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دکتر جلیل
تجلیل
author
text
article
1999
per
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Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17125_39dabfebd7f14fd3c711a4d5dc27887c.pdf
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دکتر امان قرائی
مقدم
author
text
article
1999
per
The present article, after a short introduction about the definition of "National Art" is trying to express the importance and historical national manion among different people and nations from the sotciological point of view of Art It also tries to clariry what the responsibility and message of an artist in society should be, which arts can be called "National Art", and which artists are "National Artists",
For this purpose, it has studied and compared the masterpieces of national Iranian artists and those of other countries in order to express the meassage and reasons that have caused their work to be eternal and in 1he category of national works.
Finally it is to illustrate that an original and national art is the one which depends on some manifestations of the essential problems and deep requirements and the great ideas of a society and something that can bring valuable results for society and also affect the way of thinking, attitude, arientation and behavior in readers
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17126_67ad4f06d9b75f1e24f6fb5e3af3cf86.pdf
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دکتر یعقوب
آژند
author
text
article
1999
per
This paper aims to compile an annotated bibliography on the history of Persian miniature from the seventh century to the end of Qajar dynasty, From the seventh century onwarks, Persian miniature flourished in the design and ornamentation of books, Many sources have reflected on these precious artworks and have discussed valuable facts about their artists. Sufficient knowledge can be traced on the history of Persian miniature by referring to these sources. This article aims to introduce these sources and provide information pertaining to the subject
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17127_c4062f1d5921983fce1557b33c172ae6.pdf
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دکترزهرا
رهنورد
author
text
article
1999
per
The writer attempts, in the present research, to disambiguate the university course called «The philosophy of the Islamic Art» and to expose it to a critical evaluation and semantic clarification.
Guided by the writer's perspectives on philosophy, the philosophy (hekmat) of art is not ambiguous any more. Rather, it is a rational, mistic and extra-sensual issue. It goes back in its historic origin to the civilization and thoughts of Ancient Greece. It starts from Socratese, Plato, and Aristotle and the great thinkers of the world of Islam such as Ave sina, Sohrevardy, Ebne Arabee, Aabzevary. It owes its growth to the erudite thinkers of the western world such as Rodolf Otto, Norman Kisler, Mircha Elyade and to the converted to Islam thinkers of the western
world such as Burkhart and Gesnon and to the contemporany postmodern thinkers such as Vatima and Lyotar.
In the view of these thinkers, philosophy (hekmat) is a rational and transcendental and divine issue
which presents the imaginative ideas of Islamic art in a better perspective. It leads Islamic art into the domain of mysticism through abstract linguistic figures, «In Realm of Beauty».
But the significant point in the present thesis is that the writer adds a novel and new aspect to the ideas of both past and contemporary thinkers: i.e., a philosophical and erudite approach to the issues of Beauty and Existenep as they befall us from the Heavens and as they become earth-bound and manifest themselves in human objective and figurative forms and at the same time keep their sublime essence. They will once again heave on the earth an will head for Heavens..
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17128_368f05765a134abab60ea30bbde9d3ff.pdf
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دکتر محمد مهدی
عزیزی
author
text
article
1999
per
The city of Tehran has been confronting major physical-spatial changes during the last few years. High rise building activities can be analysed as one of the major phases in the process of these changes. Although high rise buildings can respond to some of the city's problems, such as land and housing shortages, they may lead to other problems. Evaluation of high rise buildings can show the positive and negative aspects of this activity.
This paper explains the high rise building activities in Tehran, evaluates their physical-spatial impacts in Farmanieh and Kamranieh suburbs and introduces principles and criteria for high rise buildings. The evaluation is based on the following six criteria: (1 )Iandscape, (2)environment, (3)roads and accesses, (4 )urban facilities, (5)safety , and (6)economic.
It should be noted that although the density increase in Tehran can be justified, high rise building activities in Tehran have had distinguished negative impacts. The most importat reason is that necessary criteria have not been considered in the planning and design process.
