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Farhang Mozaffar, Ahmad Aminpoor, Ahmad Reza Okhovat, Atefeh Poursalehi,
Volume 5, Issue 4 (Winter 2018 2018)
Volume 5, Issue 4 (Winter 2018 2018)
Abstract
In Islamic standpoints, many issues are expressed about the beauty. When it comes to talk about beauty in Islam and the Holy Quran context, the first step towards creating perception and defining the criteria for beauty is perhaps attaining a logical and specific system of definition from the beauty concept in the so called context. By referring to the written texts in this field by philosophers, theoreticians, and Aestheticians, various definitions of beauty are attained that confuses the reader. Since sometimes the beauty is dignified in a way that it stands next to the God name and elsewhere is defined as the coordination of components in an object or it is considered to depend on the human perception whether is understood sensible or rational. This discrepancy in the levels of beauty definitions is such that finally the reader does not know where to find beauty. As a result, no specific criterion is achieved for the evaluation of beauty.
By studying the verses including the word “Hosn” and its derivatives, it is concluded that beauty and “Hosn” are explained at different levels in Quran verses. So the main issue of this article is the discrepancy in beauty definition levels in the Islamic context and the lack of a specific definition system in this field along with the ambiguity of the relationship between beauty and admiration with art in this standpoint.
The purpose of this article is to attain a specific definition system to organize the definitions of beauty upon which a criterion for beauty evaluation and suitable relationship between beauty and its admiration can be gained.
Methodology: For this purpose, the method of gathering the verses containing “Hosn” and its derivatives was implemented by considering verse-oriented meaning of the word derived by full inductive reasoning. Then the analysis method and classification of the verses based on the derived subjects were used to find the different levels of beauty. Finally, using the accordance of these levels with existing definitions in the field of beauty, the classification of the levels and then deriving the levels of “Tasdiq” or confirmation and beauty admiration were done.
Defining firm levels for the beauty and proving this hypothesis with full inductive reasoning from the Quranic verses and the correspondence of these levels with the definitions of beauty is presented for the first time as a novelty. These levels are defined by gathering all the verses containing the word “Hosn” and its derivatives in the Holy Quran in a way that one can claim that no verse about “Hosn” exists unless it can be classified in these levels, and furthermore, all the levels also include some verses.
Results: By contemplation on the verses of the Holy Quran, it seems that five levels of “Hosn” exist. Based on these levels the concept of beauty also has levels. These levels enable us to classify the presented definitions of beauty by the experts in these five levels. In other words, wherever beauty is mentioned, the desired level could be specified and evaluated. Looking at “Hosn” at different levels, creates more accurate and more detailed insight which makes possible any theoretical and applied addressing of “Hosn” more functional and scientific. About the definition of “Hosn” and beauty in the Holy Quran according to the expressed levels, perhaps it can be mentioned that:
1st level: Existential emanation of “Hosn” at “Asma-ol-Hosna”.
2nd level: Emanation of “Hosn” and beauty in creatures and creations.
3rd level: Comprehension, recognition, and perception of “Hosn” and beauty with human Fitrah or premordial human nature.
4th level: Freewill human expressions from “Hosn” and beauty in behavior, actions, and speech.
5th level: The effects of “Hosn” and beauty in the destiny and the consequences of the human deeds.
Also some levels of “Tasdiq” or confirmation and beauty admiration could be expressed based on the beauty levels:
“Tasdiq” or confirmation of the existentiality of “Hosn” and Admiration of the entity.
“Tasdiq” or confirmation of the manifested “Hosn” in the existent and the well admiration of “Hosn” manifestation.
“Tasdiq” or confirmation of the wellness of “Hosn” and admiration of “Hosn” perception.
“Tasdiq” or confirmation of the wellness of good deeds and admiration of “Hosn” expression in the humankind.
“Tasdiq” or confirmation of the wellness of the good destiny and Admiration of the effectiveness and fruitfulness of “Hosn”
The levels of “Hosn” and admiration of the beauty in the art can have practical aspects; such that the artist can reflect the desired level of beauty in his artwork according to the audience needs. Also the critics of artworks can have more accurate evaluation by implementing the levels of “Hosn” as one of the fundamentals of evaluation. Besides, the cultural directors of a society by acquiring the knowledge of “Hosn” and beauty levels along with considering the needs and the growth of specific audiences can take more accurate actions towards choosing artworks for displaying to the audience based on the guidance and nurturing capability of art with Quranic fundamentals.
