مراتب زیبایی، تصدیق و تحسین زیبایی برگرفته از مفهوم حسن در قرآن Beauty Levels, Confirmation and Admiration of the Beauty Derived from the Concept of Hosn in Quran 1 1 وقتی سخن از زیبایی در فضای اسلام و قرآن مطرح میشود؛ اولین قدم برای ایجاد ادراک و تبیین معیار برای زیبایی، شاید دستیابی به نظامی منطقی و مشخص از تعریف مفهوم زیبایی در این فضا است. با مراجعه به متون مکتوبی که در این عرصه توسط اندیشمندان و نظریه‌پردازان ارائه‌شده، تعاریفی از زیبایی به دست میآید که خواننده را دچار سردرگمی میکند. چراکه گاهی آن‌قدر مقام زیبایی بلندمرتبه تعریف‌شده که در کنار نام پروردگار جای میگیرد و در جای دیگر زیبایی در تناسب اجزای یک شیء معرفی‌شده و یا آن را وابسته به ادراک بشری دانسته‌اند که به شکل محسوس یا معقول می‌تواند ادراک شود. این تشتت سطوح تعاریف زیبایی تا جایی است که در نهایت خواننده نمی‌داند در کجا به جستجوی زیبایی بپردازد و لذا معیاری مشخص برای سنجش زیبایی نیز به دست نمیآید. با مطالعه آیاتی که مشتمل بر واژه حسن و مشتقات آن هستند نیز این‌گونه دریافت می‌شود که درآیات قرآن نیز زیبایی و حسن در سطوح بسیار متفاوتی بیان‌شده است. لذا مسئله اصلی این مقاله تشتت سطوح تعاریف زیبایی در فضای اسلامی و عدم وجود نظامی مشخص در این عرصه و نیز مبهم بودن ارتباط زیبایی و تحسین با هنر در این دیدگاه میباشد. هدف این مقاله دستیابی به نظامی مشخص برای نظم دادن به تعاریف زیبایی است که بر اساس آن بتوان معیار و سنجش و ارتباط مناسبی برای زیبایی و تحسین آن به دست آورد. روش‌شناسی: برای این منظور از روش احصای آیات مشتمل بر حسن و مشتقات آن با در نظر گرفتن معنی واژگان در آیه به روش استقرایی تام استفاده شده است و سپس از روش تحلیل و دسته‌بندی آیات بر اساس موضوعات به‌دست‌آمده برای دست‌یابی به‌مراتب زیبایی استفاده‌شده و درنهایت با تطبیق معنایی این مراتب با تعاریف موجود درزمینه زیبایی، تعاریف در این مراتب دسته‌بندی شده و سپس مراتب تصدیق و تحسین زیبایی تبیین گشته است. یافته‌های پژوهش: با تأملی درآیات قرآن به نظر میرسد مراتبی پنج‌گانه برای حسن وجود دارد. بر مبنای این مراتب مفهوم زیبایی نیز دارای مراتب است که میتوان بر مبنای آن تعاریفی که از زیبایی توسط کارشناسان این عرصه ارائه‌شده است را در این پنج مرتبه، دسته‌بندی کرد. به این معنا که هر جا سخن از زیبایی میشود؛ میتوان سطح و مرتبه زیبایی موردنظر را تعیین کرده و آن را ارزیابی نمود. همچنین میتوان مراتبی از تصدیق و تحسین زیبایی را بر مبنای مراتب زیبایی بیان کرد. 2 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. 1 14 2018/03/17 1396/12/26 2018/03/17 1396/12/26 فرهنگ مظفر Farhang Mozaffar دانشگاه علم و صنعت ایران احمد امین‌پور Ahmad Aminpoor دانشگاه هنر اصفهان ایران احمدرضا اخوت Ahmad Reza Okhovat دانشگاه تهران ایران عاطفه پورصالحی Atefeh Poursalehi دانشگاه هنر اصفهان ایران Hosn Beauty Beauty levels Beauty admiration حسن زیبایی مراتب زیبایی تحسین زیبایی 1. Holy Quran.##2. Avini, Seyed Morteza. 1993. The Mirror of Magic. Tehran: Saghi##3. Ebrahimi dinani, Gholamhossein. 1998. Articles Collections of Philosopher’s Prayer. Mashhad: Razavi Islamic Sciences University.##4. Ghorashi, Seyed Ali Akbar. 1992.Ghamoos of Quran. Tehran: Darolkotob Eslamiyeh.##5. Jafari, Seysd Mohammad‌Taghi. 1990. Beauty and Art in the Viewpoint of Islam. Tehran: Ministry of Culture and Islamic Guidance.##6. Kharaghani, Hasan. Aesthetic Concepts in Qur'an. Islamic Studies (80): 11-47.##7. Mostafavi, Hasan. 2008. Research in the Words of the Quran. Beirut: Publishing Center The works Allama Mostafavi.##8. Motahari, Mortaza.2006. Collection. Tehran: Sadra.##9. Okhovvat, Ahmadreza. 2015 A. Identifying the Meaning of Hosn. Tehran: Quran and Ahl al-Bayt Publishing.##10. Okhovvat, Ahmadreza. 2015 B. Identifying the Process of Hosn. Tehran: Quran and Ahl al-Bayt Publishing.##11. Pazoki, Shahram. 2009. Philosophy of Art and Beauty in Islam. Tehran: Academy of Art.##12. Poorjavadi, Nasrollah. 2001. Hosn and the Levels of its Perception in the Mystery of Religious Art. Tehran: Soroush.##13. Shafie, Fatemeh, and Alireza Fazeli. 2013. Suhrawardi on Beauty and its Existential Part. Ontological Researches 2(3): 101-122.##14. Ragheb Esfehani, Hosein. 1995. Materia Words of the Qur'an. Translated by Gholam Reza Khosravi Hoseyni. Tehran: Mortazavi.##15. Tabatabai, Seyed Mohammad Hosein. 1995. Translation of Almizan Interpretation. Translated by. Seyed Mohammad Bagher Moosavi. Qom: Islamic Publications Office.## ##

امکان‌سنجی روش‎های صنعتی‌سازی ساختمان در تولید مسکن اسلامی Assess the strengths and weaknesses of the construction industry in the production of Islamic housing 1 1 دین کامل اسلام هر آنچه را که در تعالی بشر نقش دارد؛ در دستورالعمل‏هایی مادی و معنوی بصورت شایسته‏ای نظام بخشیده است. سکونت و مسکن نیز از این مقوله مستثنی نیست. لذا؛ داشتن مسکن اسلامی حقیقی در کشور اسلامی ایران می‏تواند از دغدغه‏های پژوهشگران معماری قرار گیرد. از سوی دیگر، بحث کمبود شدید واحدهای مسکونی، کیفیت بسیار پایین ساخت و عمر کم ساختمان‎ها در ایران و نیز توان مالی کم خریداران مسکن در ایران، از دیگر چالش‏های پیش‎روی معماران است. راهکار مناسب برای حل این چالش از دید صاحب‎نظران، ساخت‎وساز به روش صنعتی است. مسئله‎ی مورد بحث این مقاله، وجود نارضایتی و عدم اطمینان به رویکرد صنعتی ساخت در مواجهه با مباحث هویتی نظیر مسکن اسلامی است. با توجه به اینکه در حوزه‎ی نظری، جامعه ایران به‎دنبال یک معماری اسلامی برای مسکن خویش است؛ و از سوی دیگر در حوزه‎ی ساخت، نیاز مبرمی به بکارگیری روش‏های صنعتی ساختمان‏سازی احساس می‎شود؛ لذا ضروری است نسبت میان این‎ دو حوزه بررسی شده و حقیقت رابطه‎ی آنها تحلیل شود و بدین ترتیب بتوان در برخورد با این مسئله به رویکردی واقع‎بینانه، دست یافت. بنابراین سؤال پژوهش حاضر این است که تعامل این دو حیطه‎ی معماری چگونه است؟ چه الزاماتی در صنعتی‏سازی، معماری مسکونی را از ابعاد اسلامی آن دور می‎سازد؟ پاسخ این سؤالات در هیچ پژوهشی بررسی نشده و در نوع خود نو و بدیع است. چنین به نظر می‎رسد که بسیاری از پارامترهای صنعتی‏سازی، علاوه بر آنکه منافاتی با ویژگی‎های اسلامی یک معماری مسکونی ندارند؛ حتی در برخی موارد کاملاً منطبق و همسو با آنها هستند. در این پژوهش، جمع‎آوری داده‎ها به روش کتابخانه‎ای و استخراج برخی شاخص‎ها، از طریق استدلالی انجام شده است که در قالب جدول تطابق نظیر به نظیر، میان دو حیطه‎ی مدنظر مقاله در میان اساتید آشنا به هر دو حوزه به پیمایش گذاشته می‎شود. تحقیق از بعد هدف مطالعه، یک تحقیق کاربردی و بر حسب اقدام محقق و روش تحقیق، توصیفی-تحلیلی است. گردآوری داده‎ها به روش میدانی با ابزارهای مصاحبه و پرسشنامه انجام گرفته است. تجزیه و تحلیل داده‎ها، به کمک تحلیل استنباطی است که بیشترین هماهنگی را با روش تحقیق توصیفی- تحلیلی دارد. تجزیه و تحلیل با کمک آزمون پارامتری مقایسه‎ی میانگین در نمونه‎های جفتی با کمک مدل ای اچ پی (AHP) انجام شده است. داده‎های آماری در نرم‎افزار اکسل آنالیز شده و اطلاعات بدست آمده در بخش بحث و نتیجه‎گیری، تحلیل مفهومی شده و نتیجه‎های نهایی بیان گردیده‏اند. نتیجه‏ی تحقیق نشان می‏دهد مجموع مؤلفه‎های صنعتی‏سازی در تطابق 63 درصدی با اصول فقهی و کالبدی مسکن اسلامی قرار دارند که همسویی قابل قبولی را نشان می‎دهد. مجموعه‎ی مذکور در ارتباط با اصول معنایی مسکن اسلامی رقم 17- درصد را دارد که بیانگر تنافر صنعتی‏سازی با اصول معنایی مسکن اسلامی است. بدین ترتیب می‎توان نتیجه گرفت نسبت صنعتی‏سازی و مسکن اسلامی یک ارتباط همسو و مثبت بوده که فقط در حوزه‎ی «محدودیت های طراحی» وجه تنافر دیده می‎شود. بدین ترتیب گزینه‎ی صنعتی‏سازی ساختمان، پس از رفع تنافرات اندک آن، می‎تواند گزینه‎ای بهینه برای رفع مشکلات کنونی و آتی مسکن در ایران باشد. 2 Islam has perfectly organized all notions involved in human excellence through its material and spiritual guidance; settlement and housing are no exception. Therefore, real Islamic housing can be of concern to architecture researchers in Islamic Republic of Iran. On the other hand, the severe shortage of residential units, low quality of construction, short life span of buildings and low financial ability of home buyers are other challenges facing architects in Iran. According to the experts, industrial construction is an appropriate solution for these challenges. In this paper, the uncertainty and dissatisfaction with industrialized construction are discussed in terms of identity issues such as Islamic housing. Since the Iranian society theoretically seeks Islamic architecture for its houses and on the other hand, construction necessitates the application of industrialized building methods, the relationship between these two realms must be investigated and their facts should be analyzed to achieve a reasonable approach to the problem. Hence the research questions are about how these architectural realms interact with each other and which requirements of industrialization divert the residential architecture from its Islamic aspects. These questions seem novel because they have not been addressed in any research. It appears that many industrialization parameters are not opposed to Islamic features of residential architecture, but totally coincident with them. In this study, the data is collected through library research and some indexes are derived by reasoning and represented in corresponding tables to be surveyed by the experts of both realms. It is an applied research based on a descriptive-analytical methodology. The data collection is accomplished through field research using interviews and questionnaires. The data is analyzed using an inferential analysis which has the most coordination with the descriptive-analytical methodology. The analysis is performed through a parametric paired samples t-test using an AHP model. Statistical data is analyzed in Excel, the information obtained in the discussion and conclusion section is conceptually analyzed and the final results are presented. The results of research show that the set of industrialization components agrees with jurisprudential and physical principles of Islamic housing by 63%, which indicates an acceptable consistency. The set is compatible with semantic principles of Islamic housing by 17%, which indicates a contradiction between industrialization and semantic principles of Islamic housing. Thus it can be concluded that the relationship between industrialization and Islamic housing is a consistent and positive relation with contradictions just in “design constraints”. Therefore, industrialized construction can be an optimal solution to the current and future problems of housing in Iran, after elimination of its slight contradictions. 15 34 2018/03/172018/03/17 1396/12/26 2018/03/172018/03/17 1396/12/26 مازیار آصفی Mazyar Asefi دانشگاه هنر اسلامی تبریز ایران پریسا هاشم‎پور Parisa Hashempour دانشگاه هنر اسلامی تبریز ایران مظفر مهاجری Mozafar Mohajeri دانشگاه هنر اسلامی تبریز ایران Islamic housing industrialization measurable parameters مسکن اسلامی صنعتی‌سازی پارامترهای قابل سنجش 1. Holy Quran. 