Abstract: Architecture in Iran has a continuous history from at least 5000 BC to the present, and numerous Iranian pre-Islamic elements have contributed significantly to the formation of Islamic art. At first, decoration was limited to small objects and containers and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, which was prevalent in the form of motifs (animals and plants) in pre-Islam, was used in the aftermath of Islam with the art of calligraphy in decorations. The splendor and beauty of Iranian architecture, especially during the Islamic era, are related to decoration and design. After the invasion of Iran by the Arabs and the introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy decoration of the mosques in Iran. The principles of aesthetics in the art of calligraphy in Iran are based precisely on the principles of the beauty of ancient Iranian and Islamic art. On the other hand, after Islam, calligraphy was one of the most important sources of Islamic art in Islam and one of the important features of Islamic culture. First, the calligraphy had no cultural meaning and was only for decoration and beautification, it had the same meaning only in the inscriptions; however, over time, it became meaningful. This article provides a summary of the history of calligraphy in the mosques (from the entrance to Islam until the Safavid period), which cannot ignore the role of the calligraphy in their decorative ideas; and also, the important role that decorative elements play in creating a public space in terms of social and aesthetic performance. This study was conducted using library studies and field studies. The purpose of this study is to show the characteristics of architecture and art of decorations in Iran, especially in the mosque's architecture, which reaches the pinnacle of progress. We will see that religious beliefs and artistic practices are merging and trying to bring a single concept.
Abstract: Iran has diverse climates and each have established distinct properties in their area. The extent and intensity of climatic factors effects on the lives of people living in various regions of Iran is so great that it cannot be simply ignored. In a large part of Iran known as the Central Plateau there is no precipitation for more than half of the year and dry weather and scarcity of fresh water pose an ever present problem for the people of these regions while in north of Iran upon the southern shores of the Caspian Sea the people face 80% humidity caused by the sea and 2 meters of annual precipitation. This article tries to review the past experiences of local architecture of Iran-s various regions so that they can be used to reshape and redirect the urban areas and structure of Iran-s current cities to provide environmental comfort by minimum use of fossil fuels.
Abstract: The architecture of Safavid Dynasty can be considered the epitome of Iranian architectural beauty. Safavid dynasty (1501- 1722 AC) along with Ottoman in Turkey and Mughal Empire in India were the three great Islamic nations of their time (1500 AC) often known as the last Islamic countries with international authority up to the 20th Century. This era approximately coincide with Renaissance in Europe. In this era, large European countries begin amassing power thanks to significant scientific, cultural and religious revolutions of that time and colonizing nations such as England, Spain and Portugal began to influence international trends with in an increasing while other non-industrial nations diminished. The main objective of this paper is to give a typological overview of the development of decoration and ornament in the architecture of Safafid Dynasty in Iran. It is expected that it can start a wider discussion to enrich this nation-s heritage and contribute to the development of Islamic ornament in general.