پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 13 |
| تعداد شماره‌ها | 200 |
| تعداد مقالات | 2,008 |
| تعداد مشاهده مقاله | 2,679,857 |
| تعداد دریافت فایل اصل مقاله | 1,937,083 |
بررسی تطبیقی پایداری اصول هندسی در طراحی و ساخت محراب های گچی ابرکوه (موردپژوهی : محراب های مقبره پیرحمزه سبزپوش، مسجد جامع ابرکوه و مسجد جامع هک) | ||
| معماری و شهرسازی پایدار | ||
| دوره 9، شماره 2، آبان 1400، صفحه 146-133 اصل مقاله (2.39 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22061/jsaud.2021.4522.1735 | ||
| نویسندگان | ||
| فریبا شاپوریان* 1؛ محمدحسین حلیمی2؛ راضیه عارفی3 | ||
| 1استادیارگروه ارتباط تصویری، دانشکده مهندسی معماری و شهرسازی، دانشگاه تربیت دبیر شهید رجایی، تهران، ایران. | ||
| 2استاد گرافیک، دانشکده هنرهای زیبا، دانشگاه تهران. | ||
| 3کارشناسی ارشد، رشته ارتباط تصویری، دانشکده مهندسی معماری و شهرسازی دانشگاه تربیت دبیر شهید رجایی تهران، ایران. | ||
| تاریخ دریافت: 01 تیر 1399، تاریخ بازنگری: 22 بهمن 1399، تاریخ پذیرش: 30 آذر 1399 | ||
| چکیده | ||
| چکیده در معماری اسلامی اغلب بهترین و نفیس ترین تزیینات بر روی محراب ها اجرا شده است. بسیاری از محراب های ایرانی به دلیل ظرافت و زیبایی دارای شهرت جهانی هستند؛ بخصوص محراب های گچ بری شده شهرهای مرکزی ایران. دو محراب پیرحمزه سبزپوش ابرکوه (سده ششم هجری قمری) و محراب مسجد جامع ابرکوه (سده هشتم هجری قمری) از نظر کیفیت گچ بری و طراحی نقشمایـه ها و کتیبه ها دارای ارزش و اهمیت زیاد هستند. محراب مسجدجامع روستای هِک ابرکوه (سده ششم و هفتم هجری قمری) که بخشی از گچ بری های آن از بین رفته با دو محراب مذکور قابل قیاس است. در این مقاله مسأله پژوهشگران این بود که آیا مجاورت این سه محراب از نظر مکانی عامل تشابه ساختاری و تزیینی این نمونه ها هست یا ساخت آن ها در قرون مختلف به بروز تغییرات زیربنایی یا روبنایی منجر شده است؟ پژوهش حاضر با هدف بررسی شباهت ها و تفاوت های اصول ساختاری و طراحی نقوش این سه محراب با روش تحقیق توصیفی ـ تحلیلی انجام شد. نتایج پژوهش پایداری اصول هندسی و تداوم شیوه تزیینات این سه محراب را در طول سه سده نشان می دهد؛ اگرچه محراب مسجد جامع ابرکوه به لحاظ شیوه طراحی نقوش به شکلی متفاوت نمایانگر پیشرفت این اصول است. | ||
| کلیدواژه‌ها | ||
| واژگان کلیدی: محراب گچ بری؛ مقبره پیرحمزه سبزپوش ابرکوه؛ مسجد جامع ابرکوه؛ مسجد جامع هک | ||
| عنوان مقاله [English] | ||
| Comparative Study of Three Mihrab of Abarkuh | ||
| نویسندگان [English] | ||
| Fariba Shapourian1؛ M. Halimi2؛ R. Arefi3 | ||
| 1Assistant Prof. of Graphic, Graphics Department, SRTTU., Tehran,Iran. | ||
| 2Prof. of Graphics, Fine Arts Faculty, Tehran Uni., Tehran,Iran. | ||
| 3MA. of Graphic, Graphics Department, SRTTU., Tehran,Iran. | ||
| چکیده [English] | ||
