@article { author = {Soltani, Mehrdad and Mansouri, Seyed-Amir and Farzin, Ahmad ali}, title = {A comparative study on the role of pattern and experience-based concepts in architectural space}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {3-12}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Today, the word “pattern” has a wide application in Persian and each academic discipline has presented their own interpretation of it based on their specific requirements.  The general meaning of pattern is synonymous to words like “example” and “model”.   However, the truth is that the meanings of “pattern” as well as the meanings of its synonyms are more precise and profound than the general meaning of the word.    The exact meaning of the word “pattern” and the concepts related to it are particularly important in architecture.   This is because creating the desired quality in the architectural space – which is an important missions of all architects and researchers in this field – requires taking into consideration the concepts and methods which are based on human experience and the achievements that have been inherited from the previous generation.  Therefore, the current article tries to study the meaning of pattern in comparison to its related concepts – which at times share certain similarities – and distinguish its role as compared to other concepts in the area of architecture.      Hypothesis: Among concepts which are based on prior experience and presuppositions of mankind, only pattern can be used as a generative tool to present an authentic and non-repetitive representation of the qualities of life within the framework of architectural space.  Other concepts in the same connection are either a recycled notion that existed in the past or lack the capability to create any form of space.   Also, certain similar concepts are manifested in extra-material fields not in the architectural space.     To prove the above hypothesis, the researchers have first tried to present a definition of pattern.  This definition which is based on other articles by the researchers portrays pattern as an abstract and general issue and not a material and individual concept.  Accordingly, pattern is responsible for creating order and building connections between the elements of the architecture space, just like computer software.   This is meant to satisfy the basic needs of human kind.    This definition is based on a holistic and systematic attitude toward the issue of architecture and believes that patterns are nothing but the result of human experience and is a tool to produce the form and space for architecture.     Next, the definitions that have been provided by different scholars in the field of architecture about issues relating to the concept of pattern are presented.  Then, the relation between those definitions is brought into the spotlight.    These concepts include:    Sophia Perennis, Schema, Archetype, Generic Solution, Typology, Paradigm, Prototype, Model and Symbol.     A study over the above concepts and their comparison to the concept of pattern clearly shows that there are strong similarities between pattern and different other concepts in the architecture space.    However, as explained before, it is only the pattern which can present the ideas of the previous generation through various artistic assets and without reliance on the experience of the previous generation.  This is because:   Unlike symbol, pattern is not a complete and flawless product in a way that the subsequent products would be like it in appearance and at the level of surface.    Rather, pattern is like a precise software which is certain to produce different products if the conditions in the environment change.  Just like model, pattern is not used only to interpret realities and make them understandable.   Rather, apart from these, pattern generates realities.    The products of pattern can be recognized and used in the architectural space.   This is while the manifestations of concepts like Paradigm, Schema and Archetype can be recognized in extra-material fields including the domain of thoughts, traditions, rituals and behaviors of mankind.   In fact, they provide the ground for the formation of architectural patterns.  Species and the knowledge of knowing species are the only way to categorize and better understand the realities of the environment and can only be used to interpret and understand patterns.    Nevertheless, knowing species lacks the capability to be used in turning concepts into representations and realities like patter. }, keywords = {pattern,application of patterns,architectural format,interpretations of pattern}, title_fa = {تطبیق نقش الگو و مفاهیم مبتنی بر تجربه در فضای معماری}, abstract_fa = {واژه الگو امروزه کاربرد وسیعی در زبان فارسی داشته و حوزه‌های مختلف علوم هریک به فراخور حال و نیاز، تعابیر و تعاریف خود را از الگو دارند. معنای عمومی و عامیانه آن برابر و مترادف با کلماتی چون "نمونه"، "سرمشق" و "مدل" بوده اما واقعیت این است که هم معنای الگو و هم معنای واژگان و مفاهیم مترادف با آن در ادبیات رشته‌های مختلف علوم روز بسیار عمیق‌تر و دقیق‌تر از معنای عمومی آن است. توجه به مفهوم الگو و مفاهیم مرتبط با آن به این خاطر است که دغدغه ایجاد کیفیت مطلوب در فضای معماری به عنوان یکی از اصلی‌ترین اهداف