نشریه پژوهش های معماری اسلامی
سال دوم شماره 4 (پیاپی 5، زمستان 1393)

In current time, modern architecture design opinion along with new generation of academic graduated architects has great influence on new buildings, such as mosques design. One of the most important effects is the distortion of shapes and space, which is headlined as new design view of mosque in architecture and society. Unlike the past which mosque buildings were followed by special tradition style in each era, there is much diversity of types and design methods, which it cannot be classify in tradition or any specific category by shape and form.
In addition of extreme evolution on design and built process of contemporary buildings, this article is trying to have a specific overview in the orientation of mosque designing. Then classifying the indexes of this development with identification and on the other hand notifies the effective courses on mosque architecture process. Research questions are: can we suggest any features of Iranian current mosque design comparing to Islamic world design? What standards can we consider? What is the design style of contemporary mosques? And what is the specification of each?
Many researchers have proposed approaches for classifying the effective streams on contemporary architecture of Islamic countries, particularly the modernist mosques. These approaches investigate the recognition of the principles of design, favorite variables of architects, and also their work product as architecture body. Each of these researches, in turn, has suggested different categories or for modernist mosques. For example, "Ismail Serage-aldin" in his article titled "classification of effective approaches in contemporary architecture of Islamic countries", divided this approach into five groups of popular approach, traditionalist approach, people-oriented approach, adaptable modernism approach, and modernist approach. These approaches have an effective role in different streams of architecture design in contemporary era, particularly in the designing of mosques.
This article is aimed to recognize trends of designing mosques in contemporary era specifically and by identifying indicators of these changes classifies them and recognizes effective streams on the evolution era in the architecture of mosques. Therefore, after reviewing performed classifications, the desired attitudes for investigating works are introduced and tables are prepared for each of these works that have been analyzed in those works based on defined attitudes, and then by comparing tables an attempt is done in classification of works based on common characteristics in the table. At the end, those attitudes that have affected contemporary mosques are introduced as a group of indicators. For better recognition, some examples of these groups in Iran and the other countries will be introduced. The questions that have been asked in this research are:Can attitudes be introduced in designing Iranian contemporary mosques in comparison with Islam world? What criteria can be considered for this issue? What orientation do exist in designing contemporary mosques? And what are the characteristics of each of them?
At first, the research process has been formed based on quantitative variables that have had a key role in recognizing mosques as modernist mosques. These variables are volume versus space, full and empty, physical development, plan pattern, facade, the average ceiling height, decorations, form, color, position, construction location and its time and then categorizing the amounts of variables has converted them to qualitative data and make it possible to divide them to some groups based on a integrated structure that in every group part of amounts are in similarity or proportionality with each other. Therefore, three groups of tables were prepared from characteristics of mosques during research. In first group, the table introduces the status of each variable in mosques second group separates the mosques with common characteristics and the last group introduces their properties. This classification that has been obtained from investigating 50 modernist mosques can indicate shape-physical approach in typology of modernist mosques in Islam world. Based on conducted investigation, a part of contemporary mosques that a typology was done about them are mosques that are outstanding in Islamic society or have introduced the meaning of mosque in a new body from physical perspective. These mosques have been classified into four categories based on shape typology and these categories are: white modernist mosque, pure mosques, form-oriented mosques, and hybrid modernist mosques. In white modernist mosques, the volume is not important and often takes a form of project site. In pure mosques against traditional mosque building, the architect aims to create a symbolic volume. The volumes are simple and Platonic. Especially, the cubic shape that has a background in Islamic tradition is used. In form-oriented mosques, the attention to external volume is very important so that ignoring internal space is resulted. The volume of these mosques usually includes complicated and innovative forms and architectural sculpture and pure forms are not applied. Asymmetrical and simple decorations, use of color and light shadow diversity are usual in these mosques. Hybrid modernist mosques are a combination of the former types that means each of their elements follow one of types and cannot be placed in any former types. On the other hand, they are a hybrid of the former types.

