Материал: Russian Journal of Building Construction and Architecture

Russian journal of building construction and architecture

dome chamber that is the real theism house, and the most important Shiite Sufi house is founded based on number twelve. Moreover, where the polygon ends, the start of dome movement circle and reaching peak occurs (Gholamreza Kiani, p. 148, 152). For example, in Dome of the Taj-ul- Mulk (Khagy) in Jame Mosque of Isfahan, perhaps one of the most beautiful decorative effects of the building is a visual one, and the presence effect of the bricks in creating these effects. Producer of the building might have had knowledge in painting, music, and graphic in addition to architecture. Nowadays, our findings in this dome flourish some thoughts in minds that do not age more than one or few hundred years in the art history. Presence of visual elements such as script, surface, volume, color and pattern in this building is so strong and effective that its soft and pleasant coordination penetrates into soul of each viewer regardless of nationality, language and nation. The pleasant color of bricks in this building and type of the used decoration in it as well as light of different hours of day create such deep and different visual effects that are only visible in Khagi dome of Jame mosque of Isfahan (Tavusi, 2007, p. 33). In the architecture of Iranian mosque, light has never been applied unreasonably. In fact, incoming light in addition to physical dimension has been very effective in shaping the space in mosques, especially the spiritual dimension (Saadat, 2014, p. 9).

Table 4

A sample of structures of four Iranian Islamic architecture styles, and the location of lightwells in domes of structures

Khorasani style; Ardestān Jame mosque dome: the section and under dome facades (Memarian, 2006: 212)

Razi style; dome of Taj al-Mulk Jame Mosque of Isfahan: the section and under dome facades (Hajighasemi, 2012.63)

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End of Table 4 Azeri style, dome of Jame mosque in

Yazd: section of Dome (Pir nia, 2006,234) and Façade (Hajighasemi, 2012.171).

Isfahani style; Agha Bozorg School dome mosque. Kashan: the section and facades (Hajighasemi, 2012.153)

3-2-2. Evolution process of lighting in dome chambers

Dome-shaped forms have always been considered as metaphysic and heavens powers in the viewer's idea, and the spherical shape of the sky and the planets has enhanced these images and references. Mechanical needs and symbolic values depend on the dome-shaped form have led the technical history of Iran in this regard to be very rich and fruitful. In order to achieve aesthetic goals and gain secrets of truth and divinity, Islamic architecture has constantly tried to remove the structural problems and obstacles of Dome, and create a hole for light to inter into space (Mahdavinejad, Mathur, p. 2). At the beginning of construction of the dome during

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Russian journal of building construction and architecture

the Sassanid era and the early arrival of Islam in Iran, Only the lightwell in the middle of the dome was used to direct light into the place. However, with the advancement of dome construction techniques and a better understanding of how to distribute the forces and tensions in its structure, architects could somehow overcome this problem by creating the optimal forms and/ or certain construction methods, and they were able to use the body of dome for creating a hole (Nemat Gorgani, 2004, p. 35). In the courses of mosque architecture of Iran, we witness an upward trend of inward light, and it seems that the subject of light promoted from a quantitative process to a qualitative process in the late Qajar (Saadat, 2014, p. 5).

Conclusion

The position of light in Islamic architecture is higher than visual values. Symbolic procedure and spiritual attention of Islamic artist to light places the image in the highest level of spiritual wayfaring. Light is the symbol of existence flow in the figure of levels. Settlement in the Muslim world paints each worldly and religious issue with the color of faith. Therefore, Islamic artist is dominated by the Supreme Islamic. Manifestation of light in Islamic art in Shamses and Mogharnas is all display of a scared matter, for which Iranian Islamic architecture is a meeting place.

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