Volume 39, Issue 83 (Winter 2018)                   Athar 2018, 39(83): 42-68 | Back to browse issues page

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Fallahi F, Nejad Ebrahimi A. Investigating Orosi* in Tabriz Qajar houses (Case studies: Mashrooteh House, Heydarzadeh House, Nikdel House). Athar 2018; 39 (83) :42-68
URL: http://journal.richt.ir/athar/article-1-987-en.html
Associate Professor, Faculty of Architecture and Urbanism, Tabriz Islamic Art University Tabriz, Iran
Abstract:   (4349 Views)
Iranian architecture has beautiful embellishments that are made of different materials such as tiles, plaster, pottery, stone and wood. Although due to Iran’s hot and dry climate, wood embellishments are less being used, in some cases they have a special and unique place in Iranian architecture. Orosi windows are one of these embellishments which have a special place in various types of architecture, especially in historic houses. In addition to the use of lighting in the houses, Orosi has been used as an artistic element in beautifying the interior and exterior of the houses. Tabriz is one of the cities which have many historical houses with beautiful Orosi windows and various designs. The present study seeks to find common design patterns and colors in historical Tabriz houses’ Orosi windows. In this regard, the method of data collecting is based on library studies and field surveys and based on direct investigation of Orosi windows through documentation, accurate designs surveying, drawing, analysis and comparative comparison of Orosi windows’ patterns. To achieve this goal, two general questions arise: 1) Do Orosi windows used in Tabriz Qajar houses have common patterns in terms of design and construction? 2) If there are similarities, what are the common patterns and contexts? In order to answer the questions raised, as a case study, Mashrooteh, Haidarzadeh and Nikdel historical houses’ Orosi windows have been selected and studied due to their originality, non-intervention during restoration and having a significant and different design and role from each other.
Finally as a result of the investigations it was found that despite the differences, Orosi windows are somewhat similar and included in one category, so that the study in the field of form factor confirms that the design of the main frame is mostly in the form of a three-leaf door with a semicircular impost. Also, the designers of these Orosi windows have shown more interest in rotating patterns than geometry; as a result of which, the craftsmen and carpenters had to use the technique of Qavareh-bori. Reviewing the colors used in these Orosi windows specifies that three colors are fixed, used, and repeated, including red, blue, and green. But in some of these Orosi windows other colors such as yellow or purple have also been used, which have been used as filler or sub-colors. Most of these Orosi windows have green color in the center, red color in the middle, and blue color in the upper parts of the quadrant (Vagireh). Also, by examining the position and amount of colors used, we can notice the color balance and proportion; in each Orosi’s overall color scheme which itself reflects the computational thinking of these Orosi windows’ creators.
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Type of Study: Research | Subject: Special
Received: 2020/08/11 | Accepted: 2018/12/31 | Published: 2018/12/31

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