فصلنامه نقش جهان - مطالعات نظری و فناوری های نوین معماری و شهرسازی
سال چهارم شماره 1 (پیاپی 6، بهار 1393)

Association between form and meaning in Islamic Art and Architecture is a category which is impressible from the cosmological foundations of Islam. The kind that، the relationship between form and content is the same as spirit and body، and the matter is getting its honor from the munificence of meaning. Accordingly، it can be said that the form of the work in Islamic Art is the embodied image of meaning and content، and reflects our beliefs and religious truths. These meanings are rooted in the divine realm and Muslim Artist is capable to provide them with intuition and self-revelation as form and different shapes of Art، and by this act would leads man to the higher dignity of existence، and ultimately to the transcendental unity. Islamic Art، in complete، is the abstract، transcendent، and mysterious art reflecting religious basis. Prayers and traditional rituals in Islamic world are also mysterious embodied in the environment and places of worship. Altar as a worship space in religious monuments has a dual identity. While، it is considered as a worship space to prayer and religious practice، it has an arrays and decorative elements too. So، it would be placed among the sacred arts which come from the theme of spiritual realities، and it has a structure which is predicated to the religious meanings. The present study has followed the structural and conceptual analysis of decorative elements used in the luster altar of Imam Reza Holy shrine and By investigating them not only to discover inserted meaning of them، also pay attention to interpretive statement about the relationship between these elements with religious concepts and ritual meaning on the one hand، and the time and place Identity of the altar، on the other hand. This luster tiles’ altar with over 700 years of antiquity، is consider as one of the fine works and masterpieces of Islamic- Iranian art and architecture. This altar، at 273 × 220 cm، has been made as mezzo-relievo by use of luster tile and in the past، it had been fixed on the Southwest wall of holy shrine before the face of Imam Reza (AS). This valuable work has been made in Kashan at the 612 BC، by Muhammad Ibn Abi Tahir، one of the Shiite’ Artists in Kharazmshahian period. The Altar has three arches and two border around them which has been drawn a line of turquoise tile on the outer margin of it. Every three arches have inscriptive margins. At the first، form and structure of this Altar would be investigated in a descriptive manner and by giving a linear plot of the hidden geometry of it we would briefly introduce the Inscriptions and the themes used in them. In the main part of the study، structure، decorations، and themes raised in the inscriptions would be studied in an analytical، interpretive، and historical manner. In the surveys which have been done، we didn’t find any research that in detail pay attention to this subject. In some cases، the authors of Astan Quds and the holy shrine of Imam Reza (AS) have mentioned this Altar in their history books and some of them have also described it. Scholars of Islamic art like Watson in Persian Luster Ware and Porter in Islamic tiles have also briefly introduced it. The brief result of research reveals that Islamic architecture، especially sacred architecture، is a manifestation of divine beauties and a glowing example of a combination of symbolic forms associated with our deep meanings and beliefs، so we believe that this relationship can be expressed in the deepest mysterious levels of this Altar. Each of the decorative elements used in the sanctuary، Such as colors، arches، paintings، lines and scrolls، pilaster، and Mogharnas، in shape and their structure، reflects spiritual realities and meanings that the Knowledge of them had been possible to a worshiper during the prayer by passing the formal universe to the divine world. These meanings reflected from the divine world، and manifest the concepts such as the presence of God، resurrection، release from Nether world and ascension into the celestial world، twinkle of divine light، transcendental unity، meditation and inner purification. These concepts are very close to prayer and ritual activities. The general structure of the altar with triple arch and salient pilaster reflects the original states of prayer in one hand، and the spatial visualization of prostration on the other hand. Consecration of the Holy shrine to the Word of God، to induce discipline and unity of existence، inward focus and spiritual stability، constant repetition and remembrance of God into the heart of the prayers are considered as a most important function of structure، motifs and inscriptions engraved on the altar. These elements by creating the beauty، order and unity are able to influence on the spirit of worshiper and bring to him the Coordinate space for perception of lofty spiritual concepts. explicit beckon to the time of daily prayers in the outermost edge of the Altar، change the kiblah direction، Authentic hadith mentioned in the dignity and greatness of Imam Reza، the message of peace and victory for the Muslims، Humility in prayer، emphasizing the superiority of Islam are the themes raised in the inscriptions of the altar and mostly shows Shiite tendencies. Finally، It can be said that the choice of text and decorations have been done in proportion to the identity of Altar and location of it in the shrine of Imam Reza (AS)، Social and religious conditions of early seventh century AH and boost the morale of Shiite minority against the constraints and possible problems. In simple terms، they are affected by the cultural، religious and doctrinal conditions of its period of emergence. In addition، we can achieve the unique comparative fit between contents of Inscriptions and decorative elements of the altar. As if here، designs are the visual translation of the texts، and Heavenly and divine meanings of each one indicates to empathy between scripts and motifs in the realization of an Islamic fine work.

