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Idrisids as the first independent Shiite government in the western Islamic world could make significant achievements thanks to the soundness of the government system as well as the adoption of a different approach compared to that of Abbasid caliphate in the political, social, religious and cultural domains. The analysis of Idrisids' cultural action reveals that three components of art, thought and organization of cultural forces played important role in the success of this dynasty. These three factors, sometimes separated from each other and sometimes in conjunction with each other, had a positive and undeniable effect on the political and economic authority of Idrisid government. Accordingly, various civilizational manifestations such as architecture, philosophy, theology, translation, mosque-oriented organization and taking advantage of the capacity of cultural elements of native forces could be developed.Taking advantage of the descriptive-analytical method, the present article has identified these civilizational manifestations from the reign of Idris II to the reign of Hassan al-Hajjam (172- 363 A. H) towards the development of a powerful civilizational and cultural state in the third and fourth centuries After Hijra.

Attention to architecture in the thought of Akhwan al-Safa is based on the recognition of the place of geometry and numbers in their intellectual system. Akhwan al-Safa believes that geometry and numbers have priority over all other sciences. Their approach to geometry and architecture is such that it gives an identity of It is considered to be the accessories of their thought, therefore it is placed in the opposite point of modern and postmodern architecture, which, relying on the foundations of positivist philosophy, create works whose identity is obvious. propose that it displays the function of inducing pure mystical concepts such as the annihilation of multitudes in unity, and in the form of a symbolic language, conveys high Islamic concepts, some geometric shapes and some numbers in the intellectual system of the Brotherhood have a special value and property The forms do not have this characteristic, in the upcoming research, the criteria of Islamic architecture will be examined first, and then the Brotherhood's thought will be investigated and a correlation between the Brotherhood's thought and Islamic architecture will be made, in this research, with the descriptive and analytical method of library sources, The works of Akhwan al-Safa will be examined and the research questions will be answered. [ABSTRACT FROM AUTHOR]

The open courtyard in Islamic architecture played a vital role in creating an interactive and functional environment, as it was a center for social events and interaction between people. The courtyard served as a space for ventilation and lighting, as well as providing an environment conducive to observation and privacy. On the other hand, many interior spaces face the challenge of making full use of the courtyard as an interactive space that achieves an enjoyable and interesting experience for users. The interior design may not be adequate or innovative enough to transform the open courtyard into a space that encourages interaction and active participation. The research tries to reach the most important elements of the design of the open inner courtyard in Islamic architecture, which made it an interactive space for the purpose of extracting the most important indicators that have achieved the highest percentages in practical application, which can be used as a road map and applied to contemporary architecture when designing the inner courtyard to make it an interactive space. Accordingly, the research problem arose with insufficient knowledge of the elements of designing the open inner courtyard and making it an interactive space in architecture in architecture according to intellectual and applied proposals in general and Islamic architecture in particular, so there became an urgent need to study the issue of designing the open courtyard as an interactive space in Islamic architecture, as it works to develop design principles Interactive interior and guide designers in achieving an interactive experience in the inner courtyard to become a roadmap that can be adopted in modern designs. Accordingly, the aim of the research is to provide knowledge of the elements of designing the open courtyard as an interactive space in architecture in general and Islamic architecture in particular and to adopt it as a roadmap in modern designs. To achieve this, the research relied on the analytical inductive approach by presenting the basic cognitive aspects of the interactive space and the inner courtyard as an important element in architecture and then building a theoretical framework to come up with a set of indicators that help in finding ways to transform the inner courtyard into an interactive space. The research adopted the hypothesis that the courtyards in Islamic architecture are interactive spaces that can serve as models for contemporary designs, taking into account modern technical developments. The most prominent findings of the study are: The interactive inner courtyard is the space in which the design data (spatial elements and settings) are integrated with technological means, allowing communication and interaction between the occupants of the space in a way that gives space users a sense of comfort and satisfaction and increases performance efficiency at the same time. [ABSTRACT FROM AUTHOR]

Different methodologies for studying Islamic era art have led to diverse and sometimes contradictory results. Despite the great body of theoretical literature, there is a lack of monographic and instance research. This study aims to investigate comparatively the two methodologies of Historicism and traditionalism for studying Islamic era art with an emphasis on architectural elements and decorations of Soltanieh dome. Traditionalism is a well-known method to study Islamic art. It relies on transhistorical and mystical facts to understand the meanings in Islamic era art. Historicism suggests that to understand the meaning of Islamic architecture (and Soltanieh dome, in particular), the architecture should be studied in various (locational, Historical, Situational, Social and Political) contexts. The main objective of this study is to compare the feasibility of the two methods to study the Soltanieh dome. After critical analysis of traditionalist studies of Soltanieh dome, it is studied using Historical approaches. The results indicate the lack of feasibility for the traditionalism to study the Soltanieh dome. Historicism criticizes the traditionalists' inattention to the contexts influencing the formation of Soltanieh dome meanings and generalization of religious concepts within a historical complex. Historicism considers Soltanieh arg and dome as the instances of political, religious and economic pillars of power which are structured in a syntagmatic manner and reflect the outline of the power structure and network. [ABSTRACT FROM AUTHOR]

Today, Islamic architecture manifests and evokes a kind of attitude towards the world of existence, which illuminates the intellectual and structural power of man. Although in most of the content approaches, the type of communication and interaction of man with the universe is considered as one of the influential topics in the field of creation of architectural work, but the concept of growth and excellence from the Islamic point of view is one of the concepts mixed with human life, but the influence of Islamic architectural features on the values of his excellence It is not very clear. This article tries to define excellence, culture, Islamic architecture and the teachings of Islam and the capacities of each and how they interact with each other from the perspective of Islam (based on the teachings of Islam), the relationship between them with a practical model in the field of Islamic architecture. and present a definition of Islamic architecture based on the exaltation of human cultural values. The research method is descriptive-analytical-fundamental logical reasoning. Logical inference proves that proper Islamic architecture can have capabilities corresponding to the levels of human existence and existence, and it helps people to find a proper understanding of the levels of the universe by using the values of human cultural excellence. According to the concepts, meanings and symbols of Islamic architecture and human excellence in religious teachings and the principles and rules of Islam in architecture, it can be concluded that the architectural features that influence human excellence are classified into six groups: the source of perfection and the path to God, avoidance of futility Harim, faith in God and Prophets, adornment and avoiding boasting and proper status; Each category takes advantage of its specific Islamic architectural features: multiplicity to unity and unity to multiplicity, dome, minaret, altar, avoidance of futility, hierarchy and introversion, light and centrality, sun, color and inscription, hierarchy and rhythm. And they are influenced and influenced by repetition. [ABSTRACT FROM AUTHOR]

