Nazar Research CenterJournal of Art and Civilization of the Orient2345-661272520190923A Consideration of the Tomb of Pirouz Known as Abu Lulu in the Past and PresentA Consideration of the Tomb of Pirouz Known as Abu Lulu in the Past and Present589283310.22034/jaco.2019.92833FAFereydoonAvarzamaniA Faculty member of Nazar research center, Tehran, Iran.Journal Article20190905Following the isolation of this monument, regardless of the political narratives and political events, the necessity of introducing and identifying the tombs of Pirouzan “Abu Lulu” has been studied in the present article. Occasionally, monuments and sites, as well as sacred ancient trees, are neglected because of fanaticism, ignorance and in some cases due to political and economic goals. After a while, such monuments are worn out or rebuilt and demolished in their new forms, lacking in energy and credibility, and in some cases, they are destroyed by internal and external pressures. As the pressures and threats of today have resulted in the deterioration of Abu Lulu’s tomb in Kashan; a wall has been built in front of it, and it could potentially face serious damages in the near future. In this article, the construction is considered as a historic monument regardless of the issue of the killer and the victim, the political conditions and religious fanaticism, because the presence or absence of it, has no effect on resolving the difference between the Islamic sects. While the current Iranian government has made great efforts to resolve ethnic and religious disagreements, it is recommended to preserve this valuable cultural artistic heritage of ancient Iranian architecture and stop ruining history and culture by renaming it. <br /> Following the isolation of this monument, regardless of the political narratives and political events, the necessity of introducing and identifying the tombs of Pirouzan “Abu Lulu” has been studied in the present article. Occasionally, monuments and sites, as well as sacred ancient trees, are neglected because of fanaticism, ignorance and in some cases due to political and economic goals. After a while, such monuments are worn out or rebuilt and demolished in their new forms, lacking in energy and credibility, and in some cases, they are destroyed by internal and external pressures. As the pressures and threats of today have resulted in the deterioration of Abu Lulu’s tomb in Kashan; a wall has been built in front of it, and it could potentially face serious damages in the near future. In this article, the construction is considered as a historic monument regardless of the issue of the killer and the victim, the political conditions and religious fanaticism, because the presence or absence of it, has no effect on resolving the difference between the Islamic sects. While the current Iranian government has made great efforts to resolve ethnic and religious disagreements, it is recommended to preserve this valuable cultural artistic heritage of ancient Iranian architecture and stop ruining history and culture by renaming it. <br /> http://www.jaco-sj.com/article_92833_1f1ff21afaebbed0c62d83d022e22679.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-661272520190923Iranian Avant-garde Cinema Before the Islamic Revolution: Farrokh Ghaffari, Ebrahim Golestan and Fereydoon RahnamaIranian Avant-garde Cinema Before the Islamic Revolution: Farrokh Ghaffari, Ebrahim Golestan and Fereydoon Rahnama9149283410.22034/jaco.2019.92834FAMajidSarsangiPh.D. Drama Literature, College of Fine Arts, Tehran, Iran.0000-0001-8746-661XHamedSoleimanzadehPh.D. Art Research at Nazar research center,Tehran, Iran.Journal Article20190905Iranian main-stream cinema in the 1951, 60s and 70s was heavily influenced by the imported culture from either the west or the east. Public interest in second-rate or third-rate Indian and American films caused commercial movies made for the box-office to base their narration style and aesthetics on the idea of pure entertainment, hence emptying it from any hint of Iranian history, civilization or culture. In this environment, filmmakers such as Farrokh Ghaffari, Ebrahim Golestan and Fereydoon Rahnama started making films like Night of the Hunchback, The Brick and the Mirror and Siavash at Persepolis, presented a new, different and unconventional image of the country’s cinematic productions in which nationalism, faith, history and culture were the main concerns. This special view towards cinema caused the works of these masters to become like mirrors held up to the Iranian society, history and culture and this was the basis for an avant-garde cinema in Iran before the Islamic Revolution.Iranian main-stream cinema in the 1951, 60s and 70s was heavily influenced by the imported culture from either the west