Targeting followed by pattern making and planning to reach to goals is a necessity in all societies. Urban planning، as a subject expressing interactions between mankind، culture، living style and environment، plays an important role in reaching to the Islamic society goals along with keeping the original identity and promoting the culture and ethics، and consequently is very important in preparing a local model based on the Islamic teachings appropriate to the Islamic-Iranian context. Islam has paid special attention to social issues; just do not discuss individual aspects only. Way to achieve prosperity has been the establishment of an Islamic community and Change and growth، resulting in a society where people of all decisions and activities have been. In the Quran، Allah does not change the destiny of any nation unless they themselves. Issues such as community participation، social justice and components - such as these are placed on the social dimension of the Quran and hadiths emphasize. On the other hand Iran has long ago been important social issues and it has Construction of public buildings in the city and had a significant role. In this paper، after reviewing the literature about the social aspects of urban planning، we explained the social components of Islamic-Iranian urban planning pattern of progress. Accordingly، factors like security، social justice، health، neighborhood etc. were introduced as the important elements in social considerations of Islamic-Iranian urban planning pattern، based on Islamic teachings and Islamic-Iranian urban planning history and background. Each of the components of the urban social Iran - Islamic has a different degree of importance،some components may all components in its place and Or even creator them to be. The components and their corresponding degree of importance based on Islamic perspectives are examined. The social concepts such as privacy، health، social justice، security، peace and tranquility and also emphasized the teachings of Islam and the Islamic Republic of Iran has been in the planning And can serve as guides and tips for Islamic and Iranian urban spaces، enhanced quality of life، increased social interaction، participation of residents in the neighborhood، social justice and economic prosperity can be used. Create a semantic framework that is based on the principles expressed in the social body based on the ideas of God and to lead. Therefore، the physical space of architecture and urbanism in shaping the framework and components manufacturer must identify and examine their relationships and to build on the structure of the physical space of cities. Urban planning، urban design، architecture and industrial design matters and social climate will affect the Iranian Islamic cities. These components are not only social prosperity،social equity،increase physical qualities، enhancing the sense of belonging to the environment، but also contribute to the increased value of land، recreating the old quarters of cities and economic issues influence is remarkable. Urban pattern recognition component of Islamic and Iranian decision-makers and decision-makers، the public،and what to get rid of the confusion of spiritual and material life of man،it is important to define it.

Throughout history، the Persian Garden Concept has provided a dynamic basis for various thoughts and paradigms. It has been acknowledged in shaping the natural and built environment of vast expanded territories from the Persian Empire in the East to the Andalusia culture (Spain) in the West. It has influenced many functional places، and emerged in the forms of Shrine garden، Courtyard gardens، School gardens، and so on. The Persian Garden idea therefore، presents a comprehensive and integrated process and multi-level systems of structure and function i. e. geometrical، spatial، meaning، feeling، space، place، locality، ecosystem and climate، and habitat within specific culture. Such process consequently led to the making a genius loci، and or spirit of place in different situations. Design and Building the Persian garden therefore، should not merely reproducing or imitating its structural form; which seen as a naive view to Persian garden order to a broader extent. It would rather need careful attention of researchers and designers in their investigations. Unfortunately، this ancient architectural prototype has been subject to ignorance in recent decades. And its vital role is forgotten in our modern cities and societies’ life. This in turn has led to the fact that these spaces being turned into the abandoned spaces with no involvement into the people and societies daily life. In some other cases the changes in the gardens’ function may turn them into the museums for leisure and recreation usages. However، historical evidences indicate that there have not been such usages observed for the Persian gardens. Investigation