معماران و پژوهشگران این عرصه، توجه آنان را به مفاهیم و شیوه‌هایی جلب کرده که اصل آنها با اتکا بر تجربیات بشری و تسلسل هویتی دستاوردهای انسان با نسل‌های پیشین و پیش دانسته‌های انسان بنیان نهاده شده است. لذا پژوهش حاضر در پی آن است که مفهومِ الگو را در مقایسه با مفاهیم مرتبط با آن، که گاه دارای مشابهت و همپوشانی هستند، مورد مطالعه قرار داده و نقش متمایز آن را نسبت به دیگر مفاهیم مطروحه در حوزه‌ی معماری مشخص سازد. اگرچه میان الگو و برخی دیگر از مفاهیم و تعابیر در فضای معماری تشابهات شکلی و محتوایی به چشم می‌خورد، لیکن تنها الگو است که می‌تواند با پرهیز از تقلید یا تکرار کار گذشتگان، تجربیات آنان را در قالب آثارمتنوع معماری نمایان سازد. در این فرایند ابتدا تعابیری که از مفاهیم مرتبط به صورت کلی و به خصوص در حوزة معماری وجود دارد، مورد بررسی قرار گرفته و سپس ارتباط آنها با مفهوم الگو مورد کنکاش و مداقه قرار می‌گیرد.}, keywords_fa = {الگو,فرم,فضای معماری,تعابیر الگو,تجربه}, url = {http://www.bagh-sj.com/article_1698.html}, eprint = {http://www.bagh-sj.com/article_1698_fca765e3f9358cb65dce4ff87280ada2.pdf} } @article { author = {pour ahmad, ahmad and habibi, leila and jafari mehrabadi, maryam}, title = {Analysis of Farabi’s Ideas and its application in citizenship participation}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {13-20}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {The growth of urbanization is important issue among the scientists in different disciplines. Islamic philosophers had a key role in explanation of city and its problems since last times. Among these thinkers, the name of Farabi as “Second Master” has highlighted in related research of urbanization and citizen’s affairs. The object of this research is studying the Farabi’s ideas about urbanization and its application in knowledge of planning specially for citizen’s participation. The Methodology is based on descriptive-analytical method that generally uses the documentary and library resources. Finally, results showed that the ideas of Farabi have some overlapping with other thinker’s ideas in our era. In other words, we can express that we face to a community – oriented point of view which is oriented to urban affairs. His views are so close to public participation which can be one of the best important issues in human- oriented planning. These results make more applicable the role of philosophy among human disciplines especially in urban disciplines.}, keywords = {Farabi,urbanization,Utopia,citizenship rights,Civil Society}, title_fa = {تحلیل نظریات فارابی و کاربرد آن در باب مشارکت شهروندی}, abstract_fa = {پیدایش پدیدة شهرنشینی، ظهور شهرها و تبعات ناشی از آن سبب جلب توجه اندیشمندان علوم مختلف شده است. در این میان نقش محققان حوزه فرهنگ اسلامی همچون فارابی در پژوهش‌های تاریخی مربوط به شهر، شهرنشینی و شهروندی  بسیار پررنگ است. این پژوهشقصد دارد به بررسی آرای مربوط به مقوله "شهر و شهرنشینی" از دیدگاه‌ معلم ثانی و کاربرد آن در دانش برنامه‌ریزی به خصوص در امر مشارکت شهروندان بپردازد. روش تحقیق در این پژوهش بر اساس روش توصیفی‌ـ تحلیلی بوده است که از منابع اسنادی و کتابخانه‌ای استفاده شده است. با بررسی‌های به عمل آمده به این نتیجه می‌توان رسید که دیدگاه‌های مطرح شده این اندیشمند اسلامی با دیدگاه‌های معاصر اندیشمندان امروزی قرابت و تشابه زیادی داشته است. به عبارت دیگر، می‌توان گفت که ما با انسانی جمع‌گرا و البته شهرگرا روبرو هستیم که آینده‌نگری خاصی نسبت به امور شهری داشته است. به نظر می‌رسد نظریات وی به بحث مشارکت شهروندی نزدیک است که یکی از مسایل مهم در برنامه‌ریزی انسان‌گرا به شمار می‌رود. نتایج این پژوهش می‌تواند نقش دیدگاه‌های بومی را در رشته‌های علوم انسانی به خصوص علوم شهری به نحو کاربردی‌تری ارتقا بخشد}, keywords_fa = {فارابی,شهرنشینی,مدینه فاضله,آرمان شهر,حقوق شهروندی,جامعه مدنی}, url = {http://www.bagh-sj.com/article_1699.html}, eprint = {http://www.bagh-sj.com/article_1699_11ec4e28cb8239dd73b32a9e1b5249f5.pdf} } @article { author = {asefi, maziar and Imani, elnaz}, title = {Evaluation of the Challenges of the application of new Technologies in Architecture: The Interaction with Iran’s Islamic Architectural Values}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {21-34}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {The new era is faced with daily growth of new data in different fields. The process of industrialization, globalization and networking, have evolved all societies and cultures. These developments contain matters such as global economy, communication revolution, environmental issues, restoration of local cultures and globalization of science and technology. Moreover, daily life in various aspects such as cultural, scientific-technological, economical, legal, political and security has been affected. In a more limited scale, only with the interpretation of technical developments, people’s mind are engaged with many challenges. Entrance of new technology and the creation of a technological society are proposed challenges and pluralism in the field of political, economical, cultural and social and the most important of them is cultural crisis. Because in comparison with elements such as land, race, ethnicity and so on, culture is considered as the most important element in defining identity. On the other hand, arrival of new technologies to the regions with rich identity and history in art and architecture are sometimes seen in contrast with the technological aspects and adds to the challenges; because in most of these societies, like Iran, necessary infrastructures are not provided in face of globalization. In the new millennium, new world is being built and architecture is the most social art that can cause the persistence of time to develop a civilization with spatial coherence.     