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Showing 3 results for Qazvin

Hamidreza Jayhani, Fatemeh Rajabi,
Volume 7, Issue 1 (5-2019)
Abstract

Many of the Safavid additions to Qazvin have been destroyed, especially those belong to Shah Tahmasb era. The extent of these damages and subsequent changes to such an extent that there is now no understanding of the layout or position of Meidān-i asb as a royal square. This will undermine the understanding of Qazvin's cultural significance, and more importantly, it changes our understanding of the Safavid city and also reduces the course of the urban transformation in Iran. In addition, it should be noted that the squares in the Safavid capitals were considered important elements of government in representing the king and court policies and played a role even beyond an important urban space. Therefore, the removal of these elements from the city may lead to a lack of understanding of relations beyond the physical and urban environment. In order to recognize and represent the Safavid Qazvin and its components and its main elements, numerous studies have been carried out and there are different views on them. Some of them believe that the avenue in front of ālīqapū as a royal portal, which is one of the remaining elements of the Tahmasb era of Qazvin, is one of the squares of the city called Meidān-i asb. Contrary to this theory, some scholars also believe that the mentioned square is located somewhere in the east of the avenue. In addition to the position and the existence of the squares, the social and political role of these spaces is not well recognized. Therefore, there is a need for a closer look at both the cultural dimension and the spatial organization of the city.
In this article, with the study of previous researches as well as the study of primary sources, it has been attempted to provide a more precise interpretation for Dār al-Saltanah or the royal quarter of Qazvin, which focuses on Meidān-i asb to answer some questions: How the square was related to the activities inside it, whether it was related to Qazvin's other square, the Sa'adat square? where it was located and how it was in general, and how it was combined with the elements around it, both new and old? The research method applied in this article is an interpretive-historical method and attempts have been made to depict an image of Dār al-Saltanah, especially Meidān-i asb, based on the interpretation of historical descriptions such as poetry of the poet of the court and the texts of the Safavid historians. This image is completed with the help of other sources, and compared to the existing urban context, and the remaining signs, including Ālīqapū portal, the historic avenue and the Heydariyeh mosque, will be more scaled and more accurate. In this regard, the sources of research, including ʿAbdī beig-i Shirazi’s descriptions and Safavid historical texts and drawings by Engelbert Kaempfer, were collected, studied and analyzed. Along with the research and field studies, the signs in the area between Dār al-Saltanah and the Heydariyeh mosque were also surveyed.
The information obtained from the total resources studied along with the study of the social structure of Safavid Qazvin, the behavior of the Shah, the movements and interactions of the court in this paper reveal the layout and the position of Meidān-i asb as well as its position in the city, and, moreover, clarify how the square is connected to the avenue and nearby important buildings. Accordingly, Meidān-i asb is not a completely public square, which is a frontage for Dār al-Saltanah, which is located in the east of the Ālīqapū portal, south of the Jahan-Nama palace and north of the Heydariyeh mosque, and connects to the northernmost section of the avenue in the south of Ālīqapū portal. Although this article presents an image of Meidān-i asb, but a better understanding of the dimensions and layout of this safavid square requires more extensive field studies and excavations that the findings of this paper are their preliminaries.
Reza Rahimnia, Ali Shahabinejad,
Volume 9, Issue 4 (11-2021)
Abstract

Qazvin one of the main city in Safavid Era. This city is a capital of Iran in these era. Many of buildings in Qazvin at capital period was built the reign of Shah Tahmasp. At now these buildings and complex were destroyed and only a few evidence of them remain. Some of these demolitions have been so great that at least the existing signs of building and complex have been lost and their names can be seen only in historical texts and documents. One of these safavid Era elements in Qazvin which has been destroyed, is the main square of the city. The square in the capitals of the Safavid Era, was one of the important elements of government and in addition physical aspect, it was remarkable functional point of that. Past Studies of the Safavid city of Qazvin have attempted to depict the atmosphere of the royal city, especially during the era of greatness, although there are some differences in their final results. In some of these studies, the main square of safavid city is Sa’adat square (Meidān-e Saādat or Senke Maidan), which is mentioned simultaneously with the Meidān-i Asb-i Shāhī (Atmeidan). Sa’adat square is the subject of this article. There is no detailed study or paper about Sa’adat square independently with analyzing all the evidence. This square is often mentioned during the study of the safavid city of Qazvin. As a result studying and identify the historical evolution of the square highlighted the need for a more detailed study about that. The physical condition of this square, as well as located and how it relates to the Meidān-i Asb-i Shāhī, has formed the general structure of this research. This study, tries to provide a show of the situation of Sa’adat square by examining and analyzing historical documents, physical evidence and especially existing historical descriptions. In addition to these studies, field surveys have also been considered and physical evidences around the market (Bazar) and the square area have been studied. In addition to addressing the physical and functional condition of the square in the Safavid era, the historical evolution of the square in the Qajar and Pahlavi eras has been reviewed. The interaction and relationship between the main square of Safavid Qazvin with other key elements of the city and the area of Qazvin Bazaar and its elements have been studied. According to the results, Sa’adat square is a public urban square, along with the bazaar and other key elements, has also been a place of representation of the Shah's policies and meetings. The location of this square, although presented with two possibilities, seems to be more filled later by Qazvin Bazaar and its constructions. It should be noted that an accurate and definite understanding of the location, dimensions, shape and characteristics of the square requires field studies and especially archaeological excavation that must be considered.
Maria Hossein Poornader,
Volume 13, Issue 2 (6-2025)
Abstract

