درخت حوزه‌های تخصصی

Islam spread rapidly after its founding, encompassing much of North Africa, the Middle East, and Southeast Asia. The art of this vast region draws its distinctive character both from Islam itself and from the diverse cultural traditions of the world’s Muslims. Because Islam discouraged the use of figurative images, particularly in religious contexts- unlike Christian art- Islamic artists developed a rich vocabulary of aniconic, or nonfigural, ornament that is a hallmark of Islamic work. This vocabulary includes complex geometric patterns and the scrolling vines known outside the Islamic world as arabesques. Figural representation, to the extent it was permitted which varied from time to time and place to place, first developed most prominently in regions with strong pre-Islamic figural traditions, such as those that had been under the control of the Roman and Byzantine empires. Stylized forms for representing aنیماls and plants developed in the regions that had been under the control of the Sassanian dynasty of Persia (modern Iran), the heirs of the artistic traditions of the ancient Near East, who ruled from 226 to 641. Because the Arabian birthplace of Islam had little art, these Persian and Roman Byzantine influences shaped Islamic art in its formative centuries. The elements of early early Islamic architecture were formed to respond effectively to people’s physical, environmental, social, physiological and religious requirements at their time. The research demonstrates that architects used to copy-paste various elements of the Islamic historical buildings in their design work without understanding the meanings and values that it holds. Such approach would only transfer the element’s form though strips it from its historical context and values. The paper argues that architect should comprehend not only the hidden values of the historical elements only but also how values interacted and are integrated into these elements. By doing so, the architect would be able to correctly perceive and read these elements thus incorporate it successfully in his/ her design. This article gives perspective of early Islamic architecture and structural configurations of the related era.

Mosque as the house of God has always been significant to rulers, people and Muslim artists. It is one of the most ancient architectural subjects. Varامین 1 Jami mosque from Ilkhanid 2 era is one of the masterpieces of Iranian-Islamic architecture. It was one of the first projects which started the glorious era of renovation after the dark times of the Mongols3  invasion. Perfect stucco ornaments in mihrab 4 , inlaid mosaic in the iwans 5 and beautifully done inscriptions with Kufic 6 and Thuluth7 calligraphy in different parts of it, not only have created an admirable visual beauty but also have contributed to the spatial quality of the mosque. They deeply affect worshipers and make them concentrate and think of God only and ignore earthly matters. This research tries to investigate the quantitative and qualitative aspects of these ornamentations and tries to find out how these ornaments affect the qualitative beauty of the space inside the mosque. The research methodology is qualitative and correlational with field study. Well decided choices on the ornaments of different parts of the mosque, the effects of Shia8, noticing some of the rules of beauty such as symmetry, repetition, massing and other areas are some of the results of this research.