Mozaffar Abbaszade, Asghar Mohammadmoradi, Vahid Esmailzade, Elnaz Soltanahmadi,
Volume 10, Issue 1 (3-2022)
Volume 10, Issue 1 (3-2022)
Abstract
Beauty is related to experiencing beauty events, which has different beauty experiences among people due to different circumstances, however, understanding beauty is incredibly difficult. On one hand, the public agree that beauty is considered a value as far as its particular manifestations are pleasing, on the other hand, as it is worth studying, it is considered an educational issue. Moreover, as it is a living object of social development, it is also regarded as a cultural topic. An artistic work, whether a result of one's work or a product of the artistic innovation of a group, appears due to inspirations or advices of a society and necessarily resembles the color of society. Undoubtedly, features of artist's life and even his/her physical features are reflected in his/her artwork, but reflection is not direct, and indeed it can be recognized and measured after passing through filtering of society. The beauty of urban environment as a living space, experienced by a wide range of people every day, is one of transcendental needs of human and functions as a stimulus for his flourishing. Therefore, in forming and designing the environment, category of art and its relation to aesthetics is of high significance and becomes a valuable and purposeful phenomenon in the society. Although aesthetic values differ between various cultures and communities, if these values are in conflict with cultural issues of society, they will create rational, accepted, and emotional norms of society. In addition, considering undeniable relation of any designing and shaping human life environment, like designing environment with art and also the relation of this reformulations with spiritual concepts of beauty, the concept of "aesthetics" which is in fact basis of philosophical and theoretical designs, becomes of great importance. On the other hand, urban buildings and spaces as an identifier of Iranian cities, have been shaped under the influence of Iranian-Islamic artistic and thought patterns over many years and have provided opportunity for public cooperation and interactions and in present era, with evolution of architecture and urbanism, process of designing and creating urban spaces has declined and a defective role of national identity and Iranian-Islamic culture is manifested, which indeed, ignoring these issues in designing has led to lack of originality and validity of the design. Therefore, this study attempts to consider the mentioned importance and answer vital questions of " what is the theoretical position of fundamental aesthetic values in two views of the West and Iranian-Islamic world?! What is practical application of an overview of the fundamental aesthetic values in Islamic-Iranian architecture and urbanism?", Thus, the current paper investigates theoretical concept of fundamental aesthetics values, to identify Iranian-Islamic fundamental aesthetics values and explain functional status of fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism as well. As this paper attempts to deepen fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism, it is considered basic research. Since urbanization is an interdisciplinary field, subject of aesthetics can be examined in the humanities and school sciences (theoretical and practical wisdom) and in science (physical dimensions).
This research is developmental and functional in terms of purpose and approach (characteristics and nature of data) and qualitative nature and methods; it is a description of type of content analysis and in the section of theoretical framework is interrogative. The information is collected by generalizing to field of Iranian-Islamic architecture and urban planning with method of deductive reasoning seeks to explain basic values of aesthetics and provide a new classification appropriate to principles of creating Iranian-Islamic architecture and urban planning. The collection of data and qualitative information in this research is also using written scientific documentary sources and libraries in order to explain conceptual model of research.
In a general conclusion, it can be said that today in Iran, beauty is either imitated by Western models or there are many shortcomings in applying the principles of Iranian-Islamic aesthetics.
This is due to the lack of a true understanding of fundamental values of Islamic Iranian aesthetics.
Therefore, a suitable framework should be created for architects and urban planners, who can extract desired criteria by considering basic values of aesthetics. For this purpose, studies have been done in previous studies and theoretical basis to assess direct relationship of aesthetics factors. These factors show relationship between fundamental values of Iranian-Islamic aesthetics and types, criteria and sub-criteria of aesthetics. Therefore, findings of research on fundamental values of aesthetics in Islam include four main categories:
1. Reasonable aesthetics 2. Sensible 3. Reasonable based on sensible, and 4. Sensible based on reasonable. Furthermore, in order to evolve the fundamental values of aesthetics, types of aesthetics are needed, these include: 1. Logical values, 2. Meaning and codification values, 3. Aspirations and logical ideas respectively and 4. Emotional and moral contexts values. These values which are directly related to fundamental values of Iranian-Islamic aesthetics and Iranian-Islamic aesthetic criteria, are related to practical application of an overview of fundamental values of aesthetics in Iranian-Islamic architecture and urban planning. Since aesthetic criteria are basis for assessment, to identify and select t fundamental values of aesthetics, these criteria include; Harmony (purposefulness, proportionality, balance, order, symmetry, correspondence), meaningfulness and perception (spiritual influence, equation, contrast, free will, disinterestedness), absolute self-existence of God (hierarchy, unity, ideal of embodiment, concentration, harmony, peace, vicinity, sophistication), emotional pleasure (relationships between shapes and forms and colors, pure manifestation of emotions and feelings) and stability and identity (piety, inclusion, freedom, connection with past and future, emergence of nature) and are directly related to types of aesthetic values. Thus, architecture and urban projects can offer new patterns in terms of Iranian-Islamic culture and employ creativity of designers. This was done by creating a logical relationship between aesthetic values and application of values in theoretical field of architecture and urban project.