Some of the most impressive displays of delicate plaster work can be found when we look up in a space in Islamic Iranian architecture. Plaster is an ideal medium for decorative work, because it can take fine detail. It is also versatile: plaster can be formed into ornate, multi-layered ceiling medallions, intricate friezes replete with scrolls and swags, or long runs of coved cornice work. Plaster can be cast, shaped, carved, sculpted, sanded, or cut. When Islam opened a new view to art philosophy, it affected the ornament style in Iranian architecture. If one had to choose the defining material of Muslim culture, it would, without a doubt, be stucco. In contemporary history, plaster has been considered a relatively poor material, probably due to its lack of application in heavy duty building work, its easy handling and the simple process it takes to transform it from rock mineral. But, human dexterity, particularly that of Muslim artisans, helped to produce designs in stucco, and numerous buildings decorated with that technique have survived for us to admire. Architectural decoration has been one of the most resilient of the Islamic arts. The partial and more often overall decoration of buildings has been a characteristic feature of Islamic architecture from the eighth century onwards. Religious monuments as well as secular complexes have been decorated with an array of styles and techniques that reflected the multiplicity of Muslim societies and their cultural expressions. The importance given to decorating one's built environment has also been applied to temporary settlements such as tented encampments. Islamic plasterwork covers almost every single surface of walls, arches, vaults and ceilings, gaining an almost textile-like quality through their intricate ornament and vibrant palette of colours. Its almost overwhelming appearance is the result of the interconnection and superimposition of different ornamental elements: calligraphic inscriptions, geometric lazo. The interior decorations are centered on the mihrab. In fact, one can find almost all elements and methods of decoration on and around this symbolic place. There is a harmonious and creative co-existence between plaster, marble and brass. In addition, the mihrab typifies the beautiful marriage of all methods of decoration, especially geometry, floriation, calligraphy. The main roll of mihrab and its decoration became a mainstream in aesthetic orientation in Iranian art and architecture that spread to numerous architectural types such as schools to houses. One of the types of secular architecture is the house. Therefore, in order to evaluate this hypothesis and find the answer to the question: In what period are Chohar-soffeh decorations of Dosiran village rooted? the authors attempted to gather the information about Dosiran’s Chohar-soffeh houses and their decorations, and then examined the characteristics of these decorations and index samples similar to them in the history of the country and finally made a comparative comparison of the physical content of these samples. The research method includes survey, analytical-descriptive and interpretive-historical methods. Research data were obtained through field surveys, personal observations, and library documents. The research tool is logical inference and comparative comparison based on Carry-Walk-Method. Finally, it was concluded that two types of these inscriptions have a body similar to the plaster altars of the Ilkhanid period and in terms of content have the salient features of the plasterwork of this period; nevertheless, works of art combining the late Sassanid and early Islamic periods can also be seen in the drawings of all these inscriptions. The ornaments of Dosiran’s Chohar-soffehs, due to their appearance, organization and special content, as well as the way they are placed on the walls of the plates and the level of rib vaults, have given double value to the mansions of Gholam Hossein Naderi and Koohyar Dashti. These inscriptions include five different shapes and three general patterns. From the studies and comparisons, it was concluded that the Dosiran’s Chohar-soffehs strongly show the artistic course of the country from the late Sassanid period to the Ilkhanid period due to having well-known and important designs in the art history of Iran such as arabesques and Khataee motifs, flowers, knots (Gereh) and significant objects, which are mainly rooted in the Islamic period, as well as representing distinctive features such as great similarity to the valuable and sacred pattern of the altar in Islamic art and architecture, indicative features of Ilkhanid altars, using similar motifs to widely used motifs of the Sassanid era, the application of the natural form of plants and important techniques such as Muqarnas and honeysuckle (Laneh Zanbouri) ornament. The appearance and origins of the drawings of these inscriptions and the adapted examples are evidence of this claim; because despite the existence of continuity and artistic connection in the history of the country, some artistic features are specific to a particular period of history and are less considered in later periods. However, in Dosiran’s Chohar-soffehs, the characteristics of the bedrock of several periods are shown together.

The bath houses are one of the most important buildings in Islamic architecture. Literary works have created an important treasure for dealing with structural and semantic issues in the works of bath houses. There is an emphasis on this claim. In this paper, in order to review the structure and decorations of them in the paintings, we have studied and compared each one. The main goal of this study was to analyze the structure and decorations and strategies used in the paintings of the bath houses. In this regard, these questions are discussed: What is the structure of elements and decorations in the paintings of the baths based on documents and historical texts? Is the evolution of the illustrations between the spatial structure and decorations of each section based on the information that the pictures give us? The research method is descriptive - analytical and data collection method is library-based. In the part of the theoretical foundations of the study, four books of Nizami Ganjavi’s Makhzan ul-Asrar, written by Nizami Ganjavi, Ferdowsi's Shahnameh, Sadi’s Majalis al-Oshaq and Jami’s Haft Orang have been studied. After classifying the illustrations in terms of the intended components to facilitate reading of the images of the baths, by examining each of the works of painting in each of the literary texts, it can be concluded that the illustrations have a developmental course according to different eras of drawing. This trend is more focused on one or two spaces by adding different spaces to the painting. This process has been changed in later years by adding decorations and more details to the painting; so that the composition of the painting has not changed, but attention to the decorations and events of the margins is highlighted. In the following stage, this linear trend of the painter has been illustrated by choosing a space as illustration. One of the important points in the design of the bath space is the regularity in the interior, and hierarchy of spaces. The hierarchy for entering dirty while exiting tidy and clean is considered completely in the hierarchy of the illustrations. All spaces such as outer space or shape have regularity and are completely drawn, which are clearly seen in the illustrations. The architecture of graphic baths has spatial commonalities such as Garmkhaneh, Sarbineh, treasury, Miandar, roof and Gavro, and the Garmkhaneh and Sarbineh as the main spaces for presence of people, represent the most illustrative events among other components and spaces of graphic baths. In paintings, paying attention to proportions is one of the key points which expresses the significance and importance of space. In paintings, the greenhouse space is often depicted larger than other existing spaces and generally has symmetrical and square proportions, whereas the interior plans of the Garmkhaneh and the upper room are depicted in an octagonal shape. In addition to the evolution of painting, we are also witnessing the evolution of the ability of the painter, who in recent centuries has been able to depict all the spaces of the bathhouse. The use of different materials has made the paintings in this century different from the available paintings of the previous centuries. As mentioned before, the use of various colors is very important and also the color blue has been used more often in tiles and Garmkhaneh spaces and flooring. Apart from the pictures of Majalis al-Oshaq, which also depict the exterior space of the bathhouse, we rarely see the outside space of the bathhouse other than the roof of the bathhouse; and it is also related to the recent centuries. The results of this research show that the eleventh century can be considered as a turning point in the display of structural and decorative dimensions among the illustrations, despite the fact that there are commonalities in the paintings and ornaments in the paintings and ornaments of each of the illustrations that in the present structural dimension have many similarities to aspects of the ornaments. The structure in bathhouse paintings is expressed as features such as "form” and “shape", "proportions", "composition" and “decorations” as the basics of "geometric form", "color painting" and "painting materials". The evolution of the illustrations regarding the perspective, the excessive show of ornamentation and the distance from the patterns of previous centuries has been promoted, and has led to the creation of some innovations in the decorations. Based on what has been said about the study of drawings and their comparison in the temporal dimension and aspects of composition and proportions, colors and materials and geometric patterns, it can be inferred that in general, physical and functional similarities are more than their differences. Also, in the course of the linear evolution there is more commonality in the dimension of components and decorations and details than the structural and formal dimension.

Geometric patterns are one of the most important features of Islamic monuments that are formed based on Islamic codes and concepts. The use of geometry in arrays and works of art and Islamic architecture has been a gateway to the knowledge of unknown universal codes, the manifestation of which is derived from the concepts of God. Soltan Mohammad Khodabandeh (Oljaito), Ghazan Khan's brother, was born to an Uzbek father and an Armenian mother. During his lifetime, Oljaito chose different religions until he was finally influenced by the Shiite religion and became very devoted to the Shiite dynasty, so much so that he decided to build a great tomb with various sacred decorations of Islamic art in Zanjan (the capital of Iran during the Ilkhanate) and move the bodies of Imam Ali (AS) and Imam Hussein (AS) from Najaf and Karbala to that place. However, after completing the construction, he faced strong opposition from the imitators of that time and could not achieve his long-held dream, and at the end of his life, he turned to the Sunnis again. After him, during the reign of his son, who had a special devotion to the Sunnis, the interior decorations were tailored to his beliefs, which had the color and scent of the Sunni concepts. The construction of the historic city of Soltaniyeh began during the reign of Arghun Khan, the Mongol ruler, and developed during the reign of Soltan Mohammad Khodabandeh as one of the great Islamic cities. By the order of Oljaito, the dome of Soltaniyeh located in Zanjan city was introduced in 704 AH, in the city of Soltaniyeh, the capital of the Ilkhans at that period, and in 712 AH the tomb of Oljaito was erected in the central core of the city of Soltaniyeh by his order. It is known as the tallest building and the largest brick dome in the world and one of the most beautiful historical buildings in the world, which is the manifestation of the glory and art of Islamic architecture and the objective manifestation of the evolution of Iranian architecture. The height of the dome is 48.50 meters; the diameter of the opening is 25 meters with 1.60 meters thickness, constructed by the double-shell technique. The purpose of this study is to interpret the concepts and geometric codes hidden in the decoration and architecture of Soltaniyeh Dome based on an analysis of Islamic concepts from the perspective of Quranology, Hadithology, Numerology, Abjad, Al-Jafr, Asma al-Hassani along with symbolism of geometric shapes and color in decoration and architecture. Also in the analysis of golden proportions of the building, 2020 PhiMatrix 1.618 Pro, Atrise Golden Section 2018, 2018 Golden Ratio and PhiMatrix Golden Ratio Design 2020 software have been used. For this purpose, the research questions are: 1- In what geometric forms are the meanings and concepts used in the decoration and architecture of Soltaniyeh Dome reflected in the arrays of this monument with the aid of numbers? 2- What is the role of geometry in creating spiritual connections between material, mystical worlds and creating a single message in the decorative arrays of Soltaniyeh Dome 3- The effectiveness of the arrays can be classified into how many levels? The research method was historical-interpretive. The method of data collection was library-based and fieldwork, using comparative-analytical data analysis subsequently. The results show that the concepts and meanings are reflected in the arrays in physical forms (in the form of buildings and the hierarchy of formation of spaces), religious symbols (such as Shamseh, celestial bodies), linear shapes (divine names and verses), and colors (to create a sense of space). The use of sacred numbers, symbols and religious forms in the spatial and physical structures of the building has caused a spiritual connection between the earth (material) and light (spiritual) world. Monument arrays are also categorized into 5 levels: geometric shapes (square, octagonal, and circle), numbers (4, 5, 6, 8, 10, 12, 16, 23, 36, 40, 42, 60, and ... 110), holy names (Allah, Mohammad (PBUH), Ali (AS)) and Sunni religious concepts, use of spaces, Quranic verses and hadiths in the form of Bannai script. Also, the results of the research show that all the components of the Soltaniyeh Dome are based on Islamic concepts that are appropriate to its use, which was a place for the burial of Imams. In fact, the master artists and architects of Soltaniyeh Dome, with full knowledge of various sciences such as geometry (complete knowledge of formal and mystical concepts of geometric shapes), mathematics (recognizing sacred numbers and their use in structural elements), occult sciences, Abjad, Al-Jafr, proportions, symbolism and chromology, have tried to create a sacred building that can be the property of God and the eternal court of the Shiite Imams.

