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Статті в журналах з теми "Architecture ilkhanide"
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Юсефи, Х., М. Ализаде Сола, and С. Эсмаилзаде Киви. "ANALYSIS OF ILKHANIDS SILVER COINS DISCOVERED IN THE GREAT MOSQUE OF ARDABIL CITY IN NORTHWESTERN IRAN, BY PIXE METHOD." Краткие сообщения Института археологии (КСИА), no. 262 (November 15, 2021): 414–22. http://dx.doi.org/10.25681/iaras.0130-2620.262.414-422.
Повний текст джерелаАнотація:
Город Ардебиль - один из древних городов Ирана, где сохранилось более 10 исторических памятников доисламского и исламского периодов, в частности, остатки Большой мечети - одной из первых больших мечетей Ирана, некогда возвышавшейся на берегу реки Балыклы-Чай. В 2009-2012 гг. в ходе работ по восстановлению Большой мечети было обнаружено множество монет: золотых византийских, медных - эпохи Атабеков и серебряных - династии Илханидов XI-XIII вв. Этот факт указывает на использование данного религиозного памятника в течение длительного времени. В статье подробно описывается методика исследования серебряных монет, найденных в Большой мечети и связанных с началом истории Илханидов. Результаты анализа элементного состава металла пяти монет методом PIXE - высокое содержание серебра и наличие золота вместе со значительным снижением содержания меди -свидетельствуют о благоприятных экономических условиях и расцвете культуры в период правления Илханидов. Авторы предполагают, что и серебро, и медь добывались в месторождениях, находившихся в окрестностях Тебриза. Existence of more than 10 historical sites dating back to pre-Islamic and Islamic periods, especially, the architectural remains of the Great Mosque located on bank of the Balikhlli chai river running through Ardabil indicates the significance of the city of Ardabil. Numerous Byzantine golden coins, Atabegs copper and Ilkhanids silver coins belonging to 11th to 13th centuries AD were found during the extensive activities on reparation of the Great Mosque in 2009-2012. This fact evidences that this religious monument has been used for a long time. The article focuses on Ilkhanids silvers coins. The investigation of the silver coins from the Great Mosque shows that they are related with the beginnings of Ilkhanids' history. PIXE analysis of some of the silver coins shows high purity of silver and gold in metal composition of coins and points to good economic conditions, medicine improvement and cultural dehiscence during Ilkhanid period and the preceding periods. The authors suppose the extract of copper and presence of silver in Tabriz surroundings.
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Tavakkoli, Behrouz, and Raana Cinmarasl. "Geometry of the form and designs of Ilkhani tombs' tower of Azerbaijan (Case study: Qarabagh Bardaeh tomb' tower)." Historia Y MEMORIA, no. 20 (December 5, 2019): 251–72. http://dx.doi.org/10.19053/20275137.n20.2020.10295.
Повний текст джерелаАнотація:
The seventh and eighth centuries of the Hijri calender were the era when Azerbaijan's architecture flourished. During this period, a special style of funerary architecture was developed in the form of a tower-shaped tomb, the scope of its effects extending from Azerbaijan and reaching Khorasan and Turkestan in the east, and Asia Minor and Mamluk Egypt. Considering the centrality of Azerbaijan during the period of the Ilkhanite of this region, the architectural styles flourished in this temporal and spatial period, which later became known as Azeri-style architecture. Parallel to other religious monuments, the tower-shaped tombs found a privileged position in Islamic architecture. Its best examples are the mausoleum tower of Bardaeh in Qarabagh, Sheikh Safi, and Sheikh Heydar, Soltanieh, Ghaffarieh and Qara Baghlar. The purpose of the present study is to recognize the architectural and decorative structure, and to analyze the geometric patterns used in the Azerbaijan tombs, with emphasis on the Qarabagh Bardaeh tomb tower, as a persistent pattern. In order to achieve these goals, the tombs were studied with an interpretive and qualitative strategy, through historical and library studies and field analysis. The designs and decorations were documented, recognized and analyzed.