Reyhaneh Sadat Tabatabaei Yeganeh, Farhang Mozaffar, Minoo Shafaei, Bahram Saleh Sedghpoor,
Volume 10, Issue 2 (3-2022)
Volume 10, Issue 2 (3-2022)
Abstract
Gender has a key role in Islamic thought and considers it as an aspect should be trained. Now a days in light of psychological and social studies, there are more information about gender differences. These differences influence education and training via “gender identity” and “sex-typing”. So it’s essential to consider gender differences in out door open spaces design. The goal of this study concentrated on the effect of gender differences in Islamic thought on outdoor open space design. Reviewing mental differences and growing and structural aspects between boys and girls, we have built a frame for open interview which concluded to Delphi process. The study is a qualitative and operational and conducted a Delphi process between 7 psychologists and 15 architecture experts. The result is an applicable list of architectural considerations for outdoor planning. Using hot and bright colors, suitable areas for congregation, simple geometry, curved corners and miniature elements can be suggested for girls. Mild colors, encounter space, sophisticated geometry, expert and job acquaintance dedicated space, different levels, ballgame space are suitable for girls.
Alireza Malekkavkani, Farhang Mozaffar, Mohsen Vafamehr,
Volume 11, Issue 3 (9-2023)
Volume 11, Issue 3 (9-2023)
Abstract
Mosque is the most significant body in Muslim architecture, and geometry and ornamentals are through the most important elements of the mosque architecture. In addition to the geometric role and beauty of mosque configuration, considering the mundain and spiritual aspects of mosques, it also conveys the meanings of Allah's beauty and gelorious names and attributes in the form of a physical configuration. This type of attitude towards geometry and ornamental decorations is recognized as semantic and virtue-oriented architecture. therefore, the main issue is the relationship between the geometry and ornamental decoration of the mosques with the quality improvement of the space of the nave of mosques. This relationship creates the necessity and importance of the geometry and ornamental decorations in architectural design of mosques at which the sprituality aspects must be considred in addition to the appearnce and mundain configuration. In this research, various methods such as document research libraray, Delphi, and case studies were utilized as well as the interview tools, questionnaires, surveys, and statistical analysis software. In order to collect the research-required information, some surveys interviews and questionnaires were conducted and distributed among the related experts within six historical and contemporary eminent mosques, and the data were analyzed using statistical softwares. Conclusively, in addition to improving the quality of the physical configuration, the results indicate that paying attention to geometry and ornamental decorations of mosques causes the increase in spritual manifestation of meaning and beauty in mosques.
