Maremat & Me'mari-e Iran
Art University of Isfahan
Art University of Isfahan , rezaeielham82@gmail.com
Abstract: (93 Views)
Abstract
Muqarnas is one of the most intricate ornamental systems in Islamic architecture. Despite extensive research on its geometry, construction, and historical development, many of its technical terms and design concepts remain insufficiently defined. One such concept is kāseh (bowl), a term employed by some traditional muqarnas masters whose precise definition, geometric characteristics, and role in the design process have not yet been systematically explained. This ambiguity has limited a comprehensive understanding of traditional muqarnas drawings and the design principles underlying them. This study examines the surviving drawings of Asghar Sha'rbaf, one of the last masters of the Iranian muqarnas tradition, as the primary evidence for investigating the definition, position, and formation of the kāseh within the traditional design process. Clarifying this concept not only facilitates a more accurate interpretation of Sha'rbaf's drawings as representative examples of Iranian muqarnas design but also contributes to a deeper understanding of the formal, spatial, and compositional qualities of muqarnas. This research presents the first systematic re-examination of the concept of kāseh within the framework of traditional Iranian muqarnas design based on Sha'rbaf's drawings. Data were collected through library research, archival document analysis, and the redrawing of historical drawings. The drawings were subsequently analyzed through three-dimensional modeling and geometric examination to identify the characteristics and positions of the kāseh in muqarnas plans. The findings demonstrate that the kāseh is formed through the combination of several ālāt (geometric units) and serves as a fundamental compositional element capable of generating more complex and diverse lab-e qatār configurations in plan. Its boundary is defined by the edges of the Shāparak lab-e qatār together with the sides of the Takht unit, while its interior is composed of tās elements. Although the kāseh resembles the bowl used in traditional kase-sazi because of its concave interior, it differs fundamentally in its geometric definition, drafting principles, and construction process.
Muqarnas is one of the most intricate ornamental systems in Islamic architecture. Despite extensive research on its geometry, construction, and historical development, many of its technical terms and design concepts remain insufficiently defined. One such concept is kāseh (bowl), a term employed by some traditional muqarnas masters whose precise definition, geometric characteristics, and role in the design process have not yet been systematically explained. This ambiguity has limited a comprehensive understanding of traditional muqarnas drawings and the design principles underlying them. This study examines the surviving drawings of Asghar Sha'rbaf, one of the last masters of the Iranian muqarnas tradition, as the primary evidence for investigating the definition, position, and formation of the kāseh within the traditional design process. Clarifying this concept not only facilitates a more accurate interpretation of Sha'rbaf's drawings as representative examples of Iranian muqarnas design but also contributes to a deeper understanding of the formal, spatial, and compositional qualities of muqarnas. This research presents the first systematic re-examination of the concept of kāseh within the framework of traditional Iranian muqarnas design based on Sha'rbaf's drawings. Data were collected through library research, archival document analysis, and the redrawing of historical drawings. The drawings were subsequently analyzed through three-dimensional modeling and geometric examination to identify the characteristics and positions of the kāseh in muqarnas plans. The findings demonstrate that the kāseh is formed through the combination of several ālāt (geometric units) and serves as a fundamental compositional element capable of generating more complex and diverse lab-e qatār configurations in plan. Its boundary is defined by the edges of the Shāparak lab-e qatār together with the sides of the Takht unit, while its interior is composed of tās elements. Although the kāseh resembles the bowl used in traditional kase-sazi because of its concave interior, it differs fundamentally in its geometric definition, drafting principles, and construction process.
Article number: 210
Type of Study: Research original/ Regular Article |
Subject:
معماري و شهرسازي
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