2002. Translated by Ayatollha Meshkini. Edited by Hossein Ostadvali. Qom: al-Hadi.##2. Asefi, Maziar, and Elnaz Imani. 2012. New Technologies in Architecture: The Interaction with Iran’s Islamic Architectural Values. Bagh-i-Nazar 9 (21): 21- 34.##3. Alimardani, Amin. 2006. Using Prefabricated Elements in High-Rise Buildings in order to Lineweighting. In International Confernce of Earhquake and Lightweight Construction, Qom, University of Qom.##4. 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Ghorabni, Rahim. 2014. Desirable Islamic Architecture and Urbanism: Introduction to Applied Jurisprudence and Civilization and Islamic Desirable Housing. Tehran: Shabake-ye Andishe.##12. Hendriks, Nico A, and Hans Vingerling. 2000. Industrial, Flexible and Dismantable (IFD) Building Technology: A Key to Sustainable.##13. Hosseinalipoor, Mojtaba, and Hossein Haghighi. 2011. Strategy of Industrial Construcion in 20-Year Perspective of Iran (Case Study: Feasibility of Using LSF in Tehran). Rahbord (57): 325- 339.##14. Ishtaip, Grald, Anreas Dorhover, and Marcus Yute Rozental. 2011. Technology of Design and Construction of Modular and Industrial Structres. Translated by Maziar Asefi. Tehran: Tabraiz Islamic Art University Press.##15. Kamar ،Abdullah, M.R, K.A.M, Nawi, M.N.M, Haron, T and Arif. 2009. Industrialized Building System: A Definition and Concept. In Processing in ARCOM Conference, 7-9 September, Nottingham, United Kingdom.##16. Kherad Ranjbar, Muhammad. Project Management and Construction Planning in Optimizing Construction Industry. In Regional Confernce of Architecture and Materials, Tehran.##17. Labibzade, Razie. 2015. Content Promotion in House Design Education Based on the Teachings of Islam. PhD Thesis in Architecture, Iran University of Science and Technology.##18. Masaeli, Sedighe. 2007. Hidden map, Achievement of Religious Beliefs in Architecture. M.A. Thesis of Architecture, University of Tehran, Tehran.##19. Memarian, Gholamhossein.1997. Religious Traditions and Domestic Architecture: A Comparative Analysis of Zoroastrian and Islamic Houses in Iran. Journal of Architectural and Planning Research (14).##20. Moghaddasi, Abu Abdollah. 1985. Ahsan al-Taghasim fi Marefah al-Aghalim. Translated by Ali Naghi Monzavi. Tehran: Moallef.##21. Morteza, Hosham. 2014. Principles of Construction in Islam. Tehran: Research Center of Roads, Housing and Urbanism.##22. Nabi, Nafiseh. 2005. Return to Yourself (Isfahan Housing Pattern). M.A. Thesis of Architecture, University of Tehran, Tehran.##23. Nari Ghomi, Masoud. 2013. Changing View of the Profession of Architecture of Iran towards Technology after the Islamic Revolution (1357-1389) A Survey of Specialist Journals. Architecture Studies 2 (4): 131- 150.##24. Nasr, Seyyed Hossein. 1995. Sacred Art. Honar (28).##25. Olia, Jalil, Alireza Taghdiri, and Sara Ghanbarzade Qomi. 2010. Structural Compatibility of Industrial Building Systems. Iranian Architecture and Urbanism (1): 5- 14.##26. Outhred, Geoff, and P. Graham. 1995. How Green Are Residential Prefabricated Building Systems? London: RICS Research.##27. Pir babaei, Muhammad Taghi, and Babak Amaraei. 2009. The Study of the Foundations of Modular Products Designing. Honar-ha-ye-Ziba (37): 69- 76.##28. Rahimpoor, Ali, and Ali Vakil Ghahani. 2011. Investigating Factors Affecting the Supply and Demand of the Housing Market. Tehran: Central Bank of the Islamic Republic of Iran.##29. Rashtian, Mohsen. 2012. 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خوانش هنر تیموری بر مبنای اندیشه‌های سهروردی - مطالعه‌ای بر نقش‌مایه‌های هندسی مسجد گوهرشاد The Readings of Timurid Art Based on the Ideas of Suhrawardi - A Study on Geometrical Motifs of Goharshad Mosque 1 1 نقوش تزئینی نقطه‌ی تلاقی هنر و اندیشه‌ی عرفانی هستند. بسیاری از مفاهیم اسلامی به هندسه آمیخته است و به دلیل این قرابتِ ساختاری در سیر تحولات نقوش جایگاه ویژه‌ای دارد. بررسی هندسه‌ی نقوش دوره‌ی تیموری کاربرد فراوان نوع خاصی از دستگاه مشبک را نشان می‌دهد که بر پایه‌ی شبکه‌ای از مختصات شعاعی، موجب پدیدآمدن اشکال هندسی خاص از جمله نقوش شمسه و ستاره شده ‌است. این پژوهش در پی پاسخگویی به این سؤالات اصلی و اساسی است که چرا طراحان تیموری سیستم شعاعی را ارجح دانسته و از آن به عنوان منبعی کاملاً جدید برای شکلهای گوناگون استفاده کردهاند. آیا ترجیح و استفاده از این طرح میتواند با اندیشههای عرفانی رایج در میان هنرمندان این دوره تناسبی داشته باشد و دیگر اینکه آیا نقش مایههای شعاعی را می‌توان براساس آرای سهروردی تحلیل نمود. در این پژوهش، روش تحقیق به‌صورت توصیفی- تاریخی و تجزیه‌ و تحلیل اطلاعات کیفی و گردآوری اطلاعات به روش اسنادی است. نتایج حاصل از این پژوهش نشان می‌دهد که انتخاب و کاربرد اشکال هندسی با زیرساخت شعاعی در تزئینات و نقش‌مایه‌های تیموری تصادفی نبوده و مانند سایر اجزای هنر دوران اسلامی از مبانی اعتقادی خاصی برخوردار است. طراحی و انتخاب این نقش‌مایه‌ها را می‌توان با مفاهیمی چون نور -که محور اصلی فلسفه‌ی اشراق و از مهم‌ترین مفاهیم عرفان اسلامی است- به عنوان تجلی وجود حق و انوار و تجلیات الهی نسبت داد. پرداختن نمادین به نور و جایگاه محوری آن در رکن و اساس این نقش‌‌مایه‌ها به خوبی دیده می‌شود؛ ترکیب بندی‌های متکثر، منتشر و زاینده‌ای را پدید می‌آورد که با وحدت شروع می‌شود؛ به واسطه تجلی حرکت می‌کند و دوباره