Architecture, due to its direct contact with human life, in the face of globalization, plays an important role in deepening and weakening of culture and identity. Contemporary architecture of Iran due to the ever-changing needs of community and people in terms of physical, socio-cultural, economical and political issues, requires new solutions. All of these, besides the review of relation between modern technologies and the rich architectural history of Iran, makes the development of new architectural language in this era more complex and problematic. The main question of this research and the ultimate goal is to find out whether it can be possible to define some criteria for the application of new technologies, in order to enhance the spatial qualities of contemporary architecture with maintaining the basic identity of Iranian Islamic Architecture.   In the first stage, this paper with a holistic study and considering various ideas used in important architectural projects in Iran and other countries according to the main aims of this research, develops a theoretical framework and a methodology for conducting the research. Secondly, by examining the relationship between architecture and technology, Islamic concepts and theories are evaluated. Furthermore, basic principles of Islamic architecture in Iranian traditional buildings are analyzed in order to get the factors to obtain the main factors of desirability in these buildings and their application in contemporary architecture. In the next step, 14 cases of successful and famous examples of built architecture, implemented in different sites, are selected and the hypothesis of the paper is examined qualitatively by the consideration of these examples. A number of questionnaires are also prepared questioning the selected case-studies and the main objectives of the research. Main experts in the area of research are also interviewed in order to examine the hypothesis of the paper. On the basis of the results gained from the previous stages, the main criteria both qualitative and quantitative will be evaluated and a paradigm for the implementation of innovative technologies in contemporary architecture will be proposed.     At the present conditions and according to the undeniable role of science and technology in all areas, considering all possibilities and challenges, among, the correct way for today’s architecture in Iran is not to give up and not to complain, but to be a good actor in order to find the most suitable alternative for each architectural project. According to invaluable culture of Iran, preservation of native and national culture and identity is one of the main necessities of our architectural mission. This research is intended to come to a solution that not only consider and maintain the beauty of Iranian architecture during the history and consider environmental, socio-cultural and economical features of Iran, but also it is to benefit from world knowledge and technology in the best possible way. Therefore, the approach of this paper is called a “global-native” solution for contemporary architecture of Iran.   According to the results of this study, utilization of innovative technologies by considering the main features of Iranian architecture is a must for contemporary architecture. None of them are supposed to be considered separately as neglect of each of them may ruin both architectural identity and previous innovative technologies of Iranian architecture as can be seen in Persepolis many other  traditional buildings in Iran. This paper also suggests that in the implementation of foreign construction technologies and materials in Iranian buildings, climatic and socio-cultural value of each part of Iran must be carefully considered. By considering all of these factors it is believed that high degree of desirability can be obtained in today’s architecture.   }, keywords = {New Technologies,Art and Architecture,Islamic architecture,Identity,Architectural desirability}, title_fa = {ارزیابی چالش‌های فناوری‌های نوین در معماری و تعامل آن با ارزش‌های معماری اسلامی ایران}, abstract_fa = {ورود فناوری‌های نوین به سرزمین‌هایی که هویت و تاریخ غنی آنها در زمینه هنر و معماری در تقابل با نمودهای تکنولوژیک قرار دارند، چالش‌هایی را دامن می‌زند؛ چراکه در اکثر این جوامع همانند ایران، زیرساخت‌های لازم جهت مواجهه با موضوع جهانی شدن فراهم نبوده است. در هزاره جدید، جهانی تازه در دست ساخته شدن است و معماری اجتماعی‌ترین هنری است که می‌تواند با ایجاد انسجام مکانی، نوعی تداوم زمانی را جهت شکوفایی تمدنی منجر شود. پرسش اصلی و هدف نهایی پژوهش آن است که آیا می‌توان شاخص‌هایی را جهت کاربرد فناوری‌های نوین در راستای ارتقای کیفیات فضایی معماری معاصر با حفظ مبانی هویتی معماری ایرانی- اسلامی تعریف کرد؟ در این راه با انتخاب نمونه‌های موردی، انجام کار میدانی و نظرسنجی از افراد با استفاده از پرسشنامه‌های هدفمند ، شاخص‌های بدست آمده از نتایج بررسی‌ها به صورت کیفی و کمی تحلیل و الگویی جهت کاربرد فناوری‌های نوین در معماری معاصر ارائه شده است. براساس نتایج این پژوهش بهره‌گیری از فناوری‌های نو در ترکیب با عناصر و فرم‌های بومی و سنتی، هماهنگی با شرایط اقلیمی، حفظ ارزش‌های فرهنگی- اجتماعی و اصول معماری بومی و همچنین استفاده از فناوری‌های ساخت و مصالح جدید در ایجاد هماهنگی، تضاد، شفافیت و...