بازخوانی صورت کاخ هشت‌بهشت اصفهان

این مقاله در پی همزبانی و همدلی با معماری کاخ هشت‌بهشت و توجه و تذکر به حقیقت زندگی در آن است، و در نتیجه به دنبال تاریخ‌نگاری و تجزیه و تحلیل معماری آن، بر روی میز نقد هنری و محدود به علوم محض و برداشت‌های ذهنی و بدون استناد نیست. هم‌سو با روش تحقیق کیفی مقاله، حضور و تأثیرگذاری عوامل و حقایق مرتبط با وجه شاعرانه و هنری این اثر، بیش از وجه کالبدیِ ملموس و ساختاری آن در نظر گرفته شده است. این رویکرد، پرداختن به صورت و ایده و نیز ارزش‌های این بنا را اجتناب‌ناپذیر کرده است. براساس یافته‌های این تحقیق، رمز ضمن بیان پیوستگی اجزای بنا، آنها را به «صورتی» ورای قالب مادی «شکل» کاخ سوق می‌دهد. صورت نیز بدان گونه که رموز آب، نور، زمان، ماده و مرکز، در شکل معماری این بنا، شدّت تجربه‌ای خوب و ماندگار را تحقق بخشیده‌اند بررسی شده است. از این طریق، چه‌بسا بتوان ضمن تذکر آنها، در اقتباس از معماری‌های باارزش گذشته، خود را محدود به ویژگی‌های شکلی آنها نکرد و صورت و لایه‌های متعالی‌تر و تأثیربخش‌تر را برای معماری امروز کشور مورد توجه قرار داد.

The objective of this paper is to reach the architectural “form” of Hasht Behesht palace through its
 “figure”. In order to share and to be contemporaneous with the past’s valuable architecture, it’s inevitable
 to study their forms. In doing this, the presence and influence of the factors and facts related to the work’s
 poetic and artistic form is more tangible than its skeletal form. This article neither claims to record the
 history, explain and analyze the architecture of the Palace on the desk of artistic criticism, nor is it limited
 to pure sciences or subjective point of view without any proof. In fact, it tries to share and be
 contemporaneous with architecture and also attempts, as much as it can, to pay attention and point out to
 the reality of life. The essence and truth of the architecture of this Palace is not just the objective source
 and material to be researchable as a concrete material in the hands of the scientists of the pure sciences or
 in laboratories. In fact, the dissection of mere form of on architecture al work which generates baseless
 imitations, and researches like those done by materialists about the materials will themselves be the veil to
 understanding its truth; a veil which has unfortunately become dominant nowadays. Mystery in this
 architecture along with showing the unity of the components, also leads them toward a “form” beyond the
 materialistic mold of the structure’s “figure”. In this article form is studied in the way that the mysteries of
 the elements – such as water, light, time –as well as material, and center have realized a good and
 perdurable experience in the form of valuable architectures such as Hasht Behesht Palace. The mystery of
 water made a transubstantiation of the material world in allegorical forms and was a sign of God’s reflect
 and emanation in the universe. Substance, which was like wax in the hands of the form of the artist
 architect and its supernatural and spiritual concepts, was considered as the structure’s materials and
 substances in the level of figure. In this Palace , continental parameters of the materials, substances, and
 natural elements were “manifestation of the truth” and not just as the raw material ready to be extracted
 with the most efficiency. They were dignified and - in the meantime- controlled, and were exploited by
 man and his life as well. Light in this environment acted as a cognitive factor in the pursuit of exalting the
 percept and was animating the various shapes and areas in a spectrum of dark to light. You can not talk
 about the truth of architecture in these areas without time. The time of these areas was perceived in
 accordance with the inner understanding of the qualitative content of architecture by the evidence. The
 connection space of the Palace measured and assessed the surrounding areas as a symbol of the center of
 the universe and acted as a focus and a destination for its surroundings. These places shared the
 contemporaneousness with the real life at those times.

(1.7 مگابایت) دانلود مقاله