Re-reading the place of wisdom in the body of Iranian architecture by using the metaphorical beauty of glorious purification in the Safavid period

In Islamic thought, there is a necessary connection between art and wisdom. This wisdom is based on knowledge that has an equal and spiritual nature. Therefore, for the Islamic architect and Islamic art in general, the most important issue is monotheism and unity. But the divine attributes have appeared in the world as in the field of Islamic art has followed that art of turmoil because Iran throughout the history of Islam has always been one of the centers of Islamic art and Iranian architecture, including the richest fields of manifestation and the Safavid period. It is a time of revenge for Iranian wisdom, identity and man with lasting concepts in the Islamic period. The religious buildings of this period were the most important manifestation of Shiite art in the Safavid era; Because schools, as the most important ideological centers of the Safavid era; have three basic elements: religion, tendencies and beliefs of the masses and their authorities and leaders, which have been formed together with Majid in such a way that through code, with stunning light, manifest the divine names and attributes, so the purpose of shin research is the place of wisdom in the body of Iranian architecture using the combination of the symbolic beauty of “glorious purification in the Safavid period. Chaharbagh School Mosque is selected as a case study. The type of research is qualitative and fundamental and relies on descriptive-analytical method that date collection has been done through documentary and work studