Journal of Researches in Islamic Architecture

Recognition of Mystical Thoughts Effects on Blue Color in Tile Lining of Iran's Mosques

Architecture is a cultural objectified mass, which is belong to that culture or affect it. If Iranian architecture in Islamic era be studied, it can be revealed the fact that architecture is influenced by ideas and thought of this Islamic era. The purpose of this research is the readout of mystical ideas effects on symbolic visibility of color (blue) by using building blocks (tiles) in Iranian architecture of Islamic era. Mystic contemplation based on revelation was started by Imam Mohammad Ghazali and accompanied by philosophy of illumination Sheikh, Suhrewardi, which the degrees of knowledge and awareness were correspond to the degrees of light and advent, and lustered by the growth of mystical thought of light and color. So that, color in mystical ideas of Najmuddin Kubra and Sheikh Ala Simnani gets its concretion and intension mostly from light of lights and every color is an intrinsic representative (allegory) of one meaning. Thus in universe the colors and lights is compatible with lights in mystics journey and the mystic of beauty way (God) can observe the manifestation of this way as the guide in his/her inside in a form of light determinations (colors). So light has different levels and there is a connection between the universe of meaning and lights and the mystic achieves the higher levels as much as passing the steps. So that in mystical insights and among all of the colors the allegorical role of color blue is covering. In order to begin the journey, this color (blue) is suitable for those who are in the first steps of mystical life.
In Islam, art has the inherent connection with Islamic mystic and it has been inspiring for artists and architecture aspects. The historical background of the connection between mystic and architecture shows that the formation of Fetyan and Fotowwat associations had the important role in transferring Shiite mystical ideas and thoughts to business owners like architecture, so this allegorical mystical vision was applied to show that shrines can be enumerated as the place of establishment of the best proportion between architecture and beliefs, especially in mosques architecture (central) which is the apex of manifestation of architects› symbolic art. However by considering the tile of this article it can be imagined that the monastery which is the place of Sufis and Dervishes, is the appropriate litter for the subject of research, but the studies show that we do not know whether monasteries has the same concept during the Iran›s Islamic era or they had been changed. Also we do not know the concept of monasteries or how one place had been named as a monastery. So monastery cannot be a suitable sample for hypothesis test. The symbolic usage of blue titles in Kharazmshahian era on mosques› porches was provided by developing light-based mystical thoughts in sixth century and decline of rational thoughts and the degree of attention and sensitivity of architecture companions to the concept of Fotowwat and its association with mystical ideas, because these blue porches were the first thing to draw
the audience›s attention. After that due to the evolution of Islamic mystic›s noetic aspect in Timurid period and Shiite tendency among mystics, the employment of blue tiles in domes was increased too. Safavid era was the boom of legal, illumination and Shiite ideas and followed by, the Isfahan school established the symbolic buildings so that the mystical language, which is a kind of symbolic and allegorical language, has been manifested in a best way in Safavid era that is the peak of Shiite and mystical thoughts. Correspondence between states (initial) of mystical homes by using color allegory (blue) in Iranian mosques architecture is one of the effects of mystical beliefs which has caused the sequence in meaning and appearance between mystical thoughts and blue tiles employment in mosques architecture, so that using blue tiles (either cobalt or turquoise) from the beginning of using to full-color domination in Safavid mosques (Imam mosque). In this research, data and information collection is done through documentary and library studies, and then data is analyzed by using descriptive and analytical method in historical context and is proved by applying determinant evidence

Explaining the human perception levels and process and its role in the quality of creation of architectural works Based On Transcendent Wisdom

