نقوش هندسی

The Andarznameh, or Qabusnameh, a 44-chapter work, is one of the most important ethical books in instructive literature in 4th and 5th century AH in Iran. Its manuscript, dated 1090, is a valuable work in the Iranian literature and miniature painting. The Andarznameh preserved in the Cincinnati Museum, New York, is an instructive, ethical, social, and political advice book that includes illustrations at the end of each story for better understanding. Since the Andarznameh narrates the people story during the Ziyarid era, the clothing and miniatures patterns are noteworthy. This article tries to examine the decorations of the fabrics in the miniatures of the mentioned manuscript in the context of Iranian miniature painting. A part of this Manuscript is kept in the Cincinnati Museum.This qualitative-analytical and descriptive research shows that the fixed geometric patterns in the designs have a structured system, and the decorations of the Andarznameh miniatures have a geometric system from the design structure perspective. These patterns mainly include floral motifs, and animal motifs such as birds, which are characteristic of early Islamic fabric designs, can also be seen. Among the floral motifs, the Iranian-style geometric structure is discernible.

Iranian painting is a radiant facet of Iranian art, its roots tracing back to pre-Islamic art and its brilliance shining throughout Islamic eras. This research delves into the geometric patterns found in the illustrated manuscript of Jami's Silsilat al-Dhahab. Currently housed in the Golestan Palace Museum, this manuscript, containing fourteen illustrations, is one of the lesser-known works from the Safavid period, with limited detailed information available beyond its inclusion in certain sources. This study primary objective is to introduce the characteristics of the geometric patterns in the Silsilat al-Dhahab illustrated manuscript. Consequently, the following fundamental question was addressed: What are the structural features of the geometric patterns in the illustrated manuscript of Silsilat al-Dhahab? This is a fundamental research conducted using a library-based approach, qualitatively analyzed using historical and descriptive-analytical methods. The research population encompasses all illustrations of the Silsilat al-Dhahab manuscript, with all fourteen illustrations being considered, and a specific analysis conducted on the six illustrations containing geometric knots. The research findings indicate an emphasis on the manifestation of geometric ornaments within the overall composition of the illustration, playing a significant role in structuring and organizing the image. The presence of these embellishments not only enhances the visual richness and image’s aesthetic appeal but also contributes to the precision of the visual space and the deepening of concepts.

Problem statement: 

Geometric knots are prevalent patterns in Islamic architectural designs characterized by complexity, Plurality, rhythm, and balance in drawing, extending beyond Euclidean geometry. Fractal geometry as a foundation of forming the universe and nature is non-Euclidean. Many artists, besides knowing geometry, use nature as a model, thus creating their artwork perhaps unconsciously or consciously based on fractal geometry. One of these enduring manifestations is the Hakim Mosque in Isfahan. Since behind these beautiful works, there are hidden rules, and knowing these rules elevates our understanding to achieve beauty, the study of fractal geometry in these works reveals their hidden angles and beauty. This research seeks to answer the question: How can fractal geometry be used to analyze the geometric structure of the Maqeli tiled spandrel of the northern Iwan in Hakim Mosque?

This research attempts to analyze the fractal geometry system in the Maqeli tiled spandrel of the northern Iwan in Hakim Mosque.

This research is applied in nature, utilizing field data collection, library and internet sources. The methodology is descriptive and analytical. It is noteworthy that the analysis of the knot dimensions was conducted using software. 

By analyzing the Maqeli patterns from a fractal perspective (self-similarity and dimension), the result of the research was the dimensions of these geometric patterns were fractional. These dimensions, calculated using two methods (logarithmic box-counting and software), showed minor differences and completely matched fractal dimensions. Furthermore, by linearizing the patterns with AutoCAD software and examining the hidden geometry, self-similarity, and repetition in the secret geometry of the designs as well as in the geometric patterns of the Maqeli tiles were revealed.

