Journal of Researches in Islamic Architecture

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Iranian architecture follows various formal patterns, mostly had been worked in artistic pieces then worked to architectural structures. Deeply looking at motifs in artistic works and architectural plans, streaks of cosmological beliefs can be traced. Nonagon division of squares, "Chaharbagh" or "Chaharsofeh" plans can be among important ones. It seems that these patterns have been primarily used in the artistic motives such as pottery decorations before being evolved in the architectural forms. Nonagon division of square which was lately emerged in form of “nine-bay” plans can be found on the primitive motifs of Neolithic pottery decorations. Chaharbagh –four gardens- plan has been already illustrated on the Chalcolithic potteries which were found in Samarra before being used in landscape design of the historical era. However, proficiency of the Samarra potters in geometry and their awareness about the anatomy of some of the animals has been reflected in motives which were designed at the centre of the internal surface of the dishes. Some of these motives reminds the Chaharsofeh or four Ivan plans which is a typical design of the Iranian architecture in the later historical periods used in several palaces, caravanserais, schools and houses. The present paper attempts to investigate mostly known Chaharsofeh plan. Although there have been varieties of studies in Iranian architecture, but there is not appropriate research on Chaharsofeh plan that resulted to lack of sufficient knowledge on relevant typology. As a fundamental research, present study naturally can be counted a historic-descriptive investigation, where data collected bibliographically. Collections of evidence were comparatively studied, analyzed, and interpreted. Conclusions indicate that there were ancient cosmology in such design and architecture, except ecological considerations. From one hand, cosmological Tetragonal division of the world, and on the other hand ancient beliefs that resemble the earth as "Chahartagi" that tended to center despite of regarding cardinal orientations formed and flourished the design and similar ones. Studies on several valid historic texts indicate that "Chahartagh" label has been used for various monuments, however, it explain and describe an architecture embodiment, but as architectural pattern or a design label it never signal evidences. Chaharsofeh design is appropriately compatible to Iranian architecture and responded to varieties of functions, and at the same time, covered ecological and environmental requirements of architects. It is categorized within two groups first with yard and second without it. First group remained as "four porticos" design in characteristic standard from earlier formation to recent centuries. First samples of such designs were presented at Achamenid architecture at "Treasure' section of Persepolis and "No. 3 Building" at Dahaneh Qolaman. Later, it was worked at Parthian period at Assyria Palace with a vaulted type and at Sassanid period as well. During the Islamic period and specifically in 14th century, this plan was so common that a mosque could not be imagined otherwise. It was dominant model in numerous Iranian houses, caravanserais and schools in Iranian central plateau and introduced "Chaharsofeh Style" to Iranian architecture. Several schools and tombs somewhat followed the design. The other grope subdivided to two groups firstly, the general design multiply at number 5, while the other signals the structure embodiment in a nonagon division. Known domical structures generally related to first group. It was experienced firstly at formalities hall of Bishapur Palace, dated to earlier Sassanid times, and vastly was used at domical structures of later Islamic buildings of medieval periods. The second group is in difference with "introvert nonagon domes" pattern and multiplied at nine. It divided to two itself: some vary functionally with a focal dome and peripheral chambers and small Chaharsofehs, where from exterior there can be seen a small dome from each angle. Although designs on some Sassanid vessels confirm usage of the design in elite architecture of the period, the first examples of such designs come from Sassanid fire temples. It used at some mosques' plan, several baths, several pavilions and tombs in Islamic periods. Although, this architectural standard was developed in Sassanid period, glorious evolution of this architecture occurred in later Islamic period in a way that was never experienced before. Architects and designers of the Othmanid period, specifically “Senan” developed this style in the most magnificent way. Symbolic and advertising features of this architectural style of Othmanid period is significantly sensible in the mosques such as “Shahzadeh” and “Sultan Ahmad” and developed unique masterpieces in the introvert style. Examples of this style have been found with four domes at the four corners while the buildings structure has been divided into five sections. Symbolic examples of this type are the tombs of Samanid governors in Bukhara. At second group, nonagon type, there is relatively big Chaharsofeh with four vaulted chambers around central dome house. Several mountainous castles mountainous, plain and coastal Karvanisarais, and small road cafes also constructed on the design.

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"Art Style" means the way of expressing the ideas, conscious or unconscious thoughts and emotions of the artist in his/her work. Social, political, economic and cultural conditions in any society has an essential role in the emergence and promotion of art styles. The changes in these conditions, will cause changes in artistic styles. In the Persian literary history, Persian poetry styles have divided into the styles of Khorasani, Iraqi, Isfahani (Hindi) and literary return period style. The styles of Iranian architecture in the Islamic era that are embodied in the construction of mosques are Khorasani, Razi, Azari and Esfahani styles. In both areas, for each of the styles, according to its historical period, we can suppose some minor styles, which these minor styles will help to more accurate evaluation.

This research tries to answer this question that "whether the specific social and cultural conditions in a historical period have had similar effects on the styles of Persian poetry and the architecture of Iranian mosques or not"; if so, "what do these similarities signify?" Moreover, can any elements be found that they be repeatable in all styles and in all eras, and if so, how can these common elements be interpreted? The importance of this issue is that, inevitably, we have to review and evaluate all aspects of our culture fields, to know our cultural identity, correctly. It is a crucial requirement of our culture that, to know that "whether the various cultural manifestations are separate Islands and apart islands from each other, that have not any relationship with each other, or a unique same sun gives life and warmth to all of them", But as far as the writer is aware, any independent research has not been done on this issue, yet. This research, which is based on descriptive analysis, at first, has explored the architectural styles of mosques and then it has studied the styles of Persian poetry. And the next step is to compare the styles of architecture and poetry, respectively.

