Motifs of Sangab Emamzadeh Shah Seyed Ali Esfahan with Emphasis on Concepts and Structure in Iranian Art

Sangab is a large, stone container that was placed in the courtyard and at the entrance to sacred and public places and used to quench thirst. Sandstone eruption peaked in the Safavid era and is closely linked to Shiite thinking and the sanctity of water among Iranians. The rise of the Safavid state changed the social and cultural structure of Iran. During this period, Iran's political and religious worldview changed dramatically, and the national government was formed on the basis of Shiite ideas, which then shaped national-religious art. Many ancient Iranian symbols were re-used on the basis of new thinking. The motifs and ornaments of the Safavid era were inspired by such thinking. The present research is based on field and library data collection and using a descriptive-analytical method that while introducing water status in Iranian culture introduces Imamzadeh Shah Seyed Ali Isfahan. This article attempts to study its motifs and to trace these motifs in terms of concept and structure in Iranian art. This syllabus has some of the highest national and religious messages in symbolology. The symbolic use of the concept of water, the role of the lion and the sun, and the sacred tree (between two animals), as well as the face of the continuation of the tradition of Iranian pre-Safavid embroidery, especially pre-Islamic Iranian art, illustrates new concepts. Influenced by Shiite religion it is best stated that no other sangab or other work has been repeated with such beauty.This research is objective and fundamental in its development. It is analytic-descriptive. In the course of field study of Sangab, library and study of articles and documents, their symbolic motifs and origins are studied.