International Journal Of and Urban Development 33 Rana Maleki Rana 2 into an architectural complex. In fact, the effect of architecture always implies a concept. Therefore, in order to understand the meaning of the architectural structure for its manifestation, it must be understood by the initial conception of its creation by understanding the implication relationas between concept sign and architecture as a signifier through semiotic human function is perceptual and reason epistemic for behavior. The about human beings the is other the beings distinction and between the thought and reason thinking about for human life. To the express concepts high in position architecture, of design mustgoal meet may be perceptual somewhat possible needs. with the This semantic In process. fact, semantics is functional design the to perceptual design. In process the design process, of change the architect from always faces the challenge purely of turning a concept Iran.

Recieved 24.08.2017 ; Accepted 17.09.2018 Recieved 24.08.2017 ; (Case Study:Tombes) (Case Study:Tombes) *Mehrvash Kazimi Shishavan, Kazimi *Mehrvash 1 omparative Study of Symbol: Iranian Symbol: Study of omparative This article is about the comparative studyof symbol in architecture and contemporary Seljuk [email protected] Symbol, Seljuk period, Contemporary architecture

Contemporary Architecture and Seljuk and Architecture Contemporary C Assistant Professor , Department of Art and Architecture Shabestar Branch, Islamic Azad University, Shabestar, Ph.D student. Department of Art and Architecture Shabestar Branch, Islamic Azad University, Shabestar, Iran. 2 1*

examples.studyingFinally, other research scholars,the of compares architecturethe contemporary Seljuk and the of period of the Iranian monument with, the perspective of differences, similarities,the context architecture. of the useof symbols and signs in Keywords: similarity, consistency, alignment, and equality are noted. The main question is whether theredifferences are similarities between and the useof the symbol and sign in theandworks contemporaryof the Iran? monuments The ofaim of thestudy two is periodsto studyof the Seljuk architectural monumentsIran, ofwithtwo architecturalreference to periodstypes in of signs and symbols of presentingsymbols and signs in thearchitectural classificationworks. The methodology of this of theresearch places is based onlibrary of studies symbols application types of various to and existing of relation in raised issues the from deductions and data of gathering the and documents, signs,andapplicationits contemporary thein contemporaryandSeljuk , researchandsimilar on ABStRACT: ABStRACT: of features various and concepts, science and sciences various with arts associated the of one Art is Iran. in tombs architecturalfootprints of symbols seen. and The signs can be especially buildings helpful. monuments can and be for the beauty of motifs and composition, and roles and indications suggest deep thinkingarchitectonicsomeexample,symmetry, asartharmony and proportionality,such high balance, balance,precision.matching, agreement, For International Journal of Architecture and Urban Development and Urban Architecture of Journal International 2018 Autumn 8, No.4 , Vol.

*Corresponding Author Email: *Corresponding most important program. Today, the magnificent monuments of mosques during the Islamic era give us more important most insight The 2011). (Akbari, era. into this of architecture the the Iranian architecture to recognize the history of Iran's pre- . Throughout the history of Islam, every government that came into existence, tried buildings, to build especially the various Kurdish mosque and mosques, as its time had its own characteristics. Therefore,Islamic apart from culture the that creates Iran the and common other Islamic ground nations, between it should also be noted for Architectural art from the distant past represents the power of governments. Iran's architecture, in the course of its evolution, benefited from the experiences of the past and at the same INTRODUCTION knowledge. Therefore, understanding the distinction between MATERIALS AND METHODS different types of signs and symbols in the architecture helps Seljuk Period Architecture us to determine, based on these architectural examples, how With the advent of Seljuk and the expansion of their rule, to use semiotics and the symbol for the architectural part of civilization called the Seljuk civilization in Iran has a great the concept. (Bagheri & Eynifar, 2016) Iranian architecture in significance in the political, social and cultural history of

Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, Islamic period gradually turned our nation. This series of political unity brought about the symbolism of early century to the much decorations flourishing of various sciences and arts. Architectural art and avoided any realism in the patterns. (Saberi Kakhaki, flourished in this period, and artists and architects mastered 2012). many works. In the architecture of Seljuk, elements were Despite the many efforts made in recent decades to conceive created to make large mosques with central courtyards and in the field of semiotics, many contemporary architectural four porches and a -shaped courtyard. This style of influences are tied to contemporary styles and practices that are building is the basis of the religious architecture, caravanserai deprived of not only the proper use of this science, but also even and schooling of Iran. At this time, the mosque in its evolved surface encounters, and the audience also recognize and correct Iranian form has these characteristics. At the beginning, the the symbols and signs used in the works of the forefathers longitudinal axis of the building is located on the veranda of the past are incapable. Therefore, efforts to introduce facing the open apron. There are two verandahs in the long International Journal of Architecture and Urban Development Urban and Architecture of Journal International semiotics from two perspectives are of great importance: axis and two verandahs in the transversal axis, and the dome First, the unconsciousness introduces the designer to a new hinges are located behind the arch of the vaults and are located way of communicating, and second, it brings the power of at the end of the long axis of the mosque. This type of plan communication to the audience. (Bemanian et al., 2013). In the and design can be seen in the comprehensive Esfahan mosque, present article, we will begin by explaining semiotic science Jameh Mosque Zavar near Ardestan, Ardestan Mosque, Qazvin to better understand the application of the symbol and sign. Mosque, and Golpayegan Jami Mosque. However, the most Then, from the point of view of Islamic semiotics, which is complete example of the four-footed Mosque of Isfahan is the based on the Islamic-mystical approach, the classification of complete set of decorations of the Islamic period of Iran. This different types of signs is made. Eventually, architecture will be monument, built on the orders of MalekshahSeljuk, is in fact a considered as a place of application of different types of signs, collection of developments in Iran's archeology and artwork in we will look at the cognitive sign and cognitive symbol of the the last thousand years. The two of KhajeNizam al-Mulk monuments and the importance of two periods of Seljuk and in the southern part and the Tajmolmalk dome in the northern contemporary architecture in Iran. part of the mosque are technically and beautifully impressive For researching the classification presented in this article, in the Seljuk period (Hatam, 2000). it has been tried to refer to the periods, which had the most The Seljuk period's tombstones are made in two different usage about symbol and sign and selects the best building ways: in the form of a tower in the shape of a dome, with instances. Undoubtedly, the usage of symbolic God is widely four-sided planes, polygons, circles or crackers, most of the depended on many reasons and the two major factors of it tombs of this period are two levels: the upper mosque and the can be; first, the capability and designer’s desire to usea floor below or the cellar burial bodies. Inside, most of these language is different from the current language and this is a tombs are covered with a semicircular ceiling or cubicle, and cultural factor which directly depended on the social factor. In externally fitted to the body of the tomb with a pyramid or cone other words, if the community is more progressive and more dome. Of particular examples is this kind of architecture. Tomb informed, then the tendency to express and use symbols and of Sultan Sanjar in Marv and the Red Dome in Maragheh, signs will be increased and if it is mentally in a lower group, and three domes in UrmiA careful review of many of the this application will be used less than it is imagined. The reason architectural archetypes of this period illustrates the influence is that basically communication always requires a second of the arts and architecture of the Sasanian age. Ivan dome and person whose capable of understanding and answering to the interior decoration as well as many Islamic monuments entirely questions. Secondly, developing the architecture science and derived from pre-Islamic Iranian architecture. The importance constructing buildings in a way that it did not limit the mental of Iranian art and the attention of the Seljukites to Iranian capabilities of designer in such a way that he cannot present his culture and traditions was among the factors that contributed thoughts and the spiritual aspects of his work are presented at to the progress and development of the art of the Seljuk era, the lowest state and also, another factor which was technically along with the influence of the Sasanian art., with the plan of considered by the writers is the point that those kind of works the dome and the important tower of AndoushDamghan and the should be selected in terms of the framework safety and no Tower of Tugrul in Rey with the plot of Turkat. Kharqan tower major changes, they have this ability that one can make minor and Damavand tower and Ali dome in Abarkuh and Domeh changes to their symbolic factors. Therefore, two architectural bay in Maragheh (eight and ten corner). (Yavari, 2011). Among periods of Saljoughi and Iranian contemporary were selected the outstanding works of the Seljuk era, it is easy to understand for more analysis the significance and influence of the art of the Sasanian era in

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International Journal Of Architecture and Urban Development 35 not need to be An interpreted, optional and something is clear. an letter, a graph, a attribute, an as (such symbol contractual or (such knowledge of field special a with associated abbreviation) as mathematics, physics, music,chemistry, and phonetics) for representing actions, quantities, directiondistances, , capacity, role- or written are subjects other and sounds, qualities, Ratios, 2002). based. (Vaheddust, symbolic look of the world, on the other hand, symbolic and symbolic ontology is as old as human thinking. One may say that the symbolic appearance or appearance is one of the first The maindistinctions purpose in the sphere of human thought. of the message of the prophets and their joint speech is, in the sense of inviting human beings to fact, In the 2003) "(Awani, universe. the inner of appearances the behind comprehension symbolism, or symbolism, practice, and art are the application meanings symbolic expressing by done is which symbol, the of for objects or the expression of invisible, subtle creatures or by inferior displaying them in manner. a Symbolism, visible namely, the and treatment perceptible factors influencing culture of and plays society, a significant role symbols as in influencing the periphery of the world. The Structural Dimensions of the Symbol deals authors the Fig.1 In preferred. is that sign a is symbol The with his division into a symbol. A)The Objective Dimensions of the Symbol include which symbols, of types These Symbols: Conventional mostof the driving signs, are a that set ofare referred rulesto as and regulations contracts and definitions symbol in the astage, particular this At symbol. or sign a as unit or community in terms of semantics, falls in to a lesser extent because it does architecture architecture was replaced by an outward-looking architecture with an attitude toward , a very powerful 2013). time. (Sobat Sani, stream of its Symbolism Symbolic view of the distant past universe and ancient cultures is and ontology.Especially in the its phenomena ontology’s from of religion, which considered of the the universe to very be much wider essence than the material universe, and found the beginning of existence beyond this nature. The religions divine of approach main the is being of look symbolic and mystical masters in ontology, andemanates it temporal from the dimension of their with Avani, a idolatry similar look, sees symbolism as (Noghrehkar, the creation of 2010). mankind, and it is a common language for Message prophecy knows: communication. The symbolic look of being is the main emanates it and approach ontology, in sympathies mystical and religions of divine from the temporal dimension of their ideology (Noghrehkar, 2010). In an analogous the view, creation symbolism of is mankind, regarded for and communication. as The it message is of a prophecy common says: "The language the Western enthusiasm for investing in itWestern the and other influential factors captured the potential of Iranians, and Iranian intrinsic This distance, in terms of transactional, functional and high- ranking, was a new action that until then it was not possible to build such buildings in The Iran. impact of oil revenues and change in the way architects of interior design, performance and manufacturing technology increasingly distant from the Iranian architecture have with its past. made, and become feature of the architecture of this period. The construction of new public buildings, which was the main requirement of this period, transformed the shape of general, architecture. contemporary architecture has created However a fundamental in as the building plan, the combination of elements, European architectural forms with native architecture and building the materials with use new technology, have of been the main is the emergence of iron shapes next to Iranian forms, which most contemporary intellectuals call "Altaqat". Changesin the spatial and communication structure of new buildings, such place in the Iranian society, These events can be regarded as one of the examples of the beginning of the transformation of the Iranian life. What has been doubted during the Qajar era this period. These changes are gradual and its origins date back date origins its and gradual are changes These period. this to the late Qajar period. the With victory of the Constitutional Revolution, a huge cultural, social, and ... transformation took of the architecture language With the elements of the figurative. (Habib & Hosseini, 2010). has diminished to the introduction of modern architecture elements into Iran, we can basic of architecture contemporary of style the in variation wide a see architecture, a language that has evolved over other aspects of human civilization in the course of history and the movement of modern architecture with its reversal, as if the vocabulary the historical development of geographical context. It its elements can also be said that the abstraction particular in a of modern architecture is a negation of the language of do not have much Abstraction to and do modernization with architectural of modernin development. contrast architecture to the are ancient architecture, which is the result of historical boundaries of its ideals, it can be said that from the perspective of the modern architecture and geography as movement, the main conditions history of human culture as a result of technological illusions and visual depravity.They Contemporary Iranian Architecture Since modern architecture has neglected the geographic and in accordance with the precise style,ability featuredamazing the with thedone was This decorative building. the of features 2011). (Yavari, and power of the technician. after Islam took place. (Akbari, this 2011). era was Of the use of the bricks in architecture. Superior features bricks of with subtle placement and geometric shaping of the designs, during the Seljuk era. In connection with the progress of the architecture of the Seljuk period, it should be acknowledged that during this period, the Renaissance of Iranian architecture various parts of architecture and art, reached its fullest extent Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8,