High rise buildings activities ought to follow urban development policies. On the basis of planning and development principles, subjects such as urban identity, density increase principles, transportation and traffic, environment, infrastructure and public facilities must be considered
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17129_e27ab7a058aaeab9aefbca78eb2e9a17.pdf
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دکتر محمد نقی
زاده
author
text
article
1999
per
Attending to different interpretations of Islamic city, its attributes are the most important points which should be defined. to achieve this goal, recognition of principles which are the route of these attri butes have special importance, because these principles should affect everything being called Islamic. The essay endeavors' to introduce attributes of an Islamic city which are derived from the Islamic sacred texts. An Islamic city is:
the city of manifestaion of Unity (Tawhid): Tawhid as the main essential principle of Islam has to be manifested in Islamic cities. This manifestation apears in social unity and the unity of man-made and natural envi ronments.
The city of worship (ibadah): Worship comprises the whole life in all its details from formal worship to everyday activities. In addition, servitude of Allah is the fundamental aim of creation. These two principles (worship and servitude) should playa vital role in the formation of the fabric of Islamic city. The spiritual urban elements have to be dominated over the whole city both psychologically and physically.
The city of righteousness (taqwa): The most important effect of taqwa on Islamic city is keeping people away from sins.
The city of guidance (hidayah): Built environment play_ an important role in directing Man's thought and behaviour. An Islamic city should guide its inhabitants in different ways to Islamic values and the goal which is the base of human creation and life.
The city of rememberance (dhike) and contemplation (tafakkor): According to Islamic teachings, Man knows the principles and values as his nature (fit'rah) which should be remindered. The Islamic city reminds peo')le of these values by creating contact with
nature, getting benefit from the Quranic verses, applying symbols and signs and by creating oppurtunities for people to contemplate.
The city of justice (adl): Justice, as one of the main attributes of Allah's work, is one of the main principles which should be considered in all Man's activities as the vicegerance of God (khalifa'tallah). The Islamic city is one of the best places for the manifestation of justice.
The city of improvement (islah): One of the main human tasks on Earth is doing islah and avoiding
fasad (corruption), and the built environment is one of the best places in which this principle and human task can be demonstrated.
The city of thanks (shoke): Paying attention to the meaning of shokr (thanks) in Islamic teachings, requires manifestation of practical shokr by the use of Diving gifts on their appropriate and relevant places.
The city of lesson (ibrah): Muslims are invited to benefit from the past as a source of lessons. Therefore, an Islamic city is the mirror of lessons as a result of human acts, by which inhabitants of the city are encouraged to repeat the best things and avoid the worst.
The city of safety and security (amniyat): Islam has paid special attention to different aspects of security and safety in Muslim communities. An Islamic city provides all aspects of security and safety for its inhabitants.
The city of goodness(ihsan): Islamic teaching leads Muslims to consider goodness especially towards their relevants and neighbours. This consideration can affect the fabric and spacial organisation of the city and make it distinguishable from other cities.
The city of moderation (ta'adol): Considering moderation, as the manifestation of justice in all aspects of human life, is one of the main attributes of an Islamic city.
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17130_83d8f680cd4748cb8e300629665c3aa4.pdf
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دکتر محمد جواد
ثقفی
author
text
article
1999
per
In the aftermath of the 1997 earthquake in the southern region of Khorasan where more than 1700 people were killed and many villages destroyed and several ruined. it is worthy to reflect on the fact that t he region was also struck by another quake in 1978. Major repair and restoration was conducted on the buildings and structures of the region and the area was covered by preventive measures.
In the recent earthquake, the majority of buildings were again severely damaged and the question rose as to where and how the previous restorations were conducted inefficiently. Deficiencies in planning,
design and calculations are important aspects to observe, but due to its economic, cultural, and social consequences, the most important aspect that requires careful scrutiny is the implementation and supervision of restorations.
In an overview of the damages which happened due to inefficient restoration and negligent supervision, important structural aspects have been surveyed and in the end the author has reflected on t he reasons for the prevalence of inefficient restorations in cecent developments of quake stricken
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17131_bdc3101518641099c384744fe29d7c91.pdf
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مهندس سید امیر سعید
محمودی
author
text
article
1999
per
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17132_d721c84969261f9cb059115afd69a7f0.pdf
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دکتر احمدرضا
عاملی
author
text
article
1999
per
Dome shape concrete structures have inherently
good strength capacity and are very stable. Because of relatively complex design, high overall cost, elaborate and expensive formwork, this type of structures were used in exceptional cases.
