@article { author = {Mansouri, Seyed-Amir and Alehashemi, Ayda and Jamshidian, Mohammad}, title = {Boukhara water network as the landscape infrastructure of the city The rise and fall of an urban landscape infrastructure}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {1-16}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Throughout  the centuries, cities of the Iranian plateau shaped, developed and sustained with deep and mutual connection with the water resources and networks. today, readout the multifaceted and multi functional connection of these infrastructures with the pre industrial cities and extract theirdominants principals help us in redefining the mono faceted relation between the water supplies networks, as one of the modern urban infrastructures, and our industrial cities. One of the most advanced examples of the comprehensive relation between city and water system, was formed in the north east of Iran- today Uzbekistan- in the city of Boukahra.  A developed water system based on surface water which, still in our time, it’s remaining- in spite of the 90% demolition- demonstrate the considerable role in the urban landscape of Bukhara. "how this water network transform as the landscaping infrastructure for the city and had a multifaceted role in Bukhara and its citizens life?", "how this semi- natural network sustained in the city and developed systematically with the development of the city?" these are the questions that this article aime to reply by research in the historical and modern documents on Bukhara. this research attempt to refine the dominant principles of  the formation and development of the water networks in the Bukhara considering the various facets of its connection with the the spatial- physical structure of the city and the subjective structure of the citizens. the results of this inquiry revealed tow important and related points : firstly, the water network of Boukhara formed a deep relation in the various layers with spatial and social structure of the city ( subjective and objective life of city and citizens) by which this network played a considerable role in the urban landscape of Boukhara and upgraded fromthe functional system with the mere Subsistence and servicerole to the landscaping network with the multi functional and symbolic role for the city. Secondly, the functional requirements to this network, was the prerequisite for the formation of the system but not the sufficient condition for this kind of development of the system.  In the other word, subjective integration between the water network and its components with the citizens and their life guaranteed the condition and the quality of its sustainable existence among the city of Boukhara.}, keywords = {Boukhara,Water networks,Landscape infrastructure,City spatial structure,Urban sustainability}, title_fa = {سیستم آبی بخارا به‌عنوان زیرساخت منظرین شهر مروری بر ظهور و انحطاط یک شبکه منظرین درون شهر}, abstract_fa = {در طی قرن‌ها شهرهای فلات ایران در پیوندی عمیق و متقابل با شبکه‌ها و منابع آبی شکل‌گرفته، پایدار شده و توسعه‌یافته بودند. امروز بازخوانی پیوند و رابطه چندوجهی و چندعملکردی این زیرساخت‌ها با شهر و استخراج اصول حاکم بر آن ما را در بازتعریف رابطه تک‌بعدی حاکم بر شبکه‌های انتقال آب، به‌عنوان گونه‌ای از شبکه‌های زیرساختی مدرن، باکلان‌شهرهایمان یاری می‌کند.   یکی از پیشرفته‌ترین نمونه‌های پیوند همه‌جانبه شهر و سیستم آبی، در شمال شرق ایران (ازبکستان کنونی) و در شهر بخارا شکل‌گرفته است. سیستمی توسعه‌یافته براساس بهره‌گیری از آب‌های جاری که امروز نیز باوجود نابودی تقریباً 90 درصدی، بازمانده‌های آن در بافت قدیم شهر، مهم‌ترین مؤلفه‌های منظر شهر بخارا به شمار می‌روند. اینکه چگونه این شبکه آبی به زیرساختی منظرین2 برای شهر تبدیل‌شده و نقشی چندوجهی در شهر و زندگی شهروندان داشته است و اینکه چگونه این شبکه در طول 10 قرن گذشته به صورتی پایدار در شهر حضورداشته و سیستم‌وار با توسعه شهر توسعه‌یافته است، سؤالاتی هستند که این نوشتار با پژوهش در مکتوبات و مستندات موجود در باب بخارا از قرن 10 تا 21 میلادی در پاسخ به آنها می‌کوشد و تلاش می‌کند با یافتن جنبه‌های مختلف پیوند این شبکه با ساختارهای فضایی - کالبدی و فعالیتی شهر از یک‌سو و ساختارهای ذهنی مردم بخارا از سوی دیگر، اصول حاکم بر شکل‌گیری و توسعه شبکه آبی  بخارا را بیابد. نتایج این بررسی دو نکته مهم و مرتبط با هم را در مورد شبکه آبی شهر بخارا نشان می‌دهد : نخست اینکه شبکه آبی شهر بخارا در لایه‌های مختلف، ارتباط تنگاتنگ و عمیقی را با ساختار فضایی و اجتماعی شهر (زندگی عینی و ذهنی شهر و شهروندان و حوزه‌های شخصی و عمومی زندگی) برقرار ساخته و همین مسئله موجب شده بوده است که این شبکه نقشی کلیدی را در درک شهر بخارا بازی کند و از یک شبکه زیرساختی با نقش معیشتی و خدماتیِ صرف به شبکه‌ای منظرین با نقش سمبولیک برای شهر بخارا ارتقا یابد. دوم اینکه نیاز کارکردی به این شبکه، شرط لازم در پیوند و حضور مؤلفه‌های شبکه آبی در فضاهای شهری و زندگی مردم بخارا بوده است و نه شرط کافی. پیوند ذهنی این شبکه و مؤلفه‌های آن با مردم و زندگی آنها نحوه و کیفیت حضور پایدار مؤلفه‌های شبکه را در شهر بخارا تضمین می‌کرده است.}, keywords_fa = {بخارا,سیستم آبی,زیرساخت منظرین,ساختار فضایی شهر,پایداری شهر}, url = {http://www.bagh-sj.com/article_7838.html}, eprint = {http://www.bagh-sj.com/article_7838_9d059869acfd313fb747c15be96e665b.pdf} } @article { author = {Norouzitalab, Alireza and Moghbeli, Anahita and Jodat, Sharnaz}, title = {The Evolutionary Psychoanalysis of Painting and Architecture in the Historical Context of World War I to World War II}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {17-32}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Progressions in the twentieth century’s scientific, industrial, social, ideological, economic, political, cultural, and artistic aspects were larger than other centuries combined. Today, with the passage of nearly a century since World War II, a review of the milestones of that era provides greater insight into how external influences affected both painting and architecture. The consequential psychological factors become evident in the production and transformation of the artwork.  Explanation of the emergence of trends in fine arts and architecture often review artworks separately, leaving out important variables from the equation. Yet art trends of certain kinds cannot be fully explained without looking at the adjacent fields.  It is critically important to consider historical events like war and revolution as they oftentimes cause fundamental changes or collapse in people’s value systems and worldview. The aim of this research is to conceive the complex and historical process of the subject as a film in motion rather than a separate format and sort of silent and static photograph. The importance of and the reason for selecting this method is a response to the shortcoming that accounted for separate review of the artworks of important and well known painters and architects, and also intends to highlight the importance of understanding social interactions, mutual influences and interdependencies between the artworks of painters and architects in their historical context. This research is going to illustrate these interwoven streams by focusing on the period from World War I to World War II. This period is a very complicated stream of history so this study begins with a historic and cultural journey starting before World War I, when naturalism and romanticism transformed into abstract forms of expression. It becomes noticeable that upon the outbreak of World War I in 1914 artwork shifted very descriptively.  