Journal of Researches in Islamic Architecture

Since the sacred shrines are mainly located in the historical contexts of cities, preserving the historical identity of the context is one of the challenges in new developments. In some plans of developing holy places, it has been observed that the principles of planning, regardless of the existing spaces and the historical memory of pilgrims of the building and identity of the surrounding texture, has destroyed the intergenerational memories of individuals and cut off their mental connection with the building. Considering the social and cultural necessity of preserving the spacial and historical identity and mental relationship of people with the place in development planning, this study tries to base on the viewpoint of users in their lived experience of worship in the shrine of Hazrat Abdul Azim, define and examine the research hypotheses; Then interpret the data in a phenomenological way and offer operational solutions as the basis of intervention in holy places. The philosophical paradigm of research is critical discourse. Due to the nature of the variables, the research approach is qualitative; research method is the survey and research design is descriptive-analytical. Explaining the theoretical foundations of research and determining research variables has been done through library studies and field studies, including direct observation, interview and distribution of questionnaires.
To analyze the originality of people's mentality in the face of space, three hypotheses were proposed: 1. it is assumed that the geometry of spatial relationships, the type of connection with the shrine (dome) increases the sense of place attachment in the users. 2. It is assumed that the use of spatial quality factors affecting the perception of users leads to greater presence in the place. 3. It is assumed that the signs of historical identity play a role in the meaning of space and place attachment among users. The contribution of each factor has been analyzed and effective in designing new spaces. In the first hypothesis, the result of Pearson correlation test between the components of spatial relations – connection with the shrine and the sense of belonging, the correlation coefficient is 0.377. The value of a significant number is less than 0.01 and therefore there is a significant relationship between these two variables at the 99% confidence level. In the second hypothesis, the result of Pearson correlation test between the component of spatial quality factors affecting users' perception and the presence of people in the place shows a coefficient of 0.311. The value of the observed significant number is less than 0.05, which is less than the standard significance level (α = 5%). Therefore, there is a significant relationship between these two variables at 95% confidence level. In the third hypothesis, the result of Pearson correlation test between the component of the sign and its structure and the component of meaning and memory in place shows a coefficient of 0.377. The observed significant number is less than 0.01, which is less than the standard significance level (α = 5%). Therefore, there is a significant relationship between these two variables at 99% confidence level. Finding results of the discussion show that the spatial hierarchy of the building, visual relationship with the dome, quality factors affecting users' perception in any space and the existence of meaningful signs have a direct, positive and significant effect on the components of place attachment in people mental identity of place and preserving them makes the place more identifiable. According to the analysis in this study, it can be concluded that the most important issue in the development plan of historical religious sites is the originality of the mentality of individuals towards spaces and places. The mental thing formed in the subconscious mind of the people remain the guarantor of the creation of the spiritual mentality of the people in the space and basically forms the subjective nature of the space. This is more important and fundamental than the objective nature of the building because meaning is the most essential element of being in spiritual situations. This issue was also indicated in the statistical tests of the research. Therefore, in the context of religious history, the presentation of the same and modified copies (which is also contrary to international rules and regulations) calls into question the value, efficiency and desirability of the initial model and reduces its historical significance. As a result, in development projects, giving a repetitive motif, pattern or elements can not solve the context problem, and this leads to the unification of anonymity. Depending on the potential of each field, the presentation of development plans will be numerous in cities. Citizens' dissatisfaction with the current development plans shows that the sense place attachment among the users is enormously important. Therefore, disturbing memorable situations under the pretext of development without effective planning will reduce the value of the place.