The architecture of Iran's past periods has always been based on the application of geometric rules and principles, and this is the main reason for the richness of the drawings and accuracy in the construction of buildings. In other words, knowledge of mathematical rules and geometric drawings based on mathematics has always been considered one of the main duties of architects in the past. A subject that has received less attention in today's Iranian architecture, and the traditional and historical principles and concepts of Iranian architecture, including geometric rules and proportions, have been forgotten, and its presence in the country's contemporary buildings has significantly decreased. It can be acknowledged that geometry is one of the effective and important factors in the classification of traditional Iranian architecture. In other words, common geometric principles and proportions have been used in the design of most of the buildings that are included in a type of architecture. Among the various types of Iranian architecture that use geometric principles and proportions in their design, we can include traditional markets (Bazaars), traditional houses, mosques, caravanserais (inns), etc cited. Among the many types of architecture in Iran, traditional baths were considered one of the important urban buildings, which have always been given special attention in their design and construction in terms of stability, regulation of environmental conditions, beauty and efficiency. During the Qajar era, Qazvin was located as a city on the Silk Road, like a transportation node at the intersection of the two main axes, east to west and north to south, which hosted many travelers, merchants and tourists. It was considered obligatory to provide services to travelers as well as residents of a city that was developing. During this period, the urban neighborhoods of Qazvin expanded and their number reached twenty, and each of them independently had its own service facilities such as a mosque and a traditional bath. Traditional baths have had a special place in Iran since ancient times. The construction of these buildings for the first time in Iran has been attributed to Jamshid Shah as a myth, which evolved from the Elam period to the end of the Qajar period, and they were magnificent and beautiful buildings. During the Sassanid era, when Zoroastrian religion became the official religion of the country, traditional baths were generally built near the fire temples, because according to this ritual, whoever wanted to worship had to first purify herself with water. Especially after the arrival of Islam in Iran, due to the importance of cleaning and purification, which is considered part of religious teachings, these buildings gained special importance. Since the Pahlavi period until now, traditional baths, which used to be part of urban places and had a public aspect, by making fundamental changes in their physical structure, their proportions and dimensions have become personal and have become a part of residential interior spaces. This space has never been removed from the main spaces of a house, even with the smallest area, and today it is considered an integral part of a residential unit. Considering the number of traditional baths in the Qajar period in the city of Qazvin and also the diversity in their structure, the main questions are raised in this field, whether in terms of shape, which of the dominant geometric shapes in Iranian architecture is used for design Are the main physical components of these traditional baths used? Also, in the design of the main physical components of the above-mentioned baths, in terms of dimensions and sizes, have special proportions been observed? The general goal of this research is to discover the geometric system governing the design of the two main physical components of these buildings. In other words, the goals of this research are to investigate the main physical components of the selected samples in terms of their shape and form, as well as their classification in terms of structural pattern, and also to extract the geometric and shape system in the mentioned components in these buildings. This research is of quantitative and qualitative type and is based on interpretative-historical, survey and logical reasoning methods to analyze the architectural systems and Dimensional proportions in Sarbineh (locker room) and Garmkhaneh (sudatorium), as the two main components of these buildings in the nine traditional baths of the Qajar period in the city of Qazvin has paid. The findings of this research show that in the design and construction of the two main components of the mentioned traditional baths, different architectural systems and geometric proportions have been used with different frequencies. From these findings, it can be concluded that √3 proportion with the least frequency is observed only in the proportion of the length to the width of the Garmkhaneh' (sudatorium)' plan, and the dominant proportional pattern with the most frequency in the design and construction of these components is the square proportion, which means the presence of a "proportion 1", it was between the length and width of the mentioned spaces.


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