The present study attempts to investigate this concept through a phenomenological study of the li... more The present study attempts to investigate this concept through a phenomenological study of the lived experience of the visitors of Naghsh-e-Jahan monuments at summer time of 1393. Apart from a comprehensive review of literature on qualitative research methodology, and the architecture of the period, the theoretical foundations of phenomenology and its application in architecture were thoroughly reviewed. Using the phenomenological observation method of Max-Vanen & a semi-structured interview plan, 58 visitors of the historical monuments of Naghsh-e-Jahan were chosen as participants and were interviewed in depth. Then the recorded data were transcribed and analyzed and the findings indicated that 16 components were significantly effective in forming the esthetic perception of the participants. Therefore, as the result of the investigation, the following conclusions may be stated: The concept of beauty is not an absolute entity. The different concepts of beauty are formed on the basis...
Among the memorials of ancient Iranian art, rock reliefs are of particular importance. Anubanini ... more Among the memorials of ancient Iranian art, rock reliefs are of particular importance. Anubanini relief as the oldest and Bistoon relief as one of the most important example of these works, besides having a similar subject, have other symbolic and visual similarities that has led many scholars to regard Bistoon relief as an imitation of Anubanini relief. Despite the importance and similarities of these memorials, until now, no specific comparative study has been performed in the field of visual characteristics of them. The present study, in a descriptive-analytical-comparative method and using library resources, has sought to answer the questions: What is the most important similarity and visual difference between Bistoon and Anubanini reliefs? And to what extent has Bistoon relief influenced by Anubanini relief? In this research, the visual-artistic features and background of the images and symbols used in these motifs have been studied and analysed. The similarities and differences between them have been compared in order to clarify the relationship between these two memorials as much as possible. The visual and symbolic features of the Anubanini memorial are taken from the art of ancient Mesopotamia (especially Akkadian art) which are placed side by side in a new design. The visual and symbolic features of the Bistoon memorial are also influenced by the art of previous nations (especially Assyrian art) which have been presented in the form of Achaemenid art. The results show that Bistoon relief is not a mere imitation of Anubanini relief, Rather, it is an updated and modified representation that has done in the line of Achaemenid art. The most important similarity of these works is in their scheme (narrated story) and the most important difference in the prevailing visual spirit is in the Bistoon relief plan, which has led to not humiliating the enemies and using violence against them.
Iranian architecture is a full-size mirror reflecting human thoughts in which moral and economica... more Iranian architecture is a full-size mirror reflecting human thoughts in which moral and economical values and various spiritual moods are demonstrated. Favorable weather and propitious geographical conditions of Iran have assisted to formationof the architecture. In the architecture of the Achaemenids’, column has a special position and has always been considered as one of the main constituents in buildings and structures. The oldest column in Iran goes back to the 9th century B.C at Hasanlu from Mede period, while the culmination of the art of column working is related to the Achaemenids’ kingdom. This research with the library method and describing and analyzing method intends to survey about columns in Achaemenid architecture. Goal of this research is study on the elements of Achaemenid columns as display authority and power of kings. The Achaemenids could start developing columns and pile working in the direction of promoting the glory and magnificence of their imperial and as a...
<br />Abstract <br />Plants had a special importance in different ancient religions a... more <br />Abstract <br />Plants had a special importance in different ancient religions and cultures and due to different reasons some of them had sacred and mythological status which was derived from people's religious beliefs. They also had significant impacts on people's practical lives and based on these features they were manifested in art of each era. In ancient Iran, some plants had specific importance and were considered as sacred plants. In Achaemenid era when Iranian art achieved a coherent style, plant symbols were widely represented in this art which were according to Zarathustra's teachings and beliefs. Sassanid who thought themselves as the heir of Achaemenian art, continued to use and keep these plant symbols and myths in their various art works. By applying descriptive-analytical research method and library-based documents, this paper attempts to provide recognition of mythological and Sacred Plants, determination of the origins of these mythological and their importance and roles in Sassanid art. The research results present that the use of motifs of mythological and Sacred Plants served decorative, symbolic and religious purposes. In another word, they were rooted in religious beliefs of that era and they symbolized blessing, mercifulness, fertility, immortality, and even the continuity of monarchy and authority. <br />
The present study attempts to investigate this concept through a phenomenological study of the li... more The present study attempts to investigate this concept through a phenomenological study of the lived experience of the visitors of Naghsh-e-Jahan monuments at summer time of 1393. Apart from a comprehensive review of literature on qualitative research methodology, and the architecture of the period, the theoretical foundations of phenomenology and its application in architecture were thoroughly reviewed. Using the phenomenological observation method of Max-Vanen & a semi-structured interview plan, 58 visitors of the historical monuments of Naghsh-e-Jahan were chosen as participants and were interviewed in depth. Then the recorded data were transcribed and analyzed and the findings indicated that 16 components were significantly effective in forming the esthetic perception of the participants. Therefore, as the result of the investigation, the following conclusions may be stated: The concept of beauty is not an absolute entity. The different concepts of beauty are formed on the basis...