Understanding the human perception levels and their process, and his interaction with the existence is an important topic in the field of architecture. In the contemporary era, the architecture pundits have shown more interest in the degrees of human perception and its role in the quality of creation of architectural works process and have criticized the modern perspective of sensory perception level and focusing on the sense of sight, and raised the necessity of considering all the human perception levels.
Nowadays, the human perception of the universe and its impact on architecture and urban development in the form of a category such as «human and environment relationship» is studied from the perspective of psychology and by environmental psychologists. But they have not a distinct philosophical perspective and clear theoretical basis to define the mankind, his perceptual levels and its dimensions and environment and how it has an impact on humans; and the absence of this attitude has damaged the field of environmental design, like architecture and urban development. Therefore, to achieve accurate results we must set up comprehensive principles as a basis.
Therefore, the approach of the present study is different from the common research in this area and based on the principles of Transcendental Wisdom as its theoretical foundation, we explain the relationship between the human perception levels of the universe and the quality of creating architecture works and its impacts.
The reason for the choice of Transcendental Wisdom as the theoretical research foundation wisdom is that the theoretical basis of the author for research has always been the “maximum religion” theory and among famous philosophical schools, the philosophical school of Mulla Sadra a.k.a. Transcendental Wisdom is close to “maximum religion” theory. Because, as in this theory to gain knowledge we use three tools of Holy Quran, tradition, and reason and instincts in a longitudinal relationship, in Transcendental Wisdom we gain knowledge based on illumination or intellectual intuition, (revelation, fascination or illumination) intellectual argument or reasoning (wisdom or reasoning) and religion or oracle (religious or oracle).
Therefore, we set up our theoretical foundation based on Transcendental Wisdomand to do this research in the first stage, we use the descriptive-analytical method to define mankind, his perception levels and perceptual powers, and the process of realization of any of the levels based
on the principles of transcendental philosophy; and next, we use logical reasoning and deduction to
express the correspondences between human perception levels and the universe and with the help of
models we use the degrees and levels of human perception regarding the universe, and accordingly we
explain the impact of human perception levels and the level of his interaction with the existence on the
formation of the quality of architectural works.
Based on the research and its results, it can be said that humans have four levels of perception (sensory,
mental, imaginary, and intuitional) corresponding to the realms of existence. The apparent powers
(sight, hearing, smell, taste, touch) and inward powers (common sense, imagination, illusion, memory,
MOTESAREFEH) help him to realize his perception. studies show that the human perception creates
a treasury of meaning and form in the human ego and this treasury is the most important source of
shaping ideas for the artist human. Because the architect human by using his MOTESAREFEH power
and referring to the meaning and form treasury in his ego proceeds to create and thus, the content quality
of this treasury influences the quality of creation of architectural works.
It should be noted that on the basis of past studies, the human perception levels and his ability to
interact with the levels of existence is affected by the level of existence of the artist human. In fact, it
is his interact level with the existence that forms his form and meaning treasury and sets the stage for
the quality of art and architecture works. Also, based on the perspective of transcendental philosophy,
other factors that affect the quality of architectural works consist of intrinsic talents and acquired skills
in humans.