or the east. Public interest in second-rate or third-rate Indian and American films caused commercial movies made for the box-office to base their narration style and aesthetics on the idea of pure entertainment, hence emptying it from any hint of Iranian history, civilization or culture. In this environment, filmmakers such as Farrokh Ghaffari, Ebrahim Golestan and Fereydoon Rahnama started making films like Night of the Hunchback, The Brick and the Mirror and Siavash at Persepolis, presented a new, different and unconventional image of the country’s cinematic productions in which nationalism, faith, history and culture were the main concerns. This special view towards cinema caused the works of these masters to become like mirrors held up to the Iranian society, history and culture and this was the basis for an avant-garde cinema in Iran before the Islamic Revolution.http://www.jaco-sj.com/article_92834_4e957f8c3887bf9289b45e33aa9fdbb2.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-661272520190923Special Characteristics of Hawraman Architecture, Delving into Cultural and Local AttributesSpecial Characteristics of Hawraman Architecture, Delving into Cultural and Local Attributes15269283510.22034/jaco.2019.92835FAKooroshAminiM.A. in Geography and Rural Planning, Payame Noor Marivan Branch University, Iran.RoonamaNooriM.A. in Fin Arts Creative Writing Editing and Publishing, Sam Houston State University, U.S.AJournal Article20190905Vernacular architecture is one of the most representative of each culture. The current study canonizes the architecture of a part of simple but magnificent Iranian architecture in the Zagros (Hawraman region) slopes. It has special attributes with a hidden identity in the field of rural structure and architecture, erected as a product of human, culture and nature intersection. The current study applies a descriptive-analytical research method based on library research and field studies. The findings of the study show that Hawraman architecture was formed in the light of its culture and in harmony with nature. The villages are located on narrowvalley hillsides with a high slope. The dominant typology of buildings are as double -story buildings standing against the mountain slopes. <br /> The village has centers equal to the number of neighborhoods, structurally. Settlements are built where lands had the least usability for the other means. The lack of dead ends alleys in the physical structure of residential areas results in the minimization of natural and human hazards. The integration of stone, soil, and wood, applicationof Dimak and Marôła for jointing the structure parts and preventing drift, use of thick stone walls to prevent heat exchange, canopy and rain collector around all walls are unique characteristics that have substantial difference with inwardly oriented buildings in central Iran. Understanding the accumulated experiences of such a style provides us a great knowledge ofthe construction of buildings by preserving its original texture and identity, keeping the organic structure of nature. Vernacular architecture is one of the most representative of each culture. The current study canonizes the architecture of a part of simple but magnificent Iranian architecture in the Zagros (Hawraman region) slopes. It has special attributes with a hidden identity in the field of rural structure and architecture, erected as a product of human, culture and nature intersection. The current study applies a descriptive-analytical research method based on library research and field studies. The findings of the study show that Hawraman architecture was formed in the light of its culture and in harmony with nature. The villages are located on narrowvalley hillsides with a high slope. The dominant typology of buildings are as double -story buildings standing against the mountain slopes. <br /> The village has centers equal to the number of neighborhoods, structurally. Settlements are built where lands had the least usability for the other means. The lack of dead ends alleys in the physical structure of residential areas results in the minimization of natural and human hazards. The integration of stone, soil, and wood, applicationof Dimak and Marôła for jointing the structure parts and preventing drift, use of thick stone walls to prevent heat exchange, canopy and rain collector around all walls are unique characteristics that have substantial difference with inwardly oriented buildings in central Iran. Understanding the accumulated experiences of such a style provides us a great knowledge ofthe construction of buildings by preserving its original texture and identity, keeping the organic structure of nature. http://www.jaco-sj.com/article_92835_acd19705e8c94418c79de987173f4317.