Journal of Researches in Islamic Architecture

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The recognition of main urban elements, specially the holy monuments, have had changed a lot in the image of the Islamic city since past to present. Façade, height and position of building are some of the ways of making recognition. In each period, some of the buildings with specific activities are recognized. Buildings which was mosque, bazaar, monastery, tomb, bath, reservoir, mounth, school or citadel, now is transformed to political, administrative, commercial or sometimes residential and religious one. It has root in the mind of the governors or the builder of the buildings that which one is more recognized. Among all of urban activities, the recognition of religious buildings is the most disputed one. The aim of this research is the typology of recognition of the main buildings of the city centre, specially the religious ones, in order to be beneficial for the contemporary urban design.
This research initially tries to distinguish different types of recognition of special elements in the image of city, with the phenomenological approach from theory to practice. Then it attempts to assess them with theoretical and cultural criteria.
According to the consequences, tWo types of encounter with the recognition of urban image can be distinguished. The first type is need – oriented and functionalist which follow emergence and recognition of buildings in plan, much more than image and dosent pay much attention to aesthetic preferences. This type of recognition was more common in the earlier periods of Islamic civilization (Khorasani Style) such as Naeen city centre. In the second type, the emphasis is on the aesthetic recognition of buildings, specially the religious ones. Cities which belong to this type, last two periods of conflicting identities. This evolution reached a balance between these orientations in the safavid period. This research tries to introduce the safavid period as a balanced tendency in consideration of proper recognition of each building and suggest the continuation of its patterns.
 

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Islam spread quickly less than half a century on a large scale - from Spain to the borders of China. While, Christianity spread slowly during several centuries. After the spread of Islam in the West of Asia and the evolution of intellectual foundation of the community, the need for creating cities in accordance with Islamic lifestyle through making the least changes to the existing structure, resulted in adopting a new approach like converting churches into mosques in many Muslim cities. This research studies the various aspects of Islamic and Christianity beliefs on the process of converting churches into the mosques. The questions are: How have the formation of spaces in churches and mosques influenced by Islamic and Christian ideological flows? How have the Islamic thoughts embodied in the Christian architecture, during the process of converting churches into the mosques?
The hypothesis of this research is: “the formation of historical process of converting churches into the mosques is because of either existence of parallel aspects in Islamic and Christian theology or flexibility of Islamic thoughts in influencing by aesthetic patterns”. Based on the research questions and to examine the hypothesis, we analyze the process of converting churches into the mosques through using library source and adaptive approach of historical-interpretive method. Findings indicates that the origins of these monumental buildings is the simple form of a house that later developed to magnificent architectural forms in response to historical events. Due to the idea of collective worship in Islam, more diverse range of religious buildings were created in Islamic era than Christian era. The introduction of Islam to the new cities and its political power influenced the architectural aspects of the cities. In spite of the parallel aspects and common roots of the early churches and mosques, it was probable that churches were used for different purpose, but the process of converting churches into the mosque in the newly Muslim regions shows the compatibility of Islam with the culture, ideology and the main purpose (worship of God) of Christianity.
 

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Tabriz Blue Mosque is a valuable historical monument from the 9th century AH, which has been built during the Kara - Koyunlu of Turkomans rule on northwestern Iran and about 35 years before the beginning of the Safavid Iranian government. This building has some features that make it to be distinguished from other monuments of the Azerbaijan region and even Iran. These features have attracted the attention of many researchers in the field of ‘historic studies’ and ‘art studies’ and as well as have led to the publication of various sources about it; the approach of which are mainly to introduce the historical and artistic aspects of the mosque. But, little research has established about its architectural design and discovering its environmental relations. Therefore, there is a gap of knowledge in the understanding of architectural norms of this building that need to be addressed by some systematic and targeted researches. Understanding this fact, the present paper examines some of the ambiguities about this building; such as the way of its interaction with the natural environment. Accordingly, this paper aims at investigating the quality of interaction between the nature and architecture in the process of planning and architectural design of the Tabriz Blue Mosque. The mentioned aim is based on this hypothesis: the interaction of “natural environment” and “artificial environment” in the architecture of Tabriz Blue Mosque is based on a systematic approach that in its regulative foundations, the component of politics is dominated other components, especially the component of nature. The necessity underlying this research is to point out this fact that the architect of Tabriz Blue Mosque along with the exciting beauty that created in this building, did he/she also pay attention to natural and climatic aspects? Drawing on what has been said, this research has been done by descriptive - analytical method and data collection was via field study, direct observation, corpus analysis in order to answer the following questions: 1. What are the requirements and necessities of naturalistic architecture in Tabriz's environmental and climatic conditions? 2. To what extent did architect of the Tabriz Blue Mosque, in the architecture of this building, adhere the principles of convergence and harmony with the nature and climate of the region? 3. What is the reason for the existence of some incompatibility between the architectural design of the mosque and the system of nature and environment? The result of this paper shows that the architectural design of Tabriz Blue Mosque was based on the ambitious desires and motives of a social climber king. The desires required some specific necessities, some of whom was contradicted the natural and climatic requirements of region. These contradictions create some incompatibilities between the architectural design of the building and natural environment. Accordingly, in the architecture system of Tabriz Blue Mosque, political considerations and government accreditation were prior to other components of design, especially the component of nature.