به وحدت بازمی‌گردد و این خود از صفات نور و حضور همواره‌ی آن در این نقوش است. تلفیق ماهرانه‌ی نقوش هندسی با نقوش اسلیمی نیز درخور توجه بوده و با تفسیر سهروردی از آیه‌ نور مطابقت دارد. 2 A work of art is the souvenir of the artist's journey through the immaterial world of realities and intuition. The language of this art is a language of secrets. This enables the artist to establish a link between the innermost and outermost essence of existence. Decorative motifs are the intersection of art and mystical thought. Many Islamic concepts are mixed with geometry and because of this structural similarity in patterns of evolution, play an important role. In decorative architecture, every motif has a value beyond its formal value derived from culture as it represents the beliefs and ambitions of the people continued from generation to generation. On the one hand, architectural ornaments focus the viewer’s mind on the formal beauty of motifs and the function of spaces, the walls of which hold the motifs, and, on the other hand, the ornaments drew the viewer’ eyes to the realm of cultural and religious secrets hidden in the meanings of the motifs. One is able to understand the minds and thoughts of architects and thus the culture, worldviews, and ambitions of the people by understanding the symbolic meanings of the motifs and tracing their origins in decorative architecture. In Islamic art, geometric motifs are so important that it is necessary to find the key to discover the connections and patterns in such motifs. In Islamic philosophy and mysticism, light is considered as manifestation of divine harmony with a pivotal position. For this reasons, the Iranian Muslim scholars have paid special attention to light. Suhrawardi was a leading Muslim philosopher and scholar during the 12th century and the founder of illuminationism, also known as Shaykh al-Ishraq (Master of Illumination). In illuminationism as a discussing-tasting philosophy, light plays a central role. Illuminationism was a great revolution in Persian-Islamic philosophy as compared to the conventional philosophies, which were merely discussing, existence-based in nature. His idea that light operates at all levels and hierarchies of reality, which developed from his Philosophy of Illumination, and a major teaching of the School of Ibn Arabi, i.e. the Five Divine Presences referring to the five domains in which the God exercises its influence in a global fashion, both established a subtle mystical-discursive worldview in the Muslim world that has significantly influenced the arts and become a source and reference for many artistic and mystical illuminations with its solid mystical and aesthetic foundations. Light has been used as a symbol in various forms in Persian-Islamic arts, and Muslim artists have widely utilized the symbol, especially in the period when illuminationist thoughts began to spread in Persian culture during the Timurid and Safavid periods. The Timurid Empire (1370-1507) was an Islamic empire. Shahrukh, the son and successor of Timur (Reign, 1405–1447), trusted sharia, tariqa, and Sufi scholars, and he was highly devoted to Sufism in particular. Many historians have mentioned this in the historical books focusing on the Timurid and Safavid periods. There has always existed a close relationship between mystics, Sufis, and artists. The Persian-Islamic architecture, especially ornamented architecture, carries high spiritual and mystical values as a means of expression for epistemological meaning and definitions. Philosophical and mystical concepts such as light and the world of immaterial lights were widely and highly regarded by Shaykh al-Ishraq and other Islamic scholars. The present study thus aimed to present a proper explanation of the phenomenon of light in the Philosophy of Illumination from the perspective of Suhrawardi as the founder of the ontology of this phenomenon. The explanation is provided to analyze what has manifested based on such views in the decorative elements of Persian architecture as geometric motifs on tile work of the Timurid period with an aesthetic and symbolistic approach to indicate that the existing motifs in the tile work is a sign of the philosophical and mystical concepts, in particular those of Shaykh al-Ishraq . Such an approach is also adopted to prove that the motifs are manifestations of the world of immaterial lights that Suhrawardi proved with rational and theoretical explanations according to that he then described other phenomena. The present study is based on the assumption that the origins and bases of the Timurid motifs lie in its geometry with circular and radial patterns, which have its roots in mysticism. Reviewing geometry designs of the Timurid period shows abundant use of a particular type of grid device which is based on a network of radial coordinate, lead to the emergence of specific geometric shapes including motifs of Shamse and stars. This study seeks to answer the basic questions which are why the Timorese system designers considered the radial system preferred and use it as a completely new resource for the various forms used. Can