Architects use different media to represent and display their ideas. These media include a wide range of architectural volumetric models, hand drawings, verbal allegories, sketches and recently, computer modeling. Among these media, hand drawings have always been important in architectural design and have played a pivotal role. This role has become more important in architecture since the Renaissance with the emergence of perspective. Before the spread of such drawings around the 15th to 17th centuries, drawing in architecture was common in previous periods. Until then, drawing was a tool for conversation and media between the employer and the architect. But after that, drawing is a tool for thinking and a tool for predesigning, modifying and correcting the pre-construction form. It can be said that the methods of representation, image and perception of architecture have always had a reciprocal relationship with our perception of space and also with the spatial organization of architecture. So far, only a few studies have been done on architectural drawings and their relationship with the Iranian architectural organization of space. These few studies have focused more on the typology and classification of drawings left over from islamic Architecture and have questioned their application in the Iranian architectural space organization. Iranian painters, especially after the Ilkhanate period, have represented architectural and urban spaces in paintings. Compared to the European perspective and tradition of drawings, Iranian painters represented architectural and urban spaces differently. Most of the research in the field of Iranian miniature has dealt with philosophical foundations, especially around the concept of the imaginal world, or the methods of representation in the form of analytical-aesthetic methods. The purpose of this study is to understand the structure of miniature representation. In this regard, it deals with two aspects of the content of representation and the way of representation of miniatures and analyzes them. The emphasis of the article is to find out how Iranian painters have portrayed the world around them. In this research, forty miniatures belonging to the Seljuk, Ilkhanid, Timurid and Safavid periods have been studied. This research can be considered as a historical study that uses an analytical-aesthetic method to discover how architecture is represented in Iranian miniatures. The findings of this study show that Iranian miniatures include three independent systems of architectural, landscape and behavioral representation. These systems overlap to form a miniature. Each of these three systems of representation has its own rules. The findings of this study show that the method of composing the page in a miniature follows three general principles: (a) organizing the general space with clear lines and framing (b) independent spaces and their collage (c) intensive space narration (collage of space units) and high horizon. This research showed that the way of representing the architectural effect in miniature includes (a) isometric or flat display of side surfaces, (b) special rules of displaying the floor and interior surfaces of the porch and (c) simultaneous display of interior and exterior of a building. These findings have been achieved by focusing on the architectural representation system. [ABSTRACT FROM AUTHOR]

The form of each architectural building is influenced by the natural, social, historical, political, and other conditions of its circumstance. For this reason, at the same time, in different societies, we can see different physical characteristics for buildings with the same function. Examining the extent and manner of the effects of each of these factors can lead us to a better understanding of the causes of the formation of a certain type of building, its special features and the occurrence of formal and functional changes in it. In the literature of Iranian architectural history, the course of physical development of Hosseiniyehs and Takayas and the factors that were affecting these developments, have not been studied much. Therefore, Hosseiniyehs as a type of collective space for holding the mourning ceremony of Imam Hossein and the course of their physical transformations in Iran are the main subject of this article. In this article, by adopting a functionalist approach to religious rituals, the social processes that have led to the emergence of the unique phenomenon of Iran's architecture in the Islamic era, namely Hosseiniyeh have been investigated. In this regard, an attempt has been made to answer the main question that what is the effect of the social and political function of Imam Hossein's mourning ritual in Iran on the physical-spatial changes of the places where this ritual is held, especially in the central part of Iran? This article adopts a qualitative approach and its data collection technique is through literature review and observation. In the theoretical part, the data has been gathered through the study of library sources and in the building analyzing part, this study uses observation techniques and the study of primary and secondary sources. The research is also considered a historical research in terms of data analysis. The research findings show that the social function of Imam Hossein's mourning ritual in Iran has undergone fundamental changes from the beginning to the end of the Qajar rule in four main stages. Like those transformation stages, the places for holding this ceremony and their architectural-spatial character also experienced fundamental changes under the influence of the social function of the ceremony. In the first step, these developments have led to the formation of a dedicated space on a local scale for holding this ritual. In the next steps and in coherence with the changes in the social role of Imam Hossein's mourning, the architecture of Hosseiniyehs also experienced changes. These changes were especially in the result of increasing the dramatic and theatrical aspect of the funeral ceremony (Taziye). The formal transformation of Hosseiniyeh's buildings could be mentioned as 1. increasing the splendor and beauty of building, 2. Exceeding in the number of supporting spaces such as kitchen, sheltered prayer hall and so on, 3. Using different type of decorations and 4. the separation of different social classes from each other. [ABSTRACT FROM AUTHOR]

Due to the valuable place of light in Islamic art and its direct relationship with theological concepts, the most complete re-reading of the manifestations of light can be done on prayer spaces.This research was performed by descriptive-analytic method. In order to discuss scale of day light estimation in historical mosques, three mosques were discussed from historical ones and the amount of natural daylight received from skylights on the hottest and coldest day of the year at 12 noon with the use of light brightness was analyzed by Max Design fragility software at the level of plan and observer vision. Analysis results showed that the ultimate goal in all three mosques is to create a spiritual atmosphere and unite the worshipers under the divine light, which is equally distributed in the space of Salimiyeh Mosque, and in the dark space of Sheikh Lotfollah Mosque and Cordoba Mosque as light effects, more significant than the direct presence of light Manifests.aims of research1. Discover the principles and laws of lighting and the role of skylights in the distribution of natural light in historic Islamic mosques.2. Analysis of quantitative and qualitative presence of light in the studied samples.research questions1. What is the relationship between the architecture of the space and the form of skylights in spiritualizing the space in Islamic mosques (Sheikh Lotfollah Mosque, Selimiyeh Mosque and Cordoba Mosque)?2. What factors play a role in the quality and quantity of light in historic mosques?