Covering one of the most important spaces, domes have a magnificent role in Persian mosques. During continuous eras of Islamic architecture masons could promote this techno-spiritual heritage and developed its spatial value. This process reached its apogee in Safavid era. Overshadowing Shia conceptual system carved the cultural context of Safavid society and consequently changed its architectural features. In this context, Safavid illustrious domes acquired modern roles and were dressed differently.
In previous studies symbolic meanings of domes have been analyzed mostly in two major groups of “positivist-narrative” and “mystical-hermeneutic” approaches. The followers of traditionalism school by applying mystical-hermeneutic approach have suggested some general meanings for most of dome cases in the entire Islamic world. Manifestation of symbolic meanings such as heaven, paradise, sky and unity is proposed by these scholars. On the other hand, positivist art and architectural historians by utilizing a narrative approach has criticized the traditionalism school. They believe tying any meaning to a traditional architectural element requires achieving clear historical evidences that could be gathered through field studies. Meanwhile there are limited group of scholars that benefit from both hermeneutic and narrative methods. Although they accept the central concept of embodiment of Islamic meanings in the buildings, they provide historical subjective evidences for their arguments.
This paper aims to investigate the meaning of Safavid domes by using “Narrative - Hermeneutic” approach. Appropriately, the hypothesis of embodiment of the meaning of a holy tree, called Tuba in Safavid illustrious domes is examined by means of two questions. The first question looks for the original meaning of Tuba in Safavid cultural context which has been studied in a separate paper. That paper indicates that the term Tuba is only mentioned once in the Quran, However its attributes can be ascertained from various hadiths and other relevant references. Additionally, in his The Red Intellect, Sohrevardi describes this tree. Accordingly, Tuba is a divine, tall, with a long shadow tree that is one of the blessings in heaven. The second question is concerned about Tuba’s probable relationships to illustrious Safavid domes. Consequently, to find out the answer characteristics of the two main domes in Madrese Chāhār-bāgh (Soltānī school) and Masjid-i Jamī Abbāsī (Shāh mosque) at Isfahan are analyzed in three spatial scales including the city, the building and the dome chamber. Accordingly, images of the domes in city sky line, dome’s silhouette and shape, outer and inner ornaments as well as the content of dome’s inscriptions are studied.
In the urban scale, western traveler’s description as well as studying the city sky line represents a modern picture that forms in the Safavid capital. The picture that displays raised huge domes in the verdure background of the Isfahan as a garden city. In an architectural scale, the projected shape of the dome constructed on a tall drum represents the form of an abstract tree that dominates the mosque and the school and their surrounding area. This image can be better realized by looking to the decorative layer of two domes. Both cases are covered by lavish vegetal decorative patterns drawn on a turquoise background that encompasses the outer and inner shell of the dome. This layer dresses the abstract shape of domes and illustrates an objective tree free standing beyond the city skyline.
Moreover, studying the buildings inscriptions may reflect the indicated concepts and intention of their builders and providers. Acordingly inscriptions of main spaces including the entrance (pishtaq), the foyer (hashti), Qibla ivan and minarets were survived. Almost all the inscriptions in both monuments reflect the three main concepts. Inscriptions in both monuments reflect the scientific superiority and spiritual grandeur of Imam Ali. Simultaneously in Madrese Chāhār-bāgh the value of knowledge and in Masjid-i Jamī Abbāsī the importance of congregational mosque are mentioned in different ways. More precisely investigation of dome chamber inscriptions reflects some indicated concepts. Unlikely to the most of dome chambers the applied inscriptions in both cases hardly contain Quranic verses. They mostly include those hadiths and quotes that clarify the role of Imam Ali as the first Imam and also successor and brother of the prophet. More importantly, the mihrab inscription at Madrese Chāhār-bāgh, as the focal element for meaning manifestation in dome chamber, represents the night journey and the ascension of Prophet Muhammad and describes his meeting with the holy tree of Tuba.