Among the memorials of ancient Iranian art, rock reliefs are of particular importance. Anubanini ... more Among the memorials of ancient Iranian art, rock reliefs are of particular importance. Anubanini relief as the oldest and Bistoon relief as one of the most important example of these works, besides having a similar subject, have other symbolic and visual similarities that has led many scholars to regard Bistoon relief as an imitation of Anubanini relief. Despite the importance and similarities of these memorials, until now, no specific comparative study has been performed in the field of visual characteristics of them. The present study, in a descriptive-analytical-comparative method and using library resources, has sought to answer the questions: What is the most important similarity and visual difference between Bistoon and Anubanini reliefs? And to what extent has Bistoon relief influenced by Anubanini relief? In this research, the visual-artistic features and background of the images and symbols used in these motifs have been studied and analysed. The similarities and differences between them have been compared in order to clarify the relationship between these two memorials as much as possible. The visual and symbolic features of the Anubanini memorial are taken from the art of ancient Mesopotamia (especially Akkadian art) which are placed side by side in a new design. The visual and symbolic features of the Bistoon memorial are also influenced by the art of previous nations (especially Assyrian art) which have been presented in the form of Achaemenid art. The results show that Bistoon relief is not a mere imitation of Anubanini relief, Rather, it is an updated and modified representation that has done in the line of Achaemenid art. The most important similarity of these works is in their scheme (narrated story) and the most important difference in the prevailing visual spirit is in the Bistoon relief plan, which has led to not humiliating the enemies and using violence against them.
Iranian architecture is a full-size mirror reflecting human thoughts in which moral and economica... more Iranian architecture is a full-size mirror reflecting human thoughts in which moral and economical values and various spiritual moods are demonstrated. Favorable weather and propitious geographical conditions of Iran have assisted to formationof the architecture. In the architecture of the Achaemenids’, column has a special position and has always been considered as one of the main constituents in buildings and structures. The oldest column in Iran goes back to the 9th century B.C at Hasanlu from Mede period, while the culmination of the art of column working is related to the Achaemenids’ kingdom. This research with the library method and describing and analyzing method intends to survey about columns in Achaemenid architecture. Goal of this research is study on the elements of Achaemenid columns as display authority and power of kings. The Achaemenids could start developing columns and pile working in the direction of promoting the glory and magnificence of their imperial and as a...
<br />Abstract <br />Plants had a special importance in different ancient religions a... more <br />Abstract <br />Plants had a special importance in different ancient religions and cultures and due to different reasons some of them had sacred and mythological status which was derived from people's religious beliefs. They also had significant impacts on people's practical lives and based on these features they were manifested in art of each era. In ancient Iran, some plants had specific importance and were considered as sacred plants. In Achaemenid era when Iranian art achieved a coherent style, plant symbols were widely represented in this art which were according to Zarathustra's teachings and beliefs. Sassanid who thought themselves as the heir of Achaemenian art, continued to use and keep these plant symbols and myths in their various art works. By applying descriptive-analytical research method and library-based documents, this paper attempts to provide recognition of mythological and Sacred Plants, determination of the origins of these mythological and their importance and roles in Sassanid art. The research results present that the use of motifs of mythological and Sacred Plants served decorative, symbolic and religious purposes. In another word, they were rooted in religious beliefs of that era and they symbolized blessing, mercifulness, fertility, immortality, and even the continuity of monarchy and authority. <br />
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