During the Qajar period, with the tendency of people and artists towards mystical literature, painters, by influencing this space and using symbols (elements of nature), created pure images of these themes. Rumi, in conveying his transcendental and mystical thoughts by using the symbolic elements of nature, considers the bird as a symbol of the human’s soul (lover), the flower as a symbol of heaven and God (beloved), and the garden as the sheltering world of the soul to achieve unity. The purpose of the present study is to analyze the semantic relationship between the elements of nature in the flower and bird paintings of the Qajar period with the mystical images created by these elements in the thought and poetry of Rumi. The main question of the research is: What is the semantic relationship between the flower and the bird’s paintings in the Qajar period and Rumi’s mysticism? This research is descriptive-analytical and has been done based on the flower and bird works of the Qajar period and a comparative study with Rumi's mystical poems. Therefore, as Rumi looks at the symbol of the bird from the perspective of the manifestation of the soul and lover and considers the symbol of the rose as an allegory of the manifestation of love, lasting paradise, and the manifestation of God, also, in the Qajar period, the elements of Iranian paintings (the flower and the bird) symbolically and full of secrets and the presence of meaning are depicted with the same concepts that are mentioned in Rumi's mystical poems. 1. Introduction The romantic relationship between the flower and the bird in these paintings is a mystic symbol of the relationship between humans and God, which is also manifested in the mystic thought and literature of Persian poetry and prose and is a symbol of the mystic’s love for the divine essence. The bird has appeared in the form of a nightingale that found his lost peace again in the arms of his beloved flower (God). The flower bush in the painting of flower and bird is a symbol of scenic trees, and aromatic and mesmerizing flowers of paradise, where birds (a symbol of believers) have reached peace among its branches and have enjoyed the infinite blessings of God. Rumi expresses his heavenly thoughts, moods, and inner experiences using elements of nature such as different kinds of flowers and birds in terms of symbols to create vivid, dynamic, and artistic images in the reader’s mind. Considering that many images of flowers and birds of the Qajar era are rooted in literary concepts and semantic symbols, painters have aesthetically embodied these two symbols in pictures full of code and meaning. The present research aims to analyze the semantic relationship of the elements of nature in the painting of flowers and birds of the Qajar era with mystical images created from these elements in the thought and poetry of Rumi. The main question of this paper is: “what semantic relationship can be found between the works of flowers and birds of the Qajar era and Rumi’s mysticism?”. According to the literature on the theme of the flower and bird, so far, the theme of the symbol in the paintings of the flower and bird of the Qajar period mixed with mystical literature has not been studied so that their semantic relationship can be discovered and expressed aesthetically. 2. Review of the Literature 2.1 The Symbolic Relationship of Iranian Flower and Bird Painting with Mystical Literature (Rumi) Bird features have a long history in Iranian art. In the ritual culture of Islam, birds that speak in human language have brilliant effects (Shahdadi, 2005, p. 78). The image of a flower and bird is first shown as the tree of life and bird in the paintings. The tree of life in the written texts and pictures of the Sassanid era in different forms of a bush or tree, from three thousand years BC to the first manifestations of birds in the bibliography of Iranian art, is called the Baghdad school, which found more natural manifestations in the paintings of the 8th century AH and continued until the periods of Tabriz schools in Shiraz, Herat, and Bukhara. In the Isfahan school, birds that play a role in poems with story elements are shown as symbols of the human spirit (Machiani, 2002, pp. 18-24). An Iranian artist portrays the truth of the holy world with a mysterious expression using symbols such as flowers and birds to convey mystical concepts and meanings. His soul flies to the truth in the form of a bird and sits beside a beautiful flower that symbolizes the beauty of paradise. There, he engages in worship by singing. The Iranian flower and bird painting, in one aspect of its symbolism, is indicative of the poetic concept of a romantic relationship between the nightingale and the flower, in which the description and the story of separation and reunion, love, demands, and romantic lamentations of the nightingale, and on the other hand, depicts the coquetry, disdain, and the romantic charms of the flower. According to Rumi, a flower has received help from a friend’s flower garden; therefore, it is indestructible and has grace, perfection, and good qualities (Hosseinpour Chafi, 2006, p. 165). In Rumi’s opinion, all these descriptions are a symbol of a perfect human being who has reached the flower garden of the unseen world, so we can embrace him and reach the flower garden of truths: Taking the skirt of the flower and accompanying the flower, dancing together, we will reach the root and seedling of the flower (Abbasi, 1991). In Divan Shams Tabrizi, the bird is a symbol of the soul or spirit, a mystic, and a seeker (Akhtaryar, 2013, p. 146). Some of Rumi’s interpretations of the symbol of the bird in his poems are related to concepts such as 1) the human soul and spirit, 2) the soul of a bird, 3) a mystic and a seeker, 4) perfect humans and inferior humans, 5) claimants of truth, and 6) a sign of human inner qualities. The illustrated states in Gol-o Morgh’s [flower and bird] painting of the Qajar period and their symbolic relation with the mystical poems of Rumi are as follows: 1. The Birds sitting on the flower branch; Painters of the Qajar period always illustrated the birds on the flower stem sitting, motionless, and watching the rose. 2. While singing (seeking love, praise, moaning and wailing, separation from beloved) The nightingale continuously sings and tries to raise pity and attract the attention of the beloved to reach and be unified with it. 3. While sleeping (mushahede [intuition]) The sleeping birds in Gol-o Morgh’s [flower and bird] painting indicate being in meditating [observation], leaving the material world, perceiving the divine mysteries, and in inner (moshahede [intuition]) and khamushi [silence]. 4. While hunting insects and butterflies It usually considers young disciples who have no mukashefe [intuition] and their ears are often busy with worldly speech and their intelligence and senses do not pay attention to the flower. 5. the bird on the rose branch; In the works of the Qajar period, the rose is usually used to indicate the main position of Morgh [bird]. 6. The branch of the Iris flower; As the main flower, the iris is always placed at the center of the image from the point of growth up to the peak of Gol-o Morgh’s [flower and bird] painting, just like the tree of life which was very important and the rose is illustrated on a lower level than branch iris. In combination with other elements, the iris is the largest flower and is often illustrated with darker colors in order to be highlighted compared with other flowers. 7. The importance of Gol than Morgh [bird]; The flowers are illustrated larger at the top of the miniature with enchanting and attractive colors, while the bird (as the lover and embodiment of need) is illustrated with neutral colors (with the color of the human skin because it is the symbol of the human soul) at the bottom of the miniature smaller than normal and facing the flower. 8. Variety and number of flowers and birds in composition The composition of illustration components is more active in Gol-o Morgh’s [flower and bird] painting of the Qajar period compared with previous periods. It is as if the miniaturist has depicted a piece of paradise or a large garden with more variety and more flowers and different types of birds. 3. Methodology This research has been done by the descriptive-analytical method and has qualitatively examined the data obtained from the samples of the flower and the bird of the Qajar period based on a comparative study with the mystical poems of Rumi. 4. Results The painting of a flower and bird is a poem of flowers. According to painters, the bird is a symbol of the human spirit. This world is an indicator of his cage and all his efforts to reach the heavenly world. The red flower is a symbol of the beloved, the essence of omnipotence, the allegory of heaven, and the perfect human being. In Persian poems, the flower is a symbol of affection and the nightingale is a symbol of demand, which is in search of the beloved and an eternal flower. In the paintings of Islamic art, there is a close relationship between images and mystical poetry. During the Qajar era, with the spread of mystical stories and texts (such as the story of Sheikh Sanan written by Attar and Masnavi by Maulavi) and the tendency of people and artists toward these themes, the painters of flowers and birds emerged from the world of imagination and allegory of the mystical poet to discover these meanings and concepts. Influenced by this atmosphere, they created pure images. As a result, paintings full of meaning and mystery are observable on many everyday items such as pencil cases, mirror frames, covers of religious texts (Quran and prayer books), dishes, walls, and ceilings of buildings. In Rumi’s poetry, the garden of life joins the garden of nature and the images of this world are interpreted as the spiritual world. What he means by the garden is the caged soul, and the garden of this world is a ray of the garden of the heavenly and imaginal world. One of the most important symbolic meanings of the bird is the soul or spirit, which means that the soul is constantly trying to fly to the world of the heavens (the original home). This bird in love sings in the dream of gaining the love of the flower, so the red flower will appear and lead his soul to the world of meaning. In his opinion, a flower is the love symbol of the world (God) that guides man (bird, soul) to the essence of his existence. He believes that every part of nature is a manifestation of God’s presence and considers art to be an imitation of the imaginal world and the reminder of memories of heaven. Thus, the hypothesis stated at the beginning of the paper is acceptable. [ABSTRACT FROM AUTHOR]

With the beginning of the era known as Turkmen Beyliks in Anatolia, the Islamic architecture of the region was introduced to some changes, which can be referred to as the transition period. Although the architectural style of the Sultanate of Rum was still commonly present in this era's monuments, the architecture of some Turkmen Beylik buildings gradually underwent considerable change. These changes were not very noticeable in the Turkmen Beylik architectures of central Anatolia like Qarihmānīyān, but major architectural innovations occurred in western Beyliks including Āydīn and Mantshā. The present study aims at analyzing the Islamic architecture of this period of Muslim Anatolia in order to illustrate its characteristics and trace its developments. Results show that although the architectural style of mosques and schools in cities like Konya, Magnesia (Mānīsā), Armināk an Tire followed the style dominant during Seljuk era, and although the general characteristics of the previous era remained still, architects of Turkmen Beyliks introduced some changes, including an increase in the surface area beneath the domes of buildings and mosques. As such, and based on the continuity and development in the architecture of the era, the Mulūk-u-ṭavāyifī Turkmen Beyliks era can be considered as the connecting link between the architectures of two important historical eras in Anatolia: the Seljuk era, and the Ottoman era. [ABSTRACT FROM AUTHOR]