، بسته به شرایط مکانی‌ـ زمانی مهم‌ترین شاخص‌های ایجاد مطلوبیت در معماری معاصر ایران به شمار می‌آیند.  }, keywords_fa = {فناوری‌های نوین,هنر و معماری,معماری اسلامی,هویت,آفرینشی نوبنیاد}, url = {http://www.bagh-sj.com/article_1700.html}, eprint = {http://www.bagh-sj.com/article_1700_953aff5e795303a9de21ed93910c4d0e.pdf} } @article { author = {rastbin, sajed and jafary, yasser and daram, yasaman and moazezi mehr tehran, amir mohammad}, title = {Research on Relationship between Environmental Qualities and Continuation of Urban Life in Public Realm}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {35-44}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Complex situations of nowadays life lead to complexity of urban issues and change meanings of many urban places. Public realms are transformed to ways for connections between private spaces solely. High emphasis on speed, technology and time encourages human to move swiftly between private spaces. Enhancing urban life quality and social life in urban spaces are prominent challenges in urban design field and many comments are posed based on situations and different experiences in this field of research. Creation of responsible and sociable places requires application of behavioral and social science and general analysis of Environmental qualities. Literature is enriched with researches that address the importance of social aspects of urban places only based on qualitative concepts of urban design. But, in this research, keeping those qualitative concepts in mind and applying a systematic procedure, a logical relationship between environmental qualities and social aspects of urban places is researched. Jolfa district in Isfahan-Iran is chosen as a case study. Jolfa is a part of historical fabric of Isfahan city where some of its sections, due to having strong connection with main structure of the city, benefit from current movements and consequently take economic advantages. However, rest of it lacks the above-mentioned advantages; thus, there are no active social life and interaction in a satisfactory level. Based on the final goal of this paper, on one hand, social capital as a prominent aspect of social dimensions and on the other hand, environmental qualities should be assessed in the selected district. Social capital is one of the main factors discussed in sociology and social sciences which has recently been though as a conceptual tool in urban design field. In this study, taking into account that the improving of urban qualities and their sub-qualities as a strategy to promotion of social life of city, we try to find a logical relationship between the level of social capital and urban qualities in order to offer an urban approach of social capital and apply it as a functional tool in urban design. For evaluating the level of social capital in the selected district, After picking initial questionnaires and reviewing them in terms of clarity and straightforwardness and the capability of questions to convey the desired concept, the questionnaires were standardized according to the statistical indicators and were distributed among a certain number of people in the neighborhood (334 people in this study calculated based on Cochran relation). Analysis of the results obtained from these questionnaires was used to review the level of social capital in social nodes and paths connecting them in the studied district. After calculating the level of social capital, urban Qualities should be investigated in the selected social nodes and paths between them. In this paper, mainly focused on those qualities which are in close relation with space users’ behavioral needs, creating sociable urban spaces, improving social capital, and enhancing social interactions in urban fabrics. Walkability, security, safety, sociability, permeability, and sense of richness are environmental qualities which focused in this paper. For each of mentioned qualities, based on literature review, sub qualities are identified and a method is selected for each of sub qualities to assess in the selected district; methods like evaluate the collected questionnaires, field observation, analysis the maps of the district, and interview. Since in this paper, a logical relationship between level of environmental qualities and social capital is searched, therefore, the selected environmental qualities should be quantified and rephrased in the shape of digits. In other word, quantified scales for analyzing the sub qualities are defined. In order to compute the ultimate resultant of qualities and achieve the research goal, the Analytical Hierarchy Process (AHP) technique has been applied. Because of simplicity, flexibility, and simultaneous application of qualitative and quantitative criteria, AHP has been extensively utilized in urban planning and design issues. In this paper, AHP technique is applied in two stages. In first stage, weight of each sub qualities is calculated for computing the resultant of each quality; and, second, weight of each quality is calculated for computing the resultant of all selected qualities in the specified node or path. Ultimately, by this procedure environmental qualities and resultant of them, are calculated and gained in the shape of digit. In the last part of research, resultant of environmental qualities is compared with level of social capital in each node or path. The results from this study proved the existence of a direct relationship between social capital and resultant of urban qualities in Jolfa district in Isfahan city as a case study. The comparison of pair of the above-mentioned factors also indicated that the relationships between the urban qualities and social capital are nonlinear. This is because of the impact of many other factors on social capital and the complexity of the relations between them.