One such example is the works of artist, Piet Mondrian.  In each period of his life, his work changes reflect the dynamic external environment. Changes in his work are demonstrated by comparing the words used during the time with the colors, tonalities, lines and shapes in his artwork.  In this case, the artist illustrates what he feels and thinks. Another example is an investigation of the effect of war on abstract paintings in Dutch modern architecture - particularly in De Stijl style in Gerrit Rietveld’s architectural work in Schroder House in 1924.  The architecture of the Schroder house simulates the three-dimensional abstract paintings of Mondrian with the spatial vertical and horizontal surfaces of Theo van Doesburg.  A similar observation of changes during this time is revealed during an exploration of the German pavilion at Barcelona International Exposition of 1928, which is Mies van der Rohe’s work.  Notably, the pavilion’s surfaces significantly gained importance.  One can see and feel how approaches for defining space in these buildings changed and clearly linked this architecture to the work of Dutch abstract painters like De Stijl.  Another illustration of transformation and how an artist’s work is marked by historical events are in the works of Le Corbusier which are deeply affected by the ruinous World War I.  There is no similarity in his after-war works with his pre-war traditional romantic style.  After the war the needs of people changed therefore the manner of his design also changed. One of the best examples in this analysis for the impact of historical events is the Guernica painting created by Pablo Picasso. In this painting it is obvious how the Spanish artist’s feelings were after the bombing of Guernica by the Luftwaffe. Using this method to outline individually influencing factors and relate them to each other, then considering all the variables in the equation and their interdependencies, the reader of this study gains deep insight and begins to understand the reasons for evolution in contemporary art and architecture, especially in the works created in the context of social, economical, cultural and identity crises.  This approach brings about a broader view to art discussions and breaks down the prejudice, outdated approach, rigid and analytical formats that is common in theoretical rules and bolsters the dialectical process of formation phenomena.  The contents of this research is mostly derived from the author’s personal impressions arrived at through studies in art, different fields of art history and architecture including analysis of articles, books, research papers and documents on websites.  Questions posits by the author arise concerning whether respect of today’s economic and social crises is possible, whether these experiences and interactions are evident in a review of the dialogue between painting and architecture, and whether another Renaissance in art and architecture is needed are.  }, keywords = {Piet Mondrian,Gerrit Rietveld,Mies van der Rohe}, title_fa = {روانکاوی تحولات نقاشی و معماری در بستر تاریخی جنگ جهانی اول تا جنگ دوم}, abstract_fa = {در پژوهش حاضر، موضوع در روند مستمر و پیچیده تاریخ مانند یک فیلم تصور شده و از قالب‌های جدا و عکس‌گونة صامت و ایستا بیرون آمده است‌‌.اهمیت و دلیل انتخاب این روش پاسخ به نقصانی است که باعث شده اغلب‌‌، آثار هنری نقاش‌ها و معماران مهم و پرآوازه یا جداگانه بررسی شده و یا تأثیر متقابل آن بر یکدیگر خارج از بستر تاریخی قرار بگیرد و اتفاقات سرنوشت‌سازی مانند جنگ و انقلاب که زندگی مردم، ارزش‌ها و سیستم‌ها را به هم ریخته تا دوباره بسازد، نادیده انگاشته ‌شود‌‌.عامل روحی روانی نیز یکی از متغیّرهای این معادله است که در تولید و تحول اثر هنری نقش دارد‌‌‌‌‌.این متغیر نیز یا جداگانه بررسی شده و یا در نظر گرفته نمی‌شود‌‌. این روشی است که بر مبنای آن می‌خواهیم دلیل دگرگونی ژرف و ظاهراً ناگهانی روحیة طبیعت‌گرا و رمانتیک کسانی مانند پیِت موندریان‌‌، پیش از جنگ جهانی اول و تحول او به سوی نقاشی‌های انتزاعی را درک کرده، تأثیر نقاشی‌های انتزاعی روی معماری مدرن هلندی‌ها و سبک دِ استیل، به ویژه در معماری گریت ریت ولد 1924 در خانة شرودر، و در غرفة آلمان در نمایشگاه بین‌المللی بارسلون 1928، اثر میس وان‌در‌روهه را بررسی کنیم‌‌. نمونة دیگر چنین تحولی در نتیجه جنگ خانمان‌سوز اول، لوکوربوزیه است‌‌.آثار پس از جنگ وی هیچ مشابهتی با آثار رمانتیک- سنتی پیش از جنگ ندارد‌‌.براساس این روش، فرضیات پژوهش را در روند تحقیق مرحله به مرحله، جزء به جزء توصیف و مقایسه ‌‌‌کرده و به تحلیل و نتیجه‌گیری می‌رسانیم تا بتوانیم دلیل شتاب تغییر و تحولات هنری و معماری معاصر را در بستر بحران‌های اجتماعی، اقتصادی، فرهنگی و ُهویتی درک کرده، پیش‌داوری و قالب‌های خشک تحلیلی و مجزایی که احکام نظری متداول را دیکته می‌کند، بشکنیم و دیالکتیک روند شکل‌گیری پدیده‌ها را تقویت کنیم‌‌.این پژوهش حاصل تحلیل نگارندگان از آثار و مطالعات کتابخانه‌ای است‌.}, keywords_fa = {پیت موندریان,گریت ریتوِلد,میس‌وان‌دِرروهه‌‌}, url = {http://www.bagh-sj.com/article_7839.html}, eprint = {http://www.bagh-sj.com/article_7839_a0a58521609b4bbbf40c650858dc6edd.pdf} } @article { author = {Javadi, Shohreh}, title = {The Continuity of Caucasus"Mithra" architecture’s signs and remnants in the churches of Armenia and Georgia}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {33-44}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Armenia was under the influence of Iran during the reign of Median Empire. Regarding the religious point of view, this influence continued until "Gregory, the Illuminator" turned it a Christian country in the middle of third century. Armenians and Persians were of the Aryan race. Furthermore and due to geographical proximity, they had a variety of common points in terms of religious beliefs and creeds. Accordingly, they had left impact on each other. Ancient Iranians were always accustomed to worship God on the high places. As such, they were known for their traditional worship, prayer and hymnody before Ahura Mazda and other deities (Mithra and Anahita). At the time of the Achaemenid Empire, the triple deities were worshiped thereof…. At the time of the Parthian, these deities had also been regarded within the framework of general as well as the official religion. Although we do not have any valid and reliable text on this in Iran, some written texts in Armenia confirm this issue. Mithra had been one of the most popular and respected deities in Armenia. Similarly, there are many temples and remnants of post-Christianity Mithraism in the eastern parts of Armenia that indicate the importance and presence of Mithra in these areas. Mithra was considered as a goddess during the Sassanian and Zoroastrianism. As can be seen in Mihr Yasht ("hymn to Mithra"), while there is no sign of Achaemenid and Parthian great Mithras, She has a beautiful appearance with a thousand eyes and a thousand ears.  