Fig. 1: the structural dimension of the symbol (Source: authors) International Journal of Architecture and Urban Development Urban and Architecture of Journal International

Cultural Signs: In some cases, an act, voice, or an object are and stability, like the sun, which is the sign of greatness and presented as a cultural symbol that has its own emotional wisdom, the cave, which is lonely and self-reaching, and like ability. It is like playing a national anthem, which is a symbol the cave of Hara which is the flow of mysticism of the great

of every country. Prophet (PBUH). In the discussion of referring to semiotics, we Universal (Universal): This type of symbol has two different cannot determine which sub branch is for another, whether the interpretations of its own, which, in the apparent aspect, are symbol is preceded by a sign or symbol. However in Islamic referred to as a sign or guide, are conventional, such as the texts, the signs are also divided into a variety of items that are spin snake seen in most ambulances, and as a sign Hospital both valid and a controversy about the semiotics of Saussure, symbol has been raised. However in the exterior aspect, they Pearce and Husserl, to the point where they seek to parse the have an interpretation both in history and in the myth, and they signs, but to define a specific one for such a debate. It is hard to are presented as a symbol of health and well-being. Part of it make it look simple at first glance, and is very complicated and is in the definition of a contract whose apparent dimension is difficult in the eyes of the micro blogger. derived from history and legends. The result of the scientific attitudes towards symbolism, which is further developed in psychology, is the development of two B) The Inner Dimensions of the Symbol aspects of the symbol as an influential member of the human History: Some symbols are hidden and rooted in history, and this psyche and as a common language for the message of culture is history that is capable of expressing and its thematic cause, and history. The science of symbols, as obvious signs or the and the interpretation of its inner meaning without reference innate Creator, forms a fundamental part of metaphysical to history is not feasible. Like the sanctity of some numbers, knowledge and, as a result, metaphysical cognition deposits. they are designed as a symbol and a symbol of movement in a By obtaining the qualitative significance of space, matter, certain way because of working in a sacred repetitive. and all objects or phenomena, the objective knowledge and Legend: A thing that is a representation or representative of aesthetics of traditional human beings develop (Ardalan & another object that is commonly associated with or associated Bakhtiar, 2011) with a connection or association, a subscription, or accidentally Symbolic Elemental Elements in Islamic Architecture (as an and randomly having the same attribute and attribute. Like Example) a lion symbolizing courage, or a cross that is a symbol of Our Islamic architecture consists of various components, and Christianity. each of which has a symbolic meaning, while it has a terrestrial Universal Symbol: This type of symbols, in which the symbol aspect, has its spiritual and spiritual dimension, and is observed is rooted in deep association with its intrinsic relation with its in the form of symbolic and symbolic forms. Now, this effect signifier. This symbol is common in all cultures and plays a can be from the surroundings and nature, or from books, common language as a unit. like the symbol of Lion and cow. narrations and myths; however, what is clear is what affects its Symbol: Signs that are present in nature and being and often object and structure. By referring to these symbols, we always referred to as a symbol. In most cases, the understanding find concepts that are rooted in the history and culture of every of these signs requires a great deal of thinking and deep tribe. As I see, symbols always take part my concepts from religious feelings, which is also due to inner interpretation and myths, and these are myths that shape and symbolize them, interpretation like the mountain, which is a sign of patience as in the story of creation A Buddha is seen from Niloufar,

