Document Type : Original Article
Authors
1
Ph.D Student of Comparative and Analytical His tory of Islamic Art, Department of Comparative and Analytical His tory of Islamic Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran.
2
Professor, Department of Dramatic Literature, Tarbiat Modares University, Tehran, Iran.
3
Associate Professor, Department of Philosophy of Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran. Iran.
Abstract
Nowadays , due to the multiplicity of methods created by the Artworks of the divine religions, the need to create a common visual language, the ethnic integration approach, is felt. . Creating repetitive symbols and elements, In architecture, is an expressive method and inseparable way of different religions texts. Research of Subscriptions in the repetition of motifs can create a single bridge of communication in the art of nations, which is influenced by the Belief, cultural and artis tic components ,is the main issue of this research. This article is searching for repetitive visual symbols in one of the religious architecture buildings of Chris tianity (The Church of Sagrada Familia, Spain, and Islamic architecture (The Nasir Al-Molk Mosque of Iran) ,and the recognition and adaptation of these elements in geometric aspect ,by focusing on the colored s tained glass windows of both architecture buildings. With all the differences in the culture and art of the two nations, can the mos t repetitive elements of art be the bridge of communication and the spoken language of those tribes ? The ques tion is to what extent, by matching the symbolic and repetitive patterns of colored s tained glass, the effects of the mentioned components and the geometry of the patterns could, physically, play a role in creating similarities, adaptations or differences? And with the hypothesis that there are similarities and differences in the design of various patterns of glass, the goal is to decipher and achieve commonalities and differences from the perspective of geometric patterns and to find the roots of basic meanings and patterns, as well as to create a common visual language .The research method is descriptive- comparative and qualitative analysis of text content and based on library documents. As a result, the difference between the designs of the glass: in the mentioned mosque, simple designs: Shamseh , multi-pointed s tar and simple geometric shapes in Gerehchini of the glass are used in the , while in the church, in addition to these designs, complex narrative and visual designs symbol on the colored s tained glass of the church. , The role is closed. But the design of the circular pattern of s tained glass with regular and complete repetition is the mos t used and common feature, as well as the root of belief and attention to God (religion), nature, abs traction and geometry, as the highes t similarity layer of creativity in designing and creating a space immersed in light and color. A transcendental and spiritual world, together with the security of the imagination, is created jointly in both buildings, which are arranged in matching tables.
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