The land of the Caucasus, especially Armenia, had been considered among the most important places in which Mithra was worshipped before Christianity. According to renowned researchers, Armenia had been the first place in which Christianity became an official religion. Actually, the oldest state church in the world (St. Etchmiadzin, third and fourth centuries AD) is placed in Armenia. The old monasteries built in the mountains and on the heights are signs of the ancient temples. They have great works of Mithra temples architecture that have converted into churches. However, they can be considered as some authentic and original examples of the evolution of Mithraism to Christianity. Regarding the current religious monuments in the Caucasus as well as field studies conducted on this issue,  there are some ancient works of basilica (early churches) and cave temples. Geghard cavern-like Mithraeum near Yerevan, the capital of Armenia, are important signs pointing to the strong presence of this religion in the form of early pure and primary temples and forming the churches thereof. The cavern-like space of Geghard Church within the massive rocks forms one of the most ancient examples of churches that have been placed in the vicinity of the temples. The church has important signs of a fountain in the cavern-like yard, a window facing East, altar and sanctuary. The ruins of Uplistsikhe ancient temple in Georgia and Mithraem of the Church of the fourth century located on a hill at the same place can be considered as two other examples of the primary presence of Mithraism as well as its continuance and conversion into Christianity. This article has been based on library studies and conclusions drawn from field studies through a scientific-research expedition to the Caucasus as well as a set of analyses conducted via an exploratory research methodology.}, keywords = {Mithra,Christianity,Mithraeum,Church,Armenia,Georgia}, title_fa = {تداوم نشانه‌ها و بقایای معماری "مهری" قفقاز در کلیساهای ارمنستان و گرجستان}, abstract_fa = {ارامنه، آریایی و هم‌نژاد ایرانیان هستند که به جهت اعتقادی اشتراکات زیادی دارند، از جمله پرستش ایزدان مهر، اناهیتا و اهورامزدا که معمولاً در بلندی‌ها به نیایش آنان می‌پرداختند. رسم برپایی معابد برفراز کوه‌ها و تپه‌‌ها و تبدیل آن به کلیسا و صومعه‌های قرون اولیه مسیحی از این باورها برخاسته چنان‌که نمونه‌های آن در زیارتگاه‌های بی‌شماری بر تپه‌ها و کوه‌ها وجود دارد که پیشینة آنان به گذشته‌های دور و زمان نیایش مهر و اناهیتا و زرتشت باز می‌گردد. در زمان هخامنشیان ایزدان سه‌گانه پرستیده می‌شدند ... در زمان پارتیان نیز مورد توجه دین عمومی و حتی دین رسمی بوده‌اند، اگرچه ما متونی مؤید این امر در ایران نداریم اما مدارک کتبی نسبت به وجود آن در ارمنستان به دست آمده است. میترا در ارمنستان از ایزدان بسیار محبوب و مورد علاقه و احترام فراوان بوده که معابد بسیار و برجا مانده از مهرپرستی پس از مسیحیت در شرق ارمنستان اهمیت و حضور مهر را در این منطقه تأیید می‌کند. در زمان ساسانیان و با رونق گرفتن آیین زرتشت، میترا در ردیف یکی از ایزدان آمده، در مهریشت می‌بینیم که چگونه بی آنکه خبری از میترای کبیر هخامنشی و اشکانی باشد،‌ میترا با هویتی زیباتر، با هزار گوش و هزار چشم قدم به عرصه وجود می‌گذارد. سرزمین قفقاز به خصوص ارمنستان از مناطق مهم پرستش میترا پیش از مسیحیت بوده است. بنا به نظر مشهور پژوهشگران، ارمنستان اولین جایگاه رسمی شدن مسیحیت  است و قدیمی‌ترین کلیسای حکومتی جهان (سنت اچمیادزین3، قرن 4 میلادی) در آنجاست . صومعه های قدیمی که در نقاط کوهستانی و بر بلندی بنا شده اند نشانه هایی از نیایشگاه های باستان را در خود دارند . آنها دارای آثار مهمی از معماری معابد میترایی هستند که اگرچه تبدیل به کلیسا شده‌اند، اما نمونه‌های بسیار اصیل و بکر از تحول مهرپرستی به مسیحیت را به نمایش می‌گذارند. در میان بناهای مذهبی موجود در منطقه قفقاز طی بررسی‌های میدانی آثاری کهن از بازیلیک‌ها (کلیساهای اولیه) و نیایشگاه‌های غاری جلب نظر کردند.  مهرابه های غاری گغارد در نزدیک ایروان، پایتخت ارمنستان نشانه مهمی است که حضور قوی این آیین را در شکل ابتدایی و خالص اولین نیایشگاه ها و تبدیل آن به کلیسا نشان می دهد. فضای غاری کلیسای گغارد در دل صخره های عظیم از کهن ترین نمونه‌های کلیسا در مجاورت غار معبد است که دارای نشانه های مهم چشمه داخل شبستان غاری، پنجره رو به شرق، مذبح و مهراب است. بقایای نیایشگاه باستانی اوپلیستیخه در گرجستان و مهرابه کلیسای قرن چهارم بر فراز تپه ای در همین مکان از نمونه های دیگری است که حضور اولیه آیین مهر و تداوم و دگردیسی آن در مسیحیت را نشان می دهد. این مقاله براساس مطالعات کتابخانه‌ای و برداشت‌های میدانی در سفر علمی - پژوهشی به منطقه قفقاز و تجزیه و تحلیل یافته‌ها از طریق روش تحقیق اکتشافی تنظیم شده است.}, keywords_fa = {مهر,مسیحیت,مهرابه,کلیسا,ارمنستان,گرجستان}, url = {http://www.bagh-sj.com/article_7840.html}, eprint = {http://www.bagh-sj.com/article_7840_731520830c55a518f1748a2f9f60246d.pdf} } @article { author = {Atrgiran, Monireh and Mansourzadeh, Yousef}, title = {Design, Pattern and Color of the most Common Vagirei Yazd Carpets}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {45-54}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Yazd with its people, who love art, is one of the Iranian provinces located in desert. This province has played a prominent role in keeping the Iranian art identity during different time periods and through different artistic areas, as well as creating the lasting effects in the fields of handmade textiles (Sha'r weaving), traditional architecture, carpet weaving, pottery, etc. Therefore, the handmade carpet should not be neglected in this regard and the experts in this profession should take it into accurate consideration. Therefore, reviewing and gathering written literature about Yazd handmade carpets' design, color and pattern has not been considered by art experts and writers as it should be. Sometimes they have personalized the materials provided, as we can obviously see some flaws and heterogeneities in relation to the definitions, original design of carpets, forming patterns and even their correct names. Handmade carpets will decay quickly if we do not keep them in a suitable environment, because they are made of natural materials. Handmade carpet identity as if unnoticed, may have the same fate. A lot of information about handmade carpet in Yazd such as: how carpet weaving initiated, the evolution, patterns and colors in handmade carpets of this region, the first designers and especially their motivation for design selections, is vanishing due to the death of original and folk art owners of this region. However, we can reach more complete results through further studying and searching in these fields as well as performing more extended field investigations particularly in rural areas (there may be some people who have information about the history of Yazd carpet).The present article is a study on the most varied designs of Vagirei carpets left in Yazd especially in private collections which are woven in Yazd since Qajar era. The research studies and introduces the most important and most thriving carpets with their Vagirei designs in this era by using descriptive research method, citing the library resources, relying on social interview, observing the remained carpets and taking photographs of them.The article tries to investigate the onset of carpet weaving and its technical characteristics of texture and dyeing in the province. Furthermore, it is attempted as much as possible to identify its evolution and evolutionary process of its patterns, designs and colors which are now obsolete but had been common