Gardens of the West (original) (raw)
Related papers
The Other Space of the Persian Garden
2012
The Persian garden is claimed to be an “other space,” a place utterly different from yet fundamentally connected to the rest of places. In the light of Foucault’s discussion of “other spaces on one hand, and the representation of garden in the twelfth-century Persian poem Haft Paykar on the other, this paper is concerned with the way the places of everyday life are conditioned by the Persian garden. As a microcosm, the Persian garden bears the image of Paradise, of the perfect place. As an actual place, it is elevated to an earthly paradise, a perfected place. Considering it as a perfect, unqualified ideal place which remains unattainable and, at the same time, an entirely ordered place, which is perfected into an ideal place, the paper considers the interplay of the two forms of the ideal place (the perfect and the perfected) to discuss the way the Persian garden simultaneously contrasts, typifies and nullifies the other places.
The Persian Garden of Dampezeshki A New Reading of Persian Garden for Today`s Life
Manzar the scientific journal of landscape, 2016
| " The Persian garden of Dampezeshki (veterinary)" is the second experience of Nazzar Consulting Co. in the design of urban parks based on the principles of Persian garden .In this project, the design group were in search for a new reading of the Persian garden, so while using a variety of patterns from it and emphasizing on historical perception, they will offer a new model adapted to the social dimension of the plan. In this paper, different policies and principles that have been considered in the design of the garden are noted and described in detail and the influential design principles of Landscape architecture is described in the design of Dampezeshki Persian garden.
Islamic Gardens: Multi-Meanings of Paradise , 2020
The literal meaning of the word paradise came from the Eastern Old Iranian language word pairi-daêza. The literal meaning of the word is ‘walled (enclosure)’, from pairi- ‘around’ and -diz ‘to create (a wall)1’. For exceptional gardens, pairi-daeza was later shortened to parideiza and then to paridiz. However, as a compound word, pairidaeza came to mean a celestial garden, a heavenly paradise on earth. The gardens, even though represented the men’ s quest for pleasure, still held the idea of the four rivers, which flow through Paradise. This idea was used to form the architectural conception of the canals with flown water forming the garden that attempted to present Eden, with the four rivers and the four quadrants that represented the world. Persian gardens are seen as the Heaven on Earth and even though, throughout time, the concept of garden of pleasure diverted into a man’ s interpretation of power and nobility, becoming a sign of distinction and authority for those who were in position to create and ‘live’ them, they still kept the architectural concept of the Persian Paradise Garden. The connection and the Persian influence in the garden development through the different periods of the architectural garden design history are inevitable and inescapable. Regardless of the territory and the religion of the local population, the influences can be very well noticed in the gardens throughout the Mediterranean in the West and also to the East, Hind territories2. The reflections of the first gardens of Persia set the basics of the gardens’ architectural development and the design elements we see repeating through the different architectural and historical eras present in the Mediterranean Basin as well as in the Middle East and Asian regions.
The Heritage of Persian Garden In Quest of Persian Garden's Footmark from East to West
2020
The Persian garden is not simply a physical body; it is a ‘culture’. It consists of a set of art, architecture, plant orders, irrigation system, beliefs, oral literature, lifestyle, and aesthetics aspects; therefore, the footmark of the Persian garden can be traced as far as this culture is presented. Although the expansion area of the Persian garden is often limited to the Persian land, it has the capability of having a wider influence if we consider the garden as a cultural issue. The evidence presented here in this study, which explores more different aspects of the Persian garden, indicates its expansion to the borders of the Atlantic coast from the West and middle China to the Eastside. Some other indications of this existence are also visible in East Africa and the Swahili region. So, it is possible to draw a novel picture of Persian garden heritage that explain its authenticity, richness, and interaction with the other parts of the world and also reveal the reason for its continuing presence over history.
Manzar the scientific journal of landscape, 2015
| Structural and spatial representation of various gardens of different era in Iran based on archeological and historical literatures and documents is one of the major fields in surveying Iranian gardens. These surveys can assist us to gain a better perspective and understanding of pattern and structure of Iranian gardens. Utilizing a story from Masnavi Haft-Paykar, this current article attempts to introduce a lesser known pattern of Iranian gardens belonging to past historical periods. In this poetry, Nezami describes a complex garden composed of two parts, an internal (Golestan) and an external (Boostan) parts. A mansion (Hejabgah) existed in between those parts. Boostan was an enclosed part located between high walls exclusively for women' s privacy and occupancy. The view of Boostan was only available through the mansion. This represents a kind of garden which can be found in Masnawi of " Vis-O-Ramin " to some extent. Similarly, these spatial images may be extracted from earlier stories with much older historic roots in literature. Furthermore, it is possible that poets such as Fakhreldyn As' ad Gorgani and Nezami in narrating older stories visualized their knowledge of fifth and sixth centuries so that the stories could be matched with the ancient stories. Finding a proper answer to this question is extremely difficult. However, existing images in works of both poets can help us in recognizing a new configuration and pattern and allows us to gain a better comprehension of garden design in Iran.
Persian Gardens in Cold and Dry Climate: A Case Study of Tabriz’s Historical Gardens
International Journal of Architectural Research: ArchNet-IJAR
Throughout history, gardens and garden designing has been in the attention of Persian architects who had special expertise in the construction of gardens. The appearance of Islam and allegories of paradise taken from that in Koran and Saints’ sayings gave spirituality to garden construction. Climate conditions have also had an important role in this respect but little research has been done about it and most of the investigations have referred to spiritual aspects and forms of garden. The cold and dry climate that has enveloped parts of West and North West of Iran has many gardens with different forms and functions, which have not been paid much attention to by studies done so far. The aim of this paper is to identify the features and specifications of cold and dry climate gardens with an emphasis on Tabriz’s Gardens. Due to its natural and strategic situation, Tabriz has always been in the attention of governments throughout history; travellers and tourists have mentioned Tabriz a...