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The ancient Chalipa pattern in architecture is one of the patterns that have been considered as the main symbol of pre-Islamic Iranian architecture. Today, decoding different meanings of this symbol in the mosques as the base model, which is the source of Iranian and Islamic architecture, has been neglected. The present research is constantly attempting to compare the Iranian mosques with mosques of other Islamic countries as their structural differences and to compare the two concepts of centrality and orientation as the two main components of the Chalipa pattern that exists in Iranian mosques. In this research, which has a historical-analytical method, has attempted to introduce the main difference between mosques and Iranian mosques during the 5th and 6th centuries Ages in the presence of the Chalipa model and the reason for this difference in the common meanings of Iranian civilization And Islamic, which did not exist in other civilizations.
Ancient Chalipa pattern is in the form of a four-ivan in the central courtyard of Iranian mosques, dedicated to Iranian thought. There is no such pattern in the central courtyard of other mosques in Islamic countries that Suggests the evolution of the concept of pre-Islamic centralism. On the other hand, it shows the concept of unity in Islamic mysticism, which may be the cause of this connection in the common principles of the monotheistic religions of Iran (Islam and Zoroastrianism) With the concept of the transition from the past to now, it has provided a revival of the concept of monotheism in Iranian civilization in Islamic architecture.
In the historical course of architecture from ancient Iran to Islamic Iran, Chalipa was the link between the architectural spaces of these two civilizations, which is not seen in the historical course of the monuments of other civilizations. The crucifix pattern, which is adapted in this study to the four-porch pattern, is only visible in the architecture of Iranian mosques, and if found in other countries such a pattern can be seen through imitation of Iranian mosques.Therefore, it seems necessary to study such a trend as to why the crucifix pattern existed in Iranian historical evolution but is not seen in other civilizations. The link between the Iranian mosques and the pre-Islamic monuments in Iran has been distinguished from other Islamic mosques in different countries by the cruciform pattern. Therefore, it is necessary to study and prove that this ancient pattern appeared only in Iranian mosques and is rooted in the common meanings of Islam and Iran. When it comes to sacred orientation, it unconsciously associates the Qiblah and the Ka›bah house with prayer in Islamic religion, which has played a key role in the design of architectural and urban spaces since the arrival of Islam. According to this principle, the mosque›s space is designed in such a way that their nave is in the south and facing the Qiblah. Looking at Iran›s pre-Islamic architecture and urban history, one can see signs of such a sacred orientation in the form of a quadruple or quadruple design in four different directions. Influence of this orientation is particularly evident in the design of quadrangle cities, the plan of the four porches, the design of the gardens called the four gardens and the buildings of the four quadrants. Later converted to Islamic architecture and in order to interact with the Qiblah, it was incorporated into the body of Iranian mosques and became the main characteristic of Iranian mosques compared to other mosques. Crosses have existed in most civilizations and in various forms at different times, but there is a form of architecture that, if identified in the plan of an architectural space, must be at its center in the center, for example the dome on The flame rises exactly at the center of the intersection of these two directions and manifests itself. In most introverts such as mosques and temples where the center is very important, this symbol can be . The present study examines the symbol and form of the crucifix in the spatial organization of the mosques and emphasizes the concept of centrality and orientation of the symbol, which are its two main components, trying to show the pattern of the crucifix in unifying the spatial structures of a The building has an important role, has its roots in pre-Islamic architecture and first appeared in post-Islamic architecture in the sixth century AH, which was the reason for this change in the thinking of the rulers, philosophers and artists of the Al-Buoy period. Thereafter, they have always sought to link Iranian thought with Islamic thought Architecture therefore, also not an exception. In other words, in the study of the architecture of other countries, it is always found that their ancient temples have no common ground with the mosques or churches of the time, and that the architectural structure of the transition from ancient to monotheistic religions has always been accompanied by a gap in meaning. In Iran, however, the crucifixion pattern closes the gap between Iranian architecture and Islamic architecture, rooted in the mystical meanings embedded in the symbol that links the two monotheistic religions through the common concept of light or fire.
 

