Typology of traditional mosques of Khorasan (North-Razavi-South) based on open and semi-open space
سیده مهسا
موسوی
کارشناس ارشد معماری اسلامی دانشگاه بین المللی امام رضا - مشهد - ایران
author
مهدی
حمزه نژاد
استادیار گروه معماری- دانشگاه علم و صنعت
author
text
article
2019
per
The Holy Prophet's Mosque, which is a simple combination of open and semi-open spaces, is a basic pattern of mosque architecture Which prevailed in the Khorasan mosques. Khorasan mosques were the architectural pattern of mosques in Iran in the two periods of Khorasani and Azeri styles.. In each of these two periods, the open and semi-open spaces play a major role in the mosque patterns. Since the native realization of this pattern in the Khorasan region is significant, the accurate and creative modeling of these samples is important for any type of identity continuity. In this paper, architectural patterns of mosques are studied under the influence of local event, climatic, cultural and religious events. It is also necessary to examine the process of these changes. In order to achieve a suitable pattern for the design of contemporary mosques, the exact recognition of these traditional and indigenous patterns is essential.Therefore, all mosques registered in the cultural heritage in the Great Khorasan region, regardless of the northern, southern and Razavi boundaries, have been selected as samples. The purpose of the present study which has been done based on a historical interpretation method, is to identify the mosques of this region based on spatial components such as open and semi open spaces, and its physical-spatial form related to it. The mosques are divided into two types on the basis of open space, mosques with courtyard and without courtyard. The courtyard mosques are also divided into three categories: the mosque with a stretch of the courtyard in line with the qibla, the mosque with a stretch of the courtyard perpendicular to the direction of the qibla, and a square-shaped courtyard. The courtyard mosques are also divided into sub- categories. They are presented from the simplest and the most basic pattern to the most complex, respectivelybased on the type of composition of their body parts and their relationship to the types with a simpler precedent.
Journal of Great Khorasan
Imam Reza International University
2251-6131
10
v.
36
no.
2019
18
1
https://jgk.imamreza.ac.ir/article_137947_6ed0f1f737f17aeb19deb6fbd0e5682f.pdf
The Analyzing of The Spatial System of Mashhad Homes since 1925 to present (the last century) with the approach of space syntax
میکائیل
هندو
دانشجوی دکترای معماری- دانشگاه آزاد اسلامی- واحد ساری
author
هادی
ایوانی
استادیار دانشگاه پیام نور
author
عبدالمجید
نورتقانی
استادیار گروه معماری- دانشکده فنی و مهندسی- دانشگاه گلستان
author
text
article
2019
per
Home as the first human shelter reflects the Inhabitants social and cultural relations. Since home space configuration affects individual and social relations of the inhabitants, it seems that by analyzing the home space system of Mashhad,, the inhabitants’ social relations with others can be perceived. This research analyzes home space system changes from 1925 to present in Mashhad city by space syntax technique. The research method of this study is a combination of descriptive, analytical methods and logical reasoning. Also the data is collected from library research, field studies and space syntax software (UCL Depthmap). Results of this study show that, since 1925 to present, the homes patterns have been changed from introverted to extroverted homes, and homes Spatial organization have been changed from central yards at introverted homes to corridors, distribution spaces and halls, respectively at extroverted homes. The Spatial organization of extroverted homes have been shifted first to axial then radial and finally central. Also private space plays an important role in present homes which were neglected in the past. It seems that the definition of Private zone in homes has been revised and separation between guest space and host space has been reduced in recent years
Journal of Great Khorasan
Imam Reza International University
2251-6131
10
v.
36
no.