Fabric weaving stands as one of the oldest handicrafts in Syria. Hand-woven, Damascus brocade fabric is one of the world's most precious silk fabrics. Syria’s ancient textile industry developed during the Islamic era. In the past, the brocade fabric was used to decorate women’s clothes and in parts of men’s clothes. This fabric was commonly used in interior decoration for furniture covers, curtains, and luxurious decorations. However, its usage has declined in the current era as artificial silk threads have replaced natural silk threads. Nowadays, it is produced using industrial weaving machines.There are two main styles of brocade fabrics, distinguished by their patterns. The first style showcases motifs influenced by different civilizations, descriptions of novels, and historical epics that were introduced to Syria through silk and trade exchanges. The other type is brocade fabric with motifs related to the elements in the environment of Damascus. It is divided into two types: A) brocade fabric with plant motifs inspired by nature, plants, and trees of Syria. B) Brocade fabric with geometric motifs inspired by Islamic art such as arabesque. This research focuses on the motifs of the second type.Damascus brocade fabrics often feature woven geometric motifs that can be traced back to the emergence of Islam and arabesque art. These motifs, rooted in Islamic culture, hold meanings and symbols that reflect the vibrant history and civilization of Syria.Damascene silk brocade fabrics are classified as an element of Syrian heritage; because fabrics containing different motifs and symbols are a cultural and social heritage that reflects the details of the life values of its time. The purpose of this research was to explore the meanings of selected motifs found in natural silk fabrics mixed with gold and silver. These motifs had not been previously investigated and are considered part of Syrian culture.This research examines the cultural-Islamic significance of geometric arabesque motifs in Damascus brocade fabric. It employs Erwin Panofsky's iconological approach to answer the following questions:What do arabesque motifs symbolise in Syrian brocade fabric?Which motifs in Syrian fabric belong to Islamic culture and which are unique to Syria?What is the value and importance of the designs placed on the meticulously woven silk fabric?In this research paper, we explore a specific cloth with geometric arabesque motifs. This cloth is mentioned in Florence Oliveri's book and can still be found in Syrian markets. To understand the symbols of the selected artwork, three stages of description, analysis, and interpretation were conducted.To understand the intrinsic meaning of brocade fabrics, the motifs are examined and digitally redrawn, followed by analysing each element individually and interpreting the inscriptions.The presence of geometric arabesque motifs on silk fabrics carries cultural and Islamic significance, symbolising life, fertility, and the pursuit of spiritual enlightenment. The motifs of geometric arabesque art have cultural and religious meanings, which were determined during the interpretation stage. The components and whole motifs definitely rely on Quranic verses as a reliable reference.The results of this research demonstrate the significant role of geometric arabesque designs in the beautiful Syrian brocade fabric, which can be categorised into two groups: one consists of the patterns that are the geometric evolution of an Islamic knot and are part of the overall culture of the Islamic world. The other one is a cultural addition to the main role like the sun and the Damascus rose in Syrian culture. Arabesque art motifs were found to possess cultural and religious meanings, with Quranic verses serving as the most reliable reference. In the contemporary Islamic era, Syrian textile artists and designers utilised geometric motifs to create visions abundant in symbols and principles.The motifs have evolved to showcase a geometric composition, intellectual harmony, and symbolic unity while maintaining a variety of motifs. Geometric motifs depict symbolic and supplementary elements that arise from the philosophy of monotheism and sincerity in obeying and worshiping the Creator and are a means of expressing divine unity. In his works, the artist demonstrates a preference for creating general compositions that symbolise fertility, beauty, and modernity in life. Cultural and religious values deeply inspire the spiritual aspects of this artwork through obedience and understanding so wearing this fabric as a dress is an honor. Brocade textile is a precious fabric of silk with gold threads, which is seemingly associated with heaven. Islamic motifs on silk fabric hold significant value and are considered as dignified as the clothes of the people of heaven, as mentioned in the Holy Book of Muslims. This relevance highlights the significance of the profound meanings of the motifs of this exceptionally exquisite fabric and the need to preserve and revive it. The current research proposes to circulate this precious fabric in the textile industry to preserve its artistic values full of meanings and prevent its destruction. Geometric arabesque on Damascus brocade fabrics are very suitable for formal religious gatherings because of their monotheistic symbols.