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Mosques have been the oldest, most important and uncompetitive religious element of Iranian cities. Unfortunately, mosque formation patterns and principles and symbolic perception, have been forgotten recently, especially at neighborhood mosques level. recovery of Iranian-Islamic architectural and urbanization identity is main responsibility of architects and urban planners, and this is the main object of current research. We will look forward achieving these goals by field survey and local condition analysis of cultural, social and even economical needs of social classes of these locals. Also, considering determined goal, research looks for its answer, can be   stated as following: whether value systems of different social classes of local habitants influences belonging sense among these neighborhood mosques. In the current research, the influence of sensory perception models have been investigated on the sense of belonging to place at Qazvin city by survey method. And also after specifying models and components of sensory perception, evaluating criteria effective on increasing belonging sense to mosque, extracted, then questionnaire prepared based on Likert spectrum by Structural Equation Modeling (SEM), which it analyzed the relations among variables and their impact amount on Haft-Darb mosque as an old texture and Javad Al-aemah as a new texture. research findings, shows a meaningful relationship among the components of sensory perception and the sense of belonging to place at neighborhood mosques, which in it the impact of cultural indicators and social system in the neighborhood is more than other indicators. Also regarding sensory patterns in designing mosques forming elements, promotes satisfaction sense which this leads to creating and strengthening of adaptive sensory architectural patterns in religious places. As a result, it is suggested to pay special attention to residents complementary role at mosques designing, because this matter cause more adaptability about neighborhood mosques architectural patterns. Also, recreating the sensory patterns of Iranian-Islamic architecture of mosques undoubtedly plays a vital and significant role in developing and deepening religious values, cultural, social and economic relations and also increases the motivation of worshipers to continue attending neighborhood mosques.

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Aesthetic-Sublime conflict has been as one of the most pressing issues in the thinking that included in the manifestations of human life and the construction of temples in history. In the modern era, both the formalist and the functionalist currents of modern architecture emerged in response to the German philosopher's theory of Emmanuel Kant. Later, deconstructionist architects such as Eisenman who that stated their anomalous roots in their heuristic formula for combining the two aspect of theory. These currents of thought penetrated the Islamic world, especially the construction of mosques. Unique Islamic conceptual patterns were less discussed in the amalgamation of aesthetics and the quest for its revival in the modern age. a universality of Jamal-Jalal is recommended in the Islamic viewpoint that Islam has not claimed in previous religions and this equilibrium has taken place with the rise of Islam. This equilibrium can be traversed to either side of the spectrum in each sample as needed. In this research, the philosophical principles and architectural criteria derived from both sides and a descriptive-analytical approach was discussed to the conceptual typology of historical mosques. Finally, The models were expressed to the architecture of the historical and Islamic periods in six sections. 1-The Origin of Style Effects from Organizing (High Pure) to Artistic (Pure Beautiful) and Comprehensive viewpoint at Architectural Styles. 2- On the Jamali-Jalali side of the environmentally sensitive historical epochs, approach of cultural periods in Europe with verticalism and attention to Sublime (Egypt) to Egypt with horizontalism and the periodic classification is based on the nature (Environment) that is compared in the three categories of medieval naturalism to Renaissance naturalism (Soft modernity). 3- Sublime-Aesthetic faculties in Formalist architecture schools fall into three categories: Anatomical, space-oriented and socialist in Islamic architects of Iran. 4- Conceptual model was presented for each aspect with sensitivity to the Sublime-Aesthetic (jalal-jamal) of sensing factors. 5- Functionalism indices were investigated by three-dimensional (aesthetic, sublime and socialist) principles of Iranian architectural architecture with the principles of organizing movement in space. 6- Encoding with symbolization factors was conceptually presented as Sublime-Aesthetic attention, and the share of attention to the purely beautiful symbol in the glamorous and sublime symbols refers to the glorious dimension.  The space and body were remarkable that were effective in expressing this dual opposition in the architecture of contemporary mosques. Nowadays, contemporary architects use Aesthetic and Aesthetic appearance to represent the clergy of space in Contemporary mosques. Ultimately, authenticity is in need of socialist. It is a sublime meaning that, along with simplicity, is reminiscent of the spiritual space of the model mosque (the Prophet). Finally, two examples of mosques were laid out in a comprehensive Western and traditional pattern. The indices were based in each contemporary work on Jamal-Jalal of Islam or Western Aesthetic-Sublime. The results of the study show the evolution of the architecture in the four Iranian mosques, that Has a tendency for pure sublimity or aestheticism to the sublime aesthetic states (holistic state) and when comparison to two types of mosque (contemporary Western-style mosques) have sometimes moved toward materialistic and authentic Aesthetic and Sublime. The perceptions are superficial in the past patterns but sometime this patterns are along to values. motivations of Aestheticism have given originality to outer space and Sublimation to originality and both dimensions of history have been distorted in the non-sacred paradigm and merely reduced to charm and functionality. Whereas the holistic viewpoint has a coherent and original view of spirit and spiritual growth.

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Science there is unique qualities in Persian architecture which properly meet the hierarchical various needs of human beings as well as it can be reproduced as an examined pattern in today architecture, it is always a matter of question and reflection.
(Persian architecture is always a matter of question and reflection because it properly meets the hierarchical various needs of human beings, also can be reproduced as an examined pattern in today architecture. ???)
 