}, keywords = {environmental qualities,Social Capital,Social Interactions,Urban life,Analytical hierarchy process (AHP)}, title_fa = {پژوهشی بر رابطه همبستگی مابین کیفیت‌های محیطی و تداوم حیات شهری در عرصه‌های عمومی}, abstract_fa = {شرایط پیچیده زندگی امروز سبب پیچیدگی مسایل شهری شده و مفهوم بسیاری از فضاهای شهری را دگرگون ساخته است و تنها مفهومی که از عرصه‌های عمومی شهری به جای مانده است، مسیرهایی برای ارتباط فضاهای خصوصی است و اهمیت بیش از اندازه سرعت، تکنولوژی و زمان، انسان معاصر را به حرکت سریع ماشینی در بین فضاهای خصوصی ترغیب می‌کند. نادیده‌انگاری ارزش‌های اجتماعی، فرهنگی و هویتی نهفته در فضاهای شهری، بی‌توجهی به ارتقای کیفیت‌های محیطی در فضاهای شهری و کیفیت‌های موثر در پیوندها و جابجایی‌های شهری و تاکید صرف بر ادراکات ذهنی طراحان شهری یا معماران، سبب شکل‌گیری فضاهایی مردم‌گریز در ساختار شهری شده است که توانمندی مورد انتظار را نخواهند داشت، که محیطی پاسخگو و منعطف در برابر رفتارهای شهروندی باشد. افزایش کیفیت زندگی شهروندی و حیات اجتماعی در فضاهای شهری، یکی از چالش‌های حرفه طراحی شهری بوده و نظریات بسیاری بر مبنای شرایط و تجربیات مختلف مطرح شده است. در این راستا، سرمایه اجتماعی به عنوان یکی از شاخصه‌های مطرح در علوم اجتماعی اخیراً در حوزه طراحی شهری، به عنوان ابزاری هرچند مفهومی، جایگاهی ویژه یافته است. در این پژوهش، با توجه به اینکه ارتقای کیفیت‌های محیطی، به عنوان راهکار ارتقای حیات شهری مدنظر است، سعی بر آن است که با جستجوی روابطی منطقی مابین سطح شاخص سرمایه اجتماعی و کیفیت‌های محیطی، بتوان با ارائه رویکردی شهرسازانه از سرمایه اجتماعی، آن را به عنوان ابزاری عملیاتی در طراحی شهری به کاربست. کیفیت‌های محیطی انتخاب شده در این پژوهش در راستای پاسخگویی به نیازهای رفتاری کاربران فضا، خلق فضاهای شهری اجتماع‌پذیر و ارتقای تعاملات اجتماعی در فضاهای شهریست. جهت حصول نتیجه نهایی پژوهش و یافتن رابطه همبستگی مابین سطح تعاملات اجتماعی و سطح کیفیت‌های محیطی، کمی‌سازی کیفیت‌های محیطی انجام گرفته است تا بتوان نتایج کمی‌شده کیفیت‌های محیطی با سطح شاخص سرمایه اجتماعی که از تحلیل پرسش‌نامه‌های برداشت‌شده در محدوده بدست آمده است، را با هم قیاس نمود؛ در راستای کمی‌سازی کیفیت‌های محیطی، تکنیک تحلیل سلسله مراتبی (AHP) در دو مرحله، جهت تعیین اوزان هریک از زیرسنجه‌های کیفیت‌های محیطی و همچنین جهت تعیین اوزان هریک از کیفیت‌ها برای محاسبه برآیند نهایی کیفیت‌های محیطی اعمال شده است. نتایج پژوهش حاضر مبنی بر وجود رابطه مستقیم مابین سطح شاخص سرمایه اجتماعی و برآیند زیرسنجه‌های کیفیت‌های محیطی در محله جلفای اصفهان به عنوان نمونه مطالعاتی است. در عین حال روابط بدست آمده روابطی غیرخطی هستند که دلیل آن را می‌توان در وجود فاکتورهای متعدد دخیل در سرمایه اجتماعی و پیچیدگی روابط مابین آنها دانست.}, keywords_fa = {کیفیت‌های محیطی,سرمایه اجتماعی,تعاملات اجتماعی,حیات شهری,تحلیل سلسله مراتبی (AHP),جلفای اصفهان}, url = {http://www.bagh-sj.com/article_1701.html}, eprint = {http://www.bagh-sj.com/article_1701_598d80c7c73e2a97fee5c398db3b20c0.pdf} } @article { author = {dadvar, abolghasem and mesbah, bita}, title = {Impact of Two Different Cultures - the Helenistic and Persain - on the Parthian Rhytons}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {45-56}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {Zoomorphic vessels with two holes for pouring water are recognized as rhytons.  These drinking vessels are commonly used in the Persian art.  Different animals are used in making the rhytons. Diversely hybrid or real animals can be seen in the rhytons. During the Parthian era, different styles were used in making rhytons.  This was because of vast territory of Parthians.  Studying the style of rhytons perfectly shows the effects of different tribes like the nomads of Central Asia, as well as the art of the Persians and the Greek. In fact, the art of the two nations are the main styles of making rhytons.   To put it better, the Parthian ryhtons can be categorized in three main groups: 1-Persian –Hellenistic style, 2- Local style and 3-Persian style. In all three styles, the forepart of the body of an animal is used in making the rhyton. Horn shaped rhytons are commonly used in Persian-Hellenistic style while the conical forms are mostly seen in the Persian style group. In Persian-Hellenistic style, they have a long shaft and a conical part resembling much to the horns of the animals.  They all ended to the forepart of the body of an animal.  In some examples, a human body is used.  