In the game Cat and Coup, two main groups, called Cat and Coup, face each other. Cats symbolize strength and steadfastness, While coups symbolize opposition movements and attempts to change the status quo. Comparing this game with Safavid architecture, we can see similarities and differences. In the architecture of the Safavid period, large and magnificent buildings were built, such as the Imam Mosque in Isfahan and the Holy Shrine of Imam Reza in Mashhad. These buildings, like cats, symbolized strength and stability and showed that the Safavid government had a lot of power and civilization. Likewise, cats in the game are a symbol of strength and steadfastness. In contrast, coups are symbols of opposition movements and changes in the cat game and coups. During the Safavid era, many attempts were made to change the previous situation. For example, the role of Sheikh Safi al-Din Ardabili and the early Safavid dynasty in establishing the Safavid government and rising from the Timurid rule can be similar to the activity of coups in the game. In terms of difference, the game of cat and coup is an imaginary game in which two opposing groups face each other. Still, the architecture of the Safavid period was a historical reality, and the buildings built in that period are symbols of Iranian culture and art. In short, in the cat game, the coup, and the architecture of the Safavid period, there are also significant differences in addition to the similarities. These two issues are investigated separately in two different fields (game and architectural art).

It is always seen in different historical eras, the influence and impression between the different arts of that era. The Timurid period, like other historical periods, is not an exception to this rule, and there are many common points between the tiling decorations of this period, with simultaneous arts, especially with illustrated manuscripts. By review the paintings of the mentioned period, it is possible to see some commonalities between their geometric motifs and the tile Dadoes of simultaneous buildings. In this regard, the main question of this article is; What similarities can be found between the geometric motifs of the Dadoes of building tiles of the Timurid period of Iran and the Dadoes in the illustrated manuscripts at simultaneous in terms of geometry (knot), glaze coloring and decorations used on the tiles? The current research is based on the method of descriptive-analytical research. Therefore, the method of collecting information and data is documented and based on objective observations, includes visiting buildings, taking pictures of tiled dadoes and line drawing of samples with different software such as Corel Draw, Photoshop, etc. In this regard, with the question raised; The comparative study of the geometric motifs of the tile plinths of the Timurid era buildings in Iran, with some of the illustrated manuscripts, in terms of the type of knots, the color of the glaze and the decorations on them, is the main goal of the article. The results obtained from the study are: shared aspects from the point of view of the type of nodes; It shows that most of the knots used in the buildings of this period, especially the "regular hexagonal" knot, are comparable to the knots of the plinths of the buildings in the illustrated manuscripts of the same period. In addition to knots, this commonality can also be seen in the field of glazing colors. For example, the color of turquoise glaze used in the "regular hexagon" knot, which is the dominant color of this type of knot in the dadoes of buildings, is also used as the dominant color in the dadoes of manuscripts. In addition to the turquoise color of the jade green (dark green) glaze, which is used less than the turquoise color in the dadoes of the buildings of this period, this feature can be seen even in the illustrations of the illustrated manuscripts. The painters of the illustrated manuscripts, in the field of plant motifs as well as the gilded decorations on them, have not completely followed the patterns of the tiles of the buildings, but have created creativity and innovations in them while preserving the generality and nature of the motifs; Therefore, the motifs of tiles in the pictures have appeared mostly in a schematic and abstract form. It can also be acknowledged that perhaps the activity of painters in the field of designing decorative motifs has provided the reason for this similarity, as they worked both as motif designers in galleries and as master craftsmen in the decoration of buildings.

Traditional geometric patterns in architecture and decoration are rooted in the cultural identity of each region and in cities such as Dezful, they display its special cultural and identity characteristics. In Dezful, the geometric patterns of the bricks, known as the khavoon chini are one of the hallmarks of the citychr('39')s cultural identity. Due to the hot climate of Dezful, the architects used hollow walls with the mentioned patterns to shade with climatic purposes. The traditional styles created in each region are the result of the experience of people who tried to create the best performance for the buildings of the region by using local elements and materials. As in Dezful, by using bricks and geometric patterns, in addition to creating special decorative elements of the region (khavoon chini), they have been thinking of creating shade in the high temperature of the city. The important point is that the thermal behavior of these patterns has not been compared and how in contemporary architecture these patterns can improve the thermal performance of walls is unknown. This study tries to revive the cultural identity of the region by using traditional geometric patterns such as khavoon chini, to provide a solution to improve the thermal behavior of hollow shaded walls and by examining the thermal behavior of these designs, to suggest an optimal model that revives the cultural identity of the city. , Have a good performance in terms of climate. The research method of this research is a combined method that in addition to historical interpretive studies, includes experimental and simulation methods. First, with the help of library and field studies, geometric patterns and native patterns were studied and classified, and then the thermal behavior of these patterns on the outer wall of the double-walled wall was analyzed by simulation. In this research, simulations were performed with Energy Plus software. The results showed that the use of traditional patterns in order to revive cultural identity in the form of geometric facades, has a very good climatic performance and reduce the indoor temperature by several degrees in the warmer months of the year. The type of geometric pattern used in the outer wall, the climatic function of the walls is different and each role requires a specific function. Accordingly, cross patterns have performed better.