This is doubly important in the case of sacred spaces in Iran, which have always represented the pinnacle of the art of designing form and space in Persian architecture and today face challenges of nature and identity. Meanwhile, there is a variety of approaches to identify what researchers were interested in and sought out in the buildings of past Persian architecture; including: The formal investigation of the historic buildings, the recognition of the context conditions and the period of time in which architectural works influenced by political, economic and social affairs were built in the historical context, as well as the profound effects of geographical and climatic factors on the structure of buildings. Some others have also introduced the entanglement approach to the cultural manifestations of every people, including Iranians. By studying and recognizing literature, poetry and fine arts, which touches the lives of human beings, they study architectural works in this field. They consider understanding each one without the other, to be incomplete, inadequate, and impossible. This study, based on this hypothesis that what was produced by the Iranian artist, certainly has a form of embodiment of the imaginary forms of the mind-maker and the experience of every place simultaneously is a mental and physical experience, by asking about the concept of imaginary and metaphoric concepts in art and architecture, based on interpretivism philosophical basis and qualitative approach to research, by using the research design of discourse analysis and descriptive-analytic research method, tries to answering the questions of the research. The results of the discussion show that the imaginary forms and metaphorical meanings in construction of the mosque and the shrine of Sheikh Abdul Samad in Natanz can be classified in four respects: 1. Imaginary location of the building and its relation to the time; architects of both two buildings, in their eternal vision of time, have taken a position for two buildings which brings immortality to the mind. The collection is conveniently located in such a way that sustainability of the natural structures and interaction of cosmic forces in it, creates a microcosmic which eliminates the presence of time. These two buildings, adjacent to the 1700-year-old plantain and the 2000-year-old Qanat, as human-built nature, are located in such a way among natural structure, which strengthen the existing nature and show its complete conformation with the existing cosmic order. 2. Domes as the mirror of the sky and as the mirror of earth; what is the poetic aspect of the shrine’s dome, with its not so great proportions, is the metaphoric role of a mirror-like tile on it, which exactly reflects the natural blue sky of Natanz. Outer shell denies its existence and becomes a mirror to represent the sky. The dome of the shrine, which is a symbol for a mystical journey, loses its rigidity and points to light and transparency. But in the mosque, the principle is based on the lack of external identification, simplicity, and inwardness. The dome of the mosque, with its earthy color, is a mirror and a symbol of the earth. Also, the northern portico of the mosque is covered with turquoise tiles and represents the earth as the sky. 3. Metaphors of light and darkness; the cavities embedded in the dome of the mosque are located in such a way that during daylight hours that shines the light rays like a waterfall into the inside. What falls under the dome is the rain of light which represents the essence of God, but in the shrine, shining of light is opposite of the mosque. At this place, the dome space, in opposite of mosque dome which is dark, is full of light. The dome which is the symbol of heaviness, rigidity and pressure is based on light beams. And 4. Imaginary of materials and body of two building. In these two adjacent buildings, materials and surfaces possess their own languages. Bricks and soil represent poetic signs of the human being's essence, and therefore establish an intrinsic connection with their audience. On the other hand, the soil is one of the four classical elements in the thought structure of Persians, consequently, with its pretense of earth, becomes colorful and smells of sanctity. Water represents another classical element which presents in the building. Both two buildings are necessarily multisensory and thoroughly comprehend the sensory perceptions of their audiences. The proportions of the body of the building and its proximity to the human body have constructed a humble and humane complex. Since human being receives and comprehends the world with his body, Here the experimental world is organized and defined and meaningful around the body of individuals, In fact, the empirical world of humans, has two simultaneous centers: the body and the physique of Shrine and mosque. In conclusion, it should be emphasized that all of the elements, forms, spaces and the geometry of motifs in this complex represent the authentic experience of the tradition of construction in the land of Persia and based the ontological aspect, it comes from the way of being-the-world and settling of Iranians.

