چکیده:
Iranian architecture grew during various periods before the emergence of Islam, and with the advent of Islam, a great transformation occurred in it following the commands of the new religion. Given the importance of the Persians and their ways, this article first explains the Achaemenids, how the empire was formed, the fall of the Persians, and the historical periods following this empire, and then proceeds to mention the characteristics of Pasargadae and the reasons for its importance. In the next section, religion and religious rituals during the Achaemenid period are examined, and then it studies the reliefs and architectural details in the buildings of Pasargadae, specifically the palaces of Cyrus, from the perspective of researchers who have studied Pasargadae. Subsequently, it addresses the influence of Islam on traditional Iranian-Islamic art and architecture and its symbolic aspects, and finally, compares the symbolic and religion-influenced aspects in the architecture of these two periods, especially in their details.
خلاصه ماشینی:
(Refer to the page image) Comparison of Symbolic Language and Expression in Pasargadae Reliefs with the Mode of Expression in Traditional Iranian-Islamic Architecture Mahmoud Tavousi*, Mehdi Haghighatbin** Abstract Iranian architecture grew during various periods before the emergence of Islam, and with the advent of Islam, a great transformation occurred in it following the commands of the new religion.
Will Durant, in the book "The Story of Civilization," in the chapter titled "The Orient," in the section related to the civilization of Iran regarding Cyrus, has stated the following: "One of the pillars of his politics and government was that he believed in freedom of religious opinion and worship for the various nations and ethnic groups that formed the components of the Iranian Empire, and this itself indicates that he was aware of the first principle of ruling people was aware and knew that religion is more powerful than the state.
Shapur Shahbazi rejects Abu al-Kalam Azad's theory and does not consider the Dhul-Qarnayn in the Quran to be Cyrus; while referring to the original example of this motif in Assyrian art as magical winged guardians, he says: "If we must provide a ritual justification for this motif, we should consider it a 'magical guardian' of Cyrus's palace, whose wings remind us of Cyrus's rule over the 'four corners of the world,' and its ram horns also" remind us of the Iranian belief that the ram was a symbol of "Khvarenah" (Divine Glory), which kings always needed for validation and without which they could not rule" (Shahbazi, 9731: p.
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