of the Persian Garden concepts and design patterns reveals its total adaptation and full relationship with dynamic urban life as well as contextual parameters، ecosystems and climate conditions. The main question in this research therefore، is how to restore the missing roles and functions of Persian gardens and how it could adjust to the modern cities land use; while maintaining their ecological functions into the greater surrounding ecosystems and structures. This research tries to find solutions for the re-generation of Persian garden philosophy and its applications into modern cities as a new prototype for Iranian-Islamic-Garden-city which will be termed as “Thematic Gardens” idea. The study investigated firstly، the usage of this ancient paradigm beyond its physical and structural entity. It sought for its socio-cultural context with other land-uses in the contemporary cities. The literature review suggested that man-landscape relation has a long history and its roots can be traced in different cultures. Today، it is believed that natural environment can help to reduce stresses for urban societies. Using natural elements like water، trees and plants، wind and sun in design and shaping our environment are seen important in creating balanced and tranquil spaces; and enhancing wellbeing and mental health of people particularly in urban areas. There are arguments on the power of nature and natural elements in eliminating thinking and that people’s negative thought could be turned into positive if they are in close relation with natural atmospheres or attracted to the natural features. The Persian garden paradigm is seen by some researchers as an attempt to shape a symbolic/spiritual man-made space beyond aesthetic and spatial values. They maintain that Persian garden has been made to help in establishing a better and tied man-nature relations. In contrast، some other emphasized on the wise combination of water، plants and building (pavilion). On the other hand، there are agreements over the fact of Persian garden being viewed as a synthesis of Iranian tradition، ideology، culture، needs، function، context and climatic considerations that are put together through a creative design and planning approach. Despite its affordability and functionality in the past، fewer attempts have been made to regenerate genuine Persian garden ideas and design principles، and put their beneficial characters in practice in the modern or contemporary cities’ structure. Some reasons for this are claimed the economic forces and costly land designation، and partly due to the limits on urban land for such usages. Under circumstances، the paper discusses the opportunity of the most derelict land-uses and abandoned urban parks as potential for this purpose. With a new approach to re-create and reproduce essence of Persian garden tradition for modern citizens’ life، and ecological improvement of urban areas this research then، presents the findings on the quality of perception and identification of gardens by viewers، and the sense of place، and its semantic layers in order to take their advantages in designing contemporary urban landscapes and green public open spaces through thematic and conceptual approach. Whereas، the land economic values in cities regarded as one of major challenges to increase the amount of green space per capita especially in metropolitan areas، findings of the research shows that long distance between home and parks، and monotonous dull and repetitive greenery design of the parks make these places less attractive، less functional and meaningless for the people. These shortcomings may be overcome through conceptual and thematic gardens approach based on Persian gardens idea. Evidence from this research show that thematic gardens approach might fulfill the contemporary needs of citizens through their integrated geographical distribution، coping with other land-uses. Other advantages are including: easy access for the residents، help the diversity of the urban green spaces and parks، use of native or local plants، as well as enhancing the local neighborhood identity، and encouraging sustainable and ecological design. Application of the thematic gardens approach may help in turning the current unattractive، less desirable parks into dynamic، livable، viable urban spaces، as well as creating environmentally responsive and functional places that provide a medium for promotion of both society’s basic needs and quality of life. Thematic gardens in city might lead to the improvement of environmental conditions، enhancing cultural values and economic considerations based on neighborhood context and capacity. A variety of examples and themes are given as: the book garden، philosophy garden، culture garden، botanical garden، and recreation garden. Other orientation systems and involvement of senses systems are discussed as two principles in detail.