in Yazd before the arrival of Kerman and Kashan designs.By studying the technical features of Yazd handmade carpet weaving and dyeing of the past, it is concluded that the weaving stages, wooden scaffold of carpets, and instruments had been applied based on the style of Persian weaving regions. Stages and methods of dyeing were traditional and it had been carried out by using natural dyes such as madder, walnut skin, pomegranate skin, opopanax, mignonette, etc. Vagirei patterns such as "Gol va Mahi (Herati)", "Sardar Jangi", "Amir Jangi", "Ahmad Mohamad Abadai", "Tal va Khoncheh" and sometimes "Shargh e Landan" became more prevalent and popular among weavers and buyers in Yazd since Qajar era. All of them have coherent patterns, simple designs and beautiful colors which have made them more exceptional than carpets of other regions. Since some designs of these carpets like Sardar Jangi and Amir Jangi have not had a fixed design, pattern or color, therefore all kinds of carpets on these names which are woven in Yazd would be introduced.In terms of the appearance of the patterns and designs used in Yazd, we could state that all designs that have been considered for the carpet weaving were in the form of strips or Vagireh (small pattern repeated in the length and width of a carpet). This property might be in relation to having Vagireh designs applied in handmade cloths. So, selecting these kinds of designs is also associated with carpet weavers, because carpet weavers were the same handmade cloths weavers (Sha'r weaving), who turned to this profession (carpet Weaving) due to obsolescence of handmade cloth.The present article tries to understand the evolution of carpet weaving and technical structure of its weaving in Yazd province and study the most common Vagirei carpets. It also studies the varieties, features of designs and colors, differences and similarities and impacts of the styles of other areas on these carpets and then identifies the relationship and classification of patterns and colors used in carpets to the extent possible.This study, while acknowledging the indigenousness of the designs names, patterns types and their companion in carpets, shows that Yazdi artists benefited from all Yazd traditional and indigenous arts in their proposed designs, patterns and colors of their handmade carpets. Generally the structure of each carpet has a direct relationship with artistic, historical, and cultural symbols and religious beliefs of the people in this desert land.Collecting and compilation of such information can contribute to the more accurate introduction of the identity of Yazd native art into educational and artistic circles and also can lead those who are actively working on the scientific and technical research projects of Yazd province. In the present paper, it is tried to apply field investigations for data collection. In fact, unstated contents can be as motivations and ideas for artists, scientists, researchers and those who are particularly interested in knowing Yazd, to carry out more serious efforts in respect to the recognition and identification of Yazd  }, keywords = {Handmade carpet,Yazd,Design,pattern,Vagire}, title_fa = {طرح، نقش و رنگ رایج‌ترین قالی‌های واگیره‌ای یزد}, abstract_fa = {پژوهش حاضر در زمینة بررسی و مطالعة متنوع‌ترین طرح قالی‌های واگیره‌ای به جا مانده در یزد به ویژه در مجموعه‌های خصوصی است که از دوران قاجار در این منطقه بافته‌شده‌اند که با استفاده از روش تحقیق توصیفی و با استناد به منابع کتابخانه‌ای و با تکیه بر مصاحبه‌های میدانی و مشاهده قالی‌های باقیمانده و تهیه تصویر از آنها، به بررسی و معرّفی مهم‌ترین و پررونق‌ترین قالی‌های دارای طرح‌های واگیره‌ای این دوران می‌پردازد. از دوران قاجار، طرح‌های واگیره‌ای مانند «گل و ماهی (هراتی)»، «سردارجنگی»، «امیرجنگی»، «احمد محمدآبادی»، «تال و خونچه» و بعضاً «شرق لندن» در یزد از رواج و محبوبیّت بیشتری در بین بافندگان و خریداران یزدی برخوردار شدند. از آنجا که طرح برخی از این قالی‌ها، مانند سردارجنگی و امیر جنگی همیشه دارای یک طرح، نقش یا رنگ ثابت نبوده‌اند، به همین سبب انواع قالی‌هایی که به این نام‌ها در یزد بافته‌شده‌اند نیز معرّفی می‌شوند. مقاله حاضر می‌کوشد ضمن شناخت سیر تحوّل قالیبافی و ساختار فنی بافت آن در استان و بررسی رایج‌ترین قالی‌ها با طرح واگیره‌ای، به تنوعات، ویژگی‌های طرح و رنگ، تفاوت‌ها و نقاط مشترک و تأثیر و تأثّر این قالی‌ها از سبک‌های مناطق دیگر بپردازد و سپس ارتباط و دسته‌بندی نقوش و رنگ‌های به کار گرفته شده در قالی‌ها را، تا حدّ امکان مورد شناسایی قرار دهد. این بررسی‌ها نشان می‌دهد که ضمن تأیید بومی‌بودن نام طرح و نوع نقوش و هم‌نشینی آنها در قالی‌ها، هنرمندان یزدی در ‌ارایه طرح، نقش و رنگ قالی‌های دستباف خود، از همة هنرهای سنتی و بومی یزد بهره برده‌اند و به طور کلّی ساختار هر کدام از قالی‌ها به‌گونه‌ای با نمادهای هنری، تاریخی، فرهنگی و اعتقادات مذهبی مردمان این خطّة کویری، ارتباط مستقیم دارد.}, keywords_fa = {قالی دستباف,یزد,طرح,نقش,واگیره}, url = {http://www.bagh-sj.com/article_7841.html}, eprint = {http://www.bagh-sj.com/article_7841_958f262bdd94f9aa69e6b4b6c87450d1.pdf} } @article { author = {Ahmadian Baghbaderani, Seddigheh and afzaltousi, Effatolsadat and Hessami Kermani, Mansour}, title = {The Interactional role of Art, Commerce and Effective fundamentals in Standpoint of Semiology}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {55-66}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Today, the boundary between trade and goods selling market with culture and art has been diminished and every group has become dependent on other in order to achieve its own objectives. The art has a very special position in the global economy. The emergence of powerful, effective and role-playing fundamentals, as the mediator, has caused the more apparent interaction between art and trade/commerce. The mediators can be identified as the introducers of all that interfere between artistic work and its acceptance. Social successes stereotyped with economic and cultural capital aspects. Art as a cultural system plays a significant role in every society and interacts with economic systems from the stage of production to reception. Consequently, economic system and trade market utilize the artists and art pieces by acknowledging people’s interest and aesthetic. In general, there are many complicated relations and factors for success and development of an art piece such as producer (artist), consumer/the purchaser (museums, collections, etc), and mediators (active cultural & economical agents) who play critical role to offer and market those artifacts in international transaction. Economic scope and capitalism try to affect cultural and artistic classes through the brokers (agents) leverage. Mediators who are growing rapidly have an important influence in interaction between art and trade with powerful intervention in turnover of art attributed pecuniary transactions. Therefore they provide influential leverage to define biased norms for art pieces. They could affect the fashioned governance of the community and defeat people to apply biased tastes to reinforce deviated policy which could be either constructive or destructive. The theory section of this paper relies on analysis of interactions between these two components, art and trade. By studying the semiology theory of Greimas, some of the most important mediators such as external agents, social and cultural agents, artistic qualities and quantities, symbols, place and method of art presentation are studied. Art piece could bring a viable and constructive interaction between economic and trade world, since it highly depends on the leverage of extensive network and social agents as mediators like businessmen to put them for transaction and collectors to buy them, Critics to criticize them and authors to introduce them, specialists, agents at exhibitions and auctions, museum owners, conservators, pavilion directors, historiographers, spectators, audiences, performers, mass media and others that contribute to the artist’s spiritual and financial situation. Proponents and producers of commodities reinforce the cultural and artistic elements by transaction of art pieces and artifacts in spite of reaching social and cultural prestige by adhering to dissemination of labels and logo carried by the relevant commodities while they occasionally stencil desired trademark and embody indirectly in the artifact. Manifestation of hefty forces and mediators in the global markets maintain the duel scene for challenge and partnership of the two phenomena of art and economic. It is evident that culture poses a prominent part in the prosperity of economy development; thereby economic compromising would contribute significantly to the trends of artistic prosperity under global trade and economic dynamism within the background of cultural and artistic potentiality. This paper, by benefiting from the squares of Greimas Semiotics and investigating the interacting between art and commerce, analyzes the role of mediators in evaluating and trading art. Considering the existing findings that indicate an everyday growth of art markets as a result of the related mediators’ participation, engaging in this discussion and expressing the existing challenges are seemed necessary in this regard. In this article by aggregating the library information using the analytical-descriptive method, we conclude the response of the question that which factors are more effective in the interaction of art with the economics and commerce world. Intervention and participation of mediating factors as well as different actors as a network of meaning and social values can cause the growth of art and economy and the more understanding of culture. The more knowledge in this field can increase the enrichment of artistic, cultural and economic outcomes.}, keywords = {Art piece,Market and trade,Greimas,Semiotics,Mediator}, title_fa = {نقش تعاملی هنر، تجارت و پایگاه‌های مؤثر از منظر نشانه‌شناسی}, abstract_fa = {امروز مرز میان تجارت و بازار فروش کالا با فرهنگ و هنر از بین رفته و هر گروه برای دستیابی به اهداف خود به دیگری وابسته شده است‌. هنر جایگاه ویژه‌ای در اقتصاد جهانی دارد و ظهور پایگاه‌های قدرتمند و مؤثر و نقش‌آفرین به عنوان میانجی موجب تعامل آشکارتر هنر و تجارت ‌‌شده است. میانجی‌ها می‌توانند معرف هرآن چیزی شناخته شوند که میان اثر هنری و پذیرش آن مداخله می‌کنند. این مقاله ضمن بررسی نقش تعاملی هنر و تجارت به عملکرد میانجی‌ها در ارزشگذاری، معرفی و فروش آثار هنری با بهره‌گیری از مربع نشانه‌شناسی گرماس می‌پردازد. با توجه به یافته‌های موجود که حاکی از رشد روز‌افزون بازارهای هنری در نتیجة مشارکت میانجی‌های مربوطه است، پرداختن به این مبحث و بیان چالش‌های موجود ضروری به نظر می‌رسد. در این مقاله با گردآوری اطلاعات کتابخانه‌ای‌ و به شیوه توصیفی‌ـ تحلیلی در پاسخ به این پرسش که "چه عواملی در تعامل هنر با دنیای اقتصاد و تجارت بیشترین تأثیر را دارند؟" به این نتیجه می‌رسد که مداخله و مشارکت عوامل میانجی و کنشگران مختلف‌‌، در تعاملی معین با دو مقولة مورد بحث قرار گرفته و گسترة دامنة فعالیت و ترکیب آنها به عنوان شبکه‌ای از معنا و ارزش‌های اجتماعی می‌تواند موجب رشد هنر و اقتصاد و درک بیشتر فرهنگ ‌‌شود. شناخت بیشتر در این زمینه‌‌، می‌تواند بر غنای دستاوردهای هنری، فرهنگی و نیز اقتصادی بیافزاید.}, keywords_fa = {اثر هنری,بازار و تجارت,گرماس,نشانه‌شناسی,میانجی}, url = {http://www.bagh-sj.com/article_7844.html}, eprint = {http://www.bagh-sj.com/article_7844_73e89fbaa0a38c9a41a4a6938e61e5f3.pdf} } @article { author = {Rahmanpour, Nahid}, title = {The effects of ethnic culture in the appearance of Seljuk furniture}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {67-76}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Before the Seljuk reaches the power, they were a nomadic tribe who lived a pastoral and nomadic style, so urban lifestyle habits and the adoption of the law and order were inconsistent with their nomad and primitive nature. This caused them to be less familiar with the customs of urban living. The Seljukians, after capturing Neyshabour, were introduced to the Iranian statecraft and since these nomadic tribes were taught urban life rules under Iranian principles and rules, the Iranians impressed many of their art tastes. However, this issue did not result in the loss of ethnic culture of the Seljukians and their many tribal customs and folklore traditions were preserved and mixed with the Iranian culture. In this respect, the art, that is always the product of its time, becomes a place for the emergence and expression of combination and confluence of Iranian-Seljuk culture. Furniture also as a functional art (especially thrones-chairs of royalty) expresses the attitude and culture of each period. In the light of relative peace in this period, decorative arts were in full bloom and innovation; the objects produced for people were in high structural quality and highly decorative. But whatever makes this research worthy for the arts of this period is the tradition of using the figurative motifs that has led furniture, especially seating, to be as one of the most important elements of trappings of sovereignty manifested in the designs engraved on glazing vessel, illumination, etc. Thus, it may be recognized that Seljuk arts, especially porcelain decorative motifs, are as encyclopedic image of Seljuk seating. Furniture, as art-industry, has always been closely associated with humans as users, habits and social life of peoples, and civilizations throughout the history. This artistic-applied object, especially as thrones, in addition to its applicable aspect has conceptual value. Thrones are always carriers of symbols such as sovereignty and power; and have expressed the attitude of the rulers in a symbolic language Seljuk seating, due to its exaggerated shortness and the user’s sitting form that is unprecedented in Iranian furniture, caused to engage the viewer’s mind of how this type of structure works. Hence, the study tries, with a sociological perspective, to review the social and political situation of Seljuk and also evaluate the aesthetic style of furniture (seating) of this period to answer the following questions: What aspects can contribute to the appearance of Seljuk furniture? With a sociological perspective, can the affecting factors be recognized? The findings of the study strengthen the hypothesis that the Seljuk furniture is a product of a nomad tribal culture and their traditional behaviors fusion with an urban culture and governance traditions of Iran.}, keywords = {Seljuk of Iran,Seljuk Furniture,Seljuk’s political and social situation in Iran,Short seating}, title_fa = {تأثیر فرهنگ قومی بر مبلمان سلجوقی}, abstract_fa = {سلجوقیان، پیش از رسیدن به حکومت، قومی بیابانگرد بودند که با صحراگردی و شبانی روزگار می‌گذراندند. این قوم پس از رسیدن به حکومت یکی از بزرگ‌ترین سلسله‌های پس از اسلام در ایران را به وجود آوردند.این قوم بیابانگرد در برخورد با فرهنگ و هنر غنی ایرانی تحت تأثیر ایرانیان به ویژه وزیران ایرانی با تدبیر خویش،به خوی و خصلت ایرانیان پرورده شده و توانستند اولین امپراتوری یکپارچه را در ایران پس اسلام به وجود آورند. با وجود آنکه این افراد شیوه حکومت‌داری و فرهنگ شهرنشینی را از ایرانیان آموخته بودند، اما بسیاری از عادات و سنت‌های قومی و قبیله‌ای خویش را حفظ کردند. در این میان هنر که همواره محصول زمان خویش بوده، محل تجلی این آمیختگی و تلاقی دو فرهنگ ایرانی- ترک می‌شود. مبلمان (به ویژه نشستگاه‌های درباری‌) نیز به عنوان هنری کاربردی همواره بیانگر نگرش و فرهنگ حاکم در هر دوره بوده است. از این رو در این پژوهش سعی بر آن است تا با نگاهی جامعه‌شناسانه علل ویژگی خاص مبلمان سلجوقی که همانا کوتاهی سطح نشستگاه و شیوه خاص نشستن کاربر است، مورد بررسی قرار گیرد. و در این راستا به پرسش‌هایی از این دست پاسخ داده شود : چه عللی را می‌توان در پیدایش مبلمان سلجوقی دخیل دانست؟ آیا با نگاهی جامعه‌شناسانه می‌توان عوامل تأثیرگذار بر این سبک را شناسایی کرد؟  در این مقاله، بر‌اساس فرضیه پژوهش، مبنی‌بر وجود ارتباط آمیختگی فرهنگ قومی صحراگرد با فرهنگ شهری در به وجود آمدن سبک مبلمان سلجوقی، نخست با بررسی ریشه‌های قومیتی و اوضاع اجتماعی سلجوقیان ایران و سپس با تحلیل ساختاری و تزیینی مبلمان این دوره فرضیه به اثبات می‌رسد. نتیجه حاصل از تحقیق، ضمن شناخت و بررسی سبک مبلمان سلجوقی، بیانگر این مطلب است که ریشه‌های علل وجودی سبکی چنین متفاوت در میان سبک‌های مبلمان ایرانی را می‌توان در ارتباط این هنر-صنعت با فرهنگ قومیتی آن جویا شد. روش پژوهش ، تحلیلی- توصیفی است که با تحلیل ساختاری و تزیینی مبلمان سلجوقی و نگاهی جامعه‌شناسانه به بستر شکل‌گیری آن به اثبات فرضیه پرداخته شده است.}, keywords_fa = {سلجوقیان ایران,مبلمان سلجوقی,اوضاع اجتماعی سیاسی سلجوقیان ایران,نشستگاه‌های کوتاه}, url = {http://www.bagh-sj.com/article_7846.html}, eprint = {http://www.bagh-sj.com/article_7846_3904e57e309f4ef8ea7533896ab28faa.pdf} } @article { author = {Ajorloo, Bahram and Nami Germi, Parisa}, title = {The contextual recognition of the painted tile-works embedded in the historical public bath of Nobar in Tabriz}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {77-88}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Contextually, the unique collection of ten Qajarid painted tile-works embedded in the historical public bath of Nobar in Tabriz, in conformity to their historical and literal narrations, royal badges and some of European artistic elements as landscape give the impression that originally they had not been designed for the decoration of a public bath. Basically, this article, therefore, quests on the original context of these painted tile-works. The theoretical principals of this essay are derived from the key concept of artifact’s context in archaeology and the authenticity in conservation of monuments. The historical method of the essay have studied the authenticity of these painted tile-works in the context of historical public bath of Nobar in Tabriz and its effectiveness on the conservation process of this monument. Finally, it has culminated that these painted tile-works have off situ position all detached from their original context in the historical House of Farshi (Shakilli) where the family of Senator Prof. Sadegh Reza Zadeh Shafagh Tabrizi resided during the resignation of Muzaffar Al-din Shah of Qajar by the late 19th century. The contextual detachment of this collection from the house of Farshi and its placement in the bath of Nobar has resulted in meaninglessness of the artwork, dehistoricization and decrease of cultural-historical and economic values of the house of Farshi, its deregistration in the national list of Iranian law of antiquities, and eventually the introduction to destruction and transformation process of such monument. Archaeologically, in situ context means a socio-cultural/environmental place wherein authenticity, dating and function of an artifact could be determined. In situ context, in other words, defines that how an artifact has been made and why it has been used for. In addition to archaeology, in situ context of artifacts plays a key role in the processes of conservation and restoration further. Conservators, according to Venetian (1964) and Nara (1994) protocols of conservation, emphasize more on the authenticity of monuments on the basis of their solidarity of in situ context of attached artifacts; for example: decorative elements of a historical house. This means that off situ elements and artifacts of a monument should be recognized and re-attached to their basic context of monument. The unique collection of Qajarid painted tile-works are embedded in the main corridor of the historic public bath of Nobar in Tabriz. These painted tile-works have been embedded in ten brick-worked symmetric panels, all in 320x160x20 cm dimensions. Of these, six panels have been keeping right side whilst other group are on the left. Every scene (300x140 cm) is formed by 7x15 pieces (20x20 cm) of polychrome (Haft Rang) painted tile-work. These scenes depict various historical events and mythological and literal narrations. Two painted tile-worked panels present two Qajarid army officers in European blue uniforms, armed with a rifle, badged hats, and particularly, decorated by British Royal order of Garter. Historically, Muzaffar Al-din Shah of Qajar and brigadier general Abdul-Hussein Mirza Farmanfarma had been decorated by the royal order of Garter. Consequently, these personalities have been recognized as Muzaffar Al-din Shah of Qajar and Abdul-Hussein Mirza Farmanfarma by the authors. Two painted tile-worked panels depict battle of a dragon and a lion whilst a sun rising from the back of the lion. Historically, Lion and Sun is the royal badge of Qajarid Iran. Moreover, two Nikes, painted in the European style, present a royal crown. The authors do realize that these panels should have been detached from a royal context. Another Two painted tile-worked scenes show a young noble man, riding a horse and accompanied with hunting dogs and servants, in a meadow and hunting ground. This scene is encircled by a Roman style arch and two Nikes present a royal crown further. Iconographically, these signs prove the idea that they had a legislative context too. In addition to the above mentioned panels, two tile-worked tableaux present side whiskers, horse riding, and lion hunting by a dagger, probably depict Kör Oğlu a famous heroic character in Azerbaijani folklore. These tableaux also are interesting as they introduce Ustad Taghi Kashi Paz (Taghi the Master of tile- working) who has made these art works. The ninth scene depicting a European battlefield deployed five rows of cavalries and artilleries and a fortress in siege. Historically, some of Qajarid princes, in particular, Prince Abdul-Hussein Mirza had been educated in the European military academies. Finally, the tenth panel shows the divine court of King Solomon the prophet equipped with a sword, seating on the royal throne, supported by two lions, two angles and a giant monster, and a hoopoe giving him a divine message; whilst the throne is encircled by nobles and court men. King Solomon the prophet has a key setting in the Persian classical literature, Azerbaijani folklore and sometimes is presented in the royal Qajarid painted tile-works in Tehran and Shiraz.