preference and use these designs be appropriate with mystical thoughts common among artists of this period, and that the radial motifs can be analyzed by votes Suhrawardi. In this research, the research method is descriptive-historical and analyzing qualitative information and data collection is based on documents method. The results of this research show that the selection and applying of geometric shapes with radial infrastructure in decorating and patterns of the Timurid are not random and such other components of the Islamic era of art is particularly important in principles. Designing and selecting of these designs can be explained by the concepts of light which is the core of philosophy of illumination and of the most important concepts in Islamic mysticism, as the expression of truth and light and divine manifestations attributed. Symbolic addressing of light and its central position in the pillar and foundation of these motifs can be seen very well. It creates diverse compositions, published and nurturer which begins with unity, moves by manifestation and again returns to unity and that the light attributes and its always presence is in these motifs. Skillful combination of geometric designs with arabesque designs also deserves attention and Corresponds with the interpretation of Suhrawardi from the Noor verse. The motifs and patterns found in Persian architectural works of art were generally built on strong intellectual foundations. Such elements have been the result of an architectural evolution over time and have not emerged out of nothing all at once. Although the history of the motifs with radial patterns began long before the Timurid period, such features were certainly common in architectural works and buildings dating from that period when the mystical views of Shaykh al-Ishraq prevailed in Iran. 35 54 2018/03/172018/03/172018/03/17 1396/12/26 2018/03/172018/03/172018/03/17 1396/12/26 رویا روزبهانی Roya Rouzbahani دانشگاه تربیت مدرس ایران اصغر فهیمی‎فر Asghar Fahimi-Far Fahimi-Far دانشگاه تربیت مدرس ایران Timurid period decorative motifs tiling mysticism suhrawardi. دوره‌ی تیموری نقش‌مایه‌های تزئینی کاشی‌کاری عرفان سهروردی 1. Holy Quran.##2. Ardalan, Nader, and Laleh Bakhtiar. 2009. The Sense of Unity. Translate by Hamid Shahrokh. Isfahan: Khak.##3. Blair, Shila, and Jonathan M. Bloom. 1995. The Art and Architecture of Islam. Yale University Press.##4. Blokbashi, Ali. 2004. Idealism in Iranian Decorative Architecture. In Second Congress of Iranian Architecture and Urbanism. Kerman: Arg-e Bam.##5. Burckhardt, Titus. 1986. Art of Islam, Language and Meaning. Translate by Masoud Rajabnia. Tehran: Soroush.##6. Corbin, Henry. 2009. Wisdom Illumination in the Twelfth Century AD in Iran. Translate by Seyed Ziaodin Dehshiri. Tehran University Faculty of Literature Journal (1).##7. Ebrahimi Dinani, Gholam Hossein. 2007. Radius of Thought and Intuition in Suhrawardī’s Philosophy. Tehran: Hekmat.##8. Eskander beig Monshi. 1985. History of Shah Abbas the Great; or, Tarikh- e Alamaray- e Abbasi. Correction by Shahroudi. Tehran: Tolou, Sirous.##9. Ferrier, R. W. 1996. The Arts of Persia. Translated by Parviz Marzban. Tehran: Farzan.##10. Fischbein, E. 1987. Intuition in Science and Mathematics. An Educational Approach. Dordrecht, Kluwer.##11. Golombek, Lisa, and Donald Newton Wilber. 1988. The Timurid Architecture of Iran and Turan: Two Volumes (Princeton Monographs in Art and Archeology). Princeton University Press.##12. Grabar, Oleg. 2011. Islamic Architecture. Translate by Akram Qiasi. Tehran: Soore-ye-mehr.##13. Grutter, Jorg kurt . 1997. Aesthetics in Architecture. Translate by Jahanshah Pakzad. Tehran: Shahid Behehti Press.##14. Jamali, Shadi, and Mohsen Marasi. 2013. Comparative Study of Visual Ornamentation of Tiles in the Architecture of Safavid and Qajari Mosques. Journal of Visual and Applied Arts (10): 81-94.##15. Kamali Zadeh, Tahereh. 2010. The Metaphysical Foundations of Art and Beauty According To Shahab-Addin Suhrawardi. Thran: Farhangestan-e Honar.##16. Khosh Nazar, Rahim. 2007. Light and Zoroastrian Art. Negareh (4): 19- 33.##17. Khosh Nazar, Rahim, et al. 2010. The Muslim Mystics Viewpoints on Light and its Impact on Art. Honar-ha-ye-Ziba, Honar-ha-ye-Tajassomi (42): 5-14.##18. Kiani, Mohamad Yousef. 1992. History of Persian Architecture in Islamic Era. Tehran: SAMT.##19. Lawlor, Robert. 2008. Sacred Geometr. Philosophy and Practice. Translate by Hayde Moayyeri. Tehran: Institute for Cultural Studies and Research.##20. Lu, Peter J. Steinhardt, and Paul J. 2007. Decagonal and Quasicrystalline Tilings in Medieval Islamic Architecture. Science (315): 1106.##21. Mahmoodi Aznave, Saeed. 2010. In This Piece of Paradise. Mashhad: Astan-e Quds Razvi, Islamic Advertisements and Comunications.##22. Mirkhonnd, Muhammad Bin Khavendshah Bin Mahmud .1961. Garden of Purity; or, The Rauzat -us-safa, 6th Vol. Tehran.##23. Mosadeqian Torqabe, Vahide. 2006. Color and Pattern in Goharshad Mosque. Tehran: Aban.##24. Nasr, Seyyed Hossein. 2006. Science and civilization in islam. Translate by Ahmad Aram. Tehran: Elmi va Farhangi.##25.Nasr, Seyyed Hossein. 