Investigating the elements of light and water in the history of Iranian art and a new approach in using these elements in the design of urban space elements

Dissertation for Master Degree (M.A)

Chapter One

Abstract:

This research, with the primary purpose of using the elements of light and water in the design of urban elements, has investigated these elements in the historical period of Iran, and also the design of furniture and urban elements has been examined from the perspective of identity and culture, and an attempt has been made to create a stronger link between culture and urban elements.

Also, from a social point of view, It has become better to connect the user with the urban elements.

Introduction

The importance of the subject

Considering that the current design of the city of Tehran does not meet the psychological and physical needs of the people of Tehran, and there is no natural and effective connection between the individual and the urban spaces, and it is a gray city without creating a connection between the individual and the society. Therefore, it is necessary to create a space according to the culture of the society that improves the relationship between the individual and his environment and is a space for interaction and relaxation.

Goal

The design of elements and urban space in accordance with the culture and history of the Iranian people in order to create social interaction and interaction between urban spaces and people.

Research question

I started this research with the assumption that by examining the history of Iranian art, I would extract cultural indicators and from them arrive at design codes for the design of urban elements.

Definition of urban furniture

Urban furniture refers to a wide collection of tools, objects, devices, symbols, small buildings, spaces and elements that have been installed in the city and street and in the whole open space and have public use, so they have become known as this term. The second chapter is completely dedicated to this section. This study shows that cultural characteristics have many commonalities before the Islamic era, and after the Islamic era, while maintaining some commonalities, they have new characteristics. Concentration, hierarchy of purification and purity and transparency, forgiveness, truth-seeking and so on. It has been extracted in connection with the elements of light and water. From these indicators, I arrived at the design codes, with the help of which, by using the set method, I succeeded in designing a space on the roof of Tehran.

Investigating the elements of light and water in the history of Iranian art

Historical analysis

2-1 Mythology:

Bahar (1376 A, pp. 344 to 345) Mythology is a part of cultural anthropology which itself branches off from anthropology. Cultural anthropology examines and discovers the general laws of human behavior patterns in all its dimensions and tries to provide a general explanation of this social phenomenon. Mythology serves cultural anthropology by examining living or dead mythological collections and discovering their general and general qualities.

2-2 Water and creation:

The creation of life is based on water. The Sumerians believed that at the beginning of life there was nothing but water and everything was obtained from water. In the middle of the water, an island in the shape of a mountain was created. It was born to the base of air, which was the third element of life after water and soil. One of the important characteristics of this element is the ability to expand.

In Babylonian myths, instead of the goddess (Nemo), the goddess Naamah is introduced as the goddess of water. Waters existed before the earth. Pregnancy was connected: 1- in the form of rain 2- in the form of a pregnant woman who gives birth to a child, and this birth takes place in the shelter of an element that was worshiped by everyone. It was impossible to be neither settled nor fertile.Examining the root and origin of Sahar Shuaar water and religious rites, which are common and widespread in all religions of the world, will clarify. The basic features of the stories of mythological gods (lords of all kinds) and heroes are almost always indebted to the myth of farming and agriculture and honors nature in the image of a virgin and pregnant woman. 2-3 The role of water in the emergence of civilization and culture: Water is the main factor in the emergence of civilization on the planet. Rather, its social life is connected to it.

Water is sacred, and man puts a stamp of sanctity on a phenomenon that has a role and presence in his life. Rivers are considered the mothers of human culture. The sanctity of water in this ritual is to the extent that in Yasna 65, paragraph 10, Ahura Mazda says to his prophet:

Tishtar is a god who is associated with rain, and therefore he is the origin of all waters and the source of rain and fertility. Water plays a great role in transferring the essence of Zarathustra's body and his creation. Some steps reach the father and mother of Zoroastrian.

2-4 Water in other ancient religions:

In the Zoroastrian religion, the foundation of the world is created from water (Bahar, 1357, p. 73).

Among the Manichaeans' beliefs about the role of water in the first principles of creation, the following are far-fetched:

The mother of life, the mother of existence, the procreator, (Hormozd B) or the first human being. Hormuzd Ba is the child of the mother of life and the son of God. It is also considered a symbol of the eternal man and the soul in captivity. Amhar Sepidan, which is the wind, clear water and fire, was considered the child of Harmuzdaba and the living breath of God, which is the symbol of the light imprisoned in matter. And the beliefs of the rural communities of Iran also believed in the three elements of water, fire and earth, in the Mehr ceremony, they built Mehri temples next to pure water. (Images are available in the main file) Bakun shows the most beautiful geometric and abstract patterns of water. At the beginning of pottery making in these areas, completely geometric patterns represented the benefits of water, but in the later periods, everything that needed this existence-giving element for its survival, such as plants, animals, and humans, was added to the geometric patterns and created sacred functions. Prehistoric pottery, as well as pottery itself, has had very important unifying functions, neutralizing dry magic, the unity of the lower and upper worlds, and immortality. 2-5-1 Water prayer on prehistoric pottery: The rite of consecration of water was praised for its increase and blessing, the secret of water prayer and its connection with humans, symbolically and geometrically on the pottery. Bast. These secrets and codes and these symbols were like a dhikr for praying for water and it was always repeated and in the mind of the ancient man it had no function other than neutralizing the enchantment and magic of dry land. He thought that these sacred motifs with their transcendental power, in addition to emphasizing the sanctity of water, transform dry magic into the life-giving power of water.                                                                                                                   Photo (2-2) (2-3) Silk pottery of the 4th century B.C. Photo (2-4) Silk pottery with abstract motifs of water 2-6 Elam:

In the Elamite religion, the snake had the protection of water (increasing), wisdom and wealth (blessing). In the Elamite religion, the snake is a frequent motif, which is especially engraved on jars and basins. The snake also has the role of warding off evil forces. Snakes are carved on gates, around kings, around altars, and on the handles of weapons, and while they are wrapped around themselves, they are considered the thrones of the gods.

2-6-1 Kurangan:

It was the first and oldest Islamic relief in Fars province.