Dr Mozaffar Abbaszadeh, Mr Reza Karimi,
Volume 12, Issue 3 (10-2024)
Volume 12, Issue 3 (10-2024)
Abstract
Historic urban fabric are symbols of originality and identity in our city, and have high values. These structures, as architectural and urban heritage, have been inherited from our predecessors for us as a memory. Our responsibility towards this precious heritage is to understand its underlying values, and to preserve and promote it. But as it should be, the values of these textures do not have a proper place in the study process of urban development plans. Based on this, this research seeks to answer the question, what is the place of architectural heritage and urban planning in the description of services and urban development plans, and how can it take steps to achieve the right place? Based on the goal, the current research is practical and in terms of research method, it is descriptive-analytical. The strategy used is interpretive strategy and logical reasoning. The method of collecting information is library and documents. According to the type of research and its strategy, the present article can be called one of the qualitative articles. In order to achieve the goal of the research, first, the values of architectural heritage and urban planning were extracted based on the study of numerous sources, and then their place in the description of services of urban development plans was evaluated. Finally, by matching the extracted values with the service description of the (comprehensive) development plans of Urmia, Maragheh, Tabriz and Meshginshahr cities, it has been addressed to provide solutions for the practical realization of the place of architectural and urban planning values in the service description of urban development plans. With the arrival of modernism in Iran and the imposition of a new spatial arrangement resulting from it on the historical contexts of old cities, responding to the social and cultural needs of the residents has been forgotten. The multiplicity of procedures and their sectional nature and the impact of relevant policies from sectional decisions without philosophical and theoretical support is the bottleneck that developing countries are currently facing. Therefore; urban heritage cannot be imagined as an isolated phenomenon, an enclosed area that is protected from the external forces of change due to plans and regulations. The work process was such that first the values of architectural heritage and urban planning were introduced and a category that could be extracted from it was presented, and then a comparative study of the realization of these values was carried out in the description of study services of comprehensive and detailed plans, description of special and non-homogeneous services, and in the next step with the application of pathology, the reasons for its non-fulfillment have been studied in these plans. In this regard, in order to carefully examine the issue of the development plans of several cities in the northwestern region of the country, it has been studied. The results of the research show that urban development plans, as the most important urban planning documents in the field of paying attention to the values of architectural heritage and urban development and its application in order to protect this heritage, have performed poorly and the right place has not been considered for it. In this regard, the special plans for the protection and revival of the historical area have been successful in paying attention to the many values of the historical contexts and have covered many existing gaps, but they still have disadvantages. The comparative study of the types of architectural and urban heritage values shows that in the description of the services of comprehensive and detailed plans, the most focus is on historical and cultural values, while in the description of the services of special plans for the protection and revitalization of the area Historical-cultural, today’s values, which include a wide range of scientific-educational, tourism, economic, functional and political values, have received more attention. In summing up the reviewed experiences, it can be stated that although historical contexts did not have a place until several decades after the entry and implementation of urban development plans in the country, with the passage of time and the experience of the transition period, historical contexts have gained value and dignity in urban development plans; But this position is only summarized in physical and tourism values and identity, historical, social, economic, political and aesthetic aspects have been marginalized. In general, in urban development plans, one should avoid looking at historical textures as an island, so that other textures can be used as a support for old textures. In the following, based on the results, solutions are proposed with the aim of eliminating this shortcoming and the appropriate calculation and application of values in urban development plans, so that the study, review and presentation of a suitable plan in an integrated manner for the whole city in terms of the differences and unique characteristics of each part of the city can be a lot to resolve urban heritage issues.
Kobra Feyzollahzadeh, Farhang Mozaffar, Mansoureh Kianersi,
Volume 12, Issue 4 (12-2024)
Volume 12, Issue 4 (12-2024)
Abstract
The phenomenal world and matter derive their validity and quality from the inner world and spirituality (and meaning). The question of what spirituality and meaning are and how to realize them in architectural spaces, and as a result, improve the quality of human living spaces, is an essential concern in architecture. The main goal of this article is to understand how to discover and embody spirituality in the architectural design process. For this purpose, this paper has proposed a framework for understanding the issue of “spirituality and meaning” in architectural design. The framework is presented in the form of features in a table. In continuation the origin of spirituality in architectural design has been discussed; then, the ways of realizing spirituality and methodological approaches have been addressed, and after that, the methods, techniques, and tools that paving the way for the manifestation of spirituality and meaning Have been expressed. The findings show that- after the primary origin of spirituality and meaning, which is the essence of Almighty God, and in a longitudinal relationship with it, we can point to secondary origins for spirituality and meaning. The first group, which is general spirituality independent of the design situation, arises from the designer’s knowledge and definitions in the areas of humans, existence, and values; as well as the designer’s way of thinking as a system (the designer’s intellectual system); And the second group, which are partial and situation-based spirituality, arise from the characteristics of the problem and the context of the design (design situation). These partial spirituality and meanings are also perceived under the general spirituality and meanings. In this process of the quest for spirituality, it is the designer’s thought that plays the most effective role. “inquest of spirituality (and meaning)”, “framing” and “manifestation” have been proposed as methodological approaches. The manifestation of spirituality and meanings has levels and aspects and is relative. The overall approach in conducting this research is qualitative, and a logical reasoning strategy has been used to understand the relationship between concepts and data analysis. Paying attention to the different levels of the quest for spirituality and meaning and explaining the connections between these levels created a stronger basis for moving from the theoretical to the practical realm, and logical inferences enabled the formation of a holistic and integrated conceptual model of the quest to the spirituality and meaning in the architectural design process.