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Блессинг, П. "ARCHITECTURE, SCALE AND EMPIRE: MONUMENTS IN ANATOLIA BETWEEN MAMLUK AND ILKHANID ASPIRATIONS." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(11) (February 17, 2020): 114–31. http://dx.doi.org/10.25995/niitiag.2019.11.2.007.
Повний текст джерелаАнотація:
В данной статье рассматривается вопрос размера и масштаба в архитектуре Анатолии конца XIII в. Конкуренция между мамлюками в Египте и Сирии и ильханидами в Иране сильно повлияла на политическую обстановку Анатолии начиная с 1270-х гг. Поэтому важно рассмотреть, повлияла ли тенденция к монументальной архитектуре в этих двух соседних империях на строительство во всем регионе. В статье будет описано, как идеи масштаба отражаются в письменных источниках, на примере средневековых исламских текстов, комментирующих понятия монументальности в архитектуре. Затем эти идеи будут рассмотрены в отношении памятников, построенных в Центральной и Восточной Анатолии во второй половине XIII в., где, как представляется, для создания визуально впечатляющих зданий использовалась архитектурная декорация, а не крупные размеры. This article examines the question of size and scale in the architecture of late thirteenth-century Anatolia. Competition between the Mamluks in Egypt and Syria and the Ilkhanids in Iran greatly affected the political environment of Anatolia starting from the 1270s. Therefore, it is relevant to examine whether the tendency towards monumental architecture in these two neighboring empires had an effect on building practices in the region. Examining medieval Islamic texts commenting on notions of monumentality in architecture, the article will describe how ideas of scale have been reflected in the written sources. These ideas will then be examined with regard to monuments built in central and eastern Anatolia in the second half of the thirteenth century, where it appears that architectural decoration, rather than large scale, was used in order to create visually impressing buildings.
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Grbanovic, Ana Marija. "The Ilkhanid Revetment Aesthetic in the Buqʿa Pir-i Bakran: Chaotic Exuberance or a Cunningly Planned Architectural Revetment Repertoire?" Muqarnas Online 34, № 1 (9 жовтня 2017): 43–83. http://dx.doi.org/10.1163/22118993_03401p004.
Повний текст джерелаАнотація:
The Pir-i Bakran mausoleum (completed by 1312–13; Linjan, Isfahan) is considered to be a typical example of exuberant Ilkhanid architectural decoration. In the 1970s, the International Association of Mediterranean and Oriental Studies (IsMEO) undertook significant research and restoration work on the mausoleum. After their efforts were interrupted by the onset of the Iranian Revolution, restoration activities were continued by the Iranian Cultural Heritage Organization. Almost four decades later, questions concerning the mausoleum’s history, function, decorative program, patronage, and craftsmen—as well as the identity of the deceased—nonetheless remain unresolved. The mausoleum’s tile and original polychrome stucco decoration also require further scholarly attention. This article proposes a new view of the mausoleum’s decorative aesthetic and contributes to our understanding of the Ilkhanid architectural legacy. The article argues that, rather than being a haphazard application, the aesthetic characteristics of Pir-i Bakran’s revetments were determined by multiple undertakings executed according to specific decorative principles. Moreover, the mausoleum’s decorative program illustrates a rapid change in Ilkhanid decorative principles and aesthetics. I also propose a hypothetical timeline of mausoleum’s constructive and decorative undertakings, and reconsider its function and political significance.
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Prazniak, Roxann. "Ilkhanid Buddhism: Traces of a Passage in Eurasian History." Comparative Studies in Society and History 56, no. 3 (July 2014): 650–80. http://dx.doi.org/10.1017/s0010417514000280.
Повний текст джерелаАнотація:
AbstractBuddhism contributed to the culture and politics of thirteenth-century Eurasian intellectual exchange, depositing literary, artistic, and architectural traces subsequently eclipsed by layers of Islamic and Eurocentric history. Within extensive cross-continental networks of diplomatic and commercial activity, Ilkhanid Buddhism and the Buddhist revival of which it was a part drew serious attention among contemporary travelers, scholars, and statesmen including Ibn Taymiyah, Roger Bacon, and Rashid al-Din. This article argues that awareness of a Buddhist scholarly and political elite in the Muslim heartland, with its center at Tabriz, generated a historically significant Eurasian Buddhist discourse during a critical passage in the turn to modernity.