The Iranian carpet is famous worldwide and its different examples are woven into all regions of Iran. Among the carpets of different ethnic groups in Iran, the carpets of Turkmen and Northern Khorasan have much in common. In some instances, braids are so similar that it is difficult to distinguish and recognize them as belonging to a particular ethnic group. This group of handwoven fabrics is always in the interest of art lovers due to their special features and unique beauty, which is the product of the authentic taste of Iranian women weavers. This research aims to identify the patterns, composition and colouring of Turkmen and Northern Khorasan rugs and to discover their similarities and differences. This research aims to answer the question of what are the differences and similarities between the Turkmen and the rugs of North Khorasan. The search method is descriptive-analytical, which is chosen using original sources in the form of a library and materials. Comparison of the samples shows that the carpets of these two ethnic groups have geometric patterns that are routinely repeated in the text and border. On this basis, the similarities of the samples are more than their differences, and the works investigated are based on the characteristics of Turkmen carpets. Based on the present research, it seems that in a particular historical period, the tribes of Khorasan were more influenced by the Turkmen carpets than before and created more similarities between the carpets of the tribes. Also, the most important difference between Turkmen carpets and Khorasan carpets is that, although the sample of Turkmen carpets is older and more authentic, the variety of motifs in terms of subject matter and composition methods of Khorasan carpets is much more than that Turkmen carpets.

Patterns and motifs in Islamic arts have a symbolic theme and their use in decorations, especially architectural ornaments, has a special place and importance for Muslim architects and artists. Using symbolic motifs, the Iranian Muslim artist, in addition to creating a beautiful and eye-catching atmosphere, shows the concepts hidden in them to the Muslim audience. This show has an essential mission in religious places that are a place for the manifestation of mystical and sacred matters. Among the most special of these symbolic motifs, we can refer to the geometric motifs, which have secrets hidden in their heart at the height of abstraction. Faryumed Jame Mosque, with its abundance of motifs and various decorations, contains comprehensive mysteries in its heart and is a treasure of symbolic motifs of Islamic art. In the conducted studies, these motifs have been examined and categorized in terms of appearance and type, and a brief introduction of each role has been made. But what needs a deeper and more comprehensive investigation of these motifs is to deal with the essence and secrets hidden in them, which is the main reason for their emergence and creation. The decorations used in Faryomed Mosque include two general categories of geometric and plant motifs; in this article, a detailed and in-depth analysis of the geometric motifs used in this mosque is discussed from a symbolic point of view.

In the past, the art of designing and painting tiles was passed from master to apprentice, and each time the creativity of different artists gave a different effect to these works. Therefore, the methods of drawing these motifs have never been written down. As we know, most of the motifs used in the decoration of historical tiles have a geometric origin, and their analysis or drawing requires knowledge of projection. Therefore, in this note, an attempt has been made to propose the hypothesis of the matching of symmetrical elements in the patterns of historical tiles with the symmetrical elements of material crystals, while examining the geometric structure of different motifs, rules based on symmetry data are presented for drawing these motifs. It is believed that with the help of this method, the rearrangement of traditional motifs in the tile production industry, as well as their recovery for the restoration of damaged parts using formula writing and marking, will become easier.

