Journal of Researches in Islamic Architecture

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Tabriz has an old history that thanks to its proper geographical and climatical condition. This geographical situation has been made Tabriz to a permanent habitat center. This city in the early centuries of Islam has extended on the central mosque, bazaar, square and government palace. In the year 663 A.H, Abagha Khan has moved the capital from Maragheh to Tabriz. In the Ilkhanid era except for a short time at the time of the monarchy Oljaito (Mohammad Khodabandeh) since the 703-716 A.H that Tabriz and Soltaniyeh were the capital simultaneously, at other times, Tabriz has been capital and the seat of government. At the time of Ghazan Khan has have the most architectural and urban changes. After Ilkhanids in the early of 8^th century, Jalayerian was also ruled this city and governed some parts of Iran. In the late 8^th century that Teimorian was ruled out Samarkand and Bokhara, Tabriz was continually important city and important political-cultural center And after that in the 9^th and 10^th A.H centuries and also in the Qoyunlus era till mid government of Shah Tahmasb (Safavid era) in the year of 962 A.H. Tabriz was the genuine capital city of Iran. Therefore with transferring the capital city from Maraghe by Abagha Khan to Tabriz in the Ilkhanid era, it becomes more than ever attractive for mystics, poets, saints and ministers from different parts of Iran and also neighbor countries. Also during these eras many travelers has visited Tabriz and have presented many useful information in the form of itineraries. These important people during their lives time caused to creation of some novel architectural spaces like: Khangah and Zavieh in the city that after the death of them we are witnessing the formation of the tombs and Hazireh as new urban spaces after Islam. We know that in different cultures, different approaches has taken to the deads And Iran after Islam, is the place that in which deals to burial and the death, tomb and in the following the cemetery has a special importance. In addition, cemeteries depending on the people who are buried there, take different spatial qualities and since the “undoubtedly the tomb is the most important monument after mosque in the Islamic era which has been seen in the most cities of Iran.” These novel spaces in many cases had an essential role in development or city construction. This process goes-on until the middle of Safavid government and reputation of Tabriz city as the capital has continued. According to thesis of this article the tombs of mystics, poets, saints and ministers could have significant effect in the development of urban structure of Tabriz city. Proving the thesis of this research, in addition to the existence of multiple tombs of these people that have been buried in different parts of this city, there are many reliable books like Rozat al-jinan by Hafez Hossein Kabalayi in the year 975 A.H, Rozat al-Athar by Molla-Hashri in the year 1101 A.H, Olad al-Athar by Seyyed-Mohammad Sadegh Tabatabayi Tabrizi in the year 1300 A.H and Manzar al-Oliya by Mohammad Tabrizi in the year 1315 A.H. We can present a rigorous classification from mystics, poets, saints and ministers according to a study of mentioned books to fit the 5 periods between 7^th to 10^th centuries. Also to ensure more, other small studies about the research subject is investigated named literature. Now the question of this article arises that: whether the Tombs of mystics, poets, saints and ministers have the effect in the development of urban structure of Tabriz city in the capital times of this city that’s Ilkhanid Era to Safavid Era? Therefore, the aim of this research is to investigate the effect of cemeteries in the development of urban structure of Tabriz city since seventh century to tenth century of hegira that coincides with Ilkhanid government to Safavid in Tabriz. For doing so, introducing books including Rozat al-jinan, Rozat al-Athar, Olad al-Athar and Manzar al-Oliya seems necessary. For fulfilling the research main goal, the data were collected by descriptive method using the liberary and field approach (implement) also the collected data were analyzed in analytical and comparative way. In order to respond to the research question, a method involving four steps was used: 1.classification of the people and cemeteries, 2.using manner of introducing the cemeteries in order to identify the Tabriz architectural and urban elements in the past, 3-referring to the travel books subjects in different periods and 4-adaptation of the former steps findings and responding to the research question.

The findings of this research revealed that cemeteries were effective factors in construction of Ghazanid fort in Ilkhanid period. Also, cemeteries of the famous people had a significant impact on development of some routes such as the connective route of the two complexes of Rabe Rashidi and Shanb Ghazan in the eastern and western parts of the city and location of some architectural outstanding elements like Dameshqiye building, Shah Hossein Valy shrine and Kamal Khojandi’s convent and consequently urban spaces such as Seyyed Hamzeh complex which is known as Magbarat al-Shoara. In addition, existence of Hazireh and aggregation of tombs have been led to the formation of famous cemeteries like Sorkhab, Gajil, Charandab and Qolle in the city of Tabriz.