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Bakhoum, Diana Isaac. "The Foundation of a Tabrizi Workshop in Cairo: A Case Study of Its Influence on the Mosque of Emir Altunbugha Al-Maridani." Muqarnas Online 33, no. 1 (November 14, 2016): 17–32. http://dx.doi.org/10.1163/22118993_03301p003.
Повний текст джерелаАнотація:
This article discusses the introduction of new decorative techniques to Bahri Mamluk architecture in Cairo; the focus is primarily on the Mosque of Emir Altunbugha al-Maridani. The mosque was built during the third reign of al-Nasir Muhammad, which was marked by great growth and urban development. The exchange of artists from the Ilkhanid domain and the foundation of a court workshop in Cairo during the 1330s and 1340s were responsible for the increase in the use of tile decoration and stuccowork on Cairene architecture. Four tile panels above the entryways to the mosque and stucco decoration are analyzed technically and stylistically to learn more about the craftsmen’s inspiration and technique, as well as the extent of the workshop’s involvement in the mosque. The discussion further aims at contextualizing the mosque in light of contemporaneous historical events and at examining how these may have contributed or influenced the architecture of this period.
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Sokhanpardaz, Kamran. "Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey." Journal of The Near East University Faculty of Theology 7, no. 1 (June 22, 2021): 87–118. http://dx.doi.org/10.32955/neu.ilaf.2021.7.1.03.
Повний текст джерелаАнотація:
The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that the ornamental composition of the mihrab includes inscriptions, vegetal and geometric decorations. Also, these decorations were made in embossing and hollowly technique. There is no information about the artist of the stucco decorations of the altar. Although there is no date inscription on the mihrab, it is similar to the examples of the Great Seljuk period in terms of general shape and decoration features. Also according to the results of this research, the stucco decorations in this mihrab, It is very similar to the decoration of the first Islamic era of Iran, obtained from Neyshabur excavations, stucco decorations discovered from Samarra Exploration, architectural ornaments of the Qarakhanid period, stucco decorations from the Ghaznavid Period, Anatolian Seljuk Architectural decorations and stucco decorations of the Ilkhanid Period of Iran.
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Zohrehvand, Hamed. "Effects of Mystical Literature on Islamic Architecture of Iran in Ilkhanid and Timurid Era." International Journal of Science, Technology and Society 3, no. 2 (2015): 107. http://dx.doi.org/10.11648/j.ijsts.s.2015030201.31.
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Saremi Naeeni, Davoud, and Kobra Hasangholinejad Yasoori. "Studying the Effect of Continent on Three Important Mosque of Timurid Period (Blue Mosque of Tabriz, Goharshadjame Mosque, Jame Mosque of Yazd)." Modern Applied Science 10, no. 2 (January 15, 2016): 205. http://dx.doi.org/10.5539/mas.v10n2p205.
