| چکیده انگلیسی مقاله |
Introduction: Although stucco in Iran has a long history and traces of it have been left behind, it followed a different trend in design and technique during the Qajar and Pahlavi periods. At the same time, it experienced Western tendencies, such as stucco artworks attached to the designs and motifs of ancient Iran. The stucco design of Hossein Khodadad House (Time Museum) is in the same category; a house full of stucco decorations that represent various influences. This research aims to study the visual structure, typology of stucco motifs, and implemented techniques, as well as to investigate how the stucco motifs of Iranian architectural history persist in the stucco decorations of the mentioned building. Therefore, this study seeks to answer these questions: «How can the visual characteristics and typology of stucco motifs and techniques of Hossein Khodadad House be classified?» and «What are the influencing factors on the formation of the set of stucco motifs of the mentioned building in the Qajar and Pahlavi periods?»
Research Method: The current study is descriptive-analytical. In terms of purpose, it is developmental research with a qualitative approach. Data collection is based on library studies and especially field research. To achieve the research goals, after examining and analyzing the stucco decorations of the mentioned house, the results were compared with the types of motifs and stucco techniques used in the periods of Iranian architectural history.
Findings: The research findings show that the motifs used on the stucco surfaces of Hossein Khodadad House can be classified into four categories: Plant, geometric, animal, and human motifs. The implementation of stucco patterns on the building has been carried out utilizing seven execution techniques such as high-relief, semi-relief, stucco on a flat mirror, combining stucco with glass, Koshte Bori, Tong Bori, and Kop Bori. The design structure and the overall composition of motifs have also been made by following the pattern of repetition and symmetry. The history of several motifs, including artichoke leaves, palmettes, lotus flowers, grapes, and geometric motifs such as square and rectangular frames, Meander, and string of pearls, goes back to the motifs of ancient Iran. Other parts, such as Arabesque and Khatai motifs, which are delicate and low-relief, all kinds of flowers and leaves interwoven on broad surfaces, as well as the stucco decorations of the Isfahani room, are derived from the motifs of Islamic periods, especially the Safavid period. Also, the use of European motifs, the naturalistic design of plant patterns, the execution of motifs in a relief and realistic manner, as well as the use of techniques such as stucco on flat mirrors, patina work, and stucco cornice in the building have been influenced by the trends of European design in the Qajar and Pahlavi periods.
Conclusion: In general, it can be said that the stucco decorations of Hossein Khodadad House were formed under the influence of three primary factors of preserving the Iranian national identity, Islamic Iranian identity, and the European trends of the Qajar and Pahlavi periods. In addition to its eye-catching architecture, this building has kept a rich and original collection of stucco decorations from different periods of the history of Iranian architecture alive before the eyes of today's viewers. |
| کلیدواژههای انگلیسی مقاله |
Stucco Decorations,
Hossein Khodadad House (Museum of Time),
ancient Iran,
Islamic Art,
Qajar,
Pahlavi |
| نویسندگان مقاله |
Alireza Sheikhi |
Associate Professor, Department of Handicrafts, Faculty of Applied Arts, Iran University of Art, Tehran, Iran.
Mina Hosseini |
M.A. Student, Department of Handicrafts, Faculty of Applied Arts, Iran University of Art, Tehran, Iran.
|