| In Islamic Architecture, the best and most elaborative and decorative designs are on the Mihrabs. Mihrab of Pir Hamzeh Sabzpoosh Abarkooh, a precious example from the sixth century (Hejry Ghamary) reveals significant values in design, traditional plaster modeling, cornice, and epigraph. Due to lack of attention to this precious Mihrab by some pioneer architectural researchers, this Mihrab has not been a subject of research yet. This research project will conduct investigations, questioning the significance of design motif on the Mihrab of Pir Hamzeh Sabzpoosh Abarkooh. This research involves analytic and descriptive methods in searching for information from public and from libraries as well as study of photographic examples and measurement of the design motifs using available software. The conclusion of this research presents involvement of principles of Iranian design motif and application of geometrical and mathematical proportional relationships. Furthermore, presenting the progress in plastering art and techniques.Mihrab, Design Motif, Mihrab of Pir Hamzeh Sabzpoosh Abarkooh Tomb, Traditional plaster modeling, Islamic Architecture | ||
| کلیدواژه‌ها [English] | ||
| Mihrab, Design Motif, Mihrab of Pir Hamzeh Sabzpoosh Abarkooh Tomb, Traditional plaster modeling, Islamic Architecture | ||
| مراجع | ||
|
Afshar, Iraj (1949). “Abarqu”. Danesh Magazine. June, 25, 232–234. Afshar, Iraj (1995). Yadgārhā-ye Yazd [Yazd Monuments]. Vol. 1. Tehran: Anjoman-e Asar va Mafakher-e Farhangi. Ahmadi, Hossein and Atefeh Shekofte (2011). “The Stucco Decoration in Early Periods of Islamic Architecture in Iran (7th to 11th centuries AD)”. Journal of Literature and Religious Art, No. 4 (Religious Art Special), Autumn, 125–150. Al-Said, Issam and Ayse Parman (2013). Geometric Concepts in Islamic Art. Masoud Rajabnia (translator). 5th print. Tehran: Soroush. Amid, Hasan (1983). Amid Dictionary. Tehran: Amirkabir. Amiri Ardakani, Ali and Elham Esmaeili (2008). The Project of Documenting and Restoring the Tomb of Aziz ad-Din Nasafi Abarkuh. The Office of Architectural and Restoration Consultant Engineers Ali Amiri Ardakani and Associates (Unpublished). Fadawi, Seyed Mohamamd and Hamed Zare (2014). “Pir-Hamzeh Sabzeh-Poosh”. Honar-ha-ye-Ziba Honar-ha-ye-Tajassomi, Vol. 2, No. 1, Spring, 25–38. Gharib, Mohammad (1987). Tabyin ul-lughat le-Tebyan al-Ayat. Vol. 1. Tehran: Bonyad. Godard, Andre and Yedda Godard and Maxim Siroux (1992). Athar-e Iran [Monuments of Iran]. Abolhassan Sarvghad Moghadam (translator), Vol. 3, 4. Mashhad: Astan Quds Razavi. Hagh Talab, Tahereh and Farhad Karvan (2012). “Mosque, the Manifestation of Sacral Architecture”. Haft Hesar Journal of Environmental Studies. Vol. 1, No. 1, Autumn, 21–28. Haji Ghasemi, Kambiz (2004). Ganjnameh: Encyclopedia of Iranian Islamic Architecture, Seventh Book: Congregational Mosques. Tehran: Roozaneh. Hatam, Gholam Ali (1997). “Mosque as the Manifestation of Islamic Art”. Journal of Art, 33, Summer-Autumn, 480–489. Hatam, Gholam Ali (2002). “The Art of Stucco”. Honarnameh Quarterly, No. 14, 73–89. Hatam, Gholam Ali (2011). The Islamic Architecture of Iran during the Seljuk Era. Tehran: Iranian Student Book Agency (ISBA). Hazavei, Hadi (1984). “Arabesque, the Forgotten Language”. Art Quarterly, Summer-Autumn, 6, 