نوع مقاله : پژوهشی
نویسنده
کارشناسی ارشد مطالعات معماری ایران، دانشکدۀ معماری و شهرسازی، دانشگاه هنر، تهران، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
The Julfa New Julfa churches in Isfahan were established during the Safavid era with the arrival and settlement of Armenians in this city. The construction of these churches in Isfahan, characterized by Safavid architectural elements, coincided with the construction of Western-style churches featuring Baroque architectural features. This simultaneity, considering the significant geographical distance and prevailing architectural styles of the two regions, raises multiple questions regarding the construction of churches between these two locations. One of these questions pertains to the interior architectural perspective: How can we delineate the relationships between the Julfa churches in Isfahan during the Safavid era and the churches of the Baroque era in Europe? With the aim of shedding light on the architectural characteristics that define a church's interior design in two geographically distant locations with differing design and construction principles, this study embarks on an exploration. To achieve this, we begin by providing a general overview of church architecture, delving into the concept of a church, its significance in architectural contexts, and the ritualistic aspects and religious etiquettes within Baroque architecture. Subsequently, given the impracticality of gaining access to all of the Julfa New Julfa churches, only the churches of Vank and Beit al-Ham were examined in this study. Using a comparative study methodology between these two categories of churches, the interior architecture was analyzed in terms of floor plans, sculptures, narratives within the structures, ceilings, storytelling in frescoes, and lighting. Between Julfa churches and Baroque-era churches, despite significant geographical differences and distinct architectural features, there is a discernible correlation and direct relationship in terms of the quality of design and spatial organization. This correlation is evident in the conscious utilization of elements and principles of interior design to convey the meaning of Christian ritual and religious perception, highlighting the coherent essence of these spaces.
کلیدواژهها [English]
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