2016. Islamic Art and Spirituity. Translate by Rahim Qasemian. Tehran: Hekmat.##26. Navaee. Kambiz. 2005. Tips on Islamic Designs. In Congress of Architecture and Urbanism History Articles, Vol. 2.##27. Necipoglu, Gulru. 2001. The Topkapi Scroll- Geometry and Ornament in Architecture. Translate by Mehrdad Qayoumi. Tehran: Rozane.##28. O’Kane, Bernard. 1984. Timurid Stucco Decoration. 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مؤلفه‌های طراحی بومی محیط به‌منظور تأمین سلامت انسان بر مبنای طب سنتی و اسلامی Environment vernacular designing components to provide health for human based on Islamic and traditional medicine 1 1 سازگاری معماری و محیط در سنت گذشته، آسایش و آرامش را در زندگی مردم به همراه داشت و امروزه، وابستگی به فن‌آوری سبب ناسازگاری کالبد با بوم و عدم تأمین آسایش و آرامش زمینه‌گرا، گردیده است. به نظر می‌رسد که حکمت نظری و عملی کهن از طریق مزاج‌شناسی، برای هر منطقه‌، کالبد جسمی و ویژگی‌های خاصی را به عنوان الگو معرفی می‌نمود. قواعد و اصولی که پیش‌تر در سنت پیشینیان، مطرح شده است برای هماهنگی معماری و مکان یابی شهر با زمینه و بستر طبیعی آن بوده است . امروزه برای احیاء این امر ، لازم است اصول و الگوهای آن، شناسایی؛ و برای کاربرد طراحانه، تنظیم و معرفی گردند. به همین جهت با رویکرد میان‌دانشی و روش استدلالی-استنتاجی، به بررسی مبانی طبی سلامت انسان در چهار وضعیت اقلیمی و شیوه‌های تأمین آن در محیط و در هر یک از این چهار اقلیم توجه شده است. این تحقیق، سعی دارد با تنظیم آن‌ها در یک نظام یکپارچه، تعریف جامعی از معماری و شهرسازی بوم‌گرا و زمینه‌گرا، ارائه دهد. این نظام با بیان مبانی مزاجی وابسته به هر منطقه، دستوراتی در حوزه‌ی آسایش جسمی، عرضه می‌دارد. آسایش جسمی با بیان قواعد بهره‌مندی و پرهیز از باد، آب، آفتاب و خاک در مزاج‌ها و شرایط محیطی متفاوت، شکل می‌گیرد. در نهایت با طراحی جدول سنجش کیفیت بومی مناطق شهری بر اساس خصوصیات جغرافیایی منطقه با عنوان بیست عامل، کارنامه‌ای از دوبعد بهره‌مندی از پتانسیل‌های بومی و گریز از ناشایستگی‌های بومی ارزیابی و تحلیل گردد؛ ارائه شده است. نوآوری اصلی این تحقیق، طرح کارنامه‌ی کاربردی بوم‌سنجی شهری بر اساس مبانی طبی و ارائه‌ی شواهدی از کاربرد آن در زمینه‌های تاریخی شهرسازی و معماری است. 2 Adapted architecture to the environment in the past has brought calmness and comfort for people. Today, great dependence on technology has caused an incompatible human body in his living areas and failed to offer contextual tranquility. It seems old theoretical and practical wisdom has proposed special features for any areas as patterns through temperament experiments. The principles put forward by precedent customs has been used gaining architectural harmony and locating topography within natural backgrounds. So today, it is required to identify this procedure principles and patterns to introduce needed designing applications. Accordingly, human medical healthcare bases in the four climate situations is being studied through multidisciplinary and deductive- reasoning approaches. This research is trying to propose a comprehensive definition of architecture, urban ecologism and contextualism via setting them coordinated in an integrated system. This system while expressing temperament principles depended on each zone, is offering instructions toward physical comfort status. The body tranquility is formed by expressing required benefiting rules and through avoiding wind, water, sun light and soil in temperaments. At the end, a table of measurements for evaluating local qualities of urban areas based on geographical specifications is designed titled as “20 factors” along with a report presented based on two aspects of benefiting local potentials and avoiding local in competencies to be evaluated and analyzed. The main innovation in this research is introducing applied reporting sheets in urban ecology evaluations based on medical principles and presenting evidences from its application used in historical aspects of urbanism and architecture. Research Question: What are the rules involved in benefiting or avoiding the main elements in human environment such as wind, water, sunlight, soil and plant in different temperaments and living areas to create human body calmness? 55 77 2018/03/172018/03/172018/03/172018/03/17 1396/12/26 2018/03/172018/03/172018/03/172018/03/17 1396/12/26 مهدی حمزه‌نژاد Mehdi Hamzehnejad علم و صنعت ایران ایران زهرا ثروتی Zahra Servati دانشگاه شریعتی تهران ایران Field-Oriented Principles Traditional Medicine Architecture Ecology-Oriented Climate Engineering. زمینه‌گرایی مبانی طب سنتی معماری بوم‌گرا مهندسی اقلیمی 1. Imam Reza (PBUH). 2000. Translation and Explanation of Nahj al-Balagheh. Translated by Ali Naghi Feyz ol-Islam. Tehran: Feyz ol-Islam.##2. Imam Reza (PBUH). 2002. Teb ol-Reza (PBUH). Translated by Nasir ol-Din Amirsadeghi. Tehran: Meraji.##3. Imam Reza (PBUH). 2013. Resaleh Zahbieh. Translated by Muhammad Daryaee. Tehran: Safir-e Ardehal.##4. Abdollahzade, Mohammad Mahdi. 2015. Temperamental Architecture: Creating an Architectural Approach Based on the Tetrad (The Four Elements, Temperaments, or Humors). Iranian Architecture Studies 4 (8): 137- 156.##5. Abu Hatam Afrazi, Mozaffar ibn-e Ismaeel. 1977. Works of Alavi. Edited by Mohammad Taghi Razavi. Tehran: Culture of Iran Foundation.##6. Abu Sahl Masihi, Iesa ibn-e Yahya. 