Architecture in the Islamic era is like a museum of diverse lines and patterns in religious and non-religious monuments. The present study scrutinizes the patterns used in the Jame'a Mosque of Isfahan due to its historical value and diversity of patterns, especially in the Safavid era, since it is a proper place to re-read the Islamic-Iranian patterns. It seeks to answer how the symmetry in these patterns is compatible with graphic symmetry and what are the potentials of these patterns. The research methodology is descriptive-analytical and data is collected through photography and pattern drawing by the author which is eventually analyzed graphically. In doing so, all patterns used in this mosque, including geometric, arabesque, and Khatai (floral), are studied in the light of the fundamentals of visual arts (spots, lines, surface, symmetry, composition, and size), and the energy governing them. The present article endeavors to demonstrate that Jame’a Mosque of Isfahan’s patterns and motifs can be considered as a foundation for decorative arts in Iran’s contemporary graphics and can create a unified and coherent order in these works. These patterns, which are underpinned by Moslem artists observing the fundamentals of visual arts, have a logical criterion accompanied by their creator’s innovation and mental creativity. It is supposed that using these patterns, which are compatible with the present culture and situation, can exhibit a part of Iran’s culture and civilization and in turn, satisfy a part of today’s graphical demands.

Vakil Mosque of Shiraz is known as the most significant religious building of Zandieh period in the history of Islamic art and architecture of Iran and is one of the most beautiful and strongest mosque built in Iran after the Safavid period. This mosque, which has been renovated many times during its life history, can be considered as an example of the architectural history of this period in terms of architectural and decorative features. According to the history of construction of Vakil Mosque, it can be seen that the architectural components of this mosque have differences and similarities due to the construction and payment in different periods in the style of decoration, especially in tiling. Therefore, the existence of different styles in the geometric decorations of the mosque is not far from the mind. This is the question; What is the variety of geometric motifs in the architectural decorations of Vakil Mosque in Shiraz? The method of analysis of the results of the data of this research is qualitative (descriptive-analytical). The purpose of this research is to identify and analyze geometric patterns in the architectural decorations of Vakil Mosque in Shiraz. The results of this study show that geometric patterns in mosque spaces, despite the apparent diversity and frequency, have common features and follow coherent and similar patterns in design. Geometric patterns are often cohesive, most geometric patterns are slow knots. On the other hand, the colors used in the geometric designs of the mosque also have a single and common color style and pattern. Light colors can be seen on almost all levels of the mosque, and bright colors such as white, yellow, blue and pink are predominant. It seems that this harmony and coherence in the decorative designs of the mosque has been considered as a model of the decorative design unit and the repairs and repairs of the post-Zandieh period in this mosque have been followed according to the observance of these main decorative patterns. In other words, despite the noticeable variety and differences, the similarity in the type and techniques of execution of motifs is evident and indicates the following and modeling of older mosque motifs and renewal of these motifs in order to maintain the relative cohesion and integrity of the building decorations

