Artistic Unity of Azari Circular Style Memorial Monuments in the 8th to 9th Hejra (Around Aran and Azarbaijan Area)

Manifestation of circular tower monuments of religious political persons in 8th and 9th Hejra can be seen in the formation of a particular style of memorial monuments within the boundaries of current countries of North and South of Aran river to Eastern Anatolia. This style of architecture is under the title of Azeri style around Aran – Azarbaijan. In this kind of style in setting the outer part of the monument and their artistic decoration of the surface, azure and turquois simple glazed bricks have been used. Recognition of Six monument tower-shaped in the South of Caucasus, Azerbaijan and Eastern Anatolia and its effects on other religious structures are the findings of this article. The most important factors in developing artistic style of funerary monuments of Aron and Azerbaijan in the same geographical area and political centrality are classified due to social and ethnic identity, cultural and tribal identity congruent. The style in question implies epistemological excellence and influential political religious people of the area in foundation and development of such a style and its similar application for political religious people of the Northern West of the Mazandaran Sea. In regard to this research, outstanding circular memorial monuments are manifested in the cemeteries of the ancestors of the Safavid kings in Ardebil. This article employs a historical cultural approach using descriptive-analytical method through filed study and library research. The aim of this article is to identify and asses the technical and artistic features of the circular monuments of the Aran and Azarbayejan area. The study of the influential factors such as geography, politics, cultural and social environment and homogeneous ethnic identity in creation of identical monuments are taken into account throughout the intended centuries up to the time they were no longer made coincides with the rise of the Safavids. The main question of this article is what factors were involved in the creation and development of identical circular tower monuments in the 8th and 9th Hejra in the area of the North West territories of Mazandaran Sea. Are the buried ones mainly religious or political figures? Which monuments of the area, in terms of art, can be considered outstanding?