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Problem expression: The manifestation of modern thinking in urban life and, consequently, the spread of the culture of individualism and civic indifference in recent years, has faced problems for urban dwellers such as isolationism and reduced social interactions. Therefore, people's need for places for social interactions and psychological needs has become one of the necessities of urban life. Thus, recognizing human beings and how they relate to others as a social being, as well as examining potential camps and capacities for social action in order to achieve this, is very important and is one of the factors that many planners and city managers consider. For this purpose, in recent years, the issue of social interactions has been of great importance due to its impact on factors such as social cohesion and solidarity, responsibility and sense of belonging of residents, supervision and social security. To this end, many efforts have been made to create a suitable environment for the creation or increase of social interactions. In this regard, the focus of the planners has been on spaces such as local parks, social hangouts, neighborhood centers which in most cases have not been able to meet expectations. Meanwhile, mosques have been neglected due to their potential capacity to accept diverse functions and have long played a significant role in social interactions among residents. These inaccuracies have persisted to the point that mosques that have been the center of social interaction and interaction are currently content with only their religious role.
The Objective of research: In this research, an attempt has been made to examine the status of mosques and the effect it has on social interactions between residents.
Research Method: In order to achieve the objectives of the research, the present research approach is case-oriented. For this purpose, The Shahshahan neighborhood of Isfahan has been studied in order to achieve the goals of the research due to a large number of mosques. The present study is observational in terms of nature, descriptive-analytical, and data collection tools in this research. The statistical population of this study was selected according to Cochran's formula of 95 people, and the Spearman correlation coefficient was used to analyze the information.
Findings of the research: In order to evaluate the social interactions of the residents of Shahshahan neighborhood of Isfahan, four indicators of neighborhood members' knowledge, social contacts, social trust, and intimacy, and social relations, which are extracted from the theoretical literature of the research, have been used. According to the information obtained, the amount of social interactions in the Shahshahan neighborhood can be evaluated as average. Also, in order to investigate the role and position of mosques on the level of social interactions in the Shahshahan neighborhood of Isfahan, first, the level of presence of neighborhood members in mosques has been studied. According to the information gathered, about half of the members of the Shahshahan neighborhood have a small presence in mosques. Also, according to the observations made, many mosques in the the Shahshahan neighborhood are inactive, and most of the mosques that are active in the neighborhood have only been content with their religious role. Then, in order to measure the role of mosques on the social interactions of the residents of the neighborhood, criteria were developed for this purpose, and the role of the mosques of the neighborhood on the interactions and interactions between the members of the neighborhood was examined. The results show that mosques have a relatively significant impact on the social interactions of the residents of the Shahshahan neighborhood, and more than half of the statistical samples have stated that mosques are effective in their social interactions with their neighbors and all their neighborhoods. Finally, in order to investigate the role and position of mosques on the level of social interactions of residents of the Shahshahan neighborhood of Isfahan, Spearman correlation coefficient has been used to investigate the intensity and relationship between indicators. The findings show that there is a relatively high correlation between the presence of neighborhood residents in mosques and the impact that mosques have on social interactions between residents. Also, by accordance with different levels of social interactions, mosques can promote social interactions among residents to the highest level due to their ability to accept multiple maps as well as their capacity to accept and attend different sections of society. The results also show that more than half of the population of statistical sample of their social interactions in mosques as much as the conversation with members of the neighborhood and about 25% of the statistical sample expressed their level of social interactions in mosques at the highest level of social interaction (collective action). Have done. This means that the level of social interactions in mosques is at a high level, and these spaces also can strengthen social interactions among the residents of the neighborhood. Therefore, a deep understanding of the functions and functions of this sacred space, as well as a detailed and analytical look at the unique features of mosques and their use in today's cities can be useful in promoting social interactions between residents and increasing environmental quality.

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In the far pasts, Turkey was one of the countries with diverse civilizations. It has been rich and affected by Byzantine architecture of the architectural view point. The entry of Islam into Turkey and the formation of Islamic governments during the Ottoman era led to the formation of a particular type of Islamic architecture in Turkey. The architecture of Turkey mosques is one of the most prominent Islamic architectures, especially in Istanbul. This research is based on the assumption that the architectural pattern of Turkey mosques is a combination of the early Islamic, Iranian and Turkey native mosques architecture. The rooting the architecture features of Turkey mosques are the subject of this study that it is addressed the influencing the Turkey mosques architecture on the early Islamic mosques the architecture, a rich architecture with a long Byzantine and Greek before entry the Islam and the advanced Islamic civilizations architecture in the neighboring Turkey, such as Iran.
The architectural features of the Turkey mosques generally include the naves in facing  to the Quibble, the presence of the mosque in the neighborhood, the entrance of the courtyard to the house dome on the direct axis, the coordination of the geometry of the columns with geometry of the plan and the organization of the spaces in the direction of the Quibble, dividing into naves efficient space with a human scale, the use of the light element under the house dome and the creation of spiritual space, the enormous half domes that strengthen the main dome, external image formed by multiple domes, pencil-shaped structures, Byzantine domes, use The geometric floriated and calligraphy on the stone are the porticos for threshold and naves entrances. The rooting above architectural features of this research is leaded to the discovery the architectural pattern of Turkey mosques. This research is conducted using library research method and texts review and analytical-description model.
In the mosques of Turkey, there is two vital factors of architecture, namely light and space, and their effect on each other and the central dome such as vast shadowing or baldachin on four huge stones, and two concha’s domes surrounded by it, and windows located at the base of the central dome to cause enter the light rays to the building, creating a spiritual atmosphere and cause think that it's suspended in the air and does not rely on place. The light in the Turkey mosques has caused the material and spiritual world supernatural link together. the light shine in the space is prevented the attention to the detail of spectator, and this rotatory motion is invoked the eternity of a component to other one.
Architectural features of Turkey and Ottoman mosques are dome-shaped nave, cylindrical and conical minaret, carvings and engraving as embellishment, decorations of the entrance facade at veranda and portico roof adytum and open spaces scene with triple porticos adjunct to the nave.
Emphasis on the imitation of the Arabic style with the Iranian manner and style in Turkey mosques, Iran for threshold and the ultimate entrance the nave to mosque, and the emphasis on dome-shaped space has been preferred to covered mosque without the courtyard due to Turkey climate. Applying the dome-shaped forms has Anatolian root. The use of geometric motifs, floriated and calligraphy on the stone was influenced by Byzantine art. In Turkey mosques, there was a hierarchy of entrance to the courtyard and its surrounding porticos, and sometimes outside the mosque courtyard and direct entrance into the nave. In Turkey mosques has integrated the dome space and the nave and is created four column nave that dome is located in the center and above of the mosque. In fact, the architectural change of Turkey mosques was an ancie archy of entrance to the courtyard and its surrounding porticos, and sometimes outside the mosque courtyard and direct entrance into the nave. In Turkey mosques has integrated the dome space and the nave and is created four column nave that dome is located in the center and above of the mosque. In fact, the architectural change of Turkey mosques was an ancient background in its architecture that has the Greek and Byzantine background on the one hand and the effects of Achamenian and Sassanid Iran on the other hand, and Islamic concepts with the background of the minority Asia of this land eventually established the Ottoman period and can be said that the Turkey mosques architecture is also due to the geographical location of Iran's style.