90–117. Hill, Derek and Oleg Grabar (2007). Islamic Architecture and its Decoration. Mehrdad Vahdati Daneshmand (translator), Tehran: Elmi farhangi Publishing Co. Hillenbrand, Robert (1998). Islamic Architecture. Iraj Etesam (translator). Tehran: Sherkat-e Pardazesh va Barnamehrizi Shahri. Karimi, Amir Hossein and Parviz Holakooei (2008). “Architecture and Ornaments of Pir-Hamzeh Sabzpoosh Building in Abarkuh and Its Attribution to Aziz-ed-Din Nassafi's tomb”. Golestan-e Honar Quarterly, 14, Winter, 18–29. Khazayi, Mohammad (1996). “Kufic Script and Arabesque Patterns”. Art Quarterly, Summer-Autumn, No. 31, 137–142. Khazayi, Mohammad (2006). “Reflection of Iranian Components in the Process of the Formation of Islamic Iranian Culture and Art from the Third to Fifth Century AH”. Journal of The Faculty of Letters and Humanities (University of Isfahan). Spring-Summer, No. 44–45, 17–32. Kiani, Mohammad Yousef (2013). Iranian Architecture of the Islamic Period. Tehran: SAMT. Kiani, Mohammad Yousef (1997). Ta’azināt Vābasteh be Memari Iran Doreh Eslami [Architectural Decorations of Iran in Islamic Period]. 1st print. Tehran: Sāzmān-i Mīrās̲-i Farhangī-i Kishvar. Mashkuti, Nosratollah (1970). Fehrest-e Banā haye Tārikhi va Amāken Bāstani Iran [The List of Historical Buildings and Ancient Places of Iran]. Tehran: Sazeman-e Mell-ye Hefazat-e Asar-e Bastani-ye Iran. Mina Mehrabi, Seddiqeh (2009). Mehrab dar Ghoran va Ravayat va Farhang Eslami [Mehrab in the Quran, Narratives, and Islamic Culture]. Master’s thesis, Azad Islamic University, Tehran North Branch. Modarreszadeh Abaquyi, Seyed Ali (1998). Abaqu va Qedmat-e A’an [Abarqu and its History]. Isfahan: Khadamāt Farhangi va Jahād Daneshgāhi Daneshgāh Isfahan. Moein, Mohammad (1999). Mo'in Encyclopedic Dictionary. Vol. 3. Tehran: Amirkabir. Mofid, Hossein and Mahnaz Raeiszadeh (2012). Tehran: Mola. Moghadam, Mohammad (1964). “Mehrabeh or the Place of Worship of the Religion of Kindness”. Nashriyah-ʼi Anjuman-i Farhang-i Iran-i Bastan. Vol. 1, No. 3, February-March. 46–90. Mohammad Panah, Behanm (2008). Kohan Diar: Collection of Iranian Works in World Museums. Vol. 1. Tehran: Sabzan. Mostafavi, Seyed Mohammad Taghi (2003). Eqlim-e Pars [The Land of Pars]. 3rd print. Tehran: Anjoman Asar va Mafakher Farhangi. Nasr, Seyed Hossein (2000). “Sacred Art in Iranian Culture”. Honar-ha-ye-Tajassomi. No. 10, Autumn-Winter, 58–69. Oghabi, Mohammad Mahdi (1997). Dāyerat al-maʿāref-e Bana haye Tarikhi dar Doreh Eslami (Bana haye Aramgahi) [Encyclopedia of Historical Buildings in the Islamic Period: Mausoleums]. Tehran: Pazhuheshkade Farhang va Honar Eslami Howzeh Honari – Muasseseh Entesharat Sooreh. Pakbaz, Ruyin (1999). The Encyclopedia of Art. 10th Print. Tehran: Farhang-e Moaser. Pirnia, Karim (1983). “The Architecture of Iran’s Mosques: A Path Towards Malakut”. Art Quarterly, 3, 136–151. Pope, Arthur U. and Phyllis Ackerman (2010). Masterpieces of Persian Art. 5th Print. Sirus Parham (supervising editor), Tehran: Elmi Farhangi Publishing Co. Pope, Arthur U. and Phyllis Ackerman (2010). Survey of Persian Art. Vol. 3 (Text), Sirus Parham (supervising editor), Tehran: Elmi Farhangi Publishing Co. Pope, Arthur U. and Phyllis Ackerman (2010). Survey of Persian Art from Prehistoric Times to the Present. Vol. 7, Sirus Parham (supervising editor), Tehran: Elmi Farhangi Publishing Co. Pourabdollah, Habibollah (2010). Hekmat haye Penhan dar Memari Iran [Hidden Wisdom in Iranian Architecture. Tehran: Kalhor Publications. Sahafi Asl, Parisa and Habibollah Ayatollahi (2011). “Check Continuity of Decorative Elements in Ancient Iranian Architecture on the Architecture of Islamic Period in Iran to the End of Safavid Period”. Negareh Journal. No. 19, Autumn, 62–79. Sajjadi, Ali (2002). “Mihrab, the Center of Decorative Arts”. Honarnameh, 17, 95–117. Sajjadi, Ali (1996). Seyr-e Tahavvol Mehrab [History of Mihrab]. Houshang Ansari (Editor), Tehran: Sāzmān-i Mīrās̲-i Farhangī-i Kishvar. Sajjadi, Jafar (1991). Estelahat va Ta’abirat-e Erfani [Mystical Terms and Phrases]. Tehran: Tahoori. Salehi Kakhki, Ahmad and Bahareh Taghavi Nejad (2016). “The Study of Geometric Motifs of Plaster Altar of Ilkhanid Period in Iran”. Journal of Research in Islamic Architecture. Vol. 4, No. 10, Spring, 77–95. Salehi Kakhki, Ahmad and Hesam Aslani (2011). “Presentation of 12 Stucco Works Used in the Architectural Decoration of the Islamic Period in Iran Based on Technical Properties”. Journal of Archeological Studies, Vol. 3, No. 1, Summer-Autumn, 89–106. Seif, Mohammad Hadi (1983). “Mihrab, the Original Manifestation of Islamic Decorative Art”. Art Quarterly, 3, Spring, 152–163. Sharafoddin, Ahmad (1998). Hendeseh Delpazir [Delightful Geometry]. Tehran: Madreseh. Sharifinia, Akbar and Javad Neyestani and Seyed Mehdi Mousavi Kouhpar (2013). “Scientific Interactions during the Early Centuries of Islam; based on Archaeological Studies with emphasis on Geometric Motifs of Decorative Plaster Mouldings in Early Islamic Centuries”. Cultural History Studies, Vol. 4, No. 15, Spring, 63–86. Tabatabai, Saleh (2012). Encyclopedia of Iranian art and architecture based on the Grove Dictionary of Art. Tehran: Mu'assasah- ‘i Ta'līf, Tarjumah va Nashr-i Âsâr-i Hunarî "Matn", Farhangestan-e Honar. Tafazzoli, Abbasali (1998). Qebleh Nama-ye Masjed Mehrab. Journal of Islamic Studies, 35 & 36, Spring-Summer, 129–144. Vali, Taha (1997). “Mehrab”. Masjed Monthly. Seyed Saeid Seyed Hosseini (translator). March-May, Vol. 6, 31, 42–51. Varjavand, Parviz (1977). “A Brief Journey in Abarqu”. Journal of Historical Inquiries. Vol. 12, No. 5, January. 175–221. Zamani, Abbas (1963). A Review of Mihrab Decoration”. Journal of Art and People. February-April, 1963, 1st Issue, No. 5 and 6, 34–41. | ||
|
آمار تعداد مشاهده مقاله: 332 تعداد دریافت فایل اصل مقاله: 298 |
||