Houtan Iravani, Amir Hossein Bozorgiyan, Davoodreza Laricheh, Sajad Karimi, Zahra Sadat Safavi, Iman Semsar

Transcription

1 Analysis and comparison of plans and designs of the Iranian sashes(case study of Angurestan Malek in Isfahan - Mansion House windward in Tehran Arg Karim Khan in Shiraz- Dolat Abad Garden in Yazd - building Salar Said in Sanandaj) Houtan Iravani, Amir Hossein Bozorgiyan, Davoodreza Laricheh, Sajad Karimi, Zahra Sadat Safavi, Iman Semsar Abstract Iran has an ancient culture and civilization that dates back several thousands of years and has been considered in all periods of history by explorers and orientalists. Eastern and even western archaeologists have contributed to its recognition. However, very few orientalists of the past had talked about art of sash in Iran. Sash is one of decorative elements of traditional Iranian architecture that has specific design and motifs structure, but the sash and its plans is innocently ignored in a imposed battle between traditional architecture and modern architecture. One thing that gives value to sash is motifs and designs used in the sash and the elegance of the design. The drawings included six and twelve revolving nodes, the eight and four-door, eight and sixteen revolving, and eight pots of Kohl which are used in many sashes or used in combination and are completing each other. The combination of stained glasses like hand-woven carpets is magnificence and grandeur. This study is considering various forgotten plans and designs of sashes in 5 cities including Isfahan, Tehran, Shiraz, Yazd and Sanandaj; which can be paraphrased as dry and hot regions such as (Yazd) and even cold regions such as (Sanandaj). When a city like Isfahan brings all climates together and are structurally the same and just in general decorations have different appearances and most of the sash windows in several cities have common purposes. Key words: sash windows, inscriptions, inscription, traditional arts, and stained glass BBT Pub. All rights reserved. Introduction Although sash windows have got reputation in art history from the Safavid period onwards, but has a long history as one of the components of traditional arts each dating history, culture and art of human. If sash windows are feasts in honor of the light in which a variety of concepts and arts gathered to meet each other so as to consecration of light. Different techniques of nodding, mosaic, inlay, grid and woodwork using wood and glass are used in art of making sash windows to affect the philosophical, mystical aspects and inspire the viewer to feel wonderful. The art of sash is important not only from the perspective of aesthetic but also from social - emotional impact on the viewer's mind. Nodding art is done by some of the masters of the field in the cities of Kashan, Yazd, Isfahan, Mashhad and Tehran. But this art has lost its prior worthy place in the current architecture of Iran. (Yavari, 1390, p. 84). Appellation of Persian word for sash windows (orosi) There are different opinions about the appellation of Persian word for sash windows (orosi): (Or) is a prefix meaning going up, appearing at the beginning of Persian words for ordak ( birds jump high), orlang (move with the horse jumps), Orchyn (stairs). Many of the words in meaning a light grid and spring are very common in southern Iranian dialects. (Pirnia, 1378, p. 355). Sash windows in the past had specific framework which moved into the frame and seesawing. Sometimes rooms with such doors are called sash. Palace windows have been made on a square foundation of brick and have been decorated with beautiful wooden lattice. Roof is based on eighteen wooden structures. The columns are decorated with blue and golden colors embedded in three rows (Kaempfer, 1360, p. 203). Some believed that sash is used to name windows made imitating Russian architecture. But there were sashes in Iranian buildings and drawings prior to Russian architecture.perhaps comparison of Russian sugar with this type of window have led to this mistake. (Pirnia, 1378, p. 355). Research Methodology Method of the research is compound (qualitative and quantitative). For a case study, samples were selected in several different locations in Iran. Because of the distribution of samples in different cities, I tried to investigate more well-known examples. As well as written and oral sources, documents and interviews with experts were used in the research process. In this study, most of the cases have been investigated through the interpretation and history methods. A review of previous research The sash windows have been the subject of few articles, books and researches. Some research has been done about the sash windows like the work of Nilufar Alipur on the Qajar palace sash windows in Tehran. Other