In the Persian style, the conic part is connected to the animal head in a 90-degree angle. These rhytons are the most important artifacts that show the cultural impact of Persia and Greek in Central Asia. The decorations on the body of Persian style rhytons are simple. On the conical parts, horizontal grooves are used. The decorations in Hellenistic style show the pantheon of Greek gods or the body of them around the neck of the rhyton. The impact of the arts of Central Asian tribes is recognized through the usage of stag or floral motifs. Generally, the construction and decoration of the Parthian rhytons include: 1 - Characteristics of Greek culture with religious and symbolic images, like pantheon of Gods. 2- The characteristics of Hellenistic art like nude figurines, flouncings and protomes that are not common in Persian art. 3 - Usage of hybrid creatures common in Greek art like centaurs. 4 - Special attention to Persian hybrid creatures like griffins. 5- Some special forms in Persian art like the style of wings or the repose figures with quiet dignity. 6 - Native art and culture with a vibrant and lively display mode and motion in animal bodies.}, keywords = {Rhyton,Hellenistic,Persian,Local Culture,Central Asia}, title_fa = {مطالعه تأثیر دو فرهنگ هنری هلنی و ایرانی در شکل و تزیینات ریتون‌های اشکانی}, abstract_fa = {ظروفی را که جانورسان بوده و دارای روزنه ورود و خروج مایع باشند تحت عنوان ریتون طبقه‌بندی می‌کنند. ریتون‌ها ظروف آشامیدنی هستند که در هنر ایران بسیار به چشم می‌خورند. موجودات مورد استفاده در ساخت این ریتون‌ها شامل انواع حیوانات واقعی و تخیلی می‌شود. در دوره اشکانی با توجه به گستردگی قلمرو اشکانیان می‌توان شیوه‌ها و سبک‌های متفاوتی را در ساخت این ریتون‌ها تأثیرگذار دانست. تنوع سبکی موجود در شکل و تزیینات ریتون‌های اشکانی به خوبی تنوع شیوه‌های هنری در قلمرو اشکانیان را به نمایش می‌گذارد. با دقت در جلوه‌های هنری ساخت ریتون‌ها و تحلیل شکل، ساختار و تزیینات به خوبی می‌توان ردپای هنری اقوام مختلف از جمله ساکنان آسیای مرکزی، هنرمندان ایرانی و هلنی را در این اشیا تشخیص داد. مهم‌ترین شیوه‌های قابل شناسایی، دو سبک هلنی و ایرانی است. بازنمود فرهنگ هلنی از طریق نمایش خدایان المپی و اساطیر مرتبط با آنها، نیم‌تنه‌های برهنه زنان و نیز چهره‌های خدایان تجلی یافته است. تأثیر هنر ایرانی به استفاده از نیم تنه جانوران تخیلی، حیوانات اهلی و نیز جنگ میان حیوانات مربوط می‌شود. پژوهش حاضر به بررسی و تحلیل ریتون های اشکانی پرداخته و تلاش دارد با توجه به این تنوع هنری و سبکی طبقه‌بندی منطقی را برای ریتون های اشکانی پیشنهاد کند.}, keywords_fa = {ریتون,هلنی,ایرانی,فرهنگ بومی,آسیای مرکزی}, url = {http://www.bagh-sj.com/article_1702.html}, eprint = {http://www.bagh-sj.com/article_1702_001c7b747baab8d3010d37f20948ad5d.pdf} } @article { author = {taheri, alireza}, title = {Effects of Sassanid Art on Beatus}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {57-66}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {The Spanish monk Beatus wrote The Commentary on the Apocalypse in the 8th century. This work became famous as Beatus de Liebana.  Afterwards, many different copies and illustrations of the Beatus of Liebana were published. These copies are all known as Beatus.   Beatus are amongst the masterpieces which are well-known for their perfect beauty, color qualities and the artistic way they illustrated the metaphysical world.  Some of these copies are affected by Sassanid arts.   Research questions are: 1)      Which of Sassanid motifs have affected Beatus artworks? 2)      How have these Sassanid works been moved to Spain art workshops?   Hypothesis: There are four images typical to Sassanid artworks which exist in Beatus. They are: 1) Sassanid Simurgh 2) The eagle hunting the gazelle 3) Sassanid royal ribbon 4) The mounted shooters going back to work.   Research background: There is no research done about this subject until today. A comparative methodology is applied in this research.   The book Beatus was widely appreciated in Spain in the 10th century. Many calques, with so many miniatures, were drawn copying this work.  It seems that all the illustrated copies have followed a single model and style in a way that it is deemed that only one artist has created such fantastic combinations loyal to the Visigoth (Pentateuque Ashburnham) tradition and style.  The oldest version was accomplished certainly before 930 AD, signed by Magius. To illustrate The Commentary on the Apocalypse, it seems that Magius was inspired by Byzantine and Visigoth miniatures. Beatus of Saint-Gerone is another version of Beatus in 965 AD which innovated a new artistic style informing of Roman art rhythm and style.   Muslim countries of the Mediterranean coast had a major role to play in transferring the Sassanid motifs to the Spanish workshops during the early years after the advent of Islam.  Countries such as Egypt, Syria, Jordan and Morocco, which were Spain’s neighbors and had constant contact with the Muslims, were facilitating access for Spanish artists to the Sassanid artistic works such as silver utensils, seals and exquisite fabrics, etc.   A great number of silk cloths with Sassanid style designs entered West through trading sacred objects during the crusades of the 11th and 12th centuries.  Such designs were particularly seen in precious clothes which were used to wrap the bones of the saints. The Persian cloths were very renowned during the Sassanid era and were widely traded by merchants between Mediterranean countries.  Today, several European cathedrals still keep the precious Sassanid cloths in their treasures.  