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-661272520190923Investigating The Impact of Zen Buddhism on Theory and Practice of Japanese Noh TheaterInvestigating The Impact of Zen Buddhism on Theory and Practice of Japanese Noh Theater27349283610.22034/jaco.2019.92836FAMortezaGhaffariPh.D. candidate in Theater, The Department of Dramatic and Musical Arts, University of Tehran, Iran.FarshadFereshteh HekmatAssociate Professor at College of Fine Arts , University of Tehran0009-0005-5178-0742Journal Article20190905Six centuries after its emergence, Japanese Noh theater is still being performed. Mixtures of Japanese ideologies and arts can be found in this complicated and enigmatic play, and the influence of Zenism on the creation and enhancement of Noh theater can be investigated and contemplated upon. Despite the fact that some scholars questioned and challenged the significance of this influence, others argued that Noh theater is completely derived from Zenism in Buddhism. This paper aimed at revealing the profound and unbroken connection between Zenism and Noh theater by investigating some of the theoretical and practical principles of Noh theater, including the aesthetics, kinesthetic, mask features, the directing of actors, etc. Such a link was created largely because of the ingenuity and ideas of Zeami Motokiyo, an actor, playwright and theoretician of Noh theater. He has utilized Zen concepts in Buddhism directly and indirectly to compile the principles of Noh theater, that is why ideas of this Eastern theater master can themselves be regarded as the manifestation of Zenism’s concepts in Noh theater.Six centuries after its emergence, Japanese Noh theater is still being performed. Mixtures of Japanese ideologies and arts can be found in this complicated and enigmatic play, and the influence of Zenism on the creation and enhancement of Noh theater can be investigated and contemplated upon. Despite the fact that some scholars questioned and challenged the significance of this influence, others argued that Noh theater is completely derived from Zenism in Buddhism. This paper aimed at revealing the profound and unbroken connection between Zenism and Noh theater by investigating some of the theoretical and practical principles of Noh theater, including the aesthetics, kinesthetic, mask features, the directing of actors, etc. Such a link was created largely because of the ingenuity and ideas of Zeami Motokiyo, an actor, playwright and theoretician of Noh theater. He has utilized Zen concepts in Buddhism directly and indirectly to compile the principles of Noh theater, that is why ideas of this Eastern theater master can themselves be regarded as the manifestation of Zenism’s concepts in Noh theater.http://www.jaco-sj.com/article_92836_47452281c1ebbb2d13b75799e814029b.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-661272520190923An Investigation of Understanding Realization of the Ritual landscape of Iranian Baths in Islamic Era Through the Texts, Motifs and Structures
Case Study of Ritual Motifs and Manifestations: Ganjali-Khan Bath in KermanAn Investigation of Understanding Realization of the Ritual landscape of Iranian Baths in Islamic Era Through the Texts, Motifs and Structures
Case Study of Ritual Motifs and Manifestations: Ganjali-Khan Bath in Kerman35429283810.22034/jaco.2019.92838FAAhmadSaberi NahreforouzaniM. A. Landscape Architecture, University of Tehran, Iran.Journal Article20190905The bath and bathing process beyond a place, and consequently an activity related to the individual and public health, has traditionally been a communal activity in Iranian society which, gradually and as a result of the entry of human mentality into an architectural communal space over time, has become subject to the objective-subjective rule. And because of the effects of the social connections, religious beliefs, the influence of classified society and cultural traditions into the framework having the hierarchy of access, privacy, communal and service space, it has become a phenomenon beyond a communal activity, personal practice, or related to a particular social group. Moreover, in addition to surrounding all these groups because of the considerable time spent by the people of traditional society in this framework, and rooting this building in urban plazas, neighborhoods, alleys and lanes over a long period of the history of Iranian human life, the bath has taken an unconscious form, coupled with custom and religious beliefs and, in other words, has become a social ritual. <br />This paper has attempted to prove the claim that bathing is more than an individul health practice, and in fact is a ritual social activity in the traditional society of Iran, through the understanding of the “social