Dome is one of the main elements in our Iranian architectural heritage, therefore it should he expanded with a wide variety of applications by using the new developed construction methods and design tools.
In this article a new progress of constructing the concrete dome shape structures is introduced and various types of air supported forming is briefly described.
Air supported forming provides an efficient and economic method of construction for thin shell concrete dome shape structures with varied architectural application and possibilities.
Using the mentioned methods, today's developed world would realize the increasing trend of progress in construction of thin shell concrete dome shape structures.
Combination of conventional architectural design with new technology could facilitates the new era for construction of this type of structures.
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17133_a04dea8e6d5a9a4845f36064cb2c538d.pdf
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دکتر آذین
موحد
author
text
article
1999
per
This paper aims to study how tradition has exerted its Influence on the development of Schoenberg's musical thought. Just like life, Schoenberg believed musical thought involves a process of evolution that is governed by certain universal principles. The evolution of the classic tradition he believed was governed by dissonance. The growth of dissonance which developed along equal temperament in the seventeenth century, the devlopment of modulations which made possible the historical rise to functional tonality in the eighteenth cent ury, the chromatics' which foresaw the
chromatic modulations of the nineteenth century, all led I he way toward the 'emancipation of dissonance' and the development of the Twelve Tone Technique in t1e twentieth century.
"_he paper divides Schoenberg's compositional output into three periods: Wagnerian, Pan tonal and Dod ecaphonic. By reviewing Schoenberg's own writings, analyzing his works, and taking into account his, own compositions, the paper discusses the influence of previous compositional techniques and thoughts on the evolution of his style and the development of the Twelve tone Technique. The paper suggests that Schoenberg's basic concern was with the intellectual integrity of the classical tradition and proves how the Twelve Tone Technique devloped as a result of Schoenberg's search for a unified and continuous system within the framework of atonality.
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17134_5c21be136392c72a048d911876cd7265.pdf
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دکتر محمد نقی
زاده
author
text
article
1999
per
Will the problem of screenplays (or scripts) be
settled?
Producers, directors, actors and actresses all
complain of weak screen plays in the Iranian cinema.
Movie-goers contend that most artistic films lack a consistent and attractive plot. What is wrong and how should this problem be addressed? Just as a fish's life depends on water, a screenplay also depends on the scriptwriter.
How could the problem of script writing be settled
in the Iranian cinema?
What criteria and standards should be the
yardsticks for approval of a script?
What is the role and position of scriptwriters and what moral and material rights do they enjoy? Does the problem of script writing emanate from lack of economic and cultural support for scriptwriters? Where should funds for research on script writing and training of scriptwriters come from?
If we take screen plays as the building blocks of cinema, the script writer should advance the film industry (in every way) and determine its cultural policy lines. As such, he will lay the foundations of a worthy artistic cinema.
In addition to innate and inborn talent, the
scriptwriter should also be afforded the chance to study script writing academically.
A survey of Iranian cinema history reveals that scriptwriters have not been at the focus of attention of those in charge of the cinema for various reasons, including economic conditions (i.e. absence of required investments), cultural problems, and audience demands.
In the course of years, the cinema industry has found its way (though in a deficient form) in
accordance with the prevailing conditions.
Many professional cinema figures complain of the government's qualitative assessment of cinema, especially script writing, and of economic rewards and punishments determined by the said assessment. They also complain of the ranking system for screen plays.
Such complaint stems from the cinema officials' supervisory approach toward the directors, a move which downgrades the directors and robs them of self-confidence.
When it comes to competition and policy ¬making, a discussion is raised as to whether the audience could be vested with the task of «quality control» in such a case, the screen plays will be turned into films and screened without any ranking system so that the audience could choose the best and support and protect the artistic cinema.
A study of screen play writing and its developments in terms of subject theme, structure, plot, character and type, dialog, incidents and events, setting and atmosphere bring one major point to the limelight: negligence toward the screen play's structure and failure to appreciate the play Wright.
In my research, I have attempted to survey the history of script writing in Iran so as to take a small step toward illustrating the existing weaknesses and features of script writing.
Honar-ha-ye Ziba
پردیس هنرهای زیبا_دانشگاه تهران
4و5
v.
0
no.
1999
https://jhz.ut.ac.ir/article_17135_faa0ba3807d56fe1b5e1c8cac802037a.pdf