The hierarchy in architecture is an attempt to express the concept of transition and the gradual aspect of the process of perception. This principle is well-known as one of the fundamental principles in traditional art and is consistent with the hierarchy of being above its material level. This principle proposes, in the order of reaching a space, the fundamental pattern of connection, transfer and acquisition, which expresses the aspect of exploiting the acquisition of space. In this regard, the mosque is one of the buildings in which the existence of the principle of hierarchy is very necessary in such a way that the concept of garment from the appearance to the inner part as the most important function of the mosque, is represented by the principle of hierarchy. However, during different periods and over time, the presentation of this principle has been made in mosques built in different styles of Iranian architecture in different ways. In this regard, the present study tries to examine various styles of mosques in the history of Iranian architecture. Accordingly, 16 mosques of four styles including Khorasani, Razi, Azari and Esfahani styles (each of the 4 mosques) are selected as case examples. By analyzing their spatial structure based on existing documents, three dimensions of the hierarchy include the hierarchy The shape, size, and location of each mosque in the style of these styles are discussed. The research method is descriptive-analytical based on historical documents. Using quantitative and qualitative methods including use of space syntax software, using scale meter to extract dimensions, and interviewing experts to analyze the facial features of the mosques in order to analyze the data. Has been used. Finally, the results of the research indicated that in Khorasani style, all three levels of hierarchy were at an elementary level in the mosques; in the mysterious style, the hierarchy of place was considered, but with time, this dimension in the styles Azeri and Esfahani; in the Azeri style, hierarchy of size was very much considered, and finally, in theIsfahan style, the hierarchy of form had the most visibility in the mosques.