1989. Matab al-Maat fi al-Teb, Haghghahu va Ghadamaho lahu Florial Senaghostan Damesghq.##7. Ahmad ibn-e Abu Keir Zarkoob Shirazi. Shiraznane.##8. Arasteh, Mojtaba, and AliAkbar Taghvaee. 2012. Comparative Study of Water Storage Location in the Spatial Organization of Historical Cities of Iran (Case Study of Yazd and Lar Cities). Research Letter of Visual Arts 3 (10): 97- 108.##9. Ariri, 1, j, et al. Heritage of Iran, Gardens of Iran, 1st Vol. Tehran: Translating and Publishing Books Agency.##10. Ebadati, Naser, and Mohammad Hooshmandzade. 2015. Determination of Dez River Water Quality at Dezful Abundance Station. 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Measuring Climatic Comfort in Traditional Houses in Four Humorism. International Conference on Civil and Cultural Architecture at the Beginning of the Third Millennium.##19. Hamzehnejad, Islami,. 2017. Role of Water in Human Health in Islamic Medicine Approach and Its Impact on Locating and Structure of Iranian Traditional Cities. National Conference on Culture, Physics and Environment in Architecture and Islamic City.##20. Harg, Mac. 1996. Design with Nature.##21. Hazbei, Morteza, Zahra Adib, and Farshad Nasrollahi. 2014. Natural Ventilation Effect on Shavadoons in Dezful by Applying CFD Modeling. Bagh-e-Nazar 11 (30): 37-48.##22. Hill, Bothas. 2014. Architectural Approach that Facilitates Traditional Medicine and Biomedicine Integration Towards a Design for an UNAIDS Research Institute in the Valley of a Thousand. KZN.##23. Hippocrates (Boghrat). 2008. Ketab al-Boghrat fi al-Amraz al-Beladie. Told by Abi Zeyd Hanin ibn-e Eshagh. Research and Traslated by E. N. Motuk. 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مقایسه‌ی تطبیقی میدان نقش جهان اصفهان و امام حسین(ع) تهران بر اساس روابط پایداری اخلاق مدار Comparative Analysis of Naghsh Jahan Plaza of Isfahan, and Imam Hossein Plaza of Tehran, On the basis of Ethical Sustainability 1 1 تمرکز بر بعد اخلاق در پایداری، در یک روند تکاملی منجر به شکلگیری رویکرد اخلاقمدار به‌عنوان رویکردی جامع در پایداری شده است. این بعد در عمق مفهوم خود، ارتباط جداییناپذیری با مفهوم پایداری داشته و به روابط بنیادین انسان‌ها اشاره دارد. بر اساس جدیدترین تعریف از پایداری اخلاقمدار، اخلاق در پایداری، مجموعه‌ای از روابط پایدار است که شامل ارتباط انسان با دیگر انسانهای نسل حاضر، ارتباط انسان با نسلهای آینده و ارتباط انسان با طبیعت میشود. فضای شهری بستری برای شکل‌گیری تعاملات اجتماعی است که حضور و فعالیت شهروندان در آن، پویایی زندگی را به نمایش می‌گذارد و میدان، یکی از اثرگذارترین فضاهای شهری است که امکان برخوردهای اجتماعی را فراهم میآورد. این فضا دارای اهمیت زیادی در بین شهروندان است تا حدی که معمولاً ساکنان یک شهر، مناطق مختلف شهر را توسط میدان‌های آن از هم بازمی‌شناسند. بنابراین، با توجه به اهمیت روابط انسان‌ها با یکدیگر در رویکرد معماری پایدار، میدان به‌عنوان یکی از اثرگذارترین فضاهای شهری که توقع شهروندان از آن، فضایی عام، متنوع و پر از رویداد است و در آن امکان برخوردهای اجتماعی چهره به چهره وجود دارد؛ در نظر گرفته میشود. هدف این پژوهش، شناسایی روابط پایداری اخلاقمدار در دو میدان نقش‌جهان اصفهان و امام حسین(ع) تهران و درنهایت، مقایسه‌ی میزان توجه به روابط پایدار در این دو میدان به‌عنوان نمونه‌ای از معماری سنتی و معاصر است. با توجه به اینکه پژوهش بر ماهیت اجتماعی واقعیتها، اهمیت ارزشها و ارتباطات انسان با طبیعت، همنسلانش و نسل آینده در فرآیند تحقیق تأکید دارد؛ از روش بررسی تطبیقی استفاده شده است. الگوهایی که عمومیت دارند از محیط پژوهش اخذ شده و با تأکید بر تفاوتها و اختلافهای میان بستر پژوهش به مقایسه کمک میکنند. پژوهش پیشرو طی سه مرحله شکل گرفته است، مرحله‌ی نخست به رویکردهای نظری و مرور ادبیات پژوهش پرداخته؛ در مرحله‌ی دوم، اصول نه‌گانه‌ی هنوفر در قالب روابط سه‌گانه‌ی اخلاق در پایداری تقسیم‌بندی شده و درنهایت در مرحله‌ی سوم، با اتکا به نتایج دو مرحله گذشته، هرکدام از روابط سه‌گانه‌ی پایداری اخلاق‌مدار بر اساس قوانین هنوفر در عناصر موجود در میدان به‌طور جداگانه بررسی و نتیجه بررسی‌ها در قالب جدول مقایسه دو میدان نقش‌جهان و میدان امام حسین(ع) ارائه شده است. نتایج حاصل از این بررسی نشان میدهد که میزان توجه به پایداری اخلاقمدار در نمونه‌ی سنتی به‌مراتب بیش از نمونه‌ی معاصر میباشد. 2 Centralizing ethics in sustainability has led to an evolutionary process towards ethical approach as a holistic approach of sustainable development. This approach, deep in concept, has evolved sustainability and endures the most fundamental relations of human and environment. The most recent definition of ethical sustainability, describes this approach as a complex of human relations, including human relation with contemporaries, human relation with nature and human relation with future generation. Urban spaces, and particularly the plazas, are the grounds of social interactions which present living dynamism through the presence and activity of citizens. This space has been considered as a highly important urban landmark among citizens, and it could be said that residents of a city are usually aware of different city zonings on the basis of their city plazas. What people expect of a plaza is a public space with high diversity and eventful environment which allows the possibility of social interactions. With profound changes occurring in all aspects of current era, most of