2 H.Iravani et.al/ Teknologi Tanaman /Vol (12), Supp (2) research in this field is article titled (Sanandaj city of sash windows, study of the formation and expansion by existing sash windows art) which examines the sash windows in the city of Sanandaj. Sash windows components Framework: is the main bone of the windows containing rows of woods in longitudinal, transverse and curved shapes. Vertical columns of frameworks are called Vadar. (Amraee, 1391, p. 111). Vadar: the vertical columns and columns that divide window to equal parts. Their number depends on the width of the window and the width and thickness of the Vadar is usually 10 to 11 cm and reaches to 15 cm long with decorations on them. (Amraee, 1391, p. 111). Pakhor or heel: the bottom of the frame is horizontal is called Pakhor or heel. In most cases, the height changes usually between 10 to 50 cm. (Amraee, 1391, p. 113). Pataq or inscriptions: the main and most difficult part of the decoration of the building is Pataq. The parts are usually designed with the most beautiful stained glass. (Amraee, 1391, p. 116). Small doors or springs: door decorations are usually around the edge with geometric repeated motifs. Some doors have smaller margins on their edge which is called Farsh or Torreh. (Amraee, 1391, p. 129). Stained glass By examining and identifying the traditional sash samples with the lowest manipulation of structure and composition of the glass color, finally nine sash samples (six samples in Shiraz, one sample in Bushehr, a sample in Kermanshah, a sample in Yazd ) that combination of color and geometry has remained almost unchanged were selected.the sash glass used in them were manufactured in Germany and their colors were red, yellow, blue and green. Hindi and Persian glass was used in other sash windows. Hindi glass was of various colors, more than the other glass. In addition to single colors, they had colors like brown, purple and blue glass. The main problem has been that because of the lack of transparency and homogeneity they were dark streaks.iranian glass had lower diversity than German and Hindi glass and the colors were yellow, red, turquoise, brown and green pistachio. These glasses have different thicknesses, from one millimeter to two millimeters. Composition of colored glass 1) Iron for the green and brown 2) Selenium for lemon yellow 3) Gold for dark ruby red 4) Cobalt for blue 5) Oxide cream for the green 8) Manganese for violet 9) Silver for yellow 10) Nickel forbrown and purple (Hammi, 1378, p. 267). Types of Pataq (inscription) Closedpataq: This type of Pataq has been made in upper space of sash windows that is to be part of the original structure and it was a double glazed door, and Vadars which navigate the doors and small doors are inside and cannot be seen. (Amraee, 1391, p. 117). Pataq apart from small doors: In these windows, Pataq -which lets the light in- always locates above the doors building and will remain separated from sash doors by a canopy made of building materials.(amraee, 1391, p. 119). Grid Pataq and connected to the frame: the most beautiful type of Pataq with beautiful paintings and stained glass provide the glory for themselves and the homeowner. These Pataqs are quite attached to the framework. (Amraee, 1391, p. 119). Pataq shape regarding appearance Zigzag pataq Flatpataq Depending on the structure and size of the windows, different Pataq have been used. In some cases, the roof is flat but curved Pataq has been used. In general, the windows with zigzag and curve Pataq were often made of a double and threeparts (of course exceptionaly 5 and 7 is also used.) Decorations in zigzag Pataq usually was hanging in the center and radius oriented. In this case, each of these cases, Pataq which was repeated radially is called majless like Pataq design of Tabatabais house in Kashan. Windows with flat pataqs were used in most houses which had large sash windows and ceiling. The only exception is Rasoulian House in Yazd that its sash is a zigzag one; the entire sash with 7 and 9 parts have flat Pataq. (Amraee, 1391, S.s ).

