,
Volume 10, Issue 3 (3-2022)
Abstract
The role of "memory" (meaning treasury) and "imagination" (face treasury) of the architect in shaping theprocess of creating and perceiving architectural worksBased on the view of transcendent wisdom
The issue of how the process of creating and perceiving architectural works and the factors affecting it is an important, multidimensional and interdisciplinary category. However, at present, the process of formation of architectural works in most studies is based on superficial perceptions of human perception and at best depends on the five human senses and, of course, usually limited to some of them. Therefore, it is necessary to address the aspects of this issue from the perspective of anthropological sciences (knowledge of his powers and perceptual tools), ontology (knowledge of the levels of existence) and psychology of theenvironment (study of the relationship between man and the environment).
The present study intends to investigate how the stages of the process of creating and perceiving architectural works are formed by focusing on the esoteric forces, especially the "memory" and "imagination" of the architect and also by redefining the steps of decomposition, composition and evaluation in this process with a new look, this study intends to investigate the direct and indirect effects on the quality of formation and realization of these steps. The theoretical basis of this research is the principles of transcendent wisdom and to do it, the strategy of logical reasoning has been used. In the data collection stage, documentary and librarystudies have been used, and in the later stages, the deductive reasoning method has been used.
The results of this research show that architecture, like other human actions, is influenced by the material and spiritual context of growth (lived experience) and the architect's perceptions during his lifetime until the moment of creating the work. On the one hand, the architect is influenced by his memory (treasury of meanings) and imagination (treasury of faces) that these items will be the source of his ideas, and on the other hand, by his actions, ethics and temperament ,he creates a level for his rational soul, which is the origin and creator of his actions. And of course the level of the soul also plays an important role in the efficiency of memory and imagination in human beings because the meanings and forms stored in them are the result of his level of interaction with the worlds. This approach can also pave the way for change in architecture education Be. Because he emphasizes that the architect must first go through the arc of ascending epistemology in his being and then try to create in the arc of the descent of the creation of thearchitectural work.