Finally, qualitative analysis (comparing and content analysis) of the findings evaluated the paper’s hypothesis in three criteria of “logical consistency”, “truthfulness probability” and “completeness”. In the first criterion, the paper indicates on the logical consistency of this hypothesis. Paper findings in the second criterion demonstrate the truthfulness probability for embodiment of the meaning of Tuba. Eventually the last criterion suggests that provided evidences cannot support the completeness of the hypothesis. All in all, this paper suggests that core concept of Tuba tree as the most truthful explanation for the meaning of studies domes.

The present paper is extracted from a purposeful research aiming at pondering on the recondite meaning of persistence in Iranian architecture during Islamic era and comparing it to the concept of sustainability and contemporary sustainable architecture. It seems that the literature is poor in terms of causes and factors of persistence in Iranian architecture. The limited literature in this area mostly includes descriptions of buildings and monuments of various periods of Iranian architecture. Due to closeness of the meanings of persistence and sustainability, no clear-cut border has been drawn between the two terms up to now. The present research aims at not only depicting the essential difference between the two terms of persistence and sustainability in Iranian Architecture, but also finding specifications and principles of persistent architecture and the factors affecting it. Therefore, this research is after finding the source and cause of persistence and perpetuity of Iranian architectural monuments inherited from old times. Iranian architecture has witness use of persistent patters that are being forgotten due to negligence on the part of contemporary Iranian architects as this valuable treasure and their passive acceptance of imported modern architecture.
Nowadays, one of the most important issues attracting Iranian architects is the necessity of persistence in contemporary architecture and revival of Iranian architecture. The authors of this paper hold that analysis of persistent and timeless architectural works and monuments for finding their common geometric patterns can help achieving a solution for grafting persistence on to architectural works. These phenomena play a significant role in the society from both cultural-structural and pragmatic aspects. It is noteworthy to say that finding patterns in common in persistent works doesn’t mean merely copying them, but, giving them rebirth in the modern world with due regard to the needs of modern people as many of Iranian architectural works have structural-physical elements that were persistent at their own time but have lost their use today and they are only inheritance for the coming generations and they are no longer live in their use. What needed most in the present era is not blind copying of the features of Iranian architecture, but is pondering on Iranian architecture and attempting to modernize its features.
In the present paper, first, the meanings of persistence and sustainability are presented and compared with each other and the viewpoints of scholars on persistence and sustainability are covered. The results of this research shows that living architecture is the cause of persistence and perpetuity of architecture in modern architecture as the case studies ChoghaZanbil Ziggurats, Naqsh -e- Jahan touristic - religious square, Tabriz Bazzar and Azadi Square can be mantioned. In terms of nature, this research is logical inference. Data was collected using library method and questionnaire techniques.
The research questions included: What is the principal difference between persistence and sustainability? What is the most important factor in persistence? What are the effective features and factors in persistence architecture? The results of this research suggest that the most important difference between persistence architecture and sustainable architecture is the factor of meaning and spirituality. Furthermore, regarding to culture, and use of persistent archetypes and ability to absorb addressees are among other differences between persistent architecture and sustainable architecture. It is noteworthy that meaning in this research is a factor that inspires value in the setting, engraves memories in addressee’s minds, creates an identity in the space and place and the addressee understands that the interconnectedness of elements and formation of space are incarnations of the values and concepts of a community expressed in an architectural form. Persistence in architecture is a form of timeless state of living and dynamism that is persistent and lasting. Living means physique and sprit together, not only the physique should be live, but also it should be associated with soul. Persistence is held a kind of historical and cultural continuation in a living body. Living body means a connection between past, present and future that forms identity. What making Iranian architecture persistent is regard to spirituality and expression of the people’s beliefs and culture in architecture that develops in the addressee and becomes perpetual. Nowadays, meaning is lost in architecture, as architect instead of paying attention to God, the origin of eternity, and the original needs of human being, as the caliph of God on earth, and cultural patterns that can be expressed in today’s forms with a little modification, views man connected with technology, tools and facilities which are all transient and consumptive in other words, tools have replaced targets. Based on the results of this research, the major difference between persistent architecture and sustainable architecture is disregard to meaning and emergence of spirituality that maintains culture, identity and cultural capital in any community. The things that can be admitted as a base to rely and creat a new architecture.

