Avoidance of symmetry in Seljuk brickwork is one of the accessible but Difficult to understand concepts of Islamic art. The use of bricks in a variety of geometric designs without observing the principle of symmetry in the edges of the building led to a dramatic change in the structure of the brick arrays of this period that has never been experienced in any historical period in Iran. Note that changes in the artistic structure of a traditional society do not simply take place, and the coincidence of these with the height and perfection of Iranian brick art has caused a contradiction in the art of this era that has so far received little attention. However, the Seljuk era brick work debate has been a highly repetitive topic in domestic and foreign research, and despite the principle of symmetry in Iranian art, little attention has been paid to the issue of Avoidance of symmetry in Seljuk-era brickwork Explaining and interpreting this deconstruction of the new social class (middle class) as the sponsor of production that followed a new taste is of great importance. Sponsors' taste and bricklayer enthusiasm for displaying their ability, created the style of pop art in brickwork of that era that's like all the pop arts was influenced by social structures and with the political and social changes after the Seljuk era Immediately forgotten. This research aims to reveal new aspects of Seljuk-era brick art that have been neglected so far. This research is based on historical-interpretive method and based on library resources.

Problem Definition: Tahmasebi Shahnameh is an exquisite manuscript of Ferdowsi Shahnameh which belongs to the tenth century AD. This edition contains 258 paintings of the legends, myths, epic poems and stories of Shahnameh in 1200 pages, illustrated by the most prominent painters and calligraphers of the Safavid era. The paintings of Tahmasebi Shahnameh are of great artistic value and many decorative motifs have been employed in them. The geometric decorative motifs are considered as the most prominent and common ones in these paintings. The painting of Zahak dream is one of the drawings of this Shahnameh in which many decorative geometric motifs can be observed in various and beautiful compositions. The important place of geometric decorative motifs in Islamic art decorations, especially painting, has been the main concentration of the present research. It has been attempted to answer the question that what is the maximum number of repetitions of geometric motifs in this drawing? Objective: The present study aims to quantitatively and qualitatively identify the decorative and geometric patterns of Zahak dream painting as an important Iranian visual documents. Research Method: The required information has been collected from library sources and historical documents and have been presented with a qualitative approach and in a descriptive-analytical manner. Results: The present results indicated that a number of 26 geometric compositions are present in Zahak dream painting of Tahmasebi Shahnameh. These compositions are composed of 19 types of geometric patterns, among which, the geometric patterns, regular hexagons and six feathers Shamsa met the highest amount of repetition in the studied drawing, respectively.

Introduction: The plaster altars of Ilkhanid period, as one of the most glorious decorative representations of architecture of this period, are a unique collection of motifs and different inscriptions that has a great diversity in construction dimensions and forms. These reliefs that are included in almost all parts of plaster altars, including frontal, margins, columns, capitals, arches, etc. have different plant (arabesque and khataei) and geometric reliefs most of them are integrated with existing Kufic scripts....

More decorations of buildings Islamic era, An important task With Philosophical experience had. motifs of Decorations A special way Among the geometric ornaments of Islamic and traditional architecture of Iran and the East have been Who invented this old art It combines a number of original shapes or layouts. The first step is drawing Creating a knot frame That motifs They gather with it. Motifs of Geometric First it is wandering But it is more accurately seen Which is behind each motifs of the frame There is a geometric method and a concept. The question arises, therefore How is it New frames with Mystical thinking and irregular geometric versus old frames created. In this study, According to one type of node (motifs of tile of ten Sharp and dumb) Proof of geometric order in proven motifs and New frames with geometric and mystical insights Introducing and Islamic geometric features from new angles are checked. To confirm the information of this research, Descriptive-analytical method has been used and Collect information using the method Studies of library documents have been carried out. also, Information analysis that Has caused the new frames to be drawn, Using the logical reasoning method done. Research objectives: 1. Introducing a new concept frame with a conceptual idea versus the design of past frames 2. 2. Ability to achieve a basic and irregular frame design, without drawing a 4/1 frame design Research question: 1. How to design a frame with asymmetric geometry without capturing the structure of the elements