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International Journal Of Architecture and Urban Development 37 communications As examined, this study is intended to generalizethe types of signs in the form of architectural examples. Definitions and architectural examples examined by architects and artists in semiotic topics. Table 2 . These definitions are summarized in in the book Architectural Architecture, referred to topics which stands between the creatures only inperpendicular; from the inner it point is of the universe,a view, reminiscent is of the soul of a person who regrets the return to the origin of the erosion. In addition, the minaret of the inviting city's the in element dominant the and ascension the represents element Azan's sentences, which is The minaret is reminiscent of body. a unique sign of Islam. In fact, the visual symbol is both aural to reference and ascension movement, of body a symbolic, and and basic most the called be can minaret mosque's The sky. the primitive sign of the prayer (uprising) (Ardalan & Bakhtiar, 2011). Semiotics Scientific semiotic science in the domain of Sign and Meaning process the in involved factors the signs, of types the examines as well as interpretation, their and exchange, and production of the rules governing the signs. A sign is a tangible and visible phenomenon that, by virtue of a relationship with necessarily must it an and it, implies and absent it succeeds phenomenon, have material gain in order to be received by one of the senses of man. (Iran Industrial Design, 2010). Signs Architectural Semantic topics are now far architectural and semiotic outnumbered is have also architects by What imagery. language and guidance of the perfect human being or the perfect man. (Asadi man. perfect the or being human perfect the of guidance & Beygzadeh, 2015). The altar is a member of the which carries a number mosque, of symbolic meanings, sometimes as a specifies path the of altar The paradise. of gate the as sanctuary with confronted are Muslims all and unity of centrality the that unity is the altar with this rotating expression that points to the worshiper towards the qibla. In much alms of mosques, there are valuable examples that are combined with naturalistic and naturalistic concepts whose similar examples can be found in the altar of Oliyatou. Symbol (the Physical Meaning of the Minaret The Symbolic Ascension Concept) of the of "Narrator the is root, its on based minar, or minaret term The firefighters. Zoroastrian the with interrelations has or has Nar", The annexation of the minaret in the Islamic tradition is both a continuation and development of a human the represents who person the is it symbolic example, For design. and ancient axis, which represents the elevation, and longitudinal aspect that gives the material existence of man the depth or spiritual apparent the From man. two-dimensional a of face the of height point of view, he is the representative of man: the pixel, and synthesis of all human beings from material and natural life natural and material from beings human all of synthesis and to a reasonable and calm life in the light of the guidance and Symbolic Meaning of the Sanctuary In its final form, the mosque in the Muslim community and in Islamic civilization is the most suitable space for the creation and Khmer, which are the ultimate victory and are prosperity, underneath them. Prophet, that the huge dome of the white oysters, which was placed on four bases, was written on each basis prelates of of the the four first chapter of Fatiha's book: Bisman, Allah, Al-Rahim Al-Rahman, and Four streams of milk, water, ghusl of land and the sky is raised. This kind of expression is also expressed Wiang, China. in Yin This is the symbolic meaning of Burkhart and Ardalan, according to a narration from the symbolizing the perfect union and oneness that total represents total that oneness and union perfect the symbolizing heaven, which is the base of the cube and is the form of the square as a symbol of the earth. In addition, the whole concept used in most temples and mosques are used, and in all cases beliefs. and beliefs our in rooted are that concepts incorporates dome In is Islamic a architectur, sphere, and close to the circle rooted in human experience, and this confusion will for be cultural, a source traditional of confirmation of and this expression, domes and ethnic minarets or stairs changes. In it forever, the natural sky is inextricably linked, and it shares with some of its implicit implications" (Arnhem, 2007). He continues to regard the symbolism of the arts, architecture, in particular as a provocative and seductive phenomenon, In this regard, Arnheim describes In the symbolic this meaning regard, of the dome: "The arch dome may not be a religious image sky of yet, but the because it covers the empty space and surrounds city maps. Or in Korea, the first astronomers to suggest Herrero to suggest astronomers first the Korea, in Or maps. city have always been the most important aspects of life, unity and 2013). (Yong, territorial integrity. it is a symbol of sun worship religions and among modern, is primitive in myths peoples or or dreams, in the form Mandela’s drawn of by Tibetan priests included, or are inspired The Symbolic Meaning of the Circle and the Dome and of the Circle The Symbolic Meaning Dr. M. L Von Franz explained that a the symbol, circle or and sphere expresses is mental integrity including the with relationship between all man and aspects, nature. Whether their symbolic concepts from them and transfer them to another to them transfer and them from concepts symbolic their level. audience at a different in our millennial history. Or in thestory Younus of (AS), all of them are abundantly dramatic of symbolism, which clearly influence the building, and components of the building take orientation of the works of creation. Or these concepts in the fictional and mystical other and Esfandiar and Rostam of myth rooted that symbols the of touchingly and clearly remain issues on a huge lilac, which Brahma views at the same time in four main directions. This kind of perspective refers to main directions the of the four entire cosmos, which is a preliminary or an Indian myth of the creation of Brahma is thought to be

Table 1: Signs from Pearce's ew

Example The relationship between Sign the sign and the signifier Image / Photo / Architecture / Maps / Models Similarity Icon

Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, Signs of interest to meteorologists in the climate prediction of the relationship Non-wardrobe - time and Index between smoke and fire and a variety of natural signs such as smell and taste space ratio between sign and signifier The relationship between the pulse rate and the likelihood of fever and the gen- eral symptoms of the attention of doctors Language in general / Marseilles / national flags / driving lights Contractual Symbol

Table 2: Sign of Grouter’s View (Grutter, 2010)

Sign dimen- Pictures Example Property Types of signs International Journal of Architecture and Urban Development Urban and Architecture of Journal International sion

Ornament image Form, size, Color and a sign of appearance Appearance Pattern

Semantic dimension Concept, Bookmark content, talking about Architecture of central space, Calm the relationship between sign and content shape and Stagnation

Pictogram Needed more knowledge in most cases Explicit sign

Spiritual sign

Sydney opera Matching experiences with shape, Person viewer function, the cultural environment Metaphor of the viewer