2019
42
19
https://jgk.imamreza.ac.ir/article_137948_8f2b325f40728947178bc2a4a680817e.pdf
Investigation Readout of Brick Role in Contemporary Architecture of Mashhad
سعید
دلبری
دانشجوی کارشناسی ارشد معماری- دانشگاه خیام مشهد
author
مهلا
مسعودی
دانشجوی کارشناسی ارشد معماری- دانشگاه خیام مشهد
author
مریم
خزائی
استادیار دانشکده هنر و معماری موسسه آموزش عالی اقبال لاهوری مشهد
author
text
article
2019
per
The presence of bricks affirms many of the principles and philosophical thinking of Iranian-Islamic architecture including unity and plurality, unity and combination, and simplicity. In the post-Islamic architecture, the use of decorative arts became more limited, and the brick is one of the materials that appeared in a variety of decorative arts due to its potential in formation. But this application of bricks has been forgotten in the last century and lost its past glory. This article investigates the art of brick making and examines the role of this valuable element in three historical periods and textures (traditional, middle and contemporary) in the metropolitan city of Mashhad by a descriptive and analytical method. The data collection method is based on documentary-library and interviews. 12 works from Mashhad's well-known architects have been analyzed according to the obtained theoretical framework. One of the achievements of this research is identifying and interviewing selected architects of Mashhad. In general, the interviews show that each architect has a worldview and a particular approach toward brick and these approaches were classified in a specific category. According to the obtained results of the study, whatever has left of the valuable legacy in different periods and what is remembered as brick nowadays, is almost its technical, economic and memorable aspects.
Journal of Great Khorasan
Imam Reza International University
2251-6131
10
v.
36
no.
2019
70
43
https://jgk.imamreza.ac.ir/article_137949_50d1f8f535a90940cdec5b5c9b447e64.pdf
Khorasani style in poetry and architecture
غلامرضا
معروف
دانشجوی دکترای پژوهش هنر، دانشکده پژوهش های عالی هنر و کارافرینی ، دانشگاه هنر اصفهان
author
نادر
شایگان فر
دانشیار گروه پژوهش هنر، دانشکده ی پژوهش های عالی هنر و کار آفرینی، دانشگاه هنر اصفهان
author
text
article
2019
per
The literary and architectural style that emerged in the early centuries of Islamic civilization in the Great Khorasan is called the Khorasani style. The present study recognizes the Khorasani style in these two artistic areas and tries to seek answers in a descriptive and interpretive way for the commonalities and differences that are sought in poetry and architecture in this definite period of time and place. We also try to understand that in which of the two areas the Khorasani terminology has a more comprehensive meaning. Accordingly, the applicable characteristics, similarities, commonalities, contraries and contradictions of these two areas are enumerated, and after reviewing the concept of style and explaining the structural style of constructivism, Khorasan's position as the origin of national movements - (Abu Muslim Khorasani, etc.), intellectual (Khorasani mysticism versus Baghdad mysticism), linguistic (Persian Dari as the national language), artistic ( Metallurgy, pottery, architecture, literature) description and stylistic features of Khorasani poetry and architecture are explained and analyzed. Through this comparative study, the following results can be traced: Both of these fields following the Sassanid artistic tradition, in a relatively common geographical and temporal period after a break begin their existence and become the founders of a new movement and model for the future. In Khorasani architecture, materials are ecological, and in Khorasani poetry, words are native. Simplicity, complication distance and avoidance of complexity are common traits of both artistic areas. In architecture, plan is Arabic and construction is Iranian, and in accordance with it, in the Khorasani poetry, the Arabic format carries the Iranian theme. Khorasani architecture is an introverted, populist style, while Khorasani poetry is materialistic and more in the service of aristocratic themes. The result of the analysis is that the similarities of Khorasani style poetry and architecture are at two levels of linguistic-formal and literary-aesthetic beauty, while the two are at the intellectual and cultural level that contradict each other's worldviews. This discrepancy questions the absent meanings of this definition and shows that the specialized term of Khorasani artistic style in architecture does not have as much meaning as its comprehensive poetry, because it has only been applied in the mosque and neglected the luxurious buildings mentioned in historical sources.
Journal of Great Khorasan
Imam Reza International University
2251-6131
10
v.