Respect and reverence for water and trees is institutionalized in ancient civilizations of Iran. Iranian people respect trees and water، both separately and in composite forms as gardens، which have been a well-known cultural value both before and after Islam. The oldest Persian garden that have been discovered dates back to the Achaemenid Empire and the quadripartite gardens (charbagh) of Pasargadae. By studying about existent historic gardens، Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. Values، norms and traditions are amongst the most specific characters of a given culture. These characteristics at any society transmitted from one generation to the other and people get used to them. Therefore، people do not simply accept to change their own cultural attributes and substitute them with those of others. But when two or more societies are close to one another as neighbors; or if not close geographically، in the case of having close economic، social or political ties for a long time، they gradually tend to accept a number of each others'' cultural attributes. Here، in this article، Persian culture has been selected before and after Islam and its influences have been studied through the Persian Garden symbolism. The، ancient Iranians had a lot of respect and admiration for natural waters and trees، alone or together، as one of their greatest cultural values in pre or post Islamic periods. In ancient civilization of Iran، plants have had special position. Life-giving، young giving، productivity and Immortality are some supernatural powers that had been in some trees and made، they have been sacred for Ancient Iranian people. In addition، some plants were important because they were Herbaceous Gods and some others were sacred because their usage in religious ceremony. Some trees such as Platanus، Cedar، Grapevine and Pomegranate were symbolic and sometimes they were been holy and life given. However، attending to supernatural power of plants، was been because of people have regarded to plants. This regarding to plants has caused some symbols such as “Life Tree” created. After Islam، ‘Heaven’ became an important concept that made a big change to the Persian garden. Many heavenly features highlighted by the Quran – such as greenery، freshness and immortality، walls، doors and the emphasis on centricity – were all used to make the Persian garden design successfully combine artificiality with naturalness. The oldest Persian garden so far found dates back to the Achaemenid Empire (550-300 B. C.) and the Pasargadae quadrants، both indicating the antiquity of garden-designing in Iran. The innovations of this were copied widely and with more complexity، in all subsequent Persian and Islamic gardens being clearly evident during the Sassanid Dynasty (224-651 AD) and later in Islamic period. By studying about existent historic gardens، Persian Gardens are divided into different types. The way people use special physical and functional features could also be used as a scale of this division. In the fifteenth century، the Safavids converted to Shi’ism and established Shi’a (The second largest denomination of Islam، after Sunni Islam) as the official religion of their empire. The Islamic concept of the Ideal City، formed according to the Garden of Eden، was taken into consideration in the Safavid period. Gardens as parables of Heaven were often used as composing elements in urban design. This idea resulted in the formation of a powerful method of city planning that drew its conclusions from Shi’a ideology about the human place in the physical world and the Islamic concept of the Ideal City. Urban designers used the ideas of Heaven in small and large-scale gardens and used heavenly features as composition elements to create the city. Thus، the city was formed as an image of Heaven. It was a suitable place for people as surrogates of God in the world. Persian garden always have had relation to the religious believes. In this paper the subject has researched in Persian gardens symbols. Therefore، focusing on the symbols، their types and also their presence in Persian garden is under our study. According to the relationship between holiness of garden and gardening with religious believes، this subject has been studied during two separated sections، before and after Islam. However، the emphasis is on the Islamic Period. It seems Iranian gardener artist during different historical periods، tried increasing the relationship between human، nature and function. They used symbols to reinforce the implication of place thus; incoming of Islam can be the reference point by this vision. Islam incoming in Iran and other parts of the world included some message as equality of humans، thought liberty etc. These messages have accepted by stratum and impress societies of that period. Moslem artists created great revelution in art، architecture and gardening by this new ideology. This subject could be studied from two visions of how and purpose of symbols usage. This subject will review in some sections of this paper. Traditional artists have been tried by using symbolic language; speak about physical and metaphysical concepts. In addition، gardener artists have used that language in design process. Therefore، they have used some natural and artificial elements and numberic symbols in physical and spatial structure design that was related with their religious believes. Thus this topic with emphasise on Islamic Persian Garden have studied in this article. The symbols، which have used in Islamic Persian Garden، could be studied in two general sections of generic and specific symbols. As main elements، Generic symbols have been created the identity and fabric of Persian garden before and after Islam. However، specific symbols have definded by religious belives of people who made them and therefore have used in different types during various times. The results help، to introduce and to preserve the physical and structural symbols of garden design in Islamic Period in Iran. In this paper، analytical descriptive research method has been used and the data were collected by library research and Field Studies.