Lining Gates in Shinto Art, The symbol of Express mental content, Need to know The symbol passing from material before to understand, Culture dependent to spiritual

surrounding metaphor as a type of sign and its use in Generally, the understanding of any kind of communication architecture(Antonius, 2002(,. Antonius believes that the in the world of phenomena is an essential component of the metaphor is completely different from the symbol, because:(1) "sign", which may include a verbal, visual, phonetic, or even in the metaphor of the alias is replaced by a pseudonym; that is, secretary. Thus, words, pictures, icons, gestures, and things can it loses its identity to obtain a new identity. Metaphor does not be signs (Ahmadi, 1992, 52-72). In a general category, signs need surrounding text, but the symbol needs an environment in can be divided into two categories: credit and development. which it flourishes through meaningful repetitions (Daad, 2008), (Parsania, 1994). The explanation of these two categories of which implies explicit implications of the types of architectural signs and their features in the field of art and architecture is implications that are described in the book as examples of a of paramount importance because art does not have any other variety of metaphors. All of these are summarized in Table 3. way of entering the domain of meaning and content except

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International Journal Of Architecture and Urban Development 39 Metaphor Subtle metaphor Tangible metaphors Tangible Combined metaphor - Ideas mode features features of works The concept tion features Visual or material Visual Visual or material Visual An opportunity to

Human or specialty

Reveal Thoughts and Reveal

qualities and visualiza The origin creation The origin

- - features consciousness and depth of his audience that can be the language the be can that audience his of depth and consciousness of the architect and creating the building during his absence and for the future. However what the architect used where and how much of his trans-time language is that, it is necessary to Therefore, building. the of architecture the review and research systems applied the identify to tried been has it research, this in of the symbol in the art of architecture and to investigate their relationship rather than the contractual (Noughrekar & Reyisi, 2011). classification general a 2, Fig. in discussion, above the on Based of different types According of to indications this is presented. diagram, and considering that each language architecture is of language the a 1966), (Saussure, words dependent system of is also classified as symbolic, indexed, or symbolic. Architecture Applying Signs in Signs in the field of architecture. as a form of art that has the ability to be present in four dimensions of human dimensions, and a body derived from the human mind to create environment a living for it, prominent feature of the place. The reason is that the architect has always been artist has a chosen symbolic, for the symbol and communication at as a metaphorical different language levels depending on the

Property with architecture Tangible meaning Tangible

Discoverable visual

Deepness is the funda meaning, possibility to

Surface is a fundamental mental meaning of mean inglessness in appearance

understand meaning in the event of more engagement

shar0un shar0un

vine hills Example Like a ship The architect : Antony Pridac Bank Building Architectural

Table 3: Metaphor from Anthony's View (Antoniadis, 2002) (Antoniadis, View Anthony's from 3: Metaphor Table The architect: Hans Albuquerque Blood The architect: Hans Mary Time Museum Mary Time

Philharmonic Building The metaphor of grape ,

Pictures the warmth of the water inside which, in all of these, implies a effect and cause the on based relationship natural and germinal signifier and signified, in example, runs whicha profile a on fire or causal relationship, fever profile for of the patient The presence of human beings or kettlefish is an indicator of of face between signifier and signified (Ahmad, indeed, 2001) and, show evidence to show the does it evokes. signified(Samaniyan & resemblesPardisi, 2010) any or other signs of developmental signs profile; the profile of those occasions contract and credit. These categories of signs can be divided into two main categories, index which signs. Iconic are signs are, symbolic those signs based on and the similarity signs. (Noghrehkar & Reyisi, 2011). signs. (Noghrehkar & Reyisi, 2011). Indigenous signs are those indications that between sign and sign the (face and meaning) is not dependent on relationship face and its meaning. (Safavi, 2004). alphabet, Thus, numbers, signs traffic like lights, the wearing symbolic and contract-based, purely are like, blackthe and mourning clothes for methods (Noghrehkar, 2010). This is also important in the light the in important also is This 2010). (Noghrehkar, methods of the explanation of different species of sign.are Credit indications signs that do not imply similarity to (Zamiran, the 2004). And in modules. fact, there is a contract between the codification and versification and symbolic and allegorical Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, International Journal of Architecture and Urban Development Urban and Architecture of Journal International

Fig.2: Different Types of Signs

correctness with reference to case examples. As a result, the rules of proportions. following four principles are introduced as the main place of Numbers application of symbols. The number of the cipher is the connection between the

substance and the meaning. Geometry and literature are the Concept and Design Idea material of science and paranormal sciences. Mathematics The concept can be considered as the main idea of the designer plays an important role in expressing beauty. (Naghizadeh, to start; the system is divided into various components of the 2004). design and to achieve the desired result of the designer. Decorations (Cues, Slides, Decorative Forms and Flat Mathematics Geometry and Colors) Traditional men counted the whole creation as a lucrative one, Decorate matter of Islamic art can be authentic handling and it reached to this revelation that he and nature are in the the matter be interpreted in the sense that every process that structure and proportion of the communion that is through makes the original and sample the primordial and his ideal mathematical mathematics. Therefore, all creatures of man and more similar to the material symbol more straightforward nature are formal as cosmic laws and it is up to human bings to and understandable than the world of reality makes art, in its find their process through account, geometry and harmony. The most general definition in Islamic insight, a way to dignify it. proportional shape ratio is the same as the ratio of rhythm to Decorating is the only way to release material from the earthly time and harmony to sound, as cosmic rhythm and harmonious heavens. With a nobleman, the artist pushes the levels of reason sounds are received in terms of numbers, the reception of to think in a space beyond material in order to reach the realm proportionality also begins with it. (Ardalan & Bakhtiari, of eternity. 2011). On the same basis, the application of mathematics and Geometry: A geometric pattern, such as spatial designs, requires mathematical symbols in architecture can be divided into three spatial superstructure models-the patterns or roles that span general categories: plan geometry, constructional proportions, side-by-side. The qualitative qualities of all geometric shapes and the application of special numbers in the design. tend to be central. The consequence of coordinating lines that creates separate forms, with different patterns. (Ardalan & Geometry Bakhtiari, 2011). Geometry, at the level of explanation of numerical identification, Line: The word of God came to Islam with Qur'an. The line gives the traditional person a greater depth of exploration in the thus represents the visual visualization of divine revelation, processes of nature. both in content. The soul structure of the line composed of longitudinally and transversely grown legs in rich rigid texture, Proportions employs cosmological symbolism. Longitudinal grooves, The creator's unit starts with a point; it moves with two points, carpet, causes a relationship with the existence of the plan and at the line's limit, when the radius of its radius rocks the Earth. at the same time takes on a structure, while the cross-breeds, The Earth is the most visible symbol of monotheism, and its like the wool, are in line with the creation, the development division into regular polygons is the basis of all the traditional of the balance-and-ceiling section of the original is conceptual

