Typology of plant motifs decorating non-religious buildings in Kashan - the title of the practical part of the application of plant motifs decorating non-religious buildings in Kashan in wall painting of urban spaces

Academic Thesis for Master's Degree

Field of Visual Communication

Abstract

Decorations in Iranian architecture have always been used as one of the methods of creating beauty by maintaining the unity of the whole at the same time as the plurality of components. Various types of decorations have been used in Iranian architecture. These decorations include various plant, geometric, animal and abstract motifs, most of which have an ancient history. Kashan architects have also used these motifs in decorating their religious and non-religious buildings. A large group of motifs used in these buildings are plant motifs, whose widespread presence should be sought in the ancient belief in the sanctification of plants and the great respect and love of Iranians for nature, and also the limitation of imagery in the Islamic period caused the artist to pay more attention to plant motifs. Most of the non-religious buildings left in Kashan belong to the Qajar period. The influence of European art in the art of this era due to the increase in the relationship with the West caused plant motifs, which are inherently abstract and elusive to nature, gradually to be closer to the natural form under the influence of Western naturalist art and presented with new forms, and created an art full of decoration with bright and rich colors that is at the same time with the aristocratic style of Baroque[1] and Rococo[2] of that era. These motifs are embedded in the architectural decorations of Kashan buildings through plastering, carving, painting, and mirror work, each of which is used in new ways to fit the space and execution technique, and thus the number of motifs and their variety has been permanently increased. The architectural decorations of the non-religious buildings of Kashan, which include houses, baths, reservoirs, caravanserais, and timchehs, are distinct and remarkable during the Qajar period. In this research, it has been tried to analyze and use descriptive and analytical methods after correctly recognizing and classifying different motifs, their practical aspects. In the conclusion section, plant motifs used in the decoration of non-religious buildings in Kashan have been classified and analyzed in six categories. Classification of plant motifs based on the pattern expansion method (full pattern, half pattern, square pattern and repeated pattern), according to style (Iranian-Islamic style and western nature), based on expression form (in the form of tree of life, cypress tree, flowerpot, orange blossom and small patterns), combined patterns (combination of plant patterns with living, non-living and calligraphy patterns), in terms of execution technique (plaster, painting, Sarojbori and mirror work) and color selection (blue, red, yellow, bright orange, green, pink, white and gold).

Key words: architectural decorations - plant motifs - non-religious buildings - Kashan - Qajar

Introduction

Architecture is one of the oldest arts that has always been associated with people, their thoughts, beliefs and religions. In the oldest historical remains, we can see the traces of human desire to decorate the living environment. In this passage, the territory of Iran is not exempted from this rule. Islamic culture, art and thought gave a new face to Iranian art, without changing its identity and spirit. One of the famous features of Islamic art and architecture is that a significant number of components that were originally used for construction have been transformed and turned into purely decorative devices, in this way they have given them a role in wide decorative compositions.

The non-religious buildings of Kashan also have decorations that architects have presented the most attractive designs with the simplest materials such as stone, brick, plaster, tiles and paintings. It is the inspiration of authentic Iranian civilization and culture. What are the types of these motifs in terms of application, form and construction method? In this article, in the first chapter, we will discuss the generalities of the research and the theoretical foundations, which include definitions and a brief history of architectural motifs and decorations, and after getting familiar with the architectural decorations of Iran in the second chapter, with Kashan and introducing the significant non-religious buildings left over from this historical city, we will collect the plant motifs used in the shell based on a collection of these motifs, and in the third chapter, with the collected information, we will analyze the plant motifs and classify them. In terms of: the way of expanding the role, style, expression of form, combined motifs, execution technique and color selections are discussed. Therefore, with a correct understanding of these motifs, it is possible to make a great contribution to the revival and continuity of these beautiful and authentic Iranian motifs by consciously using them and the practical aspects in the beautification of the urban space in the context of wall painting.

Chapter One

Introduction of the generalities of the research

and theoretical foundations and research

1-1 Introduction of the generalities of the research

1-1-1 statement of the problem

Historical buildings of every country are part of the birth certificate and record of the people who lived there and to know a people And the culture of that nation should go to the cultural foundations of that nation. In the architectural decorations of Iran-Zimin, each role appropriate to borrowing from nature and its surrounding environment expresses hidden values ??and beliefs, which ultimately speaks to the beliefs and ideals that govern the intellectual atmosphere of the society. Today, we are faced with many motifs, one category of motifs are rooted in Iranian civilization and culture, although they have undergone changes and transformations over time, but their Iranian identity has been preserved, and the other category is imported motifs that are imported from other cultures and are used without any recognition. With the increase of western designs and the disproportionate exploitation of these motifs in different areas of the country, the need to return to authentic and familiar Iranian motifs is felt more and more. The result of this return is the revival of native designs and the decoration of today's soulless urban space using these beautiful and rich motifs. Also, due to the loss of these treasures, it is appropriate to revive these forms and motifs through research and research on this issue and to achieve new designs derived from Iranian art and culture using these beautiful motifs. By examining the architectural decorations of the non-religious building of Kashan, this research pulls out the motifs from the heart of this building and also analyzes the classification and analysis of the motifs through a case study. The framework of this research is to answer the question, what types of plant motifs used in the non-religious buildings of Kashan are in terms of application, form and construction method? And on the other hand, what is the place of these motifs in architectural decorations?

Kashan is not only carpets and roses, it is the story of people who planted trees and built houses, the houses that are decorated with unique motifs and tried to art and craft. The non-religious buildings of Kashan include: residential houses, baths, gardens, markets, water reservoirs, caravanserais, and teahouses. Most of these buildings belong to the Qajar period, and with the cooperation of Kashan Municipality and Cultural Heritage, some of them have been restored and renovated according to the original plan and have been registered in the list of national monuments of Iran. Most of these works have unique architectural decorations, and since among the various decorations of the cities in different eras of history, the pattern of the Kashan building is distinct and acceptable, and on the other hand, there is no codified and acceptable collection of these motifs, a careful study of these motifs is actually scientifically justified. In this illustrated thesis, decorated with paintings, the plant motifs of the building shell, which is the foundation of Kashan culture, are studied and investigated, and only the plant motifs used in the decoration of different parts of the building, such as plastering, painting, mirroring, etc., are tried. be extracted and presented in the practical project section of its application in the beautification of the urban space in the discussion of wall painting. 2-1-1 research objectives The aim of studying the typology of plant motifs in the non-religious buildings of Kashan: to identify and introduce plant motifs and present a codified and acceptable collection of this building. Classification of motifs in terms of application, expression of their form and execution technique.

Color selections and analysis of motifs in terms of color range.

Revival and use of designs and plant motifs used in the decoration of the old architecture of Kashan in the beautification of today's urban space.

With the help of these goals, one can achieve a correct understanding of the motifs so that they can be used consciously, and with the correct use of these motifs and their application in other areas of art, the way of all artists and He continued the artisans who created these artistic masterpieces, which are the foundation of the culture of this border and region, so that the authentic Iranian culture and motifs continue. Like others, I was surprised by the art and beauty of these houses. Houses that architects have presented the most attractive designs with the simplest materials such as stone, brick, plaster and tile.