Abundant studies have shown that, spending and attending long-hours in health centers is regarded as a stressful experience for patients, visitors, and staffs. Therefore, many researchers have considered and noticed using the nature in health centers as an approach to decrease environmental stresses and improving the environment quality. Their findings denote the issue that using landscape and creating the possibility to access the nature for users of health centers can provide a calming environment and also would be effective in patient’s improvement process.

Now in the present study, in order to emphasize the use of nature in the country's health centers and to have a more profound look to the issue, role of the nature in human's healing and its reason, have been investigated using Islamic resources and by applying a descriptive-analytic method. Then, to provide a practical approach the possibility of implementing Persian garden pattern, as a healing garden in hospitals, has been evaluated.

At first, comprehensive characteristics of a healing garden in hospitals were explained and then by reviewing and analyzing the related scientific literatures, conformity of these characteristics to a Persian garden pattern were investigated through two approaches. 1- Description and analysis of the existing library documents
2- investigation of the experts’ attitude through a questionnaire.

In the research findings, the effect of nature on human’s health according to the Islamic sources was described and the causes of these effects were also mentioned. In the Islamic sources, abundant literature emphasizes and focuses on the positive effect of nature on human’s health and use of it for human’s healing is theoretically a proper issue. Thus, relationship with nature can play a positive role by guiding the internal sources of treatment in human, along with the medicine (external treatment sources). Findings of the present study indicate that this effect may be due to some reasons such as a common origin and existential domains and also stimulation of human’s powers and senses. Therefore, if human’s five senses emphasized in designing, effect of the nature on human’s health would be more effective.
Healing gardens are those gardens which do not only have aesthetic function, but also due to the association they make with users, they lead in healing of physical and especially mental patients and at a higher level, they prevent from illness in the human. According to article reviews, the following nine features can be mentioned as the characteristics of a healing garden in hospitals:1. Providing access to the nature and interaction with it
2. Creating an opportunity for selection, privacy and experience in having control over affairs
3. Creating an environment for getting together and social interaction
4. Creating a space for physical activity (walking)
5. Meeting others
6. Silence and being away from mechanical and machine noises
7. Peace and security
8. Readability
9. Creating positive and clear features
Comparative study of the pattern of Iranian gardens with the above-mentioned features was performed based on the evaluation of the existing documents, Iranian garden is an appropriate pattern to be applied in design ideas of healing gardens in hospitals.
Subsequently, experts’ views in this regard were investigated. According to the experts’ view, the most important result of this section of the study is the high level conformity (90/13%) of the Iranian gardens to the characteristics of a healing garden. The highest percentage of conformity related to the readability feature (98/2%) that distinguishes Iranian gardens from other patterns such as Japanese gardens.
According to the experts, after readability, “providing the accessibility to the nature and interacting with it” is the most important feature of the Iranian gardens in the present study. The reason for this may be the profound association of the Iranian gardens with plans and water, stimulation of all human’s senses by environmental factors, thoughtful selection and planting of flora.
In this study, two features of “creating an opportunity for selection, privacy and experience of having control over affairs” and “peace and security in Iranian gardens” had the lowest percentage of conformity (78/2 and 77/4%) based on the experts’ view. Of course, in general, higher than 75 percent of conformity indicates a high capability in providing the intended feature but the percentages of these two features being lower than other features can be attributed to the orthogonal geometry, symmetry and high readability of Iranian gardens. In a regular geometric pattern, there is a lower spatial diversity compared to what is observed in non-artificial nature or Japanese gardens. With respect to the high readability and clarity of the Iranian gardens, fewer cozy and far from public sight spaces have been formed and generally speaking, there are fewer private areas to be chosen by users.