One of the most popular arts in Zanjan is filigree which is a branch of the art of metalworking and is mainly made of high-grade silver metal. In filigree, silver bullions are made with a rolling machine in the shape of quadrilateral narrow wires with which small designs are made by putting them together and soldering them. The purpose of this essay is to introduce filigree and to identify the common designs and motifs in the filigree of Zanjan as well as the effectiveness level of the filigree patterns from pre-Islamic and Islamic eras, and the similarity of filigree patterns with Islamic-art motifs based on the geometric theory of fractals. The present article seeks to answer these questions: 1) What are the origins of some Zigzag filigree designs? 2) What types of motifs are common and used in Zanjan filigree and Islamic decorative art? 3) Are filigree designs compatible with Islamic art designs based on Fractal theory? The research method of this study is analytical-descriptive and the method of data collection is library research. The results indicate that the origins of some filigree patterns are from ancient Iranian patterns, some patterns are taken from the invaders to the eastern borders of Iran as well as the geometric vegetative and simplified (stylized) patterns of the Islamic period. These patterns with other filigree elements form a complete semantic system. The findings also showed that there is a balance in natural fractal patterns. Patterns of Islamic art and filigree, despite repetitions, irregularities, endlessness, incompatibility, etc., follow a particular order in general and they are balanced (unity despite plurality). Filigree designs have used the elements of Islamic decorative art and fractals from nature. In other words, all three are of natural origin. Zanjan filigree works are part of the fine Iranian metalwork art which production has undergone changes in recent years. The existing works in the art of filigree are largely different from the old filigrees. Despite their apparent differences, the researchers categorize these works into a single collection. Although metalwork art has been referred to in many Iranian art history books, less attention has been paid to filigree. On the other hand, many of them have been lost due to the possibility to melt the filigree works, and few are available in some museums or owned by collectors, which are not easy to access. One of the most important ways to realize the history of filigree works is to recognize the forms and motifs common to the filigree and find the origin of the motifs and their transformation over time. Iran has long hosted many civilizations from the past. The filigree works have been obtained from two periods of before and after Islam. These artifacts range from very basically decorated works to sophisticated ones. They have common features in the style of decoration and building method; features like the use of tap and dies of wires and delicate soldering as well as the use of abstract forms that are in fact the foundations of today’ s filigree art. What was considered the goldsmithing work in the pre-Islamic era, slowly moved towards independence after the advent of Islam and during the reign of early Muslim rulers until it became of great importance in the Samanid era, that is a pinnacle of developments, and in the Seljuk era, that is the determinant of the policy of this art; then, during the Safavid era an art was finally formed, called filigree. Moreover, today’ s filigree art had been invented in the Afsharid and Zand periods when some of the motifs invented in the late Safavid era came into being and later emerged in various forms in the Qajar period as well. Zanjan was established as the center and the largest production location of filigrees in the Qajar era. Now, the objectives of this study are: 1-Introducing filigree, recognizing motifs and common themes in Zanjan filigree 2-The rate of impact of Islamic decorative art motifs on filigree motifs. 3-The degree of similarity of filigree motifs to the Islamic art themes based on fractal geometric theory. The questions answered in this study are: 1-What are the origins of some of Zanjan filigree motifs? 2-What kinds of themes are common in Zanjan filigree and Islamic decorative art? 3-Are the filigree motifs comparable with Islamic art motifs based on fractal theory?

The study of geometric patterns in the architectural decorations of the Second Pahlavi era underscores their pivotal role as symbols of Iran's cultural and historical identity, reflecting and reinforcing national pride. This research explores the intricate integration of Iran's cultural heritage with modernist movements, revealing how this synthesis influenced architectural design and identity during this period. Using a descriptive-historical method, it examines texts, documents, photographs, and architectural elements of 12 notable buildings from this era, applying the Gestalt method for detailed analysis. The findings demonstrate that geometric patterns served as decorative elements and powerful symbols of cultural identity. By merging traditional motifs with modernist principles, architects of the Second Pahlavi era achieved a harmonious balance in design, meeting functional needs while fostering a sense of cultural belonging. Influenced by Iran's architectural legacy and modern Western trends, they revitalized traditional forms, blending them with the International Style, notably the principles of the Bauhaus school and ideas from architects like Le Corbusier and Frank Lloyd Wright. This approach resulted in a unique semi-modernist Iranian style. Integrating modernist architecture with Iran’s cultural heritage produced functional, aesthetically pleasing spaces that strengthened national identity. The architectural achievements of this period highlight the importance of maintaining a connection to historical traditions while adapting to contemporary demands. By leveraging modern technologies and knowledge, architects created innovative designs that resonate with modern sensibilities while showcasing Iran’s rich cultural legacy. This research underscores the enduring significance of blending historical heritage with modernist innovation, offering valuable insights into contemporary architectural practices.