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International Journal Of Architecture and Urban Development 41 architecture of unity, there is an implicit meaning, and in the architectural structure of the plurality of meaning received by the viewer. The stronger the relationship betweenwhich is more explicit and the the sign, audience easily understands it. Symbolism in the semiotic topic is due to the fact that the type of relationship between the sign which is less evoked. Further it is less explicit in conveying concepts (Kosari, 2008; Jorgen, semantically dimensional surface that is tangible in appearance. in tangible is that surface dimensional semantically This discovery of meaning in appearance may take place in the external view, sections, plan, perspectives. or An internal impressive amount and of external buildings feature caused a with separate category in the this name of the profile- icon in the semiotics of the architectural area. Another thing to consider is metaphor as a the field type of architecture. The of metaphor is sign used extensively in in architecture and its types are placed in the relevant categories, of the signs. and its variants were placed in the subcategories In this table the boundary between the profile and the symbol is specified. The first indicator of the symbol is its domain in architecture, which defines it only withinperception. This the scope means of architecture that for symbolic been architecture created for has any particular not function, and the purpose of its creation is merely its perceptual and semantic aspect. The second factor in identifying the boundary between symbol and symbolism is the strong dependence of symbolic architecture on the context and the basis meaning for more its meaningful. formation Cultural to context is make one its of texts these that do not exist between difference third The in text. the and structure thethe between profile of such a relationship the profile and the symbol architecture in meaning is the plurality received of by the architectural editor. In the symbolic metaphor was also included in the new category and its types were placed in its subcategories. The hierarchical significance of the use of the sign in architecture is based on the extent of the discovery of meaning and the movement of the design for have that issues the perceive to design the to performance pure 4). Table been considered.(See summarized briefly is paper this of achievements theoretical The 4, are: Table in The delineation and designation of the in scope architecture: of the tangible of semiotics form the symbols in time, same the at in function and perception responsive to metaphors from the subset of the icon or the and same the subjective index-icon, metaphor or responsive only are that architectures in embodied metaphor is ,it Further combination. to perception as a symbol. Provide a new division of the signs and sub-sets of each in the field of architecture: The division of signs the index, the symbol, the categories: distinct four into divided into a distinct architecturesymbol, the canprofile and the symbol, be whose symbol is divided into the subcategory of the image, diagram and the tangible A large metaphor. number of architectural monuments have a sub-categories and the concrete examples to provide a better understanding of this segmentation. The reason is that the type of sign in a distinct and exact boundaryin of architecture the symbol are other indications, and the the relationship between expression the sign and of signifier in each of the Significance and location of signsdivided were architecture in signs hand, other the on buildings, in architecture in these into four main categories. Inclusion and representation of each each type of sign on the one hand, and examining examples of architecture on the other hand.The to the amount apparent of dimension and attention semantic dimension absorption of rate the expressed, is in meaning the how buildings, these and the lack of transparency on the in boundary the of field indicators of architecture are clearly understandable. Thus, using semantic ideas and reflecting on the specific features of RESULTS AND DISCUSSION RESULTS At present, deficiencies and ambiguities in visual studies we try to use various opinions and because ideas there around are many the articles topic, on this subject, and each which is good in its place. of libraries, snippets, and samples. They have traces of the symbol the of traces have They samples. and snippets, libraries, in their works. The method of data analysis is also deductive reasoning and inductive reasoning (inference). In this article, MATERIALS AND METHODS MATERIALS The research method is analytical tools and and interpretive-literary, methods for collecting documentary information, architecture? and sign symbol, the of differences and similarities the are What and architecture? symbol in contemporary Seljuk architecture Research Questions Research Where are the use and position of the symbol and sign in spiritual role or semantic carrier, sometimes the spiritual aspect aspect spiritual the sometimes carrier, semantic or role spiritual on impact its but it, worth not it’s aspect material its is which of aspect. the audience is much more than its functional Components and Elements In all artistic forms, one can see the functional role that elements,as a material component of apart from a work, play a Egyptians swept away their dead in a white cape to show the (Shahin, body. mortal the from spirit clean the of emancipation 2004). passive background. (Ardalan & Bakhtiari, 2011). passive background. (Ardalan Color: In ancient civilizations and in religions, colors have a White symbolic is place. considered the color of The the gods. implies the regular repetition phenomena; it is also of periodic. Slimy does features, not a fillon prominent is that thespace in space entire a elements, is it because but surface, and Slimy: Slalom is basically a creator of cosmic creator through nature. the Foundation of Nature plays it, Arabs the also have meaning. Each slim is a reflection of the movement, which design. Table 4: Symbol and Symbol in Architecture

Case The scope of Type of Type of implication Significant Appear- Semiotics the sign in implica- characteris- ance / examples architecture tion tic between Meaning sign and Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, signifier