Iranian culture and civilization, despite the ethnic and racial diversity of the inhabitants of this land, the political developments and the invasion of the invaders and settlers, have always been regarded as an appropriate context for the advancement of Iranian art. Iranians have been involved in decorative arts as well as painting since ancient times, one of which being exquisite tile art.Decorating tiles in Islamic buildings as valuable treasures reflects the cultural ideas and religious beliefs of the artists of all times, and their taste and ability in this art have endured. Tile art, which gradually progressed from pre-Islamic centuries, reaches its peak of development and perfection in the Seljuk and Timurid times. Tile, which is the most beautiful and unique decorative element of architecture in the interior and exterior of buildings, not only creates the most spectacular color scenes and motifs in Iranian buildings, especially in religious sites, but it also is a factor in the strength and cover for the building. The finest examples of tile history of Iran, the inner and outer surfaces of the sacred doorstep of Imam Ali ibn Musa al-Reza (AS), are in front of our eyes through the many ups and downs of this land, making this valuable art endure, rather than be dissolved and forgotten.Geometric motifs have been used in pre-historic times in Iranian artworks, examples of which include pottery left from the civilizations of the hills of Sialk, Shush, Tal Bacon, and more. In the Islamic era, geometric motifs, especially knots, have been used in a variety of visual and decorative arts such as architecture and tiling of religious and non-religious buildings. The numerous and varied geometrical motifs (knots) seen in Iranian tile art and influencing the architectural ornamentation of other Islamic countries have generally been derived from a combination of a number of basic shapes, and by observing the constant rules of repetitive drawing have also been expanding throughout eras. These motifs, in addition to providing the viewer with visual pleasure, imply higher meanings within themselves that must be interpreted in order to be understood. From the Islamic point of view, these motifs and the way of their creation are symbolic ways of expressing the monotheism, which is the supernatural doctrine of divine unity as the origin and resurrection of all creatures. Through his sacred artistic spirit, the Muslim artist has achieved a two-dimensional reality in his artistic creations by departing from the three-dimensional elements of the creation world. In a concise way, this artist portrayed Islamic geometric art based on qualitative roles, based on mathematics and geometry, bringing together geometric shapes to achieve an element such as knot, which is in fact a mysterious knot of existence and polished the soul to prepare it to receive the truth.The holy shrine of Imam Ali-ibn-Musa al-Reza (AS) is a magnificent collection of the best tile art examples from different periods, which reached its peak of progress and perfection in the Seljuk and Timurid periods. Moreover, the geometric patterns of these tiles, with spiritually elevated meanings, embody a return to the world of monotheism by displaying unity in plurality and plurality in unity. This is why the best examples of tile art have appeared in these two periods. The present research aims to answer the following questions: Which geometric patterns have been used more often in the tiles of Imam Reza (AS)’s Shrine during the Seljuk and Timurid periods? What changes have occurred in the structures, colors, compositions and foundations of the patterns? And what similarities and differences exist among the geometric patterns of the tiles?This study has used a descriptive-comparative method and a historical analysis to show the developments in the Shrine’s tiles. The required data have been collected using a combination of library oriented and observational methods as well as tools such as books, articles, notes, tables, computer, and by referring to the tiles of the Imam Reza (AS)’s Shrine as well as their images. The geometric patterns were analyzed based on their foundations, compositions and colors, and the findings indicated similarities between the two periods in terms of the foundations and structures of the patterns and showed that most of the patterns are based on the geometric shape of the eight-pointed star. The tiles are quite similar in color, especially in the primary colors, but the compositions of the patterns (strap work) have no similarity, although all of them have the same shape. Although there were many tile samples from the Timurid period, only one from the Seljuk period, the geometric shape of the eight-pointed star, can be considered a meaningful common code in both periods.

In the pre-Islamic era, stucco was used to cover the walls of palaces and temples, because the building materials such as stone, sandstone or crude clay were not very interesting, and the richness of decorated walls was more effective than bare walls. This type of architectural-related decorations in the history of Iran was technically and artistically developed and became one of the archetypes of the Sassanid era. Stucco patterns of this era include plant, geometric, animal and human designs. The use of these patterns in this period, with a few differences in quantity, was accompanied with some mythical concepts. The transfer of these designs from the Sassanid era to the cultural and artistic realms of Islam was in companionship with some changes such as selection of motifs based on their usage in religious or non-religious places and being measured according to the basic Islamic principles. This has made plant and geometric designs luckier than other designs. Under the influence of the Islamic view, these motifs tended to be abstract and the artists avoided direct imitation of nature. Fast curability, fast progression and the whiteness of stucco that were important in the decoration of Islamic buildings were among other factors involved in the re-use of stucco decorations in Islamic monuments. For these reasons, this art, along with its plant and geometric motifs, grew and developed. One of the important findings during the archeological activities in Seymareh, was the discovery of its mosque and its stucco decorations. According to the dates given, the mosque belongs to the late Umayyad and early Abbasid era. Considering the importance of stucco decorations in Iran, the main objectives of this study were, firstly, to identify types of decorative motifs influenced by Sassanid stucco, and then, to study the similarities and differences between the Sassanid stucco designs and the decorative designs of the Seymareh Mosque. Accordingly, the main questions of research are: what are the decorative motifs influenced by the stucco art of the Sassanid period in the stucco adornment of the Seymareh Mosque? What are the similarities between the Sassanid stucco designs and the decorative designs of the Seymareh Mosque? The results of the study show that the decorative motifs found in the mosque of Seymareh could be divided into two main types of plant and geometric designs. Meanwhile, in addition to design and implementation, the plant motif of the Datura flower, and trapezoidal, elliptical geometric patterns, as well as decorative margins used in circular, square and rectangular frameworks, differ from the decorative designs of the Sassanid era. In addition to the formal effect, the application of the principle of symmetry and repetition and the method of making stucco decorations by molding, casting and prefabricated methods, we can see other evidences of the continuation of the Sassanid period stucco art in the stucco decorations of the Seymareh Mosque. Such volume of similarity and influence should be considered as a result of the location of the city of Seymareh in the Sassanid period, which has been evidenced by many architectures decorated with its stucco decorations in areas such as Barzqavaleh, Qaleh Gori and Goriyeh. In most of the stucco specimens of Qaleh Gori and Barzqavaleh, which are from the archeological sites of the Sassanid period and close to the city of Seymareh, and in the present study, the specimens with decorations of the Seymareh Mosque were compared in terms of marginalization and framing according to geometric and plant elements. The use of flowers and leaves such as palm, artichoke, rosette and lotus in the corners of the decorative frames of the design is one of the elements that exists in the stucco of both areas of Bozorgvaleh and Qaleh Gori. Based on archaeological findings, stucco decorations have been one of the most important methods of arranging Sassanid architectural spaces in the city of Seymareh, which can be used to justify the textual connection between the stucco decorations of the Seymareh Mosque and the stucco decorations of the Sassanid period. However, in the study of the decorative patterns of stucco of the Seymareh Mosque, there is evidence of the creation of new arrays such as the tendency towards different designs of plant motifs such as pomegranate fruit, pine fruit, tulip buds or the design of the decorative borders of the frame. Circular or square and rectangular geometric shapes are observed along with the creation of new geometric arrays such as trapezoidal and oval geometric patterns. Therefore, it can be said that the artists who designed the stucco decorations of the Seymareh Mosque, by using these innovations and the complexity of geometric and plant decorative motifs in addition to imitation, sought to provide new decorative surfaces appropriate to the cultural and artistic atmosphere of the first Islamic centuries and created new texts.

