Examination of decorations and motifs used in architectural and urban monuments of the Ilkhani period (case study of Soltanieh dome and Tabriz Mosque)

In architecture of the Islamic era of Iran, the architect has always tried to decorate the interior and exterior in different ways. According to Islamic scholars, Islamic art and traditionalist Islamic art has two separate concepts. Islamic art is decorated in Islamic art and architecture and is designed and presented to express the concepts of Qom. The study of traditional plant designs (Islamic and Khatai) and its existential causes in Islamic art, the widespread use of geometry and line in Islamic art, and the lack of use of animal designs in religious spaces make traditionalist views more desirable. Perhaps the ultimate goal of Iranian art is to build and decorate mosques. In the period of the Ilkhanis, the main problem was the consolidation and combination of building and decorative forms. This article examines the decorations and embellishments of the Ilkhani monuments in a comparative and qualitative way. The importance of the subject of research is that recognizing the principles of geometry and its relation to the philosophical infrastructure leads to an increase in the amount of motifs and patterns taken in the designs. The statistical population selected in this research includes two monuments of the Ilkhani period, which are: 1. Soltanieh Dome and 2. Tabriz Mosque. In the course of the Ilkhani, geometric patterns are more regular and it is considered as an important decorative pattern, and even it can be said that the sanctity of the buildings is increased with respect to the names of the buildings in comparison with the earlier periods. In the study of the decorative designs, we find interesting points. The buildings were decorated with motifs of Allah, Ali, Mohammad, and their use in different parts of the building was proportional to their greatness and importance.