Journal of Researches in Islamic Architecture

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One of the issues in theory field of architecture especially in Islamic architecture which has been considered in academic assemblies in recent decades is the field of symbolism and its different approaches. Basically symbolism is one of the important features of Islamic architecture, to the extent that some scholars in Islamic architecture believe that symbolism is necessary to fulfill this kind of architecture. This article deals with the problem of what is symbol and generally sign in Islamic architecture and consequently, how the symbolism can be implemented in Islamic architecture. The purpose of this article is explaining different approaches that Muslim architects used for symbolism in their works meanwhile with explaining the nature and characteristics of each of these approaches, lessons would be learned for future symbolism in Islamic architecture. To illustrate the problem of this article, a hybrid method consisting of logical-argumentation research and qualitative content analysis research is used meanwhile the method for gathering data in this research is documents studies. The theoretical foundation of this research is based on Islamic wisdom so the research results have enough competence for the application in Islamic architecture. According to these results, in addition to credit architectural landmarks, there are genetic signs which can be manifested in various architectural components such as geometry and form and symbolism in Islamic architecture requires attention to both these two types of signs. Using these two types of signs, two main approaches are available for symbolism in Islamic architecture which is inductive and deductive symbolism. The first approach is based on sensory tools while the second one is often based on rational and intuitive tools. In this paper, meanwhile these approaches are explained, several examples will be presented for each of them.

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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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The Saqa-Nefar are specific architecture of Mazandaran province, and the origin of their formation are date to ritual traditions of pre-Islamic periods. Currently, those are known as architecture of Ashura that are in order to protect the sanctity of water and attributed to Aboulfazl (AS). Their architecture is combination of architecture combination with semantic components in format of motifs and formation, local and structural symbols which had undergone transformation of structural and formation according to cultural context during various historical periods. The current research is seeking to answer for this question: what cultural backgrounds were due to choose Nefar for keep up Ashura event and what signs remain in those from pre-Islamic ritual architecture? This research is fundamental and theoretical research that had been done through descriptive and analytical method. Data collection is based on library source and field surveys. In regard to the research goal that it is finds Causes of evolution Nefar to Saqa-Nefar according to cultural context. The results of this research show: the cherishing of water origin from ancient ritual of Iran that it be conformed to Islamic attitudes during Islamic period. The name of the nep, existence wells, holly trees and historical geography of this region expresses signs of goddess of water (Anahita). There were two kinds of Nefar during pre-Islamic period: one type belongs goddess of water that was beside water source to worship, another type was used beside the farms to care water. Thus, from beginning, Nefar had two duties (protection and worship). For this reason, they had transferred Nefar as Saqa-Nefar during Islamic period. In perspective of physical and decoration structure are continuation of ancient temple that aligned with Shieh symbols.

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Statement of Problem: To improve the identity of residential architecture, it is required to enhance the semantic dimensions in the design. To do this, the principles of traditional residential architecture in hot-dry climates, as one of the richest physical-spatial models for Iranian houses, must be applied. On the other hand, one of the best strategies for giving meaning to works is to use signs by examining users' mental image. However, nowadays, semantic concepts such as users' perception or mental image are less considered or ignored in the residential architecture due to factors such as economy or superficiality in design. This is due to the ignorance of the user-environment relationship at the educational and executive levels of design. Therefore, there is a need for finding a practical approach to semantics by extracting the signs existing in traditional houses. To meet this need, the present study seeks to answer the question "What is the role of signs in the semantic aspects of traditional Persian houses in hot-dry climate?" Since the use of successful traditional architectural models is another way for enhancing the identity of residential architecture, it seems necessary to find and use them in contemporary housing in accordance with the current situation. The research background mainly focuses on finding physical patterns or semantic principles in Iranian houses from non-semiotic perspectives, so obviously, there is a need for research on the extraction of patterns using semiotics to match the design with the users' reading.
Research aim: The design performed "only to satisfy the building function", cannot meet such affairs as identity. So, it must meet the perceptual needs to manifest identity in architecture, and this will be possibly achieved if the design is performed through a semantic process. To this end, the present research seeks to find out how the categories of signs match with the components affecting mental image in traditional houses in the hot-dry climate. Since the present study looks for the effect of signs on meaning in traditional housing design, "sign" is an independent variable, and "meaning in housing design" is a dependent variable. Accordingly, the research hypothesis is as follows: "Using the categories of signs has played a role in the meaning of traditional residential architecture in the hot-dry climate". The present study aims to extract the principles of semantics from the semiotic perspective to use in contemporary residential architecture to pay more attention to the identity and semantic dimensions of today's living environments.
Research Method: the present research is a qualitative study in which applied examples of traditional residential architecture in the hot-dry climate are studied using "document mining" and "qualitative content analysis". In the "data analysis" section, the matching of the components affecting the mental image with the categories of signs is evaluated by examining the examples of traditional Persian houses in the hot-dry climate. Accordingly, the relationships between the categories of signs, including "index", "symbol", and "icon", and the "spatial", "human" and "temporal" components affecting mental image are analyzed. It should be noted that the case studies are selected based on two criteria: 1. having spatial and physical richness, and 2. having a design in which one can observe the matching of the categories of signs with the components affecting perception. The authors attempt to select those cases having the features observed in most of the traditional Persian houses in the hot-arid climate. In the selected samples of traditional Persian houses in the hot-dry climate, any analyzable relationship between the categories of signs and factors affecting mental image is analyzed. It should be noted that it was attempted to select those components common to most traditional houses in the hot-dry climate.
 
Conclusion: The results indicate that in traditional houses in the hot-dry climate, "icon", "index", and "symbol" have been used as a means to express meanings by being matched with human, environmental and temporal components affecting users' mental image in accordance with their cultural context. Moreover, the results show the matching of the environmental components with the categories of "icon", "index" and "symbol". The temporal components affecting the users' reading show their highest degree of matching with the category of "icon". The "icon" and "symbol" categories also have the highest degree of matching with the human components affecting the users' reading. Therefore, one of the effective strategies for providing a semantic-oriented residential design is to use the components of "function", "body", "scale", "historical background", "individual experience", "social event", "physiological and psychological factors", "individual and social behaviors" of users and also attention to "components affecting the sense of belonging to place and community" in the form of different categories of signs in the design. Therefore, using different categories of signs, which match with the factors affecting the users' mental image, considering the temporal, spatial and human context of the design can be a way to consider meaning and identity in today's housing designs.