To explain the social and cultural transformations and its impact on the development of artistic styles, among various opinions, Pytryn Alexander Sorokin comments - Russian descent sociologist, residing in America- is more eloquent. The article, in the next step, has explored socio-cultural developments and its role in the genesis of artistic styles.

The current study with comparing the stylistic of Persian poetry characteristics and mosques architecture, concludes that, poetry and architecture styles, have had profound similarities in every historical period. So that Khorasani style in architecture can be taken into account corresponding to Khorasani style in poetry; Razi style can be associated with style Seljuk period-style, and also Azeri style with Iraqi style and  Esfahani architecture with poetry Esfahani style (Hindi) were associated. These cultural similarities are due to common spirit in the different aspects of society. These common spirit, has two dimensions: 1. the temporal dimension (Zeitgeist= spirit of the age): This dimension in each period according to the requirements of the same period (Special conditions of social, economic, political and cultural), causes the emergence of similarity between the artistic styles, But because it is temporal, it also Contains differences with the pre and post periods. 2. Atemporality dimension (spirit of the Nation): This dimension contains some repeating elements that at different periods and in various artistic styles, have a constant presence, without being under the effect of external factors, or without attributing to a particular style. These repeating elements, will Make a single configuration that is "spirit of the nation" of Iran. This unit spirit of culture, like an invisible string, will collect reproduced Works in the field of thought and culture under a unit flag. This flag, is our 'cultural identity'. Perception of the spirit of "Iranian culture"  which has deep spiritual richness in companionship with "Islamic culture", only is achieved when, with insight and enlightenment, we remove the curtain from the face of spiritual and cultural heritage, to percept the unique truth that lies on its backend.

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Buttresses has been used as a support structure in the field of architecture. This under pressure structure prevents from thrust force advancement and creates resistance and stability of main structure against any horizontal movement. Study references related to architectural structures makes it clear that little researches is dedicated to support structures, particularly buttress in Iran and is not provided the answer to this question: By what measures can investigated types of buttress and what are these types. Meanwhile, raised the issue of the buttress in the area of specialized restoration as a way of treatment, it is needed to urgent research conducted in this regard. The purpose of this study is understanding buttress in Iran. Therefore, relying on library studies then field research and surveying of 100 available samples, discovering and typology of buttresses of Persian architecture was intended. The main outcome of this study was to identify buttress species based on measures of form, position of buttress in plan, materials and construction time. The study of the typology of the studied samples showed that any combination of solid rectangular plan and combined sections (rectangle and triangle) types, are the most practical buttress of the 100 participants of this research. Ease of construct and play the best structural role of the buttress can be reasons of   using by architectures that has been based on their empirical knowledge. The buttresses have openings such as the type of a floor with the port covering of circular arch type; have allocated the most acceptances from the architects. An achievement that offers this research, are scientific solutions for restorers and architects to design the buttress species in restored historic buildings.

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Since man has been engaged in architecture, he has paid attention to the spiritual , inner needs and aesthetics sense too. Today, in architecture, aesthetics is limited to formal secondary factors due to lack of the systematic and applied explanation, while this concept has a more definition and is closely related to structure, details of construction, audience and environment. Iranian architecture that has manifested aesthetics over many years age, has been a rich source for adapting the principles of aesthetics in architecture. Quantitative and qualitative foundations in traditional architecture, which are related to the aesthetics and visual principles set on structure and proportions, lead to aesthetics appearance. Accordingly This research tries to answer the question: how are aesthetics principles engaged in Iranian architecture in order to utilizing them in contemporary architecture.
The analysis of the houses was carried out in Mashhad because of its historical background, which was a rich source of architectural works. In this research, current findings of different schools and philosophers viewpoints about aesthetics were collected next analyzed and Interpreted with content analysis method which they formed the criteria of analysis. Using the documentations, 10 types of Mashhad historical houses were analyzed with aesthetics factors, all of them were belonged to Qajar period. In this analysis, according to architectural changes affected from historical conditions (Qajar period), the spatial & structural principles of the houses belonged to the first period and the beginning of the second period were conformed with aesthetics criteria. While the houses belonged to second Qajar period, they included elements as sloping roofs, and issues like: having less application of the symmetry and proportionality in the plan & façade, and more extravagance, which is a conception of Western architecture and doesn’t fit to regional culture and climate.
 

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It seems necessary to conduct research on the towers of tomb as one of the outstanding manifestations of Iranian architecture. The dispersal and multiplicity of these buildings throughout the country demonstrates the special position of this type of buildings. Therefore, many cultural and artistic bases can be understood by recognizing and classifying these buildings and applying their architectural methods can help preserve and continue Iranian-Islamic architecture. The present article seeks to analyze the "transformation of the plan of the historical tomb towers in Iran based on time changes", which will lead to the cognition of the patterns of the tomb towers plan and the trend of changes in relation to time periods. The method used in the present article is qualitative that follows the historical strategy. Documentary and library study is one of the strategic methods that includes historiography and typology. Classification of tomb towers, study of the plan and form structure, and conformity to their geographical location and climate are some of the solutions in this article. Required information is also obtained from written sources that analyze theoretical concepts. Samples of 24 tomb towers with various plans and geographical and territorial dispersion have been selected and written data have been studied. The results of the present article confirm that in some time periods or periods of different reign, a kind of supremacy is seen in a form structure or a plan, but this type of relationship cannot be considered as the main factor in the formation of tomb towers because this type of relationship is not repetitive (plan-geographical location or plan-reign period).