They were mostly applied for wrapping the saints’ sacred objects and were also used as model patterns for Byzantine artists.   The metallurgy of the early Byzantine era has also tracks of close relation with Iranian art and the metallurgy of Balkans has much more eastern features.  For instance, the famous treasure of Nagi of Saint Mikelos which was discovered in eastern Hungary contains Sassanid features. Supposedly, there were close relationships between Bulgarians and the Sassanids and it is improbable that some part of patterns and details of the Sassanid designs and patterns were brought to Eastern Rome by Bulgarians.   The brocades of Sassanid era are very famous and are imitated by other countries. The design and patterns of Persian cloths had a great impact on the Roman cloths for centuries.  The Mozac cloth which the fifth Constantine, Byzantine Emperor, has bestowed upon Mozac bishop has Persian patterns.  By studying the artworks and considering the principle of symmetry, it is revealed that the art of the European middle ages emperor was highly influenced by the Sassanid art for a long time.   Few civilizations can have such impact on the most distant parts of the world. The footprints of the Sassanid art and style effectively spread over the east and west of the ancient world, from the old Chinese earthenware of the T’ang dynasty to the friezes of transoms of the Quintanilla Visigoth abbey in Las Vinas of Spain, which illustrate the imaginary and supernatural animals inspired from the Sassanid art. In the first years of the Muslims’ invasion of Spain, the Arabs resided in the buildings of Visigoths, not only for official affairs, but also for applying them as sacred places for prayer and worship.   Western artists have certainly had direct or indirect access to Sassanid artworks. The effective role of Hispano-Muslims in transferring the Islamic culture and art from Islam countries such as Iran to Andalusia and southern Europe is obvious.   In addition to the designs, which are visually and conceptually rich and of prime quality, the materials and containers presenting the images and designs were very expensive and rare. They were made by gold, silver, silk, etc. The preciousness of the materials caused their illustrated images seem more voluble.  Therefore, the images found more applications due to their values.  This was particularly evident when they were appeared over the exquisite fabrics such as shroud or coffin as well as religious manuscripts such as Beatus de Liebana.}, keywords = {Beatus Liebana,Sassanid art,Simurgh,Spanish art,Apocalypse}, title_fa = {تأثیر نقوش ساسانی بر روی تصویرسازی نسخ بئاتوس}, abstract_fa = {در قرن هشتم میلادی، در اسپانیا راهبی به نام بئاتوس اثری با عنوان «شرحی بر آپوکالیپس» نوشت که معروف به «بئاتوس لیابانا» شد. طی سال‌ها شمار زیادی از این اثر نسخه‌برداری و تصویرسازی و به بئاتوس‌ها مشهور شدند. نسخ بئاتوس از غنای تصویری خارق‌العاده‌ای برخوردار بوده و به لحاظ کیفیت رنگ‌پردازی و نمایش جهان غیر مادی و ماورایی از شاهکارهای هنری محسوب می‌شوند. در بین تصاویر ارایه شده در این نسخ، تعدادی از نقوش متأثر از هنر ساسانی هستند. سؤالات : کدام نقوش ساسانی بر روی تصویرسازی نسخ بئاتوس تأثیر گذاشته‌اند؟ این نقوش از چه طریقی توانسته‌اند به کارگاه‌های هنری اسپانیا راه یابند؟ فرضیه : چهار نقش ساسانی را می‌توان در نسخ بئاتوس مشخص کرد : سیمرغ ساسانی، عقاب در حال شکار غزال، روبان سلطنتی ساسانی، سوارکار تیرانداز برگشته به عقب. در انتقال یا مهاجرت نقوش ساسانی، در قرون اولیه اسلامی، کشورهای مسلمان کرانه دریای مدیترانه بسیار مؤثر بودند؛ کشورهایی همچون مصر، سوریه، اردن و مراکش. مسلمانان در مرزهای روم و در ارتباط مداوم با اسپانیا بودند و این خود به تسهیل دسترسی هنرمندان اسپانیایی به آثار هنری ساسانی، ظروف سیمین، مهرها و پارچه‌های نفیس و یا آثار تقلید شده، کمک می‌کرد.  مسلماً هنرمندان غربی در کارگاه‌های خود به طور مستقیم یا غیر مستقیم به این آثار دسترسی داشته یا آنها را دیده بودند. نقش مهم «هیسپانوـ  مسلمانان» در انتقال فرهنگ و هنر سرزمین‌های اسلامی و کشورهای مسلمان شده مانند پارس، به اندلس و جنوب اروپا بسیار بارز است. پیشینه تحقیق : در رابطه با این موضوع تاکنون پژوهشی صورت نگرفته است. روش تحقیق بر اساس روش کتابخانه‌ای و مقایسه تطبیقی آثار است.}, keywords_fa = {بئاتوس,هنر ساسانی,هنر اسپانیا,آپوکالیپس,سیمرغ}, url = {http://www.bagh-sj.com/article_1703.html}, eprint = {http://www.bagh-sj.com/article_1703_619d4c4a042db9ff363c55b451056ae8.pdf} } @article { author = {heydari babakamal, yadolah and paziresh, reza and sorur, parmis and habibi, hosein}, title = {A Research on Khosrow II’s¬¬ Hunting Relief in Taq-e Bustan and Its Influence on Tang-e Vashi Relief of Fathali Shah Qajar}, journal = {The Monthly Scientific Journal of Bagh-e Nazar}, volume = {9}, number = {21}, pages = {67-80}, year = {2012}, publisher = {Nazar Research Center for Art, Architecture and Urbanism (NRC)}, issn = {1735-9635}, eissn = {2251-7197}, doi = {}, abstract = {The motif of hunting has always existed in the Iranian art from the primary wall paintings of Paleolithic caves to the modern artifacts and has raised different concepts over time and as the result of contributions by different cultures. As agriculture and animal domestication progressed, a decrease occurred in the primacy of hunting.   Nevertheless, its religious aspects remained in the process of dedicating the hunted meat as an offering to the temples.  