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One of the main reasons for the deviations of human schools in the East and West of the world, especially the modernist and postmodernist currents that were created in Western culture after the Middle Ages and the Renaissance, has spread around the world to the present day. These are the deviations that have occurred in the divine religions, especially Judaism and Christianity, by the believers of these religions. Authoritative Islamic sources (Divine Word and Tradition of the Infallibles) have explained and analyzed these deviations. An example of such distortions is the Christian's belief in concepts (God, the Prophet, man's relationship with God, the Prophet, the ulema, society, and nature). In this paper, the effect of these deviations on one of the most important elements of human civilization, namely (human places of worship) and as a special example (cruciform churches) from the Islamic point of view, based on theory (Salam) has been interpreted and analyzed. The theory (Salam) divides human processes such as the construction of a place of worship into five general stages (ideas, motivations, and methods of the architect-artist, to create the body of the work and the effects of the work on the audience) and the effect of the deviations of each stage to the stages. Next, he interprets and analyzes the creation of the architectural work and its effects. In this theory, it is stated that the prophets and divine schools have provided innocent resources and bases for the first three stages of human processes with titles (beliefs, rules and ethics) and the fourth stage requires specialized ijtihad and creation of works by human beings in The world has nature. Thus, the existing problems in the form of civilizational works, including (the crucifixion churches), are the result of deviations in (beliefs, rules, and ethics) created in Christian culture. The present study is fundamental and the research method of this research is documentary and based on reliable primary and secondary sources and well-founded Islamic principles (analytical and interpretive) as well as the four Gospels and early Christian texts. In conclusion, the effects of Christian deviations (doctrinal, behavioral, and methodological) on the body of cruciform churches in terms of dimensions (geometric-spatial ideas, arrays, and symbols) have been evaluated and analyzed.

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Architecture is the product of different contexts؛ so, the way of dealing the builders of a building with the architectural elements, has different semantic and physical manifestations in different contexts, despite the similarity in general. As an example, the light in the Shia religion of Islam is a symbol of the divine essence and expression of existence and it has always been considered by Muslim architects. To the extent that the spatial perception of many buildings of this period, regardless of the semantic position of light, leads to an incomplete understanding of space. This is especially visible in the design of religious buildings in general and mosques in particular. The mosque, which is the manifestation of the most ideal religious ideas and the most complete symbol of Islamic architecture, has been the best place to observe and study the theoretical and practical connections of its builders. However, today, in the construction of mosques, the role of light has been reduced only as one of the climatic elements and only for the function of lighting. The semantic aspects of light as they existed in the past are no longer known. The premise of this research is that light has appeared in the architecture of Isfahan in the Safavi period by emphasizing the semantic principles of the art. So the aim of this study is investigation of the qualitative characteristics of the presence of light in the architecture of Sheikh Lotfollah Mosque in Isfahan. The statistical population of this research is the mosques of the Safavi period in Isfahan. Among them, three mosques of Sheikh Lotfollah, Hakim and Imam have been studied. The research method of this study is descriptive-analytical and case study. The required data for this research have been collected through field observations, photography and library studies and have been qualitatively analyzed. After a semantic study of the presence of light in Sheikh Lotfollah Mosque, a three-dimensional hierarchical system was identified. This structure includes three stages of separation, transfer and connection (pause, ‌movement and emphasis) in the design of this building. A system that seeks to move from matter to spirituality, to move from darkness to light, to move from heaviness to light, and to move from the underworld to the world of divinity. The result is an all-spiritual space in which the presence of God is felt everywhere.