Повний текст джерелаАнотація:
<p class="zhengwen"><span lang="EN-GB">Mosques’ architecture is one of the monuments in the history of Iranian architecture that has alwaysbeen of interest andimportance and in the Timurid period was also welcomed by many architects and artists and e</span><span lang="EN-GB">xamples were built that were used as a perfect model for the architects of the next periods. The architecture of this period is known as a good example of harmony with the environment, which is a result of various climatic, historical, economic, cultural and political factors and have had the greatest impact and benefit fromthe continental and social and politicalconditions of Ilkhani and Seljuk periods. Timurid mosques of Iran are from the important elements of Islamic architecture in terms of architectural form and decorations that need to be reviewed in these two factors. Building mosques in Iran, as a public place and a political state for the spiritual guidance was started at the beginning of Islam and was completed in the Timurid era in the various buildings. Mosques were firstly build as Shabestani and then as one Iwan and two Iwans and four Iwans, as one of the important elements in the cities.</span></p><p class="zhengwen"><span lang="EN-GB">Given that the architectural design, construction and decorations of some of theTimurid mosques are from the architectural masterpieces of Iran, this article has considered three important mosques of the Timurid period in Iran, GoharshadJameMosque,Jame Mosque of Yazd, Blue Mosque of Tabriz, and has analyzed and compared the structural elements of the architecture of these mosques (dome, Iwan, courtyard,and use of geometry in buildings, etc.) as well as considering the climatic factors that impact on those building. The method of research is comparative study and case study and then with an analytical approach, we will compare three important mosquesin terms of political, social situations and also physics and structure and geometry and decorations of them. In addition to reviewing the related papers and books, we will have a comparative table for the physical elements and their decorations. Finally, in addition to achieving the objectives of constructing the mosques and their formal changes in this period and comparingthem, the status of each of them is reviewed in the main section of the paper and the analytical model for future studies for mosque’s architecture according to the continent, is recommended.</span></p><span lang="EN-US">In this research with the aim of considering the methodologies of building mosques’ architecture according to the continent, first we consider the physical features of architecture in Timurid period. Then we consider the architectural physical features of The Blue Mosque of Tabriz, GoharshadJame Mosque, and Jame Mosque of Yazd as some examples. After that, the general characteristics and structural form of mosques according to the continent and the domestic architecture of the regions was analyzed. At the end, comparing the features and similarities of mosques and the differences in mosques’ architecture in this period, we have found some strategies about building mosques according to the domestic and continental architectural features.</span>
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Rajabi, Fatemeh, and Molood Khosravi. "Formation of Geometric Patterns in the Architectural Decoration: An Investigation on the Ilkhanids’ Period." Journal of History Culture and Art Research 8, no. 3 (October 1, 2019): 330. http://dx.doi.org/10.7596/taksad.v8i3.2251.
Повний текст джерелаДисертації з теми "Architecture ilkhanide"
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Leone, Anaïs. "Revêtements au lustre métallique dans l'architecture religieuse et funéraire de l'Iran Ilkhânide (1256-1335)." Thesis, Aix-Marseille, 2021. http://theses.univ-amu.fr.lama.univ-amu.fr/211122_LEONE_737y812yyedr752wxnmi508jgy_TH.pdf.
Повний текст джерелаАнотація:
La période ilkhanide (1256-1335) en Iran marque l’apogée de la production de céramique à décor de lustre métallique des ateliers de Kâshân (Iran central). L’architecture qui s’est développée sous le règne de cette dynastie mongole employait un large répertoire décoratif mobilisant ce procédé technique. Pourtant, ces carreaux ont été massivement retirés de leurs murs d’origine et ont emprunté des parcours individuels. Ils nous sont parvenus isolés ou en petits groupes, dispersés dans les collections publiques et privées du monde entier. Cet éparpillement a entrainé une décontextualisation qui a largement entamé notre connaissance de leurs formes, fonctions et significations initiales. Cette étude propose la reconstitution de neuf ensembles décoratifs lustrés qui ornaient l’architecture religieuse et funéraire de l’Iran ilkhanide. Ce travail de recomposition s’appuie sur des prospections menées dans les monuments concernés et sur la constitution d’une base de données des éléments lustrés existants. Ces deux types d’informations permettent un travail de recontextualisation de ces pièces de leur place au sein d’un programme décoratif global à celui d’élément isolé. Des thématiques majeures pour la période ilkhanide sont abordées à partir des preuves matérielles concrètes réunies et analysées. Ainsi, le cadre architectural originel de ces pièces permet d'identifier les typologies, les choix épigraphiques et la présence de certains motifs dans ces contextes architecturaux. Ces propositions livrent un matériel reconstitué inédit ainsi que des analyses et pistes de recherches initiatrices de perspectives autour de ces piècesThe production of Kashan's luster ceramic workshops (Central Iran) boomed during the Ilkhanid period (1256-1335). Luster tiles played an important role within a larger repertory of the decorative schemes in the architecture developed during the reign of this Mongol dynasty. Regrettably, the removal of Ilkhanid-period luster tiles from their original location occurred in most sites and tiled ensembles that remain in situ are now exceedingly rare. Indeed, the stripping of an important number of buildings led to the arrival of thousands of tiles of unidentified or incomplete provenance in public and private collections. Therefore, each tile provides context about its creation but also about the removal of its original walls. Considering tile revetments could clarify issues concerning the forms, functions, and significations of the original decorative schemes.This study formulates new proposals about the luster tilework in nine ilkhanid religious and funerary monuments. These reconstitutions are based on data collected at surviving monuments and on an inventory of surviving luster elements preserved throughout the world. By cross-referencing of these two types of information it is possible to unite formerly isolated elements. These ensembles, more coherent as a whole, allows to investigate some general topics of the Ilkhanid period. These original decorative scheme are fundamental to identify typologies, epigraphic choices, or the presence of specific motifs on these architectural programs.Further investigations will be required to complete and increase our knowledge. Nevertheless, these propositions provide data and analyzes which instigate new approaches to these pieces
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Durocher, Maxime. "Zāwiya et soufis dans le Pont intérieur, des Mongols aux Ottomans : contribution à l’étude des processus d’islamisation en Anatolie médiévale (XIIIe-XVe siècles)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL102.