Meanwhile, it is interesting to know that kings and princes throughout the Persian history have hunted with diverse intentions.   In various historical eras, especially during the Sassanid period, this evolutionary process took different concept as hunting became the most common subject of the Sassanid reliefs and the Sassanid kings established special places named as “Shekar Gah” which means hunting place or hunting garden. Khosrow Parviz besides making a hunting place in Taq-e Bustan established two other hunting places near Ghasr-e Shirin.  These places are so similar to the hunting place of Taq-e Bustan from the standpoint of climatic conditions and structural features.    This article aims to investigate the concept of hunting in the Sassanid Period, specially the hunting places of the Khosrow II.  Therefore, the hunting place of the Khosrow II at Taq-e Bustan and the wild boar and deer hunting motives in both sides of the Taq-e Bozorg or the great vault of Taq-e Bustan and their influence on the formation of hunting place of Fathali Shah in the Tang-e Vashi as well as his Relief over there has been investigated.    The study of reliefs of the Taq-e Bustan has revealed their derived inspiration from the wall paintings of the late Parthian and Sassanid periods, as wall paintings with hunting motives of the Sassanid period is affected by the Parthian wall paintings. Taq-e Bustan hunting reliefs have influenced the Islamic hunting motives as are mainly observable in the Qajar Period’s reliefs.  This influence is obviously visible in Fathali Shah-e Qatar’s hunting reliefs in Tang-e Vashi.  The reason of this influence can be found in the social and political conditions of that period.  Both areas (Taq- e Bustan and Tang-e Vashi), are similar in the favorable climate and environmental conditions for making hunting place and hunt relief, but they are different in combined and shaping features.    Moreover, the main difference remains in the purpose of making the reliefs.  As in Taq-e Bustan with existence of Anahita  goddess and sanctity of hunting in the Sassanid period, more religious intentions along with representing of king’s power are participated in its establishment, but it seems the main purpose of Tang-e Vashi  relief in such arduous and out of sight area cannot be connected with the aspect of indicating the king’s power or to represent religious concepts. Rather, it was more intended to show the persistence of Qajar dynasty and Fathalishah’s descendants.  Here the king uses the reliefs to portray the persistence of Qajar dynasty and the transfer of power to his own sons.  His second purpose could be establishing a resemblance between ancient Iranian kings and his efforts to expand his kingdom and provide services to the public.   Overall, the hunting places and the hunting relief in Taq-e Bustan comprise a banquet-religious complex, but in Tang-e Vashi more attention has been paid to banquet complex alongside representing of persistence of king’s dynasty.   The method that has been used in the current research is based on the study of written resources, archeological field research and analysis of the achieved data.  Various resources and written documents have referred to hunting and hunting place in the period of Sassanid dynasty, but so far no one has paid enough attention to the content of hunting as the important aspect of the Sassanid culture.}, keywords = {Hunting place,Hunt,Taq-e Bustan,Tang-e Vashi,relief}, title_fa = {تأملی بر نقش برجستۀ شکارگاه خسرو دوم (؟) در تاق بستان و الگوپذیری از آن در نقش برجستۀ تنگ‌واشی فتحعلی‌شاهِ قاجار}, abstract_fa = {نقش‌مایۀ شکار از نخستین نقاشی‌های دیواری دوران پارینه‌سنگی درون غارها تا تکامل‌یافته ترین دست ساخته‌های امروزی در هنر ایران وجود داشته و در مسیر تاریخ هنر و طی فرایندِ شکل‌گیری فرهنگ‌های مختلف، مفاهیم گوناگونی را در درون خود پرورده است. این روند تکاملی در دوران تاریخی و خصوصاً دورۀ ساسانی مفهومی فراتر از شکار صرف به خود می‌گیرد، به طوری‌که یکی از رایج‌ترین موضوعات هنر و فرهنگ دورۀ ساسانی صحنه شکار است و در این زمینه شاهان ساسانی اقدام به تأسیس مکان‌هایی خاص با عنوان شکارگاه و یا باغ‌شکار کرده‌اند. این پژوهش در نظر دارد به بررسی مفهوم شکار در دورۀ ساسانی، به ویژه اهمیت محوطه‌های شکارگاهی دورۀ خسرو دوم بپردازد؛ بدین منظور شکارگاه خسرو دوم در تاق بستان و نقوش حک‌شدۀ شکار گراز و گوزن در دو طرف تاق بزرگ‌تاق‌بستان مطالعه شده و تأثیر آنها بر شکل‌گیری شکارگاه فتحعلی‌شاه در تنگ‌واشی، و همچنین نقش برجستۀ او در این مکان، بررسی‌شده است. مطالعۀ نقوش شکارگاه تاق بستان، تأثیرپذیری آنها را از نقاشی‌های دیواری مربوط به شکارِ اواخر دورۀ اشکانی و دورۀ ساسانی مشخص کرده است، به طوری‌که خود نقاشی‌های دیواری مربوط به شکار دورۀ ساسانی خود متأثر از نقاشی‌های دیواری دورۀ اشکانی‌اند. نقوش شکارگاهی تاق بستان بر نقوش شکار در دوران اسلامی تأثیر گذاشته است که نمود این تأثیرات را در مینیاتورهای دورۀ اسلامی می‌توان دید. چنانچه اوج آن در دورۀ قاجار و به گونه‌ای دیگر تجلی پیدا می‌کند؛ بارزترین نمود این تأثیرپذیری در دورۀ قاجار، نقش برجستۀ شکار شاهی فتحعلی‌شاه در تنگ‌واشی است. مطالعات صورت گرفته در این پژوهش نشان می‌دهد، با وجود اینکه دو نقش برجستۀ مذکور از نظر مضامین به هم شباهت دارند، اما هدف از ایجاد آنها متفاوت بوده است.}, keywords_fa = {شکارگاه,شکار,تاق بستان,تنگ‌واشی,نقش برجسته}, url = {http://www.bagh-sj.com/article_1704.html}, eprint = {http://www.bagh-sj.com/article_1704_66c14fa03f8aee9025c12247203f8da5.pdf} }