36
no.
2019
92
71
https://jgk.imamreza.ac.ir/article_137950_dbdd9467bfec34f6a21d1e99d42ffa8b.pdf
Analysis of Spatial and Architectural Structure of Ghale Rostam Based on Archaeological Excavations
حسن
کریمیان
عضو هیئت علمی گروه باستان شناسی دانشگاه تهران
author
مجتبی
سعادتیان
دانشجوی دکترای باستان شناسی دانشگاه تهران- ایران
author
text
article
2019
per
The analysis of the spatial organization of human habitats requires a complete knowledge of the contexts of their formation and development. As these spaces form in the context of geography and develop in the course of history, awareness of natural geography and historical events is a top priority for archaeologists working on the study of ancient environments. Rostam Castle (Ghale Rostam) is one of the most prominent residential complex in the Houzdar region (south of Sistan plain) which has been studied because of its significant role in the network of ancient settlements of this area. Archaeological excavations in this castle were conducted on the basis of questions about the physical identity, spatial structure, form and function of its spaces. The main aim of this research was to determine the function and history of the castle. To this end, all the architectural elements and discovered remains from authors' excavations have been recorded so that research questions could be answered. For this purpose, in addition to mapping existing architectural works, all spaces found from excavations were also mapped. Moreover, all discovered cultural artefacts were studied and dated. The results of field studies indicate that this castle was used specifically from the Safavid (1501-1722AD) to the Qajar period (1789-1925AD). In addition, the operation of defense systems, communications networks, water supply systems and other fortress areas (governmental, residential, commercial etc.) were identified. In summary, it can be said that Rostam Castle is a valuable historical settlement that has been designed and built to accommodate the ruler of the Houzdar region and his relatives, as well as to serve the needs of the sovereign.
Journal of Great Khorasan
Imam Reza International University
2251-6131
10
v.
36
no.
2019
114
93
https://jgk.imamreza.ac.ir/article_137945_02b0f0ec957363e09c5d3a7a91a58f8d.pdf
Iconology of Capra Motif in the Petroglyphs of Jorbat
صدرالدین
طاهری
رییس دانشکده پژوهشهای عالی هنر و کارآفرینی، گروه پژوهش هنر، دانشگاه هنر اصفهان.
author
آیگین
مردانی
دانشجوی دکتری پژوهش هنر، دانشکده پژوهشهای عالی هنر و کارآفرینی، دانشگاه هنر اصفهان.
author
text
article
2019
per
This article, which is the result of a research in the field of iconology, tries to look at the presence of Capra motif in the petroglyphs of Jorbat, North Khorasan. The Jarbat petroglyphs have a special position due to quantity and quality of motifs and continuity (at least from the Bronze Age to the contemporary era). A considerable amount of motifs in the Jorbat petroglyphs are animal drawings and many of them (more than four hundred) are different images of Capra with prominent, curved horns. Two different biological species can be distinguished in these drawings: Capra aegagrus or Bezoar ibex with tall and curved horns, and Capra aegagrus hircus or Domestic goat with short and straight horns. From the cultural point of view, the place of Capra in Iranian thought can be traced back to ancient texts, where he is a prowess symbol and a body for the valorous god Bahram in battle with demons. But the main reason for repeating this motif is the economic significance of Capras in the life of the residents of this region. Capra was domesticated by the inhabitants of the Iranian plateau around ten thousand years ago. Since then, this animal has been continuously featured in the Iranian art, as chief of flock, and the symbol for abundance of herd and crops. Shepherds of Jorbat probably portrayed Capras on the cliffs over thousands of years, as a blessing rout sign and in the hope of fertilizing their flock.
Journal of Great Khorasan
Imam Reza International University
2251-6131
10
v.
36
no.
2019
127
115
https://jgk.imamreza.ac.ir/article_137946_08bbb6a807fb13a54c48c1661d7fdb04.pdf