Повний текст джерелаАнотація:
Alors que le rôle du soufisme dans les processus d’islamisation de l’Anatolie à l’époque tardo-médiévale a été étudié depuis le début du XXe siècle, l’architecture des pôles de dévotion, dénommés zāwiya dans les sources textuelles, est longtemps restée à la marge de l’historiographie de l’architecture islamique en Anatolie. Les prospections archéologiques dans le Pont intérieur (Anatolie septentrionale) et les recherches dans les archives d’Istanbul et d’Ankara ont permis de rassembler un important corpus de sites et de sources documentaires qui y sont liées, majoritairement des chartes de fondation (waqfiyya). Cet ensemble concerne la période comprise entre la conquête mongole de l’Anatolie en 1243 et l’intégration progressive du Pont intérieur dans le giron de l’Empire ottoman durant le premier quart du XVe siècle. La thèse propose une étude multiscalaire de ces corpus complémentaires afin de comprendre la place de ces institutions et des communautés qu’elles hébergent dans les processus d’islamisation, entendu dans un sens large, qui touchent l’Anatolie durant cette période. La première partie étudie ainsi l’évolution de l’architecture de ces monuments dont le caractère polyfonctionnel est révélé par l’étude des waqfiyya. Dans un second temps, la thèse s’attache à analyser les modalités d’implantation des zāwiya, en ville et à la campagne, ainsi que leurs assises économiques. Enfin, la troisième partie questionne la formation de réseaux soufis aux échelles régionales et micro-locales. Le rôle de ces pôles de dévotion dans la transformation d’une topographie chrétienne du sacré préexistante est également exploré à partir de l’étude des remplois antiques et byzantinsWhile Sufism and its role in the Islamization process of late-medieval Anatolia was studied since the early 20th Century, the architecture of dervish lodges, commonly named zāwiya in written sources, was neglected for a long time in the historiography of Islamic architecture in Anatolia. Archaeological surveys in the Inner Pontos region (Northern Anatolia) and research in the archives at Istanbul and Ankara have brought together an important corpus of sites and documentary sources related to these buildings, mostly endowment deeds (waqfiyya). This corpus covers the period between the Mongol conquest of Anatolia in 1243 and the progressive integration of the Inner Pontos into the Ottoman realm during the first quarter of the 15th Century. The dissertation proposes a multi-scalar analysis of these complementary corpuses in order to better understand the role played by these institutions and the Sufi communities that they host in the Islamization of Anatolia, understood as a multi-dimensional process. The first chapters discuss the multi-functional character of zāwiya, as reflected in waqfiyya, and the evolution of their architecture. Then follows, in the second part, an analysis of the settlement pattern of these dervish lodges, in the city and the countryside, and a study of their economic resources. Finally, the third part questions the formation of Sufi networks at a regional and micro-local scale. A study of the antique and byzantine spolia observed in these buildings questions the role of these buildings in the transformation of a pre-extant, mostly Christian, sacred topography
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Hatef, Naiemi Atri. "A dialogue between friends and foes: transcultural interactions in Ilkhanid capital cities (1256-1335 AD)." Thesis, 2019. http://hdl.handle.net/1828/11108.