Architects and artists have long been fascinated by the use of geometric decorations in the construction of buildings, especially religious buildings. In this paper, we have tried to compare some of the landmark designs of the two buildings of Kerman Jami Mosque (755 AH) and Yazd Jami Mosque (724 AH). Kerman Grand Mosque is one of the 700-year-old four-porch mosques that have a lofty entrance, courtyard, porch and nave. Its construction began in (705 AH) by the order of Amir Mobaraz al-Din Mohammad Mozaffari Meybodi, the head of the Mozaffari dynasty, which ended at the end of 755 AH. Inspired by Sassanid architecture, its eastern entrance was destroyed by the firing of Agha Mohammad Khan and was later repaired. Yazd Jami Mosque has been built in the style of a porch in the heart of the desert during a century (the 6th century AH) in different historical periods, the most important of which are Ilkhanid, Safavid, Timurid, Al-Muzaffar and Qajar. Over time, it was built by several founders, but the main foundations of the mosque were built by the Sassanids. The current building of this mosque is considered to be Azeri architecture in two seasons. The purpose of this study is to expand the field of recognizing and introducing the cultural resources of our country through analysis and introduction of geometric patterns of these two buildings according to the subtleties hidden in the geometric patterns used in these mosques as well as discovering the mystery hidden in them. The questions we are trying to answer are 1- how to define the criteria of the geometric patterns of these two mosques by comparing the geometric patterns used in the comprehensive mosques of Kerman and Yazd? 2- Considering the restoration, reconstruction and annexation of parts to the buildings of both Yazd and Kerman mosques, what are the most important stylistic features preserved in the geometric designs of both mosques during different historical periods? Using descriptive-analytical method and conducting library research in the field of architectural arrays of these two buildings and field research, this study has evaluated and comparatively compared the geometric patterns of these two buildings of the Iranian architectural index. The method of data collection is documentary and based on visual field research (photography), and according to the value of observations, perceptual mapping method has been used to explain the visual stages. The research findings show that considering the precedence of construction of Yazd Jami Mosque over Kerman Jami Mosque, the possibility of modeling and adopting this mosque by the artists of Kerman Jami Mosque seems reasonable. The construction of both the Yazd and the Kerman mosques did not only include a historical period, but also different periods. Each of these two parts has been built over time by several founders. The Ilkhanid, Timurid, Muzaffarid, Safavid and the Qajar governments have played a role in completing parts of these two buildings, but Zandieh-era motifs are visible in the entirety of the Kerman Jami Mosque. The main features of the designs in the Yazd Jami Mosque are mostly based on patriarchal and Timurid features. The predominant style of geometric designs in the Kerman Jami Mosque is Ilkhanid and Muzaffarid. The geometric designs of Yazd and Kerman Jami Mosques have differences and similarities, among which there are many more similarities than the differences that can be considered as the common spirit of their geometric designs. Since both mosques were built in different periods, one cannot expect a geometric pattern from a historical period in both mosques. But it is interesting that the main spirit and essence of the geometric designs of both patriarchal mosques, the Ilkhanid essence, in later periods with the knowledge that has reached them from previous masters has been preserved. Subsequent masters have tried to present harmony and unity with the previous designs and have practically followed in their footsteps. And the observer of these geometric patterns practically does not notice the inconsistency in the patterns which is the result of obvious differences in design. If we want to evaluate the geometric designs of these two buildings in terms of style, the Yazd Jami Mosque is more inspired by patriarchal and Timurid architecture, which is close to the Azeri style, and in terms of geometric designs is more "logical and complex" than the Kerman Jami Mosque. On the other hand, the geometric designs of the Kerman Jami Mosque are mostly inspired by patriarchal and Muzaffarid architecture. Moreover, in terms of form indicators, geometric patterns are valuable examples in the field of "expression of emotional states" in form and color.