behavior of the bath” and related events by using two following study procedures. These two study procedures are 1. examining library resources including the study of historical and literary texts, besides 2. field study of the motifs and structures of Iranian baths based on the Study of Ganjali-khan bath in Kerman, as one of the most excellent baths in urban plazas in Iran. <br /> The bath and bathing process beyond a place, and consequently an activity related to the individual and public health, has traditionally been a communal activity in Iranian society which, gradually and as a result of the entry of human mentality into an architectural communal space over time, has become subject to the objective-subjective rule. And because of the effects of the social connections, religious beliefs, the influence of classified society and cultural traditions into the framework having the hierarchy of access, privacy, communal and service space, it has become a phenomenon beyond a communal activity, personal practice, or related to a particular social group. Moreover, in addition to surrounding all these groups because of the considerable time spent by the people of traditional society in this framework, and rooting this building in urban plazas, neighborhoods, alleys and lanes over a long period of the history of Iranian human life, the bath has taken an unconscious form, coupled with custom and religious beliefs and, in other words, has become a social ritual. <br />This paper has attempted to prove the claim that bathing is more than an individul health practice, and in fact is a ritual social activity in the traditional society of Iran, through the understanding of the “social behavior of the bath” and related events by using two following study procedures. These two study procedures are 1. examining library resources including the study of historical and literary texts, besides 2. field study of the motifs and structures of Iranian baths based on the Study of Ganjali-khan bath in Kerman, as one of the most excellent baths in urban plazas in Iran. <br /> http://www.jaco-sj.com/article_92838_7c0e0786e89b8c415a99a69a062cb358.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-661272520190923Amulet and Relic Motifs
Case Study: Lor Bakhtiari Hand- wovenAmulet and Relic Motifs
Case Study: Lor Bakhtiari Hand- woven43549283710.22034/jaco.2019.92837FAAzadehYaghoubzadehPH.D. Candidate in Islamic Arts, Islamic Art University of Tabriz, Iran.MohamadKhazaiePH.D. of Visual Communication, Tarbiat Modares university, Tehran, Iran.Journal Article20190905This article tries to identify symbolic motifs associated with “Amulet and Relic” in Bakhtiari hand-woven.<br />Main questions are; how motifs have been related to “Amulet and Relic” and how they have been woven on these applied works and what have been reasons of these mysterious motifs?<br />It seems that answer to this question must be investigated on Lor Bakhtiari culture and its symbols like its materials and spiritual function which were inspired by customs, traditions, habits, perceptions and insights.<br />The results of the present paper, which has been obtained through content analysis method and its data were collected using library and field studies, indicates that: in supernatural forces of “Amulet and Relic” in motifs with their decorative and practical aspects, are medium for conveying their messages and recorded historical values -which are very important for their weavers –and they are a way to reflect their desires and wishes. During years, for their value and belief, they have entered into folk arts of Bakhtiari as decorative motifs.This article tries to identify symbolic motifs associated with “Amulet and Relic” in Bakhtiari hand-woven.<br />Main questions are; how motifs have been related to “Amulet and Relic” and how they have been woven on these applied works and what have been reasons of these mysterious motifs?<br />It seems that answer to this question must be investigated on Lor Bakhtiari culture and its symbols like its materials and spiritual function which were inspired by customs, traditions, habits, perceptions and insights.<br />The results of the present paper, which has been obtained through content analysis method and its data were collected using library and field studies, indicates that: in supernatural forces of “Amulet and Relic” in motifs with their decorative and practical aspects, are medium for conveying their messages and recorded historical values -which are very important for their weavers –and they are a way to reflect their desires and wishes. During years, for their value and belief, they have entered into folk arts of Bakhtiari as decorative motifs.http://www.jaco-sj.com/article_92837_d11e396548e529826fb14edf0489aa50.pdf