The purpose of this study was to investigate the characteristics of the physical environment of schools in religious education. The research method was the mixed exploratory-sequential method. The content analysis method and the survey method were respectively used in the qualitative research method and in the quantitative research method. The statistical population in the qualitative phase of study was consisted of two groups: the first group was the textbooks and papers on Islamic architecture, which were purposefully selected, and the second group was 9 school educational educators who were selected by purposive sampling through the desired items and based on the theoretical saturation rule. The statistical population in the quantitate phase of study included 118 school educational educators participating in the study through the census method. The data collection tools were the interviews and questionnaires that both validity and reliability were confirmed. The findings in the content analysis phase showed that spatial diversity, use of art and visual appeal, attention to the surrounding community (common worship base), design of prayer space (emphasis on the altar and dome), attention to the centrality of the yard, emphasis on natural elements and easy access to facilities (e.g. ablution area) are some of the things that should be considered in Islamic education in designing the physical environment of schools. In the interview phase, the educational educators pointed out the beauty of the prayer place, amenities, flexible and multi-functional design, the focus on the prayer space, being visible and inviting. Finally, the findings of confirmatory factor analysis identified five characteristics as a physical environment of schools in religious education: spatial diversity, beauty and visual appeal, attention to the surrounding community, a desirable prayer space, the centrality of the yard, and attention to nature.

Abu Hamed Mohammad al-Ghazālī was a mystic, jurist and theologian, who lived in the fifth century AH, and significantly influenced Iranian culture. His greatest work is Iḥyaʾ ʿŪlum al-Dīnʾ, written in his seclusion period to revive religious knowledges, with the subject being applied knowledge, and hence the wealth of architectural information in it. The book is partly about ornaments, materials, and their ordinances. These are referred to in various parts of the book with various kinds of materials and ornaments examined. The present article starts with introducing Al-Ḡazālī’s views and thoughts, in order to better understand subsequent parts of the research. What follows is about ornaments and its sanctity or otherwise. Next comes a discussion about luxury in buildings with regard to building height and properties. In the next part the use of materials and their durability is discussed. The research is based on interpretative approach, mainly reading and interpreting the original text of Eḥyāʾ. Other works of Al-Ḡazālī’s and other sources are used as subsidiaries, though. What this article finds is that short-lasting materials are positively considered by Al-Ghazali in Zuhd realm. Furthermore, whilst he does not mind ornamentations subject to certain conditions, they are seen as at odds with ascetic life. Ornaments in the mosque is legitimate as it is the house of God, and materials are agents for judging the building and its founders.

Architecture, as a form of civilization, has always represented the deepest spiritual tendencies of a nation; such a notion is constantly deliberated upon when studying Islamic architecture. Traditional Islamic architecture is deeply intertwined with the epistemology and historical ontology of Muslims. The Safavid period is considered a unique period from a philosophical perspective; during this period, the dual tendencies of Islamic philosophy, that is, the peripatetic and Enlightenment tendencies, came together and appeared in Sadra's new philosophy. The formation of a new philosophical attitude and the transformation of the new Islamic worldview, in turn, had many effects on the integrity of civilization. Safavid architecture was also influenced by such inspirations and the reflection of the mentioned philosophical attitudes was apparent. In Descartes' philosophy, minor significance to space has led to the phenomenon that triggered the overlook of qualitative memories and ultimately reduces the foundation of a spiritual outlook in Western societies. In the residential architecture of the Safavid era, contrary to this view, we see the quality of space. A quality that unites all the elements of architecture in a single principle, that is, the display of human status in the spiritual world. It is this fundamental principle that places the Safavid house as a continuation of the mosque and a place for the emergence of meaning. In this study, we have endeavored to use the Safavid house as a critical tool to improve the condition of today's houses. In order to achieve this goal, a descriptive-analytical method has been used with the aid of a questionnaire in order to evaluate the attitude of the people of Isfahan towards Safavid and modern houses. The results of the present study indicates that the general attitude towards traditional Safavid houses is more positive and people prefer such houses to modern structures. The motive for such preference is the existence of the same spiritual elements that exists in Safavid residential houses. Research objectives: 1. Identifying the effects of Islamic philosophy on Safavid residential architecture. 2. Improving modern residential structures with an outlook towards Safavid architecture. Research questions: 1. What effects has Islamic philosophy had on Safavid residential architecture? 2. By assessing the target community, what are the differences between modern and Safavid residential architecture?

Culture as the norms of a society endures a significant role in the structure of the Islamic Republic of Iran. Also, architecture as a visual example can also be considered as the vital core of a nation's culture. Thus, creating an efficient model based on Iranian-Islamic culture is require in the field of architectural studies. In this study, the cultural components of Islamic - Iranian architecture are clarified and enlightened. These components create architectural spaces based on the pattern of Islamic - Iranian culture and thus increase the cultural quality of the phenomenon. In the process of this research, after expressing the necessary prerequisites and concepts on the subject of Iranian Islamic architecture and the allocation of such topics with cultural concepts, through the design of models and approaches with the help of common cultural patterns and ideas, in order to scientifically prove such prototypes and expressions of the expert discourse community, the Delphi technique and a Likert scale questionnaire with a statistical population including elite scholars related to the mentioned topics, titles and indices were prioritized. After confirming the validity and frequency of responses in SPSS software, including descriptive analysis of variance, mean and Cronbach's statistics, the statistical results indicate that initially there is a high correlation between the questions proposed in the questionnaire and the relevance of architectural components and cultural indices. Also, the questionnaire has high reliability. Research objectives: 1. Explaining the cultural components of Islamic-Iranian architecture model (cultural engineering in Islamic architecture of Iran) 2. Providing a standard for designers as well as architectural management assistants for the purpose of evaluating and assessing architectural designs. Research questions: 1. What are the common features of Iranian-Islamic architecture and Islamic-Iranian culture? 2. What are the cultural components of Iranian-Islamic architecture based on cultural attachment characteristics?

Islamic architecture as the symbol of identity, history and culture of this wide land has always been inspiring to many artists and architects. Therefore, restoring the values ​​of the architecture as a valuable heritage depends on understanding of its different features and elements. In this regard, study on the Islamic architecture can focus on its meaning, design principles and physical elements. As the audiences of this art mostly concern with its physical aspects, using these elements based on their mental images can lead us to create spaces and buildings that can transfer the same valuable meanings to future generations.With this aim, the research tried to achieve audiences’ images from Islamic architecture by surveying their mental associations. Totally, 137 graduated of architecture participated and described their first mental associations and the first picture that they had in their mind about Islamic architecture. The results indicates design approach, light and space, decorations, physical elements, monuments and temples, and spirituality; were the most important associated elements and decoration was the first element among other mentioned elements. In addition, the mosques and religious buildings were the subject of most of collected pictures from participants.

Ilkhanid period is particularly important in the history of Muqarnas decoration, because of its unique features and the formal arrival of plenty of Far East art components that were not previously experienced in the Iranian Islamic art,. Muqarnas decoration drastically developed during this period as innovative technical and decorative methods appeared. This paper studies some innovations of Ilkhanid Muqarnas decoration in four typical Ilkhanid buildings including Jami Mosque of Oshtorjan Jami Mosque of varamin ،Sheikh Abdossamad complex in Natanz and Bayazid complex in Bastam. Towards this end, the study has attempted to examine the traits and inspirational resources of Muqarnas designs during this special period. The findings of the study show that Ilkhanid Muqarnas designs have been made under the influence of china’s art specially in cases of naturalism (butterfly and Spider web designs) and application components of china’s designs (as dragon). Amongst the most prominent decorative motifs that were common with the impact of Chinese art in the Ilkhanid era is dragon that is often displayed on pieces of colored tiles in non-religious buildings. As a rule, the use of animal motifs in religious buildings such as mosques and tombs regarding to the prohibition of the use of these designs was impossible, thus Iranian artists used those types of designs that matches with the spirit of Islamic Art. Plant motifs influenced by the movements of the dragon can be considered as the pioneers of new Islamic arabesques in the field. In other words, Iranian Muslim artists of Ilkhanid period have been able to bridge between the designs of Islamic architectural decorations and decorative motifs of Chinese arts.