urban plazas have been affected by market forces. As the result, proper principles have not been applied in the formation of these spaces, which has led to a sharp reduction in the space efficiency and the presence and vitality of people in current urban areas. Therefore, these plazas would not be capable of creating human relationships as the main theme of ethical sustainable architecture. In order to analyze sustainable relations in the plazas of Iranian cities, it is necessary to compare a traditional case study of the Iranian urban plaza with a modern, more contemporary designed plaza of this land, on the basis of ethical sustainability. The aim of this research is to illustrate the triple sustainable relations, in the traditional, historical plaza of Naghsh Jahan in Isfahan, and the contemporary designed plaza of Imam Hossein in Tehran, based comparative analysis. The selected methodology of this research is comparative method. A comparative study is a comprehensive, multidimensional, and systematic process that seeks out differences and similarities in research. This kind of research will take generic patterns from the research environment and by emphasizing it on the differences between objects of research context, will help to seek a better understanding towards the main subject. In this comparative study, both quantitative and qualitative techniques have been used, yet, qualitative approach is dominant, in which the researcher studies objects in their natural situations and tries to conceptualize or interpret phenomena in terms of the meaning that people give them. In fact this research emphasizes on the social nature of the facts and the importance of human values and relationships with nature, contemporaries and future generations in the research process. In this research, common patterns of both plazas are driven out of the case studies and their discrepancy reveals the studied comparison in three steps. Related literature is reviewed in the first step, followed by detailed examination of Hanover Principles, as the first established sustainability principles which states ethics as one its main roots, on the basis of sustainable relations. In this step, Hanover Principles are categorized by their capability in realizing each of the trial sustainable relations. Finally, based on their related Hanover Principles, each ethical relation is analyzed separately in the case studies and the findings are compared through a visual diagram. This comparative analysis reveals higher attention on ethical sustainable priorities in the historical plaza of Naghsh Jahan in compare with the comparative plaza of Imam Hosein. Results show that in Imam Hussein Plaza, human relation with nature has been revealed only through plantation of trees in the margin of main plaza. However, in the Isfahan Plaza, the use of semi-open spaces, direct visual connection between the plaza and the sky, besides Suitable orientation, in order to benefit most from sunlight and wind, has played significant role in creating human-natured connections. Human relation with contemporaries in the Naqshe Jahan plaza has been considered in the edges of the plaza, which creates the confinement and separation between the main part of the plaza and the surrounding urban spaces. The use of natural elements in the space and the placement of stores around plaza, has offered comfort for the people who are enjoying the inner core of the plaza. This is while in Imam Hossein plaza, this relation has only been reached through the benches, which are designed and located randomly on the hard flooring of plaza’s inner core. Research results show that considering the use of local materials, use of water and plants in plaza’s inner core as natural resources, locating the functions around the field in accordance to natural lighting and reachability, besides field formation design in accordance to the orientation of sun and the dominant wind, and finally an adjustable design of the plaza for multi-purpose activities, are the priorities which can strongly affect human relationship with future generations. On this basis, it has been concluded in this research that this human relation is completely neglected in the plaza of Imam Hossein. 78 95 2018/03/172018/03/172018/03/172018/03/172018/03/17 1396/12/26 2018/03/172018/03/172018/03/172018/03/172018/03/17 1396/12/26 بشری عباسی Bushra Abbasi Tarbiat Modares ایران محمدرضا بمانیان Mohammad Reza Bemanian Tarbiat Modares ایران Ethical Sustainability Naghsh Jahan Plaza Imam Hossein Plaza Iranian Urbanism پایداری اخلاق مدار میدان نقش‌جهان میدان امام حسین شهرسازی ایرانی 1. Ardalan, Nader, and Lale Bakhtiar. 2001. Sense of Unity. Isfahan: Khak.##2. Becker, Christian.2012. Sustainability Ethics and Sustainability Research. New York: Springer’s.##3. Dahl, Arthur Lyon. 2013. Achievements and Gaps in Indicators for Sustainability. Ecological Indicators (17):14-19.##4. Divsalar, Shapour. 2013. A Report Published in Etemad Newspaper Quoted from the Public Relations Department of the Tehran Renovation Organization 9 (3374): 13.##5. 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