}, keywords = {Painted tile-work,Qajarid era,Tabriz,The historical bath of Nobar,The historical house of Farshi,The historical house of Shakilli}, title_fa = {شناسایی بافت، بستر اصلی کاشی نگاره‌های گرمابة تاریخی نوبر تبریز}, abstract_fa = {ده مجلس کاشی‌نگاری هفت‌رنگ عهد قاجاری گرمابة تاریخی نوبر تبریز مجموعه‌ای منحصر به فرد است که البته به لحاظ روایات تاریخی و ادبی و همچنین حضور عناصری چون سبک منظره‌پردازی اروپایی و نشانه‌های سلطنتی با تزیینات رایج یک گرمابة عمومی در بافت بازار در تعارض‌اند. و چنین می‌نماید که گویا اصالتاً به این گرمابه تعلق ندارند. بنابراین، نوشتار تحقیقی حاضر با پرسش دربارة کانتکست یا بافت- بستر اصلی این کاشی‌نگاره‌ها و براساس مبانی نظری برگرفته از مفهوم بافت- بستر اصلی آثار فرهنگی- تاریخی در باستان‌شناسی و اصل رعایت اصالت اثر در دانش مرمت آثار تاریخی و با روش‌های پژوهشی تاریخی تلاش کرده اصالت یا عدم اصالت تعلق این مجموعة کاشی‌نگاره را به گرمابة نوبر تبریز، مطالعه و تأثیر آن را در روند حفظ و نگهداری و مرمت بافت- بستر اصلی آنها بررسی کند. نتیجة پژوهش نشان می‌دهد که این مجموعة کاشی‌نگاره اصالتاً به خانة تاریخی فرشی (شکیللی) تعلق داشته‌اند که در دوران مظفری محل سکونت خانوادة سناتور صادق رضازاده شفق تبریزی بوده است. گسستن این مجموعه از بافت- بستر اصلی تاریخی و نصب آنها در گرمابة نوبر اینک موجب تحریف تاریخ، بی‌معناشدن اثر و همچنین کاهش ارزش تاریخی، فرهنگی و اقتصادی خانة تاریخی فرشی و عدم ضرورت ثبت آن در فهرست آثار ملی ایران و سرانجام موجب و مقدمة تخریب و استحالة آن شده است.}, keywords_fa = {کاشی‌نگاره,قاجاریه,تبریز,گرمابة نوبر,عمارت فرشی,خانة شکیللی}, url = {http://www.bagh-sj.com/article_7847.html}, eprint = {http://www.bagh-sj.com/article_7847_970c53d63e394ffc26b7c69ec16eb591.pdf} } @article { author = {Rahimi, Rouhollah and Mohammadi, Ali and Hasanzadeh Davoodi, Shokrollah}, title = {Holographic model for the evolution of the city (A case study: Amol)}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {89-98}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {The issue of creating and maintaining totality, from the very small components to the view of city, is something that seriously challenges designers nowadays.The growth of a city neither is emerged in the mind of a person nor in the mind of a cohesive group. The texture and structure of today's cities is the consequence of a process which began long ago. Knowing the architecture and historical urbanism can provide an appropriate context to understand the traditional patterns, in respect to which, one can create works that besides having suitable structural and functional properties, they have good cultural identity. In a view on the historical cities they can be perceived as a comprehensive and coherent whole. This integrity is not only conceivable in the wholeness of city but also in its smallest possible components. According to the theory of holographic "WHOLE IS WITHIN A PART WHICH IS WITHIN A WHOLE". One of the greatest achievements of human is urbanism. The form of the city has always been and will be the relentless index of the degree of human civilization. In terms of how the city came into existence, it may just be inferred from the scope of imagination rather than observable facts. Understanding the atmosphere of historical architecture and city, a good context for understanding the traditional patterns can be provided. According to these patterns, one can create works that besides having appropriate physical and functional characteristics, demonstrate a proper cultural identity. Successful streets, spaces, villages and cities have common characteristics. These factors have been reviewed and analyzed to produce good urban design principles or objectives. Old spaces have an identity which is formed gradually and in response to local needs. Development that is sensitive to the site and its context can create a place that is worthwhile and desirable for the eyes. Development is either in direction of integration and coordination of urban fabric or undermines it. Urban design issues are often applying good and appropriate methods and also considering the fact that every building is part of a larger whole. The purpose of this paper is to explain a holographic model to identify the major effective variables in urban growth and development and to make planners, policy makers and city managers avoid the occurrence of abnormal development in the cities of our country. The major variables in this paper include the concept of context, neighborhood and region. To explain the development, a holographic pattern is defined and its function in urban development is evaluated. In this paper, it is tried to provide a brief overview of the concepts of the component and the whole, unity and diversity based on holographic theory, through which an appropriate approach is chosen to identify and examine the atmospheric or physical change of the old texture of Amol in different historical periods to date. Many theories have been proposed in this field. The method is interpretative–historical. The concepts will be reexamined through historical narrative of analyses and proofs. In this study, the statistical population is the old and historic context of Amol. Due to the large population and limited time deductive reasoning is used to identify the target population. For this purpose, Kardgar, Chaksr, Mashayi, and Paein Bazaar neighborhoods are selected as sample points. This hypothesis tries to convert holographic view to a model which can cover the existence of wholeness in components in architecture and city planning; it will be carried out by analyzing the historical texture of Amol. This paper aims to explain the holographic model to understand the major factors affecting the development; factors such as textures, neighborhoods and districts. This "model", can show their experiences in a variety of architectural works, without duplicating prior works. In this article, at first, it is tried to identify the holographic idea of scientists and then explore an appropriate pattern to analyze architectural and urban planning works and serve to deepen the study of architectural history of Iran.