 This study attempts to examine the decorative motifs of mosques (Atiq Mosque in Shiraz and Cordoba Mosque in Cordoba) in Iran and Spain in the third century A.H. These decorative designs are in accordance with the beliefs of the people of the region and regardless of all their differences, they share common goals in the Islamic world and through these designs spiritual and mental concepts are conveyed. Decorative patterns, which are symbols of the elements of nature, are rooted in Iranian-Sassanid art; Byzantium and have been continuously repeated as motifs in the art of the Islamic era.

This study attempts to compare the decorative motifs of the Atiq Mosque in Shiraz with those of the Cordoba Mosque in Cordoba with a contextualist approach.

This article used a descriptive and analytical method to study the decorations of the Atiq Mosque in Shiraz and the Cordoba Mosque in Spain and to identify similarities and shared symbols.

Decorative designs in Islamic art are derived from the beliefs of people over the centuries. The continuity in Islamic art has spread from Iran to the Islamic world.  The architectural formation of Atiq and Cordoba mosques is not contextual, because they are built based on the pattern of the Prophet’s Mosque-Shabestani columnar mosque. However, the decorations of both mosques are contextual and inspired by Sassanid art in Iran and Byzantium in Andalusia.

Traditional motifs as an integral element of traditional Iranian-Islamic architecture are spiritual, symbols benefiting from the principles of geometry and mathematics. with the Seljuk’s reign over Iran and resulted from their increasing attention to science, philosophy, and art. Undoubtedly, the scientific and philosophical discourse prevalent in each historical period affects other aspects of society, including culture and art such as the Islamic rationalist philosophy that culminated in Avicenna’s thought of the subject. He believes that “invention” has come up with “internal senses” or “faculties of the soul”, especially the faculty of reason. Therefore, the hidden aspect of rationalism can be deliberated in the process of creating traditional motifs.

The current article aims at analyzing and explaining the hidden aspects of rationalism in the process of creating geometric motifs in Seljuk architectural decorations; which will eventually lead to the explanation of a theory on the rational invention of geometric motifs based on Avicenna’s theories. Therefore, the current paper starts with posing the question of how the components of Avicenna’s rationalism can be explained in the process of creating geometric motifs in Seljuk tomb architecture.

This is basic research. Data were collected from library sources and observational documents. This is a descriptive-analytical essay. Thus, geometric motifs and knots have been deliberately selected in the decorations of the five Seljuk tombs.

The design and application of motifs in the architectural decorations of the Seljuk period, based on Avicenna’s theories, are an “innovation” type and “rationalistic” process. In other words, the interaction of the faculties of the soul is the guide for designing and creating geometric motifs from the stage of observing objects in nature, analyzing and combining them in the faculty of imagination, and organizing and creating designs and motifs in the faculties of reason. The rational feature of the images contributes to human knowledge and mutual understanding by the audience. Also, the unity and coherence of the components of the building have been maintained through motifs and designs, and the necessary rational planning, coordination, and organization have been done to achieve the desired perfection.