Geometric shapes and motifs are a combination of the human spiritual mind which sees the existence of beautiful and paints a historical civilization through this vision. The geometric motifs are an expression of the rhythmic and balanced human beings possessions when the human being wants to imagine beyond the present and create a world full of love. The patterns/shapes are the basis of artworks and give a great prominence to it. In this paper, it is struggled to combine and analyze discussions and statements along the fractal geometry approach of Herat embroidery in order to determine the impact and effectiveness. The researcher intends to give a brief information about embroidery for a comprehensive understanding, and then to analyze the embroidery patterns of Herat and study them from the perspective of fractal geometry. Although this traditional art is a part of the tangible culture of Afghanistan, the use of the geometric structure in these embroideries shows the originality of art and culture of ancient Herat. Therefore, the study and analysis of this feminine and primitive art can be a useful step in the direction of the ancient Herat art and culture studies. Embroidery is one of the ancient methods to decorate the surface of fabric or clothing and is one of the traditional arts of Afghanistan, which has a great reputation and ancient history that has special interests in all countries. In Herat embroidery we can see a type of geometric motifs which adorns the male and female clothing in Afghanistan especially in Herat. Undoubtedly, the essence of each of these products shows the skill, taste, initiative and creativity of Afghan women. The majority of these women live in remote villages and hamlets and are engaged in this craft with a special interest in the fractal geometry Unusual geometric shapes that are most important feature of them are self-similarity and repetitive formation. These features can also be seen in the designs of these embroidery in Herat. The main questions raised in this paper are: What is the relationship between the Herat embroidery and the fractal geometry patterns? What are the similarities and differences between fractal shapes and embroidery patterns in Herat? The research in this paper is based on descriptive-analytical-and adaptive methods. The library method, field observations and interviews with embroiders in Herat were used to generate and gather the relevant information. The most important part of this article, which is the embroidered patterns of Herat, was in the form of an interview and to get the basic knowledge that has been taken from local customs and traditions, travel has been made to distant cities. After collecting the data, the results showed that the embroidered patterns of Herat have similarities and differences with the fractal geometry patterns and motifs. However, their similarities are far greater than their differences. In general it can be stated that these patterns by having the features like repeated formation, self-similarity and zooming to infinity are being counted as part of the fractal geometric patterns.