}, keywords = {.Holographic theory,Whole and component,Current development of Amol}, title_fa = {الگوی هولوگرافیک در سیر تکاملی شهر (شهر مورد مطالعه : آمل)}, abstract_fa = {مسالة «خلق کلیت» یا حفظ و تکوین آن، از کوچکترین اجزا در معماری گرفته تا منظر شهری چیزی است که امروزه طراحان را به طور جدی با خود درگیر کرده است. رشد شهر نه زادة ذهن یک نفر است و نه زادة یک گروه منسجم از اذهان. بافت و ساختار شهرهای امروزی حاصل فرآیندی است که از سالهای بسیار دور آغاز شده است. شناخت معماری و شهرسازی تاریخی میتواند زمینة مناسبی برای درک الگوهای سنتّی پدید آورد تا با توجه به آن بتوان آثاری خلق کرد که ضمن دارا بودن خصوصیات کالبدی و کارکردیِ مناسب، از هویت فرهنگی شایستهای نیز برخوردار باشد. در نظری به شهرهای تاریخی میتوان آنها را همچون کلیتی جامع و منسجم ادراک کرد. این جامعیت نه تنها در کلِ شهر بلکه در کوچکترین اجزای آن نیز احساس شدنی است. براساس نظریة هولوگرافیک، کل در درون جزیی است، که در درون کل است ". این فرضیه با ملاحظة چگونگی تبدیل دیدگاه هولوگرافیکی به الگویی که بتواند وجود"کل در اجزا را در معماری و شهرسازی پوشش دهد، با تحلیل بافت تاریخی شهر آمل مورد بررسی قرار می‌گیرد. هدف این نوشتار، تبیین الگوی هولوگرافیک در شناخت عمده‌ترین متغیرهای تأثیرگذار در رشد و توسعه مشتمل بر مفهوم شهر، بافت و محله است. این «الگو» می‌تواند با پرهیز از تقلید یا تکرار کار گذشتگان، تجربیات آنان را در قالب آثار متنوع معماری نمایان سازد. در این مقاله تلاش شده در قدم اول اندیشة هولوگرافیکی دانشمندان و عرفا تعریف شود و در پایان پیرو دیدگاه هولوگرافیکی به کشف الگوی مناسبی جهت تحلیل آثار معماری و شهرسازی دست یابیم تا در خدمت تعمیقِ تحقیق در تاریخ معماری ایران قرار گیرد. }, keywords_fa = {نظریه هولوگرافیک,جزء و کل,رشد جاری شهر,آمل}, url = {http://www.bagh-sj.com/article_7848.html}, eprint = {http://www.bagh-sj.com/article_7848_d04a0ec346f31f9f910b0ee19e6bde6e.pdf} } @article { author = {Sharifian Barforoush, Seyedeh Shafagh and Mofidi Shemirani, Seyed Majid}, title = {The morphological criteria of Ecocity from the perspective of theorists}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {11}, number = {31}, pages = {99-108}, year = {2015}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Ecology, as the platform of a city, has gotten special attention amongst varied disciplines associated with urbanization since the issue of global climate change has been arisen. The approach of Ecocity is derived from ignoring the ecosystem and natural context of cities during the modern era urban planning and the environmental and human crisis caused by it. Current environmental concerns are derived from rapid growth of the cities and urban life style. Therefore the solution should be found within the cities. Ecocity is rebuilding cities in harmony with nature and natural life-cycle of ecosystem. Correspondingly, the simultaneous survival of human being and biosphere could be achieved through reintegration of built and natural environment. Comparable to other divisions of sustainability, theoretical framework of Ecocity is an interdisciplinary issue. According to the comprehensive scope of the matter, there are plenty of ambiguities for policy makers, planners and urban designers in the field of implementation. This fact would decrease practicability of Ecocity or else the approach would not be applied according to its main principles. Considering the fact that saving the biosphere could not be achieved entirely by having a couple of Ecocities, Ecocity principles should be applicable in various ecological and natural basis of each and every city.  This paper seeks to answer the following questions: Do specific criteria exist to define Ecocity morphology? How would unique characteristics of ecological context influence on those macro-criteria? The research method is descriptive-analytical based on literature review of existing documents and comparative analyses amongst various theories in the field. The findings represent convergence within Ecocity’s morphological criteria in different approaches. The results indicates that the adaption of built environment with the climatic, natural and ecological basis of the city, considerable capitation of green areas within the city, disavowal of urban sprawl, mixed use zoning, pedestrian, bicycle and public transport priority, vast usage of renewable energy, evidences of biodiversity within the city and employing specific ecological, historical and cultural symbols to have an improved sense of belonging are the main morphological indicators of Ecocity. However, these indicators are used as an upstream urban plan and each of them could be redefined in detail according to ecological characteristics of a particular city. Accordingly, Major criteria are redefined as follows: compliance with natural environment and climate will coordinate a city with bioregion and as a result emphasize on its specifications. Improving urban green space per capita will lead to widespread use of native plants and spreads of habitat for divert species. Preventing urban sprawl would conserve natural heritage and would highlight ecological landscape of the city. Mixed use reduces inner-city travel and strengthens the presence of pedestrians with their particular culture and behavior. Not being car-oriented, it helps the city to preserve its geographical and natural platform. The type of renewable energy will differ based on its climatic features. Promoting the sense of belonging of citizens’ point of view in Ecocity is achieved through indigenous traditions and customs and the city's culture, history and symbols as well as its architecture and urban design. Therefore, it varies from one city to another. Consequently, this paper defined criteria for Ecocity morphology which are applicable to ecological context of cities. Thus, the research hypothesis is proved. According to the existing economic oriented approach through urban issues, Ecocity implementation needs changing attitude through common economic foundation, and promoting collective consciousness amongst climatic hazards and responsibility for the next generation.}, keywords = {Ecocity,City Morphology,Sustainability,ecology,Ecological urbanism}, title_fa = {معیارهای شاکله بوم‌شهر از دیدگاه نظریه‌پردازان}, abstract_fa = {بوم به عنوان بستر شهر پس از مطرح‌شدن مسئله تغییر اقلیم جهانی، در علوم مرتبط با شهرسازی مورد توجه ویژه قرار گرفته است. بنیان بوم‌شهر نادیده گرفته شدن سامانه زیستی و بستر طبیعی شهرها در شهرسازی دوران مدرن و بحران‌های محیط زیستی و انسانی ناشی از آن است که راه‌حل را در صورت مسئله جستجو می‌کند. مبانی نظری بوم‌شهر همچون دیگر مباحث پایداری، مقوله‌ای میان‌رشته‌ای است. بر این اساس گستردگی دامنه موضوع، ابهامات فراوانی را درزمینة تحقق‌پذیری آن برای تصمیم‌سازان، برنامه‌ریزان و طراحان شهری و سایر تخصص‌های مرتبط با موضوع ایجاد می‌کند. در این راستا پرسش‌هایی در رابطه با شاکله بوم‌شهر بدین صورت مطرح می‌شود : آیا معیارهای مشخصی برای تعریف شکل شهر از منظر نظریه بوم‌شهر وجود دارد؟ شاخصه‌های منحصر به فرد بستر بومی چگونه بر معیارهای مذکور تأثیر می‌گذارد؟ هدف اصلی این پژوهش تدقیق معیارهای شاکله بوم‌شهر است تا از این طریق مبنایی برای تحقق‌پذیری صحیح آن در بستر بوم‌شناسانه خود، حاصل شود. روش انجام تحقیق از نوع توصیفی- تحلیلی مبتنی بر مطالعه اسنادی نظریه‌های موجود و مقایسه تطبیقی نظریات مختلف در حوزه بوم‌شهر است. نتایج این تحقیق نشان می‌دهد که انطباق محیط مصنوع با بستر طبیعی، بوم و اقلیم، مشهود بودن سرانه بالای فضای سبز در سطح شهر، پرهیز از گستردگی شهری، اختلاط کاربری، اولویت دسترسی پیاده و دوچرخه و حمل و نقل عمومی، نمود استفاده از انرژی‌های تجدید‌پذیر در سطح شهر، سلامت جریان‌ها و منابع آبی در سطح شهر، مشهود بودن تنوع زیستی در شهر، وجود نمادهایی در شهر به منظور ارتقای حس تعلق به مکان در شهروندان معیارهای اصلی شاکله بوم‌شهر است که به عنوان طرحی بالادست لحاظ شده و قابلیت انطباق با شاخصه‌های بستر بومی خود را داشته و در آن بازتعریف می‌شود.}, keywords_fa = {بوم‌شهر,شاکله شهر,توسعه پایدار,بوم,شهرسازی بوم‌گرا}, url = {http://www.bagh-sj.com/article_7854.html}, eprint = {http://www.bagh-sj.com/article_7854_4695945d4abcf5ebfee806749119bb01.pdf} }