Ahmad Ekhlasi, Hamid Mozaffar, Samaneh Taghdir,
Volume 13, Issue 2 (6-2025)
Volume 13, Issue 2 (6-2025)
Abstract
"Islamic centers" are one of the most important symbols of the presence of Muslims in non-Muslim countries and are very important in terms of identity. Also, on the other hand, these centers are considered the cultural representative of the Muslim community in the public opinion of the host society. Therefore, how they are designed is of particular importance. The aim of this research is to find principles for the design of Islamic centers that will lead to the preservation and strengthening of the identity of Islamic culture and the improvement of coexistence with the host communities.
This research first identified the dimensions of the problem by examining the previous studies and it was determined that the two concepts of "identity" and "coexistence" are the main issues in this research. Then, the concepts of "identity" and "coexistence" in the architecture of Islamic centers were examined based on the model of place components in the three axes of "meaning", "physical form" and "activity". The focus of this research is on examining the issue of "identity" and "coexistence" from the point of view of Muslim users; Therefore, in order to get a more comprehensive and accurate view, a questionnaire tool was used. Due to the fact that following this research, the researchers wanted to design an Islamic center in England, a questionnaire was conducted among Muslims living in England. This questionnaire includes closed and open questions and was conducted with the aim of identifying and investigating the needs, views and visual preferences of the Muslim community. The results of this research were obtained based on comparative analysis of questionnaire results and library studies and previous researches of researchers in this field.
The result of the research is presented in the form of a strategic model in three axes "Meaning", "Physical Form" and "Activity", which presents principles in each section that can be applied in design to "improve the coexistence of Islamic centers with the host society." and "preserving Islamic identity" help Islamic centers. The results of this research indicate that the use of symbols of Islamic values in design by creating an opportunity to express identity, reduces the feeling of deprivation and increases the sense of acceptance in the society in the Muslim minority, and causes a reduction in cultural tensions and an increase in the sense of belonging. closer to the national culture of the host country. On the other hand, trying to use visual elements and common values will reduce the sensitivities of the host society and better communication with the Muslim population. By using a convergent approach, Islamic centers can play a role both as a religious center for Muslims and as a cultural center for the whole society. This can lead to the strengthening of Islamic culture and the attractiveness and improvement of the image of Islamic culture and Muslim society in the public opinion of the host society. As a result, "identity" and "coexistence" are not two concepts independent of each other, so in order to achieve "stable cultural coexistence with the host society" while "preserving Islamic identity", both aspects should be considered in the design of Islamic centers.
This research first identified the dimensions of the problem by examining the previous studies and it was determined that the two concepts of "identity" and "coexistence" are the main issues in this research. Then, the concepts of "identity" and "coexistence" in the architecture of Islamic centers were examined based on the model of place components in the three axes of "meaning", "physical form" and "activity". The focus of this research is on examining the issue of "identity" and "coexistence" from the point of view of Muslim users; Therefore, in order to get a more comprehensive and accurate view, a questionnaire tool was used. Due to the fact that following this research, the researchers wanted to design an Islamic center in England, a questionnaire was conducted among Muslims living in England. This questionnaire includes closed and open questions and was conducted with the aim of identifying and investigating the needs, views and visual preferences of the Muslim community. The results of this research were obtained based on comparative analysis of questionnaire results and library studies and previous researches of researchers in this field.
The result of the research is presented in the form of a strategic model in three axes "Meaning", "Physical Form" and "Activity", which presents principles in each section that can be applied in design to "improve the coexistence of Islamic centers with the host society." and "preserving Islamic identity" help Islamic centers. The results of this research indicate that the use of symbols of Islamic values in design by creating an opportunity to express identity, reduces the feeling of deprivation and increases the sense of acceptance in the society in the Muslim minority, and causes a reduction in cultural tensions and an increase in the sense of belonging. closer to the national culture of the host country. On the other hand, trying to use visual elements and common values will reduce the sensitivities of the host society and better communication with the Muslim population. By using a convergent approach, Islamic centers can play a role both as a religious center for Muslims and as a cultural center for the whole society. This can lead to the strengthening of Islamic culture and the attractiveness and improvement of the image of Islamic culture and Muslim society in the public opinion of the host society. As a result, "identity" and "coexistence" are not two concepts independent of each other, so in order to achieve "stable cultural coexistence with the host society" while "preserving Islamic identity", both aspects should be considered in the design of Islamic centers.
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