The Shrine of Abdolazim located in Ancient historical city of Ray is a complex including holy shrines of Immamzadeh Taher, Immamzadeh Hamzeh and Abdolazim Hassni. Immamzadeh Taher’s shrine is placed at the north side of the complex and at the east side of Abdolazim Hassni’s shrine and the museum of the complex also is at the south east of Mosalla (praying room for muslims) which is ornamented with decorative arrays. The complex is one of the most valuable treasures of architectural works and related arts. Its construction dates back to the second half of third Hijri century and it has been developed and evolved up to the present century. The complex has been greatly decorated with some artistic works. Some of the most significant of which are inscriptions by "Mohammd Ebrahim Tehrani known for Mirza Amo" who has been one of the outstanding and well-experienced inscription creators of Qajar era in Iran. The inscriptions were executed by applying Nastaliq script, and are considered important documents in the study of the development of Nastaliq scripts. They were written and made in two calligraphic and architectural methods, respectively, on papersand on seven-color tiles.
Nastaliq as a favorite script has appeared in architectural designs attributed to Qajar era along with Thulth script. Thus recognition and awareness of prevalent Nastaliq inscriptions and their transformations are considered crucial needs for calligraphy and architecture communities, but the subject has been neglected by most researchers. Evaluation of calligraphic transformation through paper inscriptions which are directly written by calligraphers is an excellent and professional case study. Furthermore, since the quality of scripts undergo some changes or defects when transferring to tiles, stones or other things, analysis and comparison of paper inscriptions and seven-color tile inscriptions should be paid close attention to. Actually, it is a new look at epigraphy on seven-color tiles in which not only the calligrapher but the tileralso is involved.
It can not be denied that production of calligraphic works specially Nastaliq script, is influenced by understanding transformations of scripts and manuscripts in form and structure over time; hence epigraphy and its transformation especially in holy places and the conformity of Nastaliq script with characteristics and requirements of epigraphy as well, have been overlooked by researchers. The purpose of this survey is to distinguish the differences between two methods of epigraphy, on papers and on tiles, and to realize transformations of Nastaliq letters and words when they were transferred from
paper sheets to tiles. Library-based and field study resources as well as observational descriptive and analytical methods have been implemented to conduct the study. Some questions should necessarily be answered to obtain the aim of this study. Firstly, what are the differences between Mohammd Ebrahim Tehrani’s paper inscriptions kept in the museum of Abdolazim Hassani’s holy shrine and his seven-color tile inscriptions located in the veranda of Imamzadeh Taher’s holly shrine in terms of writing form of Nastaliq and its composition (tarkib)? Secondly, which attributes should be taken into consideration to classify these inscriptions? The result of evaluation in both types of epigraphy indicated some stylistic features and visual standards for the works available from second period of the Qajar era, namely, writing big sizes of words and letters plus relative structural coherence in Nastaliq writings. It was revealed that slight variations exist between the two types of epigraphy. In the tile inscriptions, for instance, letters and words were written smaller in size and they were also executed bolder in comparison to the paper inscriptions. Thestretched letters (kashidas)are noticed to be elongated shorter in this type of epigraphy, though. Individual letters Additionally, the angel between calligraphy ."ه" are not attached tothe letter of ha "و،ر" such as ra and vav pen and the paper while writing dots (noghte) varies between 36 and 50 degrees. Furthermore, fewer ‘seating’ lines (korsi) and the same type of gemination, the doubling of a consonantal sound, were conceived in composition (tarkib) of the tile inscriptions. It was observed that words and letters underwent minor changes when they were transferred from the papers to the tiles, due to direct supervision of the calligrapher and his expertise in writing on variety of surfaces in addition to theskillful tiler who neatly created the tile inscriptions. Tehrani also has signed his paper inscriptions (1291 Hijri), available in Abdolazim Hassani’s Shrine, as "Mohammd Ebrahim Tehrani" which is the calligrapher's full name. He has utilized black ink on the pale gold background papers to make the inscriptions. Another notable feature is that two types of curved and angular frames are perceived in his paper inscriptions. His tile inscriptions (1301 Hijri), however, have been signed as "Mohammd Ebrahim, Mashhor Be Mirza Amo" which includes calligrapher’s first and nick names. White ink, navy blue backgrounds and curved shape frames were noted as the characteristics of the tile inscriptions by Tehrani.