Eyvan Basic Position to Improve Operational Efficiency in Mosques

Functional efficiency performance space-oriented mosque like any other, it is influenced by the spatial configuration. In fact, religious spaces with unique featuressince the beginning of Islam has remained unchanged and only their own spaces. This special feature makes frequent use of specific patterns in the architecture of these buildings. The relationship between inputs, yard bedchamber (s)(or Shabestan) of the Mosque of these qualities. In many cases, there is a porch or Ivan of a communication node. In the form of a semi - open space, is the interface between the yard and bedchamber of the mosque. This study examines the role of the mosque›s porch to improve operational efficiency. In connection with the evaluation of functional efficiency using space efficiently, several studies have been completed. For example, Mustafa and his 2013 study, a variety of patterns and consider the variable dome mosques, with the introduction of elements of space efficiency, to evaluate the performance of these buildings have. To study and analyze the configuration space and the functional efficiency in a variety of patterns and a variety of home business has passages. Also in the article Khan (2012) to review and explain the functional efficiency indicators is discussed in hospitalsand the role of each component in order to optimize the layout of the interior space efficiency buildings, healthcare, according to the definitions analyzed and assessed. It should be noted that the present study was to evaluate the functional efficiency of the mosques with central courtyard space structure. Therefore, in this regard, this study intends to basic position Ivan element in achieving this important space in the form of mosques, explain. The hypothesis is also provided as follows: according to the calculation of operational efficiency indicators such as the depth of space, the association and the vision and perspective, space Layout mosques four porches highest functional efficiency.The research questions to examine the role of mosques Eyvan the configuration is as follows: Is Eyvan improve operational efficiency mosques is effective? Is count on a mosque porch can
improve the efficiency of its performance? How to Eyvan role in promoting functional efficiency
realized in the mosques?In order to achieve this goal in the first to introduce a paidwhich
explains the components of operating efficiency and definitions of it through studies that have
been conducted and evaluated the degree plan.So, in order to achieve this, two methods were
used.The first method uses mathematical syntax space.That information required to be used in
formulas, the plot justification for each of the samples obtained.The second method, using the
software Depthmap and analyze its output. the final results obtained from these two methods
revealed Eyvan and spaces that are dependent on the spatial structure of mosques increased
spatial depth, the degree of integration and better links between the yard and the Bedchamber the
combination of these factors, improving operational efficiency between the input space, garden
and Bedchamber (s) in the mosque. Software Depthmap including tools to analyze the different
spaces of urban spaces and architectural spaces, is used.With this software, such as deep space
indices visibility and visibility cone, and so on are useful.The software has features that can be
used to evaluate the efficiency indicators of the performance of different spaces payments.The
application for each of the areas in question, determine the calibration.Accordingly, any portion
of space considering the total area of the space and the position of the observer is standing, will
have a different grading. Among other results obtained from this study can be pointed to the
role of mosque porch improve operational efficiency;this means that the number of mosques
in the central courtyard porch increase its operational efficiency significantly increased. create
or increase the potential of space in mosques four porches because of elements such as Eyvan
and its related spaces (bedchamber behind it) than other samples The event observer relative
to the surrounding atmosphere and can be changed at first glance, this feature can be used to
improve the performance of the mosque.- Four-eyvan mosques because of the sequence of
spaces and their propagation, has more depth than the input space and depth are less than a
yard spaceBut due to space communication with other spaces in total efficiency is better than
the other mosques patterns.a total of four Eyvan mosques pattern due to the increased level of
communication spaces with each other, flexibility and permeability is there more space and thus
it tends to facilitate the movement of worshipers in the mosque is different spaces finally, with
regard to the importance of the porch to improve the operation efficiency of mosques, you can
mosque pattern layout of four porches due to its superior performance to other mosques patterns
used in the construction of mosques today.

The Study of Genealogy and Individual Styles of Plaster Workers Of the 14th Century

Introduction: From the 14th century that is concurrent with Ilkhanid rule in Iran, some exquisite plaster works have been remained some of which have artist code and date; therefore, they can be considered as valuable study references for genealogy of the artists of plaster works and their individual styles. These plaster works can be seen mostly in magnificent Mihrabs, plaster inscriptions and tablets of mosques, tombs, etc. In tilings, wall drawings and the wooden works of art of this period, also, one can see the name and the code of artists and regarding their nicknames or their relations, it is possible to find their family relationship with plaster workers. In this article, the author tries to review and study the the hypotheses and theories proposed by researchers and professionals about the genealogy, individual styles of 14th-century artists. Therefore, the plaster works coded by the artists, like Kermani, Damghani, Baboyeh and the nikname Abu Shoja which are in Isfahani, Natanz, Torbat Jam, Sirjan, Bastam and Qom were selected to be studied in order to answer the question raised in this research: what are the visual features of the coded plaster works in terms of composition, motifs and inscriptions of the individual style of the every artist in 14th century? Regarding the fact that the stylistics of these decorations is a complex issue and needs to be studied in detail, the visual styles of these decorations have been described in this research and a diagram has been proposed for the family relationships between the artists who made them. In addition, some hypotheses are formulated using a historical-analytical method based on field and library researches on the remained works and historical resources.
Methodology: This research has been done using a historical-analytical method through an adaptive approach. First, the attempt has been made to describe the individual style of the artists during this period and study the most prominent plant and geometric motifs and compositions and the way they have been integrated with other motifs and inscriptions. The data was collected based on documentary resources, field researches, observations made by the authors, taking photos of the coded plaster works and drawing some samples using Matrix 7.0.
Conclusion: The results obtained from studying the coded plaster works of 14th century show cooperation among the artist groups that often had family relationship with each other. But distribution
of the works and their technical variation show that all members of an artistic family did not always
work in a certain area or on a certain profession and there were not much limitation on using the
designs and works of other artists with special skills. However, the individual style of the artist
that mainly results from their skills and creativity can not be neglected in forming these significant
works with unique visual features. In general, the visual features that were studied in the samples
include: 1) using multilayered plant compositions and large arabesque motifs with Ajdehkari and
detailed decorations that are mostly seen in Kermanian artists’ works of arts in Iran, 2) using plant
motifs with unique decorations (human and animal-like) and special plant compositions (compact
arches) and integrating geometric motifs (knots) with plant motifs in Bastam by Damghanian artists
that makes a special style in the stucco ornaments in this region, 3) plant (arabesque) proboscis-like
motifs and some margins involving simple geometric motifs in the plaster and tiling works of an
artist with the nikname Baboyeh, 4) the extensive use of strong and vivid colors, decorating the
inside parts of the ceiling with geometric (knot) motifs integrated with plant, geometric motifs and
inscriptions in the works of an artist with the nikname Abu Shoja and sometimes following some
styles n plaster working with technical differences that can be seen in the tomb of Pir Bakran.

