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Goodarzparvari, Parnaz
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Arts Humanities Civil Engineering, Building, Construction & Architecture

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Journal : Journal of Islamic Architecture

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A COMPARATIVE STUDY OF THE GEOMETRIC MOTIFS OF THE ATEEQ MOSQUE (SHIRAZ) AND THE CORDOBA MOSQUE (CORDOBA) WITH A CONTEXTUAL APPROACH Karim, Somayeh; Goodarzparvari, Parnaz; Aref, Mohammad; Bahmani, Pardis
Journal of Islamic Architecture Vol 6, No 2 (2020): Journal of Islamic Architecture
Publisher : Department of Architecture, Faculty of Science and Technology, UIN Maliki Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/jia.v6i2.10113

Abstract

Islamic art is an introverted art derived from mystical thought and believes expressed in artistic activities and is pure, indigenous, and commensurate with the spirit and social status of its time; Islamic architecture also has an Islamic foundation, and it has a close relationship with the decorative arts. In this regard, mosques are considered the most significant Islamic architecture achievements; in most cases, geometrical shapes and motifs with religious and natural themes have been used. Therefore, the present study's primary purpose is to study the geometric patterns of the Ateeq Mosque (Shiraz) and the Cordoba Mosque (Cordoba) by a descriptive-analytical method. Analyzing the collected data revealed that the motifs and their role in both the Ateeq Mosque of Shiraz and Cordoba are similar. Among the essential motifs observed in these two mosques can be the circle (symbol of being and the symbol of heaven and God), Shams (symbol of the sun and celestial light), the triangle with the downward vertex, the symbol of the female principle and the upward symbol of the mountain symbol and the masculine principle and crucifix (symbol of rotation of the seasons and permanent reproduction) and spiral as the symbol of fertility. In the Islamic period, these motifs are decorated with architectural spaces. The geometric motifs represent natural elements. As appreciation and sanctification of natural elements have been noticed, geometric motifs symbolically evoke those sacred elements and were illustrated in Iran and Spain's arts.
COMPARATIVE BODY ANALYSIS OF SHEIKH LOTFOLLAH MOSQUE IN ISFA-HAN AND AHMED MOSQUE IN ISTANBUL Vaziri, Alireza Haj; Goodarzparvari, Parnaz; Baniardalan, Ismail
Journal of Islamic Architecture Vol 6, No 3 (2021): Journal of Islamic Architecture
Publisher : Department of Architecture, Faculty of Science and Technology, UIN Maliki Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/jia.v6i3.10112

Abstract

A mosque is a manifestation in which religion meets with art, demonstrating the most distinctive features of this art. Among the structural analysis approaches in architectural science, body analysis is critical, especially while the conceptual characteristics are considered. The positioning of the mosque building bodies and their relation to each other is also essential. The study aims to realize the geometry of motifs in Islamic architecture contemplated in many scientific and artistic disciplines from the perspective of body approach and understand the pattern on which this creative adaptation is made. In the Safavid era and the Ottoman Empire, Iran, due to its religious approaches, political rivalries, and European influence, saw new relations, and their cultural and artistic influences became tight. To understand the structural features of the architecture of the Safavid and Ottoman era, Sheikh Lotfollah and Sultan Ahmad mosques were studied (as a case study), considering their body analysis as a route to investigate the application of concepts and elements of Islamic architecture, as well as considering the architectural practices of the region and geographical location. Obtained results provided the relationship of the bodies and spaces to each other. Despite many differences, there are some distinct similarities in the body of the studied mosques due to the mystery of the motifs that unite the whole building in Islamic buildings. There is a display of homogeneity and dominance of decoration over the form. The one behind the decoration is in line with Islamic concepts and values. It is a message of unity and solidarity.
Co-Authors Aref, Mohammad Bahmani, Pardis Baniardalan, Ismail Karim, Somayeh Vaziri, Alireza Haj