Paying little attention to the identity of Iranian architecture is one of the problems of contemporary architecture of Iran which has caused the absence of a precise definition of Identifying criteria in contemporary architecture of Iran; so that diversity of selected views is one of the main features of this architecture. Perhaps it can be said that many Iranian architects design without codified principles and even without theoretical knowledge and precise understanding of mental concepts in different styles. However، the lack of attention to values of Iranian traditional architecture is followed by eclecticism crisis in contemporary architecture. The questions raised in this context is whether a new definition of architecture can be given by examining the thoughts and opinions of Iranian philosophers like Mulla Sadra gave a new definition of architecture and whether according to their theories outlined principles Can be codified for contemporary architecture? The general approach in this research which intends to paraphrase the ideas of Mulla Sadra in contemporary architecture is Interpretative - historical and descriptive. The research data are derived mainly through observation and documentary studies. The results indicate that by using Mulla Sadra''s definitions of being (al-wujud) and essence (mahiyyat) we can have a new defined view at architecture. As Sadra considers all phenomena in two dimensions، architecture also has both being and essence aspects. The essence of architecture responds to material needs and its being is a truth which architecture maintains and brings it to presence. Indeed، the Physics of architecture is the essence of architecture (mahiyyat) and the valuable concepts underlying the architectural Physics are the being of architecture (al-wujud). Considering Mulla Sadra''s primary of being (asalat al-wujud) we can conclude that there is also primary of being in architecture. Of course this does not mean that the architect who cares about the being of architecture pays no attention to the essence of architecture. It means that the architect who cares about the being of architecture tries to discover and understand the being of traditional architecture and to present it in a new body which is appropriate for today''s architecture. Therefore by regarding the Principles of Mulla Sadra''s thought and practice used to achieve the roots of his philosophy، principles can be formulated for architectural design. The principles are formed in order to achieve the lofty goal of traditional Iranian architecture and they attend guide and direct the audience attention toward the pure being (God). Using concepts as inspiration and metaphor and manifestation of the light can be useful to achieve this goal. These concepts are the essential to make the basis clear for contemporary architecture and shows that we can achieve our goals for contemporary architecture of Iran in the same way that Mulla Sadra was able to resurrect the underlying concepts of traditional philosophy. From the perspective of al- wujud ontology، the first target of architecture is to show the truth of being essences; to show the being within the essences without them there is no sense of architecture. If we consider the context of architecture as an activity consisting of a combination of emotion and symbolic meanings، according to Mulla Sadra''s method، architecture must accommodate itself to life as a significant whole. In this case the main task for architects will be to shape living spaces and to create necessary content for human presence (al-hozur) and to provide features for human identification. So there is no doubt that one of the main goals for architecture is to create the perfect place and to promote the human presence (al-hozur). Architecture is the genuine sense of human presence (al-hozur)، and it may be understood by the human presence (al-hozur). Creation of art is a kind of creation that its nature is extracted from god. According to Mulla Sadra''s principles، man unites with his artwork and then the truth would emerge. Architecture is a part of the whole art that tends to reveal the being (al-wojud). From the perspective of being and essence (al-mahiyyat) architecture itself is consisted from two sides; one side is being and the other is essence. And the perception of its essence is possible because of its being: but the being of architecture obtains its existence from the creator and so architecture is always in compliance with its creator''s rank of being (mrateb al-wojud). In this theory the origin of architecture is the being of architecture (al-wojud) and the essence of architecture (al-mahiyyat) is manifested through its being. If the architect is higher in the rank of being his designs will also be higher and more spiritual. Therefore as mentioned، there is no doubt that one of the main goals for architecture is to create the perfect place and to promote the human presence (al-hozur). To improve the rank of human being by the effect of space is among the most sublime objectives of architecture. According to al-wojud Philosophy and Mulla Sadra، when an architect designs the different parts and details of a building it is necessary to emphasize the overall structure of notion and so the overall structure of space and of the geometry which is known as the architecture generator. The two mentioned elements are such abstractions in architecture and to emphasize them is to help us accept the concepts and principles of the being (al-wojud) for the prospective architecture considering the variables that influence it. This structure is basically a coded architecture. Since al-hikmat al-mota''alie is based on alhikmat al-eshragh and in alhikmat al-eshragh god or al-wajeb al-wojud is equal to the absolute light، therefore the light manifested in architecture، is an allegory of al-wajeb al-wojud or god. The sublime architecture upgrades man to the level of meaning and wisdom and leads him toward the perception of al-wajeb al-wojud. Architecture answers to this character of perception by metaphor. According to Sadra''s point of view Subscription between the human spirit and architecture is required so that the presence of pure meaning in human perception is based on the human presence (al-hozur) itself.