Now, if it is decided to apply the pattern of Iranian gardens with a healing function in medical centers, in order to enhance the efficacy and efficiency of a garden, the designers are required to improve private areas and provide users with more spatial diversity for selection with committed innovation and adoption of thoughtful solutions. Moreover, the interested people and researchers can investigate reinforcement and improvement of the two features of “private areas” and “spatial diversity” in Iranian gardens as a useful research issue.

Iranian architecture follows various formal patterns, mostly had been worked in artistic pieces then worked to architectural structures. Deeply looking at motifs in artistic works and architectural plans, streaks of cosmological beliefs can be traced. Nonagon division of squares, "Chaharbagh" or "Chaharsofeh" plans can be among important ones. It seems that these patterns have been primarily used in the artistic motives such as pottery decorations before being evolved in the architectural forms. Nonagon division of square which was lately emerged in form of “nine-bay” plans can be found on the primitive motifs of Neolithic pottery decorations. Chaharbagh –four gardens- plan has been already illustrated on the Chalcolithic potteries which were found in Samarra before being used in landscape design of the historical era. However, proficiency of the Samarra potters in geometry and their awareness about the anatomy of some of the animals has been reflected in motives which were designed at the centre of the internal surface of the dishes. Some of these motives reminds the Chaharsofeh or four Ivan plans which is a typical design of the Iranian architecture in the later historical periods used in several palaces, caravanserais, schools and houses.
The present paper attempts to investigate mostly known Chaharsofeh plan. Although there have been varieties of studies in Iranian architecture, but there is not appropriate research on Chaharsofeh plan that resulted to lack of sufficient knowledge on relevant typology. As a fundamental research, present study naturally can be counted a historic-descriptive investigation, where data collected bibliographically. Collections of evidence were comparatively studied, analyzed, and interpreted. Conclusions indicate that there were ancient cosmology in such design and architecture, except ecological considerations. From one hand, cosmological Tetragonal division of the world, and on the other hand ancient beliefs that resemble the earth as "Chahartagi" that tended to center despite of regarding cardinal orientations formed and flourished the design and similar ones. Studies on several valid historic texts indicate that "Chahartagh" label has been used for various monuments, however, it explain and describe an architecture embodiment, but as architectural pattern or a design label it never signal evidences. Chaharsofeh design is appropriately compatible to Iranian architecture and responded to varieties of functions, and at the same time, covered ecological and environmental requirements of architects. It is categorized within two groups first with yard and second without it. First group remained as "four porticos" design in characteristic standard from earlier formation to recent centuries. First samples of such designs were presented at Achamenid architecture at "Treasure' section of Persepolis and "No. 3 Building" at Dahaneh Qolaman. Later, it was worked at Parthian period at Assyria Palace with a vaulted type and at Sassanid period as well. During the Islamic period and specifically in 14th century, this plan was so common that a mosque could not be imagined otherwise. It was dominant model in numerous Iranian houses, caravanserais and schools in Iranian central plateau and introduced "Chaharsofeh Style" to Iranian architecture. Several schools and tombs somewhat followed the design. The other grope subdivided to two groups firstly, the general design multiply at number 5, while the other signals the structure embodiment in a nonagon division. Known domical structures generally related to first group. It was experienced firstly at formalities hall of Bishapur Palace, dated to earlier Sassanid times, and vastly was used at domical structures of later Islamic buildings of medieval periods. The second group is in difference with "introvert nonagon domes" pattern and multiplied at nine. It divided to two itself: some vary functionally with a focal dome and peripheral chambers and small Chaharsofehs, where from exterior there can be seen a small dome from each angle. Although designs on some Sassanid vessels confirm usage of the design in elite architecture of the period, the first examples of such designs come from Sassanid fire temples. It used at some mosques' plan, several baths, several pavilions and tombs in Islamic periods. Although, this architectural standard was developed in Sassanid period, glorious evolution of this architecture occurred in later Islamic period in a way that was never experienced before. Architects and designers of the Othmanid period, specifically “Senan” developed this style in the most magnificent way. Symbolic and advertising features of this architectural style of Othmanid period is significantly sensible in the mosques such as “Shahzadeh” and “Sultan Ahmad” and developed unique masterpieces in the introvert style. Examples of this style have been found with four domes at the four corners while the buildings structure has been divided into five sections. Symbolic examples of this type are the tombs of Samanid governors in Bukhara.