3 44 H.Iravani et.al / Teknologi Tanaman /Vol (12), Supp (2) 2015 Table 1: Types of nodes, the slow, tied and loose Types of nodes Tools of nodes Name of nodes Slow nodes 1. four sun node 2. sormedan 3. mother node 4. QanasTabl node 5. QanasSormedan node 6. QanasTabl small node 7. twelve Payzi node Tied nodes 1. Ten node 2. QnasTablPayzi node 3. QnasTablPayzi node of Sormedan 4. long Ten node 5.Qanas Sormedan Small 6. Tahborideh node 7. QnasTablPayzibig node of Sormedan Loose nodes 1. ten in six node 2. Giveh node 3. Lengeh eight in four node 4. Eight and twelve node 5. ten in six node (Sourece: Raeeszadeh pp.65-66) Angurestan-e-Male sash windows (Qajar period) The Angvrstan-e-Malek includes two sashes: Facing north sash (sash facing the central courtyard) five-door sash facing south (facing southern courtyard sash) seven-door Both sashes have flatpataqs and inscriptions. (Structurally) Both sashes have grid Pataq which is attached to the frame. The colors used on the edge inscriptions are often red and green. Red + Green = symbol of man and God - a symbol of strength and accuracy of feelings. Pots and swivel designs and inscriptions are along the Qur'an. Texts inside this inscription: YaGazyAlhajat(O meets the Hajat) Help of God and victory is in sight (Surah Saff verse 13) Other examples of stained glass used in these sash windows are: Yellow glass with purple glass (symbol of knowledge) Blue glass with orange glass (the symbol of faith, contentment and self-esteem) Noddings of Angurstan-e-Malek sashes: Square Kohl pots nodes are in heel of Pataqs

4 H.Iravani et.al/ Teknologi Tanaman /Vol (12), Supp (2) Figures 1 and 2: one of the interior and main soaces of AngurestanMalek(Source: authors) Sash windows of ArgKarim Khan - Shiraz (Zandieh dynasty) Pataq is mesh and is attached to the frame. Pataq is zigzag structurally. Sash windows are a three-door. The doors of sash are ten and four-part, there are nodes by combining beautiful designs with blue and orange colors. (Blue and orange are two complementary colors together contain the concept of faith, satisfaction and selfesteem). Beside the ten and four-door design, there are green and red colored glasses inside of the small doors with a continuous design. This design is common essentially on the edge of small doors and Pataqs been by combining other complementary colors; red and green, which are symbol of physical strength and feelings accuracy. Reputation of netted sash windows in Shiraz is like inlaid of Shiraz. You can see handicrafts of Shiraz all over Iran but its inlaid is like favorite gem. The netted handicrafts of Shiraz are unique. (Saif, 1384, p. 63). Figures3 and 4: two samples of the sashes in the citadel of Karim Khan Zand(Source: authors) Sash windows of mansion Palace Badgyr-Golestan Palace, Tehran (the Qajar period) These sash windows are one of the most beautiful, most complex in Iran. Sash has nine doors. The appearance and structure of sash: Netted Pataq is attached to the frame. The structure is a flat Pataq. Schemes used in these sash windows Rotating designs of flowers and plants are located in the central part of Pataq with a variety of blue-green-orangeyellow stained glass decorations.in this sash unlike other sashes, there is little red and most of the sash glass is formed of orange and green.eight-node and four-door in the bottom bar of Pataq is linearly around Pataq rectangular nodes. This node is marginal along with the green and colorless glass (transparent) in blue and orange. Eight and four-door designs are used in central part of pataq. But here, they are orange and repeated around a circle around eight and sixteen rounds. This projects is decorated with doors with red glass. The other prominent and very beautiful designs of this sash are fortified nodding and combination in the middle of the Pataq that, decorated with orange glass. As noted above, eight and sixteen nodes are surrounded by colorless and blue glass in the center of the sash window. Again, eight and four-door designs are used in small doors; this design is continued in the margin of the small doors. There is a square bar with a compound node in the lower part of the room, so that a wooden design is built on the pataqs and the main design is made inside and behind it. Kohl pot layout which is made of orange glass is inside the inscription. This layout is very elegant and fine building, because under direct sunlight, it's hardly recognizable design.