Sheykh Shahāb ad-Dīn Suhrawardī، as one of the great Moslem philosophers and theologian، founded his philosophy upon the doctrine of Illuminationism. His theories and teachings have deeply influenced the beliefs and performances of the Iranian artists. In view of this، the present research aims at investigating Suhravardī’s understanding of Illuminationism and hierarchy of lights. It also tries to trace manifestations of the khorrah light (or the Divine Light)، which was of utmost significance in Suhravardī’s doctrine of Illuminationism، in the art of architecture. Finally، it is tried to answer the question “Which elements signify the manifestation of the Light - as conceived of in the Illuminationist Philosophy – in the Iranian-Islamic architecture?” Sheykh of Ishrāq [Suhrawardī] called God ‘the Light of All Lights’ [Nūr-ul-Anwār] and believed that the heaven and earth are made of God’s light; and all beings enjoy His light in proportion to their closeness to His light. He also believed that the light as existing at the stages of sense and matter is inferior to the light that exists in the more exalted stages. That is to say، the closer one gets to the Source of Light - ‘the Light of All Lights’ [Nūr-ul-Anwār] – the purer and brighter the light they get will be. Therefore، separation from the matter translates into moving and getting elevated toward the Source of Being and the Light of Existence and avoiding the lowest levels of existence and shadows. Furthermore، there is an eternal tie between art and philosophy/wisdom. The reason is that they are both perceived intuitively and expressed enigmatically. Therefore، it is through meditation and self-discipline that an artist may attain at that angel-like insight، which is the source of all celestial arts. Such works of arts are the fruits of an artist’s quest in the spiritual world and intuitive perception of the truths there. Like the Divine Knowledge and the doctrine of Illuminationism، the traditional art is expressed in the language of enigma، the very characteristic feature that enables it to establish an association between the most far-fetched inward concepts and the most superficial level of the existence in the outward world. From the above perspective، light is considered the symbol of existence in the sphere of the Islamic Architecture; and due to the fact that the mosque، regarded as the heart of the Islamic Architecture، is where all the secrets and mysteries of this architecture is manifested، the present article deals with the symbols of light in the architecture of mosques. The doctrine of Illuminationism propagated by Suhrawardī and other Illuminationist philosophers has influenced the Iranian culture and art (particularly، during the Timurid and Safavid rules، when Sheykh ‘s ideas were in their heyday). As one can obviously see in their works، Iranian architects had a spiritual approach toward light، like the Illuminationist philosophers of their homeland did. Manifestation of the Divine Light in the form of words of Azān [the Call for Prayers] from minarets، provision of light through envisaging lamps in the epicenter of mihrabs (i. e.، the mishkāt)، installation of Koranic tablets containing verses from the Nūr Chapter، and the arch-shaped mihrabs and the muqarnases therein…، they all appear to be the incarnation of lights، which symbolize the stage on which the Divine Lights shine. Application of ‘shamsehs’، the arrangement of skylights on the domes، the muqarnases that absorb the light and diffuse it delicately، the latticed windows that let pass the light، the reflection of the light in the bright enameled tiles، continuous vaults، and the colorful glasses، which signify the unity in diversity with their harmonious colors functioning as a medium of transmitting the light، and presence of yellow and gold colors symbolizing the Light of All Lights [Nūr-ul-Anwār] in the terrestrial world…، they all substantiate the fact that the Iranian architects had an Illuniationist viewpoint and practiced under the influence of that doctrine Because the Iranian Architecture is all about light and illumination. The survival of everything hinges upon light. For the purpose of this research، data and information were collected through documentation، the research was conducted on a descriptive basis، and the analysis was made in an analytical fashion. Based on the results obtained، no symbol or manifestation compares to the light in terms of its affinity and propinquity with the Divine Unity. For the same reason، the Muslim Iranian architects have tried their best to use light in whatever they created. Elements like the minarets، mihrabs، muqarnas [corbels]، tiles، continuous vaults، colorful glass، and conspicuous presence of yellow and gold colors are all symbols of the Light of All Lights [Nūr-ul-Anwār]. In like manner، the concept of ‘Khorrah’ or the Divine Light has manifested itself in architecture through ‘Shamseh’ and application of latticed surfaces like luminous halos under the domes in the Iranian-Islamic architecture. Therefore، the role of light in the Islamic architecture is to symbolize the Principle of [divine] Manifestation. The utmost function of the elements applied in the architecture is manifestation of God; that is، ‘the Light، and the manifestation of the Ubiquitous Light of the firmaments and the earth، that is، the Only True Being. That is why the Iranian architects would try their best to use the element of light in whatever they created. One of the fundamental notions in Iranian’s Doctrine of Illuminationism on which Suhrawardī placed primary emphasis، is the notion of ‘Khorrah’. ‘Khorrah’ signifies observation of the Divine Lights by the spiritual wayfarers [sālek] in course of their spiritual journey. In the traditional art of Persian miniature، khorrah was is delineated as a halo around the heads of the characters. In architecture، the same has been demonstrated in the form of ‘Shamseh’. The circular layout of the skylights under the domes and the way light enters through the latticed windows clearly conjure up the image of a luminary halo in an emphatic mode. Manifestation of the khorrah light in the form of shamsehs and the skylights of the mosque domes can be regarded as another significant finding of this study.