Повний текст джерелаАнотація:
The period following the Mongol conquest of vast areas of Eurasia in the thirteenth century, the so-called Pax Mongolica, witnessed the emergence of a new visual language in Persian art and architecture. Various Islamic and non-Islamic visual traditions that permeated the whole body of the arts of thirteenth- and fourteenth-century Iran played a pivotal role in the formation of the hybrid style characterizing the art and architecture of the Ilkhanid period (1256-1335 AD). Along with the reconstruction of the cities that had been extensively destroyed during the Mongol attack on Iran, the Ilkhans (Mongol rulers) founded a number of new settlements. Both literary and archaeological evidence testifies that the foundation and development of urban centers was one of the primary objectives of the Ilkhans throughout their rule over Iran. Putting emphasis on Ilkhanid urban architecture, this project focuses on two major cities in the northwest of Iran (Ghazaniyya and Sultaniyya) in order to show how the architectural and urban features of the cities were determined through the complex interaction of local and global forces. Challenging the stereotypes that looked at the steppe people as destroyers of civilizations in earlier scholarship, this study argues that the Ilkhanid city as a physical entity manifests the dialogue between Perso-Islamic sedentary concepts and Mongolian nomadic traditions.Graduate
2020-08-23
Частини книг з теми "Architecture ilkhanide"
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Kadoi, Yuka, and Tomoko Masuya. "Chinese and Turko-Mongol Elements in Ilkhanid and Timurid Arts." In A Companion to Islamic Art and Architecture, 636–67. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119069218.ch25.
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"Persian Poetry on Ilkhanid Art and Architecture." In Beyond the Legacy of Genghis Khan, 346–54. BRILL, 2006. http://dx.doi.org/10.1163/9789047418573_020.
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"CHAPTER FIFTEEN Persian Poetry on Ilkhanid Art and Architecture." In Studies in Islamic Painting, Epigraphy and Decorative Arts, 346–56. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474474825-017.
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"2. Architecture in Iran and Central Asia under the Ilkhanids and their Successors." In The Art and Architecture of Islam: 1250–1800. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00124.006.
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"3. The Arts in Iran and Central Asia under the Ilkhanids and their Successors." In The Art and Architecture of Islam: 1250–1800. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00124.007.
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Koçak, Meral. "Amasya’da Bir Darüşşifa Ve Kırşehir’de Cacabey Medresesi." In Cengiz Han ve Mirası, 295–312. Turkish Academy of Science, 2021. http://dx.doi.org/10.53478/tuba.2021.034.
Повний текст джерелаАнотація:
This study focuses on Kırşehir Cacabey Madrasah, according to its inscription and endowment dates to 1272-1273 as well as Amasya Darussifa, which according to its inscription was built in 1308-1309. These constructions have an important place among the Ilkhanid era buildings in Anatolia. The Cacabey madrasah, built by Kırşehir governor Cacabey in Kırşehir, was the center of culture, science, and art at the time. The Darüşşifa, located in Amasya, was built during the Olcayto Han era and became one of the important medical centers of the time. The aim of this study is to examine these buildings by reflecting on the cultural characteristics, builders, and architectural features of the time.
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"14. Pādshāh Khatun: An Example of Architectural, Religious, and Literary Patronage in Ilkhanid Iran." In Along the Silk Roads in Mongol Eurasia, 270–89. University of California Press, 2020. http://dx.doi.org/10.1525/9780520970786-018.
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Grbanovic, Ana Marija. "Some Remarks Regarding the Preservation of Ilkhanid Architectural Heritage in Iran: History, Challenges and Perspectives." In Preserving Transcultural Heritage: Your Way or My Way?, 799–810. Caleidoscópio, 2017. http://dx.doi.org/10.30618/978-989-658-467-2_74.
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