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There were the glorious examples of the architecture of mosque once in Iran.They were the places for equality between all classes, so they must have qualities for invitation, guidance, and reminder and call the believers and attract other followers of religions as the missionary of Islam. This invitation is not only in the field of vision, but also in terms of audio and other means, such as multi-functionality, centrality, and location of deployment. This architecture was considered to be the main factor in identifying the complexes of Muslims due to its comprehensiveness, importance, severalty and high status in the past times, But today it has lost its inviting role because of structural changes. In contemporary times, as well as the changes in the structure of the city, due to the changing needs and functions of the mosques, as well as the distinction with dimensions and their location in the urban structure and economic constraints, the goals and characteristics of the mosques were also forgotten; So that today all the social groups have reacted from citizens and worshipers to architects and urban designers.
Paying attention to the Invitation role of the mosques forms the central idea of the present paper. It is one of the pillars of urban design and planning in contemporary city centers and neighborhoods. All aspects of the invitation in the body, function and meaning are important in this research. The present paper addresses this question: How can we use the physical, functional and semantic components of the mosques to enhance the quality of the invitation on the urban and local scale, the entrance view, as well as the interior space of the building. This paper is looking for the optimal design process. In this regard, using the content analysis methodology, we are going to refresh the actions and theories in the field of related topics. We are presented a desirable process to promote the quality of the invitation of contemporary mosques by achieving a conceptual and applied framework. We elaborate the subject by selecting 8 examples of contemporary Tehran mosques. We analyses the elements affecting the general form of the building, the external walls, the design and the entrance and the interior space of the mosques by referring to library resources and field observations. The results of the analysis show that an ideal set of physical factors to semantic components affects mosque admission that has a significant effect on the enhancement of the presence of the individual and the community. These results categorizes and describes in terms of criteria of visibility and centrality in urban scale, admission and guidance in middle-level scale, meaningfulness and visual memory in the outer walls and the entrance perspective, convergence and spatial regulation in the interior space of the mosques.

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Mosque as a social worship center for continued dynamic life requires strong communication with the context achieved through the physical and natural human connection to the external environment. Appropriate communication between the building and the context of its formation is the most important thing in architecture .The role of between spaces in creating or making connection and detachment is important mentally and objectively to determine the quality of this relationship. Depending on the scale of the elements the quality of between spaces and their nature also varies in different conditions .The between spaces that make the connection between mosque and the outside environment various from functional structural and semantic in terms of historical development location and urban communication and it can be examined in terms of Islamic wisdom. Scale also plays an important role in these studies that can be from the macro scale (relationship of mosque with city) Midscale (the relationship between elements and spaces) and micro scale (elements of mosque) will vary.
This project examines the quality of between spaces and external environment at midscale and space that visitors to the mosque experience when they are crossing the street and entering the mosque. Analyzing this link to the entrance of the mosque is restricted from the outside to entrance of seraglio. It is assumed that the outward path is in the preparation of the prayer that has an important role to get a sense of spirit of approaching the mosque. Depending on the design, sometimes this rout is formed indoors and sometimes outdoor and semi outdoor. The main question is that how functional and semantic features represent this path in modern or traditional structures. How this relationship can be explained in terms of its functional structure and its effect on the implicit meaning. The characterization of between spaces is intended as a functional tool to create the desired link between mosque and outer urban environment. Thus, the purpose of the research is to explain this relationship to improve the status of existing mosques and to improve design of future mosques. The research method is logical reasoning. It is analyzed the feature of between spaces passing through the inside of mosque from three dimensions  structural functional and semantic in twelve specimen that selected from mosque in regional mosques in Tehran in a range from traditional to modern is analyzed. After examining the structural and functional features of graft inside and outside of the mosque its implications are analyzed and they are using the semantic differentiation technique .The method of semantic differentiation for expressing someone s feelings about space and it is used with bipolar adjectives .These traits were selected according to the purpose of study to express the meanings associated with outer space of the mosque to the entrance to seraglio. Research model that developed by introducing key elements  emphasize on balancing functional and semantic structural dimensions in the formation of outside and inside the mosque .By examining the semantic differentiation graph that is divided in two group of mosques  that have modern and traditional design , It can be said that the entrance space in modern mosques by enhancing traits such as  cheer excitement and self-esteem  rather than creating spiritual and practical communication  between the inside and outside  only exemplifies a stronger physical appearance .
The findings show that in the design of most contemporary mosques instead of updating the spiritual foundations that embedded in traditional patterns, the social worship function of the mosque has been reduced to the function of day. These results in the order and hierarchy of the spatial layers that bonded outside and inside the mosque. Traditional patterns are more successful in most aspects than modern ones. Most contemporary mosques rather than being a focal point for responding to people ,s  spiritual needs  are likely more at the service of side functions such as formal ceremonies .In this regard sometimes the entrance to separate halls for ceremonies is more important than hierarchy of entry and approach to spiritual function of the mosques worship. In other words in different social platforms of design innovation should not be undermine functional structural principles and implications of entering the worship space of the mosque. Rather they must have a deep and accurate understanding of meaning and concept and perform functions tailored to the needs of day in hierarchy of functions .In new structures the formation of between spaces and inside the mosque can be balanced by design arrangement .These layers of space begin from outer space and counter of the mosque and by passing through the entrance space with appropriate elements reach to the entrance layer of seraglio. Thus with respect to the spatial concepts appropriate to the spatial layers, there is a possibility of diversity   and innovation in designing the entrance to the mosque. It should be done by using green and flooring areas in harmony with the spiritual uses of the mosque and it should provide the perfect backdrop for pauses and movement in everyday   use and various events. Although in modernizing marginal functions or elements that combine with mosques .The main function should not be affected but the existence of consonant functions reinforces the role of mosque s as a center of social cultural activity. Thus new designs can follow the evolution of time and can be on the path to excellence and evolution of meaning embedded in rich architecture of Iranian mosques.