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The Chalabi Oghlu Shrine with a mystical-spiritual space is one of the structures which is based on the fundamental thinking of the mysticism. And these concepts have influenced the formation of the architecture of this collection. Archetypes are universal facts that derive from human unconscious mind and are integrated in to human conscious mind as a global collaborative information in the form of imagery.The concept of an archetype appears in areas relating to behavior, historical psychological theory, and literary analysis. To break the gap between the apparent and the hidden part of their minds, and to understand the archetypes, humans need the sources, such as symbols, myths, dreams, and memories. Archetypes start appearing when they find content, because they are  empty and have no meaning without content and on themselves alone. Architecture is a medium for the expression of human collective unconscious, universal myths, dreams and memories which act as a symbol in architectural spaces. One of the key archetypes that has been introduced in Jung's analytic psychology is the archetype of "process of individuality" that deals with spiritual questions about the meaning of life and the goal of creation. The purpose of this paper is to answer the question of : whether by achieving semantic concepts of these archetypes, can one understand the archetype concepts and how they are objectified in the mystical space of this tomb collection. Based on the purpose of this study, which is the recognition of archetypes semantic concepts, using historical interpretation method, the techniques used in sign perception have been used. The word solouk(a way of conduct in mystical journey) means going, but it is a special kind of going, which has different meanings for different groups. There is a controversy among the mystics about the precedence and steps of solouk(mystical journey).The number of these steps starts from three stages and continues to hundreds of steps. Despite all the controversies, they all agree that the mystic must attain the knowledge of God. With this knowledge he reaches perfection, and this knowledge is obtained by walking through the stages of solouk and desirable achievement. Despite the coherence of  mystical views on the stages of solouk (mystical journey), the basis of discussion and comparison in this research is the opinions of the mystics before the seventh century. In many number of sources, mystical journey has been studied and compared with the archetype of individuality process.
Explaining the archetypes semantic concepts, in the gnostic space of the Chalabi Oghlu tomb' collection:
1. Archetype "Birth, Death, Reincarnation"
The tendency towards the beginning of new life and rebirth has always been of human interest and is one of the most important common concepts created in the collective consciousness of humankind. Jung has also referred to many archetypes in his works, but in the ”Four Archetypes: Mother, Rebirth, Spirit, Trickster” book he gives an example of an archetype that, in most of his other works, has been one of the most controversial archetypes. And that is the archetype of rebirth. In the Chalabi Oghlu Shrine, this archetype has been used in a hierarchical manner and  with physical combination of spaces in addition to the mystical hierarchy, it has been viewed as a symbol of the spiritual path and the desirable end. The path which has started from the entrance and the corridors and the zaviye khademan(cornerstones of the servants) and taliban jannat(cornerstone of heaven volunteers) and with the social activities, which gradually disappears from this state and takes on a personal nature. And After the transition from the spaces of solitary chambers, and samaakhaane(mystical dance chamber), provision is made for entering the tomb. As previously mentioned, this archetype includes within itself innumerable archetypes, such as the individuality process, which is embodied in accordance with mystical conduct in the architectural structure of the Chalabi Oghlu shrine. 
2. "process of individuality" archetype
As mentioned earlier, the stages of the process of individuality are stated coinciding with the steps of mystical passage which requires knowing the relationship between these stages with the steps taken in the Chalabi Oghlu Shrine and how they are manifested in the architecture of complex. 
A. First step: "recall" or "hunt of the self by the inner friend" and confronting Persona (Mask) 
In the Chalabi Oghlu Tomb collection: The Poors stage and  The Taliban Jannat(heaven volunteers)
B. Second Stage: Meeting the Shadow
In the Chalabi Oghlu shrine: Central courtyard, Porch, and solitary chambers
C. Third Stage: Meeting Anima and Animus
In the Chalabi Oghlu shrine: Sufa (Avon), Altar, House of Jamah (Jam House, and Sama House)
D. Fourth Stage: Meeting the "Self" and "Unity with the self"
In Chalabi Oghlu shrine: Tomb
The physical structure of this tomb complex conforms to the eight levels of mysticism, and the four stages of the "individuality process" archetype. And it is a medium for expressing these truths, which can be manifested in different ways.

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The period spanning middle of Qajar era to the first decade of Pahlavi is a part of Iran contemporary architecture which is influenced by inevitable alterations caused by modernity. Modern forms and figures have gradually changed spatial hierarchy of houses and their structure and consequently have led to a combinational style. A brief survey of spaces and chief elements of traditional houses of Sanandaj demonstrates these changes quite well. This paper tries to shed light on the prevalent style of spatial hierarchy of house entrances in transitional time period from tradition to modernity in Sanandaj. This research has been conducted using a theoretical approach and by a historical-interpretational method. In theoretical part, a qualitative approach is adopted and considering the literature history, effective factors on spatial quality evaluations are analyzed. The practical part of the research is carried out in two phases and by taking case studies under account. In this viewpoint, the theoretical part is firstly a brief appraisal of the architecture of the historical eras of Qajar and Pahlavi, evolution criteria and social revolutions of those periods as well. Moreover, assessment of houses based on historical periods has been done utilizing field studies, local survey, photography, house plan depicting and existing documents and plots. Secondly, based on acquired field and librarian information, all qualified houses for this research are compared and analyzed to attain a comprehensive understanding of their entrance spatial hierarchy. Findings of the research indicate that there has been a hierarchy in entrance of houses with traditional architecture pertinent to the needs of residents which is neglected to some extent by the designers in Pahlavi period. In conclusion it is admitted that by intermediate spaces, alongside the provision of confidentiality, it would be possible to achieve a proper definition of private and semi-private spaces in houses. Furthermore, disruption in functions and entities of other spaces could be avoided, which in turn leads to introducing a pattern for obtaining confidentiality; an inseparable principle of entity in Iranian architecture and culture.