Decorative Syntactic Details on architectural straight )Similarity relationship (visual similarity Image architecture designs Aspect )Icon( Architectural Architectural Semantic /models introduction straight Deductive relation Diagram tools Aspect Cities map Chiat di .1 monument, like photographic Tangible camera Semantic International Journal of Architecture and Urban Development Urban and Architecture of Journal International Explicit formal similarities without the Metaphor straight need for interpretation Chicken .2 Architecture Aspect shops, like responsive per- formance and perception Relatively

straightforward Dimensional Intangible Index Icon Implicit formal rela- The relationship of semantic tionship with similarity based on meaning Metaphor interpretation the metaphor between the two aspects of the Dimensional Implicit metaphorical relation- Combi- dimension is Implicit similarity with ship natorial Index deeper and less interpretation Metaphor perceptible Implicit Contractual relationship Lace Gates, Intermedi- Shinto Worship, Architecture ate A symbol of responsive to the passage cognitive need Semantic Symbol from material to Implicit Sign = signifier dimension Immedi- spiritual Mosques and ate (Gray tombs )verse

2009). Thus the fourth difference in the profile is the symbol are composed of many geometric and symbolic shapes, each of of the level of explicitness and meaning of discovery. In the which has its own concept. The square is the foundation of this symbol of meaning, there is a more secretive layer and the building. The tomb itself is located in the middle of a square entry into the realm of discovery is only possible by knowing roundabout that surrounds the circular staircase and the twelfth the contract to its creator. foot of the memorial tower around the circle of the mosque. Express the significance of the hierarchy of indicators in the The exterior has two parts: one underneath and the other is the field of architecture based on the level of discoverability and memorial tower, the bottom of which is at the entrance with the movement towards design for perception: the greater a verandah with ten , each of which is a mark of a difficulty of the discovery of the sign becomes more important. century, and ten centuries refers to the millennium of Abu As we move towards the symbol, understanding the meaning Ali.(Fig.3). On the other hand, Abu Ali is a highly educated becomes more difficult. scholar with numerous knowledge, philosophy, wisdom, music medicine, chemistry, and so on,and some thought to have Case Studies Examined twelve knowledge. (BaniMasoud, 2012). Contemporary Sanctuary Abu Ali Sina;s Tomb in Hamedan Tomb of Khayyam in Neyshbur The first monument built with the design of Sihon. All factors The skeleton of the building will be metal and the ceiling will

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International Journal Of Architecture and Urban Development 43 Fig. 4:The pavilion of the dome, Khayyam tomb, Neyshabur (Anobanini,2017) Fig. 4:The pavilion of the dome, Khayyam tomb, Fig. 5: Materials Used, Tomb of Babataher, Hamedan, Foroughi (Anobanini, 2017) of Babataher, Tomb Fig. 5: Materials Used, Fig.3: Columns of the tomb, tomb of Abu Ali Sina, Hamedan (irannema, 2016) Ali Sina, Hamedan (irannema, Abu tomb of Fig.3: Columns of the tomb, be decorated with a kind of thick colorful glass and the text of as stairs and pillows carved around the tomb tower, granite is the body section with the tile backs and turns. Khayyam tomb carved out, and outside the exterior of the building is a used in terms of architecture and construction,and one of the most white tiger. In the roof of the tomb's inner courtyard, tiled has important buildings built in is your time. The bottom line has been used exquisitely. The tomb is designed in the form of a ten decimal places. The edges of the building continue straight statue and the volume provided for the tomb is more similar upward and appear in regular geometric shapes,and then they to the platinum volume of modern architecture. The volume is

Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, form almost conical shapes and create a quasi-dome above. The designed without any subtlety (BaniMasoud, 2012). major part of which is lattice and hollow. These elements refer to Khayyam's scientific character and astronomer. Khayyam Seljuk Siege has three faces: mathematician, astronomer and poet who must Jabalieh Dome show all three characters in the building. The designation of this massive and solid building, known as the Jabalieh Dome or Jebel Bin, may have the stones used in its Tomb of Babatahar Hamadan location. The building materials of this masonry and mortar are The tomb building is clearly designed with the goals of a mixture of camel milk, a special soil. architectural modernism. The height of the tomb tower is The map is octagonal, and the dome building is in the form of located octagonal. In the eight pillars of the tomb tower and the two crests on the base, the end of which is circular in shape. For stones on the tomb and the floor covering of the tomb, as well the elegantly illustrated construction, the outer walls are made International Journal of Architecture and Urban Development Urban and Architecture of Journal International

Fig. 6: Jabalieh Dome(Wikipedia, 2018)

Fig. 7: Plan of Yusef Ben Ghasir (Hatam, 2000)

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International Journal Of Architecture and Urban Development 45 The decorative motifs used in the body of the tomb hexagonal, include triangular, quadrangular and trapezium hexagonal The octagonal body of designs. the dome is a pyramid-shaped, brick. long form of Abarghu Ali Dome in building; this is period Seljuk the in buildings safest the of One the basic material for building a carcass stone and mortar and plaster is sand. The map is madeabove high meters two and cornered up seat four-corner a on body of an octagon, with its The dome the body ground. is very simple and precise and has clear lines. In the upper part of the body and in the stem of the dome, there is a large rocky margin, and the Kofi inscription from is it If body. the around lines coarse with coated been has the than prominent more these Mogharnas are dome map, the dome of the dome; they protect the scrolls below their against own snow and rain in the formhand, this high prominence of of the Mogharnas at the end of the cornice. On the other dome's stem indicates that the dome was already in the past, with which the pyramid warhead collapsed over time. At the vaulted a inside embedded is north facing tomb, the to entrance arched curtain.(Hatam, 2000) Fig. 8: Ali Dome in Abarghu Ali Dome in Fig. 8: A A steep arch is located on cylindrical two sides, in columnsthe upper part of on both the inscription port to the Kofi line. writings of the Quran that surround around the tomb on the top. the on tomb the around surround that Quran the of writings The entrance to the tomb is located rectangular inside port the and dick located with on a the west side of the tomb. and two floors. Thedecorated with exteriorgeometric shapes of the bricks. On the of walls, the there are also linear domeimages that include the Koficompletely is line and the The Dome of Yusuf ben Ghasir Yusuf The Dome of This dome is located in Nakhjavan and due to its architectural works; the Seljuk period architecture is of this period. The of map of the tomb is great octagonal significance for the in the past, the dome was made of two folders, with its outer 2000) cap collapsed.(Hatam, is 5 meters. The exterior of the dome has a staircase view, in is diameter whose neck 16-necked a has above dome the which smaller than the original diameter of the building. Most likely, In the past, this stone building has two entrances in it the and stone, its past, for except all blocked, is them of one nowadays dome the of height The brick. of made and annexed be to seems with nesting hooks that have a curved arch, which has resulted in a diminution of this empty space to the walls of the wall. Table 5: The Application and Position of the Symbol and Sign in the Contemporary Iranian Architecture