Mankind desires to connect with the natural world is an innate need. Nature and the transfer of its concepts in the design of living environments will increase the quality of life and improve the livability of the place. Traditional architecture of Iranian cities has long been significant and climate factor has been considered as a superior parameter in design. Given that most modern architectural ideas are Western, the issue here is how to adapt the principles of biophilia to the principles of architecture in hot and dry climates. The present research has been accomplished in terms of applied purpose and descriptive-analytical method with a qualitative and quantitative approach. Documentary methods (to explain the indicators) and survey (observation and questionnaire) were used to collect data. Since the present study is a quantitative research, a questionnaire was used to collect data and SPSS statistical software was applied to analyze data. Correlation tests were applied to examine the relationships between variables. A one-sample t-test was used to compare the statistical population with theoretical median and multivariate regression to investigate the effect of biophilic design components on bioavailability; moreover, the new city of Hashtgerd was selected as the study area. Findings indicate that there is a direct and significant correlation between biophilic design variables and computable bioavailability. On the other hand, based on a single-sample t-test, it was found that the viability status is lower than normal (average 3), consequently, the community is not in the desired condition. Based on the multivariate regression test, the equations of how the relationships between the variables were presented and based on the beta coefficient of prioritization of biophilic design variables on the viability of the site, it was announced that the "biomorphic" component has the greatest impact on location viability. There are also a number of components of Islamic architecture such as the use of light and space, spatial relationships and the shape and nature of natural space in biophilic design. Research aims: 1. Investigating the viability of biophilic architecture with location. 2. Examining the degree of compatibility of biophilic architecture with Islamic architecture. Research questions: 1. To what extent is biophilic architecture viable and adaptable to place? 2. What are the similarities between biophilic architecture and Islamic architecture?

Tradition is a path that preserves all fundamental aspects of human life and keeps them connected to their original sources, to the sacred past, and one of the most important aspects of human life - almost encompassing and framing all the others and being central to our experience of being human - is ‘architecture’. There is a causal relation between the ‘Islamic tradition’ and ‘Islamic architecture’, thus, it would actually be meaningless to attribute the adjective ‘Islamic’ to ‘architecture’ in the absence of true traditional values. The present study critically investigates Seyyed Hossein Nasr’s attitude toward Islamic architecture, including its relation to Islamic tradition and traditional Islam, its definition and its essential characteristics, its interaction with urban societies and finally its socio-religious functions in traditional and modern life. Islamic architecture is not an outdated-forgotten art with some sets of footprints left in the remains of ancient settlements. It has internally survived long enough to reproduce itself in concordance with the necessities of the time without losing its essential characteristics and elements.

The Buyid period (932-1055, 320-447) is considered as one of the most imperative eras in the history of Persian-Islamic art. The Jami Mosque of Naeen is regarded as one of the most outstanding instances of Buyid architecture dating back to the beginning of 350/962. As the Arabic alphabet replaced the primordial Pahlavi script, calligraphy and inscription writing of the Holy Quran emerged and found its significant place in Islamic art. Hence, a number of Kufic artwork, applied during seven centuries, became a significant features in the ornamentation of mosques, structures and objects. In the present paper, it is sought to study the inscriptions of the Jami Mosque of Naeen. Henceforth, the symmetry between the vertical and horizontal lines with the combination of the letters, the distinctiveness in creating similar letters and the attentiveness to the baseline of the script are all among the principals that an artist will consider when depicting the inscriptions. Furthermore, the addition to this, the application of herbal patterns alongside Kufic inscriptions, similar to those applied in Sassanid art, has added to the beauty of this structure in which it is considered as one of the unique structures of Persian-Islamic art and architecture. The methodology of this paper follows a research, fundamental and qualitative framework and data is collected through library research and direct observation.

Minarets of mosques (called ‘Goldasteh’ in Persian) areone of the artifacts of Iranian Islamic culture. Thus repairing andreconstructing the minarets of mosques could have considerableoutcomes for expanding Islamic architecture and urban beautification.This research tries to investigate “the social-environmental impact ofrepairing and reconstructing minarets of mosques located in the 9thregions of municipality of Tehran”. The research is organized basedon the ten-step social impact assessment model and it uses bothqualitative (deep interviews and observation) and quantitative (survey)methods to answer research questions. The results of the researchreveal that repairing and reconstructing minarets of mosques can havesocial, cultural and environmental impacts such as urbanbeautification, developing Iranian Islamic architecture, attractingcitizens (adults) to mosques, citizens’ satisfaction and etc. On theother hand, the negative impact can be ignoring neighbors’ rights andmosques’ priorities. In addition, it may cause urban management tobecome an arena of political competitions among interest groups.

This article aims to investigate the position of Vaset city and its civil elements. Through the method of descriptive analysis, this article seeks an answer to this question “why was the Vaset city established? And which elements were effective in its development?” Vaset city-established in 84 Hejri- is like the cities constructed according to the Islamic architecture and inspired from the Islamic values. At first, the city was constructed to settle the soldiers and armies but little by little, it was turned into a developed Islamic city by accepting the civil properties. Besides the analysis of some views around the establishment of the city related to the geographical situation, Mesopotamia and its relationship with the Islamic urbanization, the other sections of this article has to do with the grounds for the formation of Vaset city, the way of construction, its salient features and civil elements such as mosque, government palace, bazaar, localities, and the way of selecting the city’s location.

A survey in the history of education in Iran reflects its long history from pre-Islamic era to the present time. The formation of schools began formally in Iran by establishment of the Nizâmiyya in the Seljuk period and continued with other forms and change during the Qajar period. As the Qajar paid serious attention to the religious education، the seminaries were also the center of importance. Meanwhile، Tehran as the capital of Iran during the Qajar period was the center for numerous seminaries. Until the year1625 AD، the capital had just seven theological seminaries، among which six schools belonged to the Safavid and one belonged to Zand era. In the Qajar 134-year period، 41 seminaries were built in Tehran. All schools were located in the old texture of six districts of Tehran including Arg، Udlajan، Sanglaj، Bazar، Doulat and Chalmeidan. Beginning of building the schools was in the reign of Fath Ali Shah Qajar (1636- 1675 AD)، the reason may be the neglect of Aqa Mohammad Khan in the development of the city in his short reign (1634-1636 AD) who spent his ruling period to fight the oppositions. The process of making seminaries continued after the reign of Fath Ali Shah and in the 50-year reign of NaseredinShah (1679-1738 AD) the highest numbers of seminaries were established in Tehran. However، by beginning of modernism، paying attention to education and making new schools such as Darolfonun in Iran، Based on this study، in the Qajar period 41 seminaries were built just in Tehran. Despite the importance of seminaries in the Qajar period، a few comprehensive researches on these architectural buildings model has been done. Previous studies are limited to provide a general description of the case studies in these schools. One of the explanations pointed out that the studies are only limited to the historical and architectural characteristics and decoration of these schools individually. This article with descriptive-analytical method is based on field research and library research. Thus، we used first hand literature of Qajar era and the result of other studies for analyzing the spatial and functional elements of these buildings. We identified 38 schools in the Qajar dynasty using Tehran map and available sources. Investigating 18 schools showed that spatial-functional elements of the seminaries have some architectural similarities and differences. It is worth noting that the importance of addressing this issue is rooted in the fact that identifying any architectural space is distinguished from other areas by its special functions، more than anything else; and its physical space is usually formed regarding to those functions. Any new function appears in social life، just after development of social and historical contexts and needs، and after establishing، its own special space gradually forms. In this work، we attempted to extract the pattern used in the architectural styles of the schools as well as the similarities and differences in their functional-spatial elements، regarding the available samples. Among the similarities، we refer to the use of brick as the main material in schools. In addition، all of the schools were at a negative level of difference regarding to the surrounding buildings; the reason can be considered privacy and insisting on the principle of building. Another interesting similarity is observing the principle of introspection in order to create a silent learning environment of the schools. There are similarities as well in the main space-functional elements of the schools including entrance space، yard، chamber، toilette، ablution and prayer places. However، there are some differences in the details of the elements such as: removing the forecourt of the complex from the entrance space، courtyards' different shapes (rectangular and octagonal)، number of floors، the variation in the numbers of balconies (four porches، three porches، two porches، one porch and no balcony) and the difference in the form of arches used in covered porch، diversity in the number and geometry of the chamber، courtyards and details off ablution and restrooms location. It seems that the differences caused by makers' and architects' opinions as well as the lack of space. According to the findings of the study، there is no single plan in the studied seminaries (table1); therefore، it is not possible to achieve a common and completely similar architecture plan among the seminaries of Tehran in Qajar era. The same is true about the schools of one reign. [ABSTRACT FROM AUTHOR]