Compare Spatial Structure –Function Imam Mosque in Isfahan and Shiraz Vakil Mosque

Spiritual Islamic architecture is mostly based on mosques, which is a manifestation of recreation,
repetition, harmony, order, and peace of nature created by God as Muslims’ everlasting home for
prayer. Also, architecture meets the needs of a society. Therefore, a mosque is capable of meeting
spiritual and metaphysic needs. By accepting Islam and by their own will, Iranian accepted the
mosques as a place for prayer and they gradually move towards building mosques that fitted to
their architectural traditions. By emerging the Safavid and establishing Isfahan school, the mosque
got more importance and it became as a symbol of Shi’a ideals and a place for introducing them.
Moreover, the mosques in Shiraz are important because from the beginning of Islam to the end of
Qajar period, there was no mosque with tomb and the mosques had a chamber model. Since the
culmination of evolution of spiritual architecture art is seen in the Imam Mosque in Isfahan, and
the architecture of Vakil Mosques in Shiraz has chamber model and different from its previous
models, the question is, Vakil Mosque of Shiraz and Isfahan Imam architecture as an indicator for
two consecutive terms of what features are common and What elements of the architecture of the
mosque of Imam Mosque in Isfahan›s lawyer can be affected? As such, the research aims to study,
compare, and analyze the elements and characteristics of two Islamic art and architecture masterpieces
of Iran, i.e. Imam Mosque in Isfahan and Vakil Mosque in Shiraz, and shows the similarities and
differences of views and identities of designing these mosques. To do this, descriptive – analytical
and comparative methods, with survey and studying library sources and observation, and also using
the map of gathered data were used. The data have been studied and analyzed and they were gathered
in tables. The findings show that, with respect to function and space, the architecture of the Zand
period has some similarities to the Safavid, however, in some details like organizing spaces and their
relationships has its own characteristics. The entrance hierarchy; forecourt, entrance porch, gate,
vestibule, corridor, and Miyan Sara and the space hierarchy; connection, transfer, and joints were similar. Also, the importance of open space and circulation of the mosque towards its front square
are well seen in both mosques, and the relationship of the mosques with city and bazaar follow
one approach. Additionally, there were some differences in space structure, Miyansar, and visual
relationship with audience and the main difference in these two mosques is the space quality. In fact,
movement in space and understanding it moment by moment is seen more in Imam Mosque than in
Vakil Mosque, which has space integrity. Also, the porches have made a stronger relationship with
other elements of the mosque. Safavid architecture facilitates the relationship of inside and outside
of the building by giving dynamic characteristics to the space. But, since the Zand period came after
this period, Vakil mosque has a two-porch shape in which the relationship only happens between
two porches and space dynamism decreases. Moreover, it should be mentioned that not having
tomb or minaret is related to the dominated views of that period and it is not considered as a defect,
and the identity of mosque is not ruined by lack of one element. So follow the Safavid era Zand
era architecture, but look at the past can be seen in it. Zand era architecture in terms of functional
and spatial similarities to the Safavid period, but in the details, such as the organization of space
and its relevance, has its own characteristics. Myansra also differences in the visual connection
with the audience, as well as lack of domes and minarets of the mosque are seeing a lawyer. But
Zand architecture and urbanization followed the Safavid in general principles, however, in the Zand
period we see more context-based urbanization and architecture. Location mosque in the main and
secondary routes of communication, the users will have more choice. Due to this feature through a
positive sense of ease of access takes place in the mind. As such, the Zand followed the Safavid but
a look to past is also seen on that period. Although the Imam mosque is the most complete mosque
of Iran, it used other Iranian models as well.