At second group, nonagon type, there is relatively big Chaharsofeh with four vaulted chambers around central dome house. Several mountainous castles mountainous, plain and coastal Karvanisarais, and small road cafes also constructed on the design.

Monuments and historical fabrics of each country are like a comprehensive mirror of all the principles and values of the community to showcase its ruling. One of most important principle in traditional architecture of Iran, especially after entrance of Islam, is privacy that has been deep impact on the formation of historical urban and rural spaces. Therefore the recognition of this principle in the formation of neighborhoods and homes and spaces associated with them are particular importance as the territory of residence.
The entrance which is located on the border between inside and outside of the House measures has the most important privacy impact on the shaping of residential space that it’s neglecting under the influence of developments in urban and rural area of the country, leads to several problems in residential space. To the best of our knowledge, there are a lot of studies in the context of entrance space in hierarchical fabric. The most of these studies have reviewed the visual and functional features, but none of these studies have considered the interaction of entrance space with the most important adjacent public space, i.e. passages and their function in the hierarchical access network. The study of this issue is important in two ways first, this study considers the impact of different levels of generality of passages on the formation of entrance space according to protecting interior space privacy second, this study mentions the impact of this space and its location on protecting adjacent space privacy and surveillance of the public realm.
The aim of this paper is to identify and introduce the homes entrance space of the Laft harbor as an example of a village with historical fabrics of country, which is including two feathers of compression and restriction as its characteristics for investigating of position and the role of entry spaces in articulating of the privacy principle.
In this regard, in addition to pondering of written resources, discovery and field studies in order to take samples and determine the species has been used.
Based on these findings, there are three general types of entrance space under, the entrance space formed in the main passage, the entrance space formed in the narrow area of main passage and main entrance located at the side and dead-end street was identified. Pir-Neshin pattern is the first and the most complete entrance type in wide area of main passage with the width of 4-7 meters. This pattern prevails in the historical fabric of Laft. The second type of entrance space that includes a variety of patterns without Pir-Neshin is observable in the narrow area of main passage with the width of 2.80-4 meters. The third type is the simple entrance which is observable in the side and dead-end streets with the width of 1-3 meters.
In this paper, privacy is studied from physical viewpoint in three forms first, entrance space location in public passages second, physical component and its proportion and their impact on visibility control from adjacent passage third, the role of entrance as a community entrance placed on the joint point of side passages and public space. Then with preparing of privacy principle and control the vision, principles of positioning, performance and proportions of each species were investigated and consequently principles and innovations in this space were defined. Following as a result of this research was presented:Check the physical developments in relation to the width of the input space and place it against the password field in the access network hierarchy, indicating that whatever adjacent space width and general ferryboat is decreased, the components and key dimensions of input space are also reduced.
With exploring the physical effect of written forms in the realm of General ferryboat, the ability and any particular role of component to control in the sight of the entrance door of the House was exhibited as a starting point of private realm. The deep impact of some simple forms on increasing of homes realm as one of the unique inventions of ancient architecture of loft was revealed to overcome the limitations of network communication and the creation of the related input space.
With clever positioning of public inputs in the public realm, in addition to preserving the privacy and strong ties to the neighborhood, the entrance of certain area can be defined as well as public realm.