Islamic societies have a deep sense of personal privacy and solitude, which is reflected in their traditional architecture, So that the houses, within the inner face are So that the houses, within the inner face are Latency the hijab and Muslim homes, the division of space within and outside the cities is one of the most attractive features of Islamic Cities Introverts of the city's architecture is one of the indicators Introverts yard is one of the constituent elements Islamic cities, the urban structure as a collection of houses that are built around courtyards . The removal of architectural courtyard houses have been caused directly outside and inside the house .The role and function in the yard, reducing fatigue, tenderness of spirit, relieve fears of missing man. This is due to the neglect of human nature and its surroundings and the sanctity of the home has undergone psychological insecurity, lack of comfort and relaxation Different pattern of urbanization in the industrial revolution in terms of housing and housing has. The modernity of the past cut date and time is synchronized with the Developments of the modern changes in lifestyle and living pattern is characteristic of quality homes. As the Iranian Muslim household, regardless of religious beliefs has embraced the open kitchen Within and outside the home, there is another Housing pattern has lost its function of gender Housing patterns, religious values are rarely given. In this paper, based on descriptive and analytical approaches, theories and views of the courtyard and Introverts, the course of history, meaning, causes and factors are reviewed and analyzed .Using descriptive methods and tools to gather information, study, library records and documents be reviewed. The results show Cultural and religious beliefs and factors associated with climate and environmental factors in the creation of architectural and urban fabric has been In other words, climate, local materials, traditional forms, is a way of life and Islamic values and social determinants. [ABSTRACT FROM AUTHOR]

The architecture of mosques plays a pivotal role in the Islamic art. It reflects the thoughts and beliefs of the architects who devoted their lives to achieving unity in structure. Sheikh Lotfollah Mosque, located in Isfahan, is a magnificent and highly splendid construction of Iranian-Islamic architecture prevalent in the Safavid era. The Mosque was built in Naghsh-e Jahan Square by the well-known Iranian architect of the time, Mohammad Reza Isfahani and on the order of Shah Abbas, the First. It is named after Sheikh Lotfollah Jabal Ameli, a great scholar of the Safavid era. Naghsh-e Jahan Square is one of UNESCO's World Heritage Sites. Unlike the traditional pattern of Iranian mosques, this building does not have a courtyard and a minaret. A feature of this mosque is its prayer hall's 45 degree rotation to the axis of its entrance. The purpose of this is to adjust the direction of the entrance toward Qibla. The significance of this building lies in its architecture and beautiful tile work, which has significantly added to its value. Mosques, as places of worship, are the most appropriate form of architecture through which the concept of multiplicity in unity is realized. That is why mosques have always been the most enduring works of architecture during the Islamic era in Iran. In the architecture of Iranian mosques, geometrical tools have been properly utilized with regard to the condition of time and place. Accordingly, different mosques built in same era, though somehow similar, have their unique features. The accurate geometry of Sheikh Lotfollah Mosque will have every researcher wonder over the splendor of its architectural beauties. The analysis of many Iranian historical buildings from the geometrical point of view has proven that a thorough knowledge of proportions especially the Golden Section has been used widely in Iranian architecture and this is the basis of Iranian aesthetics. In many Iranian buildings, plans and vertical sections have been designed in frames of squares and triangles in which intersections determined all important fixed points such as width and height of doors, width, length and height of rooms and the location of inscriptions. Therefore, the dimensions of each component were associated to others by a certain proportion. As a result, the building was not a set of non-harmonic components, but was a harmonious combination of elements with appropriate relations between them, producing movement and calmness in space. A geometrical analysis of the architecture of Sheik Lotfollah Mosque reveals some of the principles which have been influential in the design of this splendid building. The Mosque's entrance on the side of Naghsh-e Jahan Square has been determined based on a specific geometry. The location of the entrance divides the side of the Square into two parts based on the specifics of the golden proportion. At the beginning of the entrance to the building and through a narrow corridor a 45 degree rotation to the left and within a short distance, a 90 degree rotation to the right has been designed. The purpose of this is to adjust the direction of the entrance to the prayer hall toward Qibla. This has caused the square-shaped prayer hall to deviate from the symmetrical axis of the entrance. Dome relocation and asymmetry are seen clearly in the building's facade. Ironically, this has not only caused any confusion but added to the beauty of the building and has made it a unique masterpiece. The Mosque's positioning on the eastern side of Naqshe-Jahan Square, which is based on the Golden Section, and the movement of the prayer hall from the symmetrical axis of the entrance are the main focuses of this article. The research hypothesis is that the positioning of the prayer hall, with respect to its displacement from the symmetrical axis of the entrance of the building is linked to the position of the entrance on the side of the Square. In this article, a geometrical model is generated. Then, by applying the model to the plan of the Mosque, the geometrical and dimensional relations between the two above-mentioned spaces are identified. Based on this, the rationale behind the formation of this masterpiece is revealed. The findings show the architect's full knowledge of geometry and its practical application and emphasizes that the dimensions of the prayer hall was determined proportionate to the dimensions of the entrance and the positioning of this space to the entrance was determined in relation to the positioning of the entrance on the side of Naqshe-Jahan Square. It is also revealed that the Golden Section and geometrical techniques of its construction have been used in this Mosque to create a balance between components of structure. The research method is analytical-descriptive and proceeds through the geometrical analysis of the building. At first, the plan of the Mosque and its positioning in Naqshe-Jahan Square are studied and then the hypothesis is proven through the analysis of the geometrical features of the Mosque. [ABSTRACT FROM AUTHOR]

One of the major monuments of Islamic architecture is religious schools which have appeared at Seljuk period in Nazmyeh and have continued to be at Qajar with ups and downs. The peak of Masjid- Madreseh construction is in the early Qajar period which led to establish Dar-al-fonoun school at the short time. Integration and combination of two functions of mosque and school in these spaces made an innovation in architecture of these buildings which is not observed even in magnificent Safavid. Mosque - schools as the most important architectural monuments which are compared with the other schools have been less studied and analyzed. Few books and articles, written regarding to the architecture of Mosque - schools are just a description of the history, printing maps and some remained pictures. This paper is intended to present the physical characteristics in architectural design of the mosque-school by choosing ten samples and to compare them with ten segments of Safavid schools. Obviously, disability to deal with all aspects of architecture in these samples is the limitation of this article. This article's innovation is the investigation of the overall scheme of mosque-schools in Safavid dynasty using comparing method to compare schools regarding to the features such as dimensions, hierarchies, area, climate, structure, facilities, and decorations. What seems significant to achieve stylistic features, is to check all the necessary items that may not be possible to use in these spaces. Also, in order to facilitate the analysis of findings, the results are presented in the tables. This descriptive - analytical study has applied both library and field research methods, to assess and evaluate innovations and changes in overall schemes of Qajar mosque - schools compared with the schools in Safavid period. Moreover, regarding to the ten segments, each of two selected schools and their features have been analyzed. In library method, required data are extracted and collected from various sources. These resources include information in National Library, University Library, Documents of Cultural Heritage, Handicrafts and Tourism, a number of major websites such as Wikipedia, and other sources which are archives of photos, cultural monuments of cultural heritage sites, documents and information about various parts of heritage cities and provinces such as Isfahan, Kashan, Tehran, Shiraz, and Mashhad. The selection of the mosque - schools and schools in Safavid dynasty, conducted by researchers, used to judge about the importance of the plan and architectural monuments of each period. To increase the validity of results, this study tried to select proper samples spread all over each period from the beginning to the end. Therefore, the mosque - schools of New Sepahsalar (Shahid Motahari), old Sepahsalar (Shahid Beheshti), Philosophodole, Haj Ganbar Ali Khan, Moshyralsaltaneh (aghsa), Memar bashi, Sardar anad salehiye of Qazvin, Seyed of Isfahan, Agha Bozorgh of Kashan in Qajar period and Large Jaddah, Jalaliye, Chahar bagh, Kasegaran, Mullo Abdullo, Nimavard of Isfahan, Khan and Hakim of shiraz, and Kheirat khan and Navab of Mashhad in Safavid were selected. The findings show that Masj id- Madresehs of Qajar do not follow a specific architectural pattern, while schools of Safavid have an architectural pattern of the two porches. The architecture of Masjid- Madreseh spaces in Qajar era is more complex and various than Safavid schools, So there are some chamber, teacher, library and entrance vestibules, different areas, such as the dome, nave, forty pillars, minarets, finial and Abrizgah, water storage, pool house, bathroom, sick house, kitchen and tomb formed in mosque - schools during Qajar period. There are reduced numbers of rooms in Qajar schools while there are Mahtabi spaces, four Gonbadkhaneh directions, and a cross-shaped plan in Safavid schools which have been caused the Masjid- Madreseh's courtyard has become an open and light space. In addition, the Clock Tower in the Masjid- Madreseh of Qajar era is symptom of West and western renewal. [ABSTRACT FROM AUTHOR]