Saljoughi Period Plan Plan Interior Exteri- Mate- Height Decora- Script Saljoughi Location Concept Mathematics Decorations Objects dome ordome rials tions period and original Numbers Geometry Proportions Calligraphy arabesque Geomet- Color idea ric

Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, Yusuf-ibn-kasir Designs of dome brick Octagonal Crescent Pyramid Brick Kofi dome Yusuf-ibn- - Bricks in Classic Geometric kasir dome the form Two floors Shapes Eternal Octagonal Intrinsic of geo- metric Two floors shapes

Jabalieh dome Jabalieh - Octagonal Nested dome arch Octagonal Crescent Destroyed Granite 5 m arches of 12 Kerman Eternal in the dome stem form of Dome hillside - two Cres-

International Journal of Architecture and Urban Development Urban and Architecture of Journal International cents

brick Ali dome Abargo - Octagonal in Abargo in Yazd Eternal on a four- Intrinsic Arch corner seat

Destroyed Columns of the dome Ali dome in Abargo Octagonal Crescent (The Carcass 12 m Kofi dome Pyramid stone )three rows(

)Dome

Table 6: Symbol and Symbol Application in Seljuk Period Architecture

Contempo- Plan Plan Interior Exteri- Materials Height Decora- Script rary period dome ordome tions

Abu Ali Sina 12 Eight- Conical Concrete and m 28 - Script mausoleum Pointed stone Bases

Baba Tahir Octagonal Prismatic Mountain tilled with Inscription mausoleum shape granite mosaics with triangle script

A circle divided Khayyam into ten Five-point- Conical Concrete and tilled with Broken Nas- mausoleum equal ed star stone mosaics taliq mixed parts Like the with Taliq dome script

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International Journal Of Architecture and Urban Development 47 Objects Objects Color Color - - ric arch Arch metric shapes Nested Geometric Conceptual of geo Contractual Contractual

Conceptual/ Conceptual/

the form

Bricks in Geomet

- ara Decorations besque Decorations arabesque Intrinsic Conceptual Calligraphy Intrinsic Intrinsic Calligraphy - tions Propor - Proportions Table 7: Selected buildings Seljuk 7: Selected Table - Eternal al/ Eternal Conceptu Geometry Mathematics seat cents in the corner

- form of

Table 8: Selected buildings Contemporary Table

two Cres on a four- Octagonal Octagonal Octagonal Geometry Two floors Two Mathematics l tua Eternal Eternal/ Concep

Numbers Conceptual - Eternal Eternal Eternal Numbers - - - nal idea Concept Conceptual Conceptual Conceptual

and origi and idea

original Concept

Nishabur Hamedan Hamedan Location Abargo in Yazd in Kerman Location - dome period Khayyam Jabalieh Baba Tahir Baba

Ali dome

mausoleum mausoleum mausoleum in Abargo

Yusuf-ibn- kasir dome Abu Ali Sina Saljoughi Contempo rary period

CONCLUSION the interpreter's role due to the semantic dimension to which After studying the symbol and its role in the concept of its part it belongs to. The tombstones are ideologically considered in design and architecture, it can be said that there are different as the most diverse spaces, because the role of functional ideas about this, but what is important about the symbol is the necessities in them is not like other types of buildings, and the

Vol.8, No.4 Atumn 2018 Atumn No.4 Vol.8, way people look and dealt with the issue of symbolism. The designer could reflect many concepts and symbols in design, symbol becomes more complicated and a semantic attitude to and therefore, the expectation of transformation in Iranian architecture, which sometimes takes on the style of mysticism, symbolic designs in the tombs of the past . Contemporary Iran sometimes enlightenment, sometimes modern, and sometimes can be based on reality, and given that no major plan, especially historic. In a world where all its phenomena are symbolic, the designs for ritual spaces in the past, was not formed by chance role of the interpretation is manifested, that is, the symbol is or solely on the basis of the designer's personal desires, but it

Table: 9 Semiotics in Architecture

International Journal of Architecture and Urban Development Urban and Architecture of Journal International The relationship Specifications of The sign in the field of Type of Pictures between the sign and pictures architecture sign signifier

Decorative embel- The emergence of architec- Visual similarity Icons image

lishments tural elements

Replica, architectural Architectural introduction Icon of the Deductive relation drawings tools chart

Exterior Effect of Architec- Significant Architectural build- tural Building-Responsive to Explicit formal similarity metaphor of ing Functional Needs tangible

Index- The overall architecture of the Architectural build- icon (an building - responsive to per- Formal similarity ing irrepressible ceptual and functional needs )metaphor

The overall architecture of the Profile Architectural build- Non-explicit formal building-more accountability (Combined ing similarity based on perceptual needs )metaphor

Architectural build- Responsive architecture is Symbol-in- Contractual relationship ing limited to cognitive needs termediary

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