In the pre-Islamic era, stucco was used to cover the walls of palaces and temples, because the building materials such as stone, sandstone or crude clay were not very interesting, and the richness of decorated walls was more effective than bare walls. This type of architecturalrelated decorations in the history of Iran was technically and artistically developed and became one of the archetypes of the Sassanid era. Stucco patterns of this era include plant, geometric, animal and human designs. The use of these patterns in this period, with a few differences in quantity, was accompanied with some mythical concepts. The transfer of these designs from the Sassanid era to the cultural and artistic realms of Islam was in companionship with some changes such as selection of motifs based on their usage in religious or non-religious places and being measured according to the basic Islamic principles. This has made plant and geometric designs luckier than other designs. Under the influence of the Islamic view, these motifs tended to be abstract and the artists avoided direct imitation of nature. Fast curability, fast progression and the whiteness of stucco that were important in the decoration of Islamic buildings were among other factors involved in the re-use of stucco decorations in Islamic monuments. For these reasons, this art, along with its plant and geometric motifs, grew and developed. One of the important findings during the archeological activities in Seymareh, was the discovery of its mosque and its stucco decorations. According to the dates given, the mosque belongs to the late Umayyad and early Abbasid era. Considering the importance of stucco decorations in Iran, the main objectives of this study were, firstly, to identify types of decorative motifs influenced by Sassanid stucco, and then, to study the similarities and differences between the Sassanid stucco designs and the decorative designs of the Seymareh Mosque. Accordingly, the main questions of research are: what are the decorative motifs influenced by the stucco art of the Sassanid period in the stucco adornment of the Seymareh Mosque? What are the similarities between the Sassanid stucco designs and the decorative designs of the Seymareh Mosque? The results of the study show that the decorative motifs found in the mosque of Seymareh could be divided into two main types of plant and geometric designs. Meanwhile, in addition to design and implementation, the plant motif of the Datura flower, and trapezoidal, elliptical geometric patterns, as well as decorative margins used in circular, square and rectangular frameworks, differ from the decorative designs of the Sassanid era. In addition to the formal effect, the application of the principle of symmetry and repetition and the method of making stucco decorations by molding, casting and prefabricated methods, we can see other evidences of the continuation of the Sassanid period stucco art in the stucco decorations of the Seymareh Mosque. Such volume of similarity and influence should be considered as a result of the location of the city of Seymareh in the Sassanid period, which has been evidenced by many architectures decorated with its stucco decorations in areas such as Barzqavaleh, Qaleh Gori and Goriyeh. In most of the stucco specimens of Qaleh Gori and Barzqavaleh, which are from the archeological sites of the Sassanid period and close to the city of Seymareh, and in the present study, the specimens with decorations of the Seymareh Mosque were compared in terms of marginalization and framing according to geometric and plant elements. The use of flowers and leaves such as palm, artichoke, rosette and lotus in the corners of the decorative frames of the design is one of the elements that exists in the stucco of both areas of Bozorgvaleh and Qaleh Gori. Based on archaeological findings, stucco decorations have been one of the most important methods of arranging Sassanid architectural spaces in the city of Seymareh, which can be used to justify the textual connection between the stucco decorations of the Seymareh Mosque and the stucco decorations of the Sassanid period. However, in the study of the decorative patterns of stucco of the Seymareh Mosque, there is evidence of the creation of new arrays such as the tendency towards different designs of plant motifs such as pomegranate fruit, pine fruit, tulip buds or the design of the decorative borders of the frame. Circular or square and rectangular geometric shapes are observed along with the creation of new geometric arrays such as trapezoidal and oval geometric patterns. Therefore, it can be said that the artists who designed the stucco decorations of the Seymareh Mosque, by using these innovations and the complexity of geometric and plant decorative motifs in addition to imitation, sought to provide new decorative surfaces appropriate to the cultural and artistic atmosphere of the first Islamic centuries and created new texts.

Ganjali khan caravansary is the most invaluable structure in Safavid era. This complex can be considered as an art museum of Safavid era in Kerman. Facade of Ganjali khan caravansary shines as a pearl in this invaluable complex because of the tiling applied in the façade, including different decorations such as geometric, vegetative, human and symbolic motifs which has brought about a beautiful coordination visually and semantically. Due to analytic-descriptive results obtained from this study, it is followed that artists of façade structure could create a new and attractive composition by putting together different beautiful pictorial shapes and inscriptions all of which suggests a certain meaning. In addition to aesthetics, they attract soul and thought of the spectator and they lead spectator’s mind beyond apparent meaning. This meaning shows movement i.e. moving from material world to eternal one. The present article has been adjusted analytically and descriptively with focus on field studies and it has done inferentially.

Ganjali khan caravansary is the most invaluable structure in Safavid era. This complex can be considered as an art museum of Safavid era in Kerman. Facade of Ganjali khan caravansary shines as a pearl in this invaluable complex because of the tiling applied in the façade, including different decorations such as geometric, vegetative, human and symbolic motifs which has brought about a beautiful coordination visually and semantically. Due to analytic-descriptive results obtained from this study, it is followed that artists of façade structure could create a new and attractive composition by putting together different beautiful pictorial shapes and inscriptions all of which suggests a certain meaning. In addition to aesthetics, they attract soul and thought of the spectator and they lead spectator’s mind beyond apparent meaning. This meaning shows movement i.e. moving from material world to eternal one. The present article has been adjusted analytically and descriptively with focus on field studies and it has done inferentially.