5 46 H.Iravani et.al / Teknologi Tanaman /Vol (12), Supp (2) 2015 Figures 5 and 6: The main part the sashes in Mansion of House Windward(Source: authors) Salar Said sash windows in Mansion - Museum of Sanandaj (the Qajar period) This mansion was built by the order of Mullah Lotfollah Sheikh-ul-Islam, so the building is also known by the same name. This sash has the most precious and the most excellent architectural sash Iran. Sash has seven doors.pataq is mesh, and attached to the framework.pataq structurally is flat. Length and width of the exquisite sash are 5.80 * 9.5. It is totally square meters. Schemes used in these sash windows: Pataq center is formed of round flowers and plants, among these flowers and plants, four of eight and sixteen rounds with yellow color right on the horizontal axis. Pataq center is formed of round flowers and plants, among these flowers and plants, four of eight and sixteen rounds with yellow color right on the horizontal axis. In margin of each of the eight and sixteen rounds, there are eight, six and twelve rounds of complementary colors of green and red. There are projects on the sidelines of the four sides of rectangular Pataq and forms the major layout in the design of Pataq next to flowers and plant. On sidelines of Pataq, there is a rectangular strip that the layout of the sun in the field of complementary colors is yellow and purple. 7 small doors of these sash windows with flower and leaf is decorated by complementary colors of green and red, blue and orange. Figures 7 and 8: exterior and interior views of building Mullah Lotfollah Sheikholeslam- Sanandajmuesum Source: authors Sash windows of Dolatabad garden - Yazd (period of Afsharieh) Dolatabad Yazd garden is one of the oldest gardens in Iran and stands along Fin in Kashan and Shazdeh Mahan Garden in Kerman. This set of three or three-door sash windows has three small doors. Pataq of the sash windows is netted and connected to the frame. Pataq of these sash windows structurally is a zigzag type. Schemes used in these sash windows At the margin of the pataq, there is a strip which is decorated with eight and four-door and a combination of complementary colors of red and green.the center of Pataq is decorated by six and twelve circles with a combination of red and blue stained glass. In the middle of the doors, eight and sixteen revolving designs are used with red and yellow color in the periphery. On the sidelines of the small doors, there is a rectangular strip with different designs of eight nodes and four blue and orange.

6 H.Iravani et.al/ Teknologi Tanaman /Vol (12), Supp (2) Figures 9 and 10: close and open views of the implementation of the sash in the Dolatabad Yazd Garden Source: authors Conclusion After probing and comparing sash windows of Isfahan Angurestan-e-Malek, Tehran Badgyr Palace Mansion, Shiraz Arg Karim Khan, Yazd Dolatabad Garden, and sanandaj Salar Said Mansion, we can claim that all of these sashes have much in common including: The eight and sixteen round layout, thesix and twelve round layout, the eight and four and eight-door and square Kohl pot designs, which in most cases are used together or complementary. Also, sash windows built at homes are always being opened to a yard (central courtyard- side yards) and never directly to the street. Colored glass in the sash windows are mostly a combinations of complementary colors of red-green and blue-yellow-orange and purple. References 1. Amraee, M,.Sash, Windows to Light. Tehran: Department of Religious Affairs Press, Hami, Ahmad. Building materials. Tehran: Tehran University, tenth edition, Kampher, Engelberts travelogue (in the court of the Shah of Iran), Translated by Keykā'ūsJahandar, Tehran: Khwarizmi, Second Edition, Karimiyan, M. ( ). Sash; dance of light with wood and glass construction. Iran Newspaper 5. Pirnia, Mohammad Karim. The Windows of Iranian Architecture (Annex IV).Tehran University of Science and Technology, Fourth Edition, Seif, Hadi. Valves to Heaven, Tehran: Printing Association, Yavari, Hussein. An Introduction to Architectural Decoration Elements in Iran, Tehran: Totia pub., Zarei, Mohamed Ibrahim ( ). Sanandai of sashes, study of the formation and expansion of sashes on the basis of the existing portfolio. Journal of Islamic Studies Alipur, Niloufar(1390). Tehran Qajar palace of the sash.negrehpub.,summer 9. Zomar Shady, Hussein. Chinese knot in Islamic Architecture and Handicrafts. Tehran: University Press, first edition, Houtan Iravani Ph.D, Department of Architecture, Ardestan branch, Islamic azad university, Ardestan, Iran Amir Hossein Bozorgiyan, Davoodreza Laricheh, Sajad Karimi, Zahra Sadat Safavi, Iman Semsar, Department of Architecture, Ardestan branch, Islamic Azad university, Ardestan, Iran