Immovable inscriptions are considered as one of the most important works and among the historical documents in cultural assets of our dear country, which were installed on selected parts of historical buildings and outstanding monuments and were always noticeable. The role of inscriptions as the basic and effective tools is important in terms of manifesting and implication of educational and educative also the identity, construction date, founder, names of masters and artists of the building, especially its architect, and other information that may change based on the importance and situation of the building.
The inscriptions show an integration of other arts, the most important of which is calligraphy and we can find its importance in the verses descended to our prophet (Muhammad, peace be upon him) -the first in Alagh Chapter the first chapter descended to prophet- that reminds the human that from whom has he learned writing and the second in Ghalam Chapter, swear to pen and what it writes. In this study, we intend to have a research about immovable inscription documents of Tabriz Historic Bazaar Complex using descriptive- analytical method documented by field studies and have a review on importance and characteristics of script and calligraphy in bringing inscription art to its highest peak and decipher the contents hidden in them.
Here, Tabriz Historic Bazaar with the area of more than 27 hectares and more than 160 architectural elements is the greatest national registered work and the largest brick conjunct roofed historical complex of the world (registered in World Heritage List of UNESCO as “Tabriz Historic Bazaar Complex” in 2010).
Tabriz Bazaar as a complete urban block (with different commercial, religious, cultural, educational, health, sport and residential complexes) is a unique sample of urban development elements of Islamic era. As most of famous historians and tourists have described it and told. Marco Polo reports on variation of goods and commodities made in Tabriz in the second half of Hijri century (1271) and mentions the great hidden wealth in Tabriz Bazaar and continues the residents of Tabriz made their living through trading and providing of different commodities. Beside the historical documents we witness the stone, plaster and tile inscriptive documents in different parts of Tabriz Historic Bazaar Complex that prove the identity and authenticity and existence of the complex with their different contents. These inscriptive documents have an important role in saving of information and communication of thoughts, ideas and human civilization from previous generations to the present generation. So, the described importance of deciphering of inscription documents’ contents as immovable documents in Tabriz Historic Bazaar resulted in making a research on them in order to analyze their contents and concepts beside documentation of their shapes.
On the whole, the thing that expresses the contents and concepts of an inscriptive document is detected through an intermediate art called “script”, which is in fact an art or tool to register and write the mentalities and thoughts using the signs that are familiar to eyes. In fact, from the moment that human attempted to draw what he thinks, he took steps to the world of script and writing, from the paintings on the walls of caves up to Ancient Egyptian hieroglyphic lines and its evolution during the history until invention of script and calligraphy and transferring it on inscription documents. The scripts used on Iranian inscription documents are divided into two categories: script in pre-Islamic era and script after accepting Islam by Iranians. The inscript documents studies here are relevant to the second type of script (script after accepting Islam).
This study deals with deciphering of the shape and contents of inscript documents and their concepts and a description of the building, place of installation of inscript documents and deciphering of their contents are hinted in this study and the results obtained from analysis are mentioned. The present research is a field study and deciphering of forms are conducted using “Charmebardari” -a technique for primary sampling of designs and scripts of inscriptive documents and architectural decorations- at the end using computer software.
At the end the results obtained from interpreted concepts of inscriptive documents’ deciphering contained very important and valuable information about the society at the time of creating that inscription document which can be categorized in two groups: the first group encompasses the spiritual concepts and the second group encompasses the applied concepts and each group is divided into subgroups and components (diagram1). Drawing the analytical diagram of the mentioned concepts we can clearly understand the existence of precise principles and order, which are intelligently applied in management of cities during Islamic era and have shown the society a transcendental way with wisely integration (in spiritual and applied concepts) of world and other worldly issues in order for accomplishment of those objectives taking advantages of the primary and basic principles of Islam.
Here, the religious architecture, as a whole, and inscriptive documents, as a part of it, have been able to be a manifestation of God in the space of Islamic architecture with their dual application both in their own nature and with words contained in them.