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There are close relationships between hidden structures of mosques and unseen concepts embodied in Persian language and literature of Iran that show that construction of famous mosques in Iran, especially in Isfahan Style are immortal and timeless.  A question arises in this context as to what factors have led to the manifestation of unseen concepts in the architecture of Isfahan mosques objectively? In this regard, this research aims to answer the questions raised, especially in the mosque of Isfahan and tries to address the factors that led to the manifestation of the unseen in this building. The research method is the qualitative and describes the case study by introspection and grounded theory. The method refers to the unseen sources of Persian literature of Iran Hafez's and Mulavi's lyrics to extract unseen concepts then introspective descriptions of case study are presented as internal perceptions of the manifestation of concepts in the architecture of the mosque of Isfahan.The emergence of The Unseen Nature of existence is Divine Hidden Manifestation in the mirror of architecture of the place-time of worship can be a container of intuition of unseen realms of existence. The paradigmatic allegorical immortal language of unseen architecture in Jamé Mosque of Isfahan is full of glimpses of witnesses in different periods, in desire to intuit unseen realities. In this mosque, concepts derived from the Hafiz's and Mulavi's poems as persons who have indwelled in unseen realm and speak about the realities allegorically that can be employed as esoteric meanings of architecture with their manifestation in place and time. This research is done with hope to use the unseen meanings in mosque architecture to upgrade them as reminder of unseen realities and in a higher level as unseen places.

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The history of Islam in China began when the first ambassador of Islamic caliphate in 654 AD, gained the court of the Chinese emperor. After that Islam has been spread throughout there during a century. In this study, authors try to study about how architectural elements and spatial forms are effected from Islam or Buddhist-Chinese tradition. Then, at the first it must be clear that which symbol are predominant in architectural culture of china. After that with a comparative study with Islamic symbol and spatial arrangement it may be understand the Chinese mosque concept instead of west Asia traditional design, especially with Irano-islamic architecture. Chinese symbols and meanings revolve around good fortune, and positive elements that are inspired of Buddhism, Confucius and taoism. It is the Chinese belief that by filling their lives with lucky objects and images, they increase prosperity and happy circumstances, making their existence joyful and fulfilling. Symbols and signs have graced their architecture, language, artwork, and everyday objects for centuries. In Chinese decorative arts pictured flowers, fruits, and trees are representations for various aspects of life. Knowing the symbolic meaning of a plant enables you to understand the hidden message. Color in Chinese culture refers to the certain values that Chinese culture attaches to colors, like which colors are considered auspicious or inauspicious Most Chinese decorative art are based on its symbolic values. These symbols could be understood and interpreted and only when we do that the true meaning of the objects reveals itself. The purpose of this study is to find the genealogy of symbol between china and Islam semiotic studies. The authors discuss on symbolism in Chinese architecture and then the extent to which these symbols are used in the architecture of mosques in different parts of the country. This research is based on reviewing some mosques in china. Content analysis based on library documents and resources. Finally, the results of this research show that since the arrival of Muslims and the increasing interactions between Chinese with Muslim, monuments of temples and houses The Chinese were used as mosques, which did not include any elements of the architecture of the Islamic Mosque. With the overtime, the primary period of Islamic architecture, these mosques seem to have some Islamic symbol by adding elements such as domes, minarets and arches. Still, in these buildings, Buddhist symbols were seen. In the fourth period of the Islamic architecture of China, similar colors and elements, such as domes, arches, minarets, and nicks, were used in other mosques of the Muslim world in these mosques. Of course, in all over of the china, mosques have always remained in the same traditional and original form. Chinese architects accepted Islamic elements with their national identity the national and religious identity of China is represented in the form of colors and symbols as well as elements of the entrance of the mosques. The symbol of Buddha and Mandala among the elements of Chinese mosques is more than anyone else. Red is seen as an element of the identity of the sector to Chinese architecture in the mosque architecture. This color is not seen in other mosque ornaments. Chinese symbols have become Islamic symbols in Islamic architecture. Some of these symbols are rooted in religious symbols such as Buddha statues, dragons, Phoenix, etc. Form conversion is the most important feature of the Islamic architecture of China. The root of the transformation is a form of ethnic, climatic and geographical dependence. There is a dragon element in the native architecture of China, which has been used in mosques in China as Slimi. Islamic architecture in China can be considered as an example of a consistent architecture of indigenous symbols and the preservation of Islamic values. It is hoped that researchers in future studies will pay attention to the influence of ethnic and native components on the shape of Islamic architecture.

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