"Stability" is, in fact, a feature that contributes to calmness and continuity of high quality life. This is compatible with the life style in various eras - a topic that has been investigated and evaluated in different fields. Architecture is one of the main elements that contributes to stability. Iranian architecture is one of the rich indigenous expertise which has already been widely recognized across the world that has evolved into successful conceptual, connotative and mythological themes on its progress from Islamic era to the modern era. At the same time, the influence of architectural themes on the Iranian culture has been clearly effective. With the advent of Islam into Iran, both the social and political conditions and the Islamic perspectives created new forms of architecture particularly in the shapes of mosques that were not compatible with the spirit of the Iranian architectural. As a result, this spirit changed throughout time and was replaced by new forms. The purpose of this study is to identify and investigate the effects of the Islamic era in using three Iranian architectural structures: Miansara, Eyvan and Gonbadkhaneh. These are examples of close, semi open and open spaces in Iranian architecture. The present study will also try to find out the reasons for the stability of those structures. The goal of this research is not only to study the architectural culture but also to determine the role of culture and society in the shaping of the architectural elements in Iran. This study investigates the effect of these criteria in the reshaping of the architectural structures taken into the Iranian culture and adjusting them to fit the sprit and the known patterns of the dominant culture of the time. This exploration can be classified as a qualitative research in the context of the case study method. The studied cases include Ashore Palace, Firoz Abad Temple of Fire and Sarvestan Palace. These are three main architectural sites in Iran before the advent of Islam. Zavare Mosque is the first edifice known for its four-corner design. In general, Miansara, Eivan and Gonbadkhaneh represent three types of architectural spaces; Gonbadkhaneh as an instance of closed space and Eivan and Miansara as examples of semi-open and open spaces. The effects of these spaces and the changes in the edifices from the Shabestani to four-corner design have been studied based on the existing documents as well as field observation. It seems that these changes occurred as a result of cultural and social changes playing a key role in the shaping of the architectural elements. This characteristic stems from the Parsi era called "Borsakardan" which means the experience in the local tribal language. Appearance and durability of these elements have been shaped in different society and political conditions indicating the creativity of the Iranian architectures in that era. This implies that these elements have persisted their performance, magnificent and spirituality while the society and political conditions were not aligned in the same direction. Alternatively, the relationship between theses three elements displayed the characteristics of the Iranian architecture. [ABSTRACT FROM AUTHOR]

Following the plans that were approved for the historic district of the cities in recent years, designing around and in the vicinity of architectural artworks, were considered by the designers of Cultural Heritage Organization and some plans were submitted in this regard especially for the religious complexes in these areas. But due to exposure to specific design situations, the unanimity of various beneficiary authorities and organizations was difficult. The seven step design process around the mausoleum of Sheikh Safi is a sensible and unique example of this claim which is the main focus of the research. The aim is to find out how to coordinate and harmonize the designers and employers. The first concept was accomplished in 1990 based on the methodology of designing a commercial-cultural complex. In the second concept, the commercial approach became inferior. The next four concepts were presented after the historical excavations and therefore investigations of the design team and the experts of the state and Cultural Heritage Organization and the design goals were different to some extent in the way that the commercial spaces became more relevant to the mausoleum necessities. In the first concept which was based on the approved plan of historic district of Sheikh Safi and the main approach of renovation of the urban space in the vicinity of Sheikh Safi Ad-din mausoleum and its connection to the outstanding elements of Ardabil historical district, several goals were at high priority: -Development of appropriate urban facilities and services in the design limits. -Creation of acceptable urban spaces congruous to public demands especially procession of mourning carnivals in bereaving occasions through construction of "Hoseynieh". -Construction of suitable space for presenting handicrafts such as a Bazaar inspired by the mausoleum and other important monuments of the city. -Renovation of "Soleyman Shah" mosque which represents the acme of the passage starting from "Ali Qapo" square and its appropriate connection to "Hoseynieh". -Designing based on respect toward the historical heritage which could be accomplished through refraining from extreme heights and outstanding or unfamiliar masses. The most important specifications of the seven concepts are briefly explained: First Concept: After the entrance and "Ali qapo" square there is a Bazaar which itself has a square in the center. Then there is "Dar al hadis" which would be used as a book fair. At one side there is the entrance of "Hoseynieh" and a traditional café beside it. Finally there is monumental space of martyrs from which "Hoseynieh" and the minarets of "Soleyman Shah" mosque could be seen. Second Concept: The commercial spaces of the Bazaar are changed to an amphitheater. The other spaces including the entrance, "Hoseynieh" and monumental space of the martyrs would remain unchanged. Third Concept: In this concept which was presented after the historical excavations near the mausoleum, preservation of the historical spaces was the main approach thus covering the excavation area was suggested and a museum was designed beside the area instead of the monumental space of martyrs; more transparency and lower heights were attended; the entrance to the garden was overstated; one of the minarets of "Soleyman Shah" mosque was omitted and the amphitheater remained as before; Fourth Concept: In order to create more transparency and more friendly urban space, the façades were changed; the entrance was made lighter and more outstanding; the roof of the excavation area and "SharbatKhane" became more modern with lower height; the amphitheater was omitted; "Hoseynieh" and "Soleyman Shah" mosque remained as before. Fifth Concept: Spaces became more transparent; Management area for the excavation site was designed beside the entrance of the garden; the relation between "Hoseynieh" and Sheikh Safi complex was limited to mere visual connection. Sixth Concept: Transparency of spaces remained as before; a dome was designed on the excavation area of "SharbatKhane"; entrances of the garden and "Allah Allah" dome were designed; Modern stairs were designed for the excavation area; "Hoseynieh" and mosque remained as before. Seventh Concept: In this concept it was decided to adjoin "Ali Qapo" square to the design limits and also to change the place of Sheikh Safi Street so that it would reach the square at its corner. Therefore renovation of the square and "Ali Qapo" historical entrance became a significant part of the design. Also instead of the old mosque of "Ali Qapo" district, a new mosque would be built at the north west of the design area. Spaces such as the traditional café, the book fair, the tourism center, the grand garden entry, the administrative section, the commercial spaces, the bank, and the parking would also be constructed here. Phase one of the excavation area and cultural space includes originals and the documents section (in northern part) as well as a museum (in southern part) which are separated by a main garden. Some classrooms are also provided in the east side of the garden. In this paper it is discussed that despite the dominant tendency of the authorities, such as the local governments, toward commercial plans and the little support from Iran's National Heritage Organization, it is possible to propel the funds toward cultural and preserving designs. Some guidelines are suggested including financial independency of designed spaces, analysis of previous policies, preventing hasty restorations, educating the employers through academic theses, and counseling with scholars and experts to ensure the employers' satisfaction. [ABSTRACT FROM AUTHOR]

Throughout history, aesthetics has been considered as an ancient attraction and has been discussed in various fields. Beauty is not just a matter of the mind, it must be understood as an objective truth. The strcutures of the Islamic era, as important urban phenomena, are of special importance in terms of aesthetic features. Thus, in recent decades, foreign and domestic researchers have examined various aspects of such a perspective. Thus this research, exclusively, emphasizes the aesthetic dimension of the environment and the form of architecture. This research study is carried out via an analytical-applied means with a "survey method" in field studies; moreover, data is collected by objective observation of Islamic buildings and a subjective "questionnaire”. The prioritization of objective and subjective aesthetic data of the body and place of architecture, particularly contemporary Islamic architecture is the focus of this research. The research findings show that the objective and mental criteria of people and architects are slightly different, but the objective perception of beauty of the environment and the body of architecture in both groups is significant. Likewise, the study of data displays that the beauty of the structure, body and architectural space has an imperative effect on the objective and mental understanding of the aesthetics of architecture. Research objectives: 1. Examining the objective and subjective dimensions of the aesthetics of Islamic architecture 2. Research and prioritization of aesthetic indicators in objective and subjective dimensions in contemporary Islamic architecture Research questions: 1. How have the objective and subjective dimensions of aesthetics been reflected in the works of contemporary Islamic architecture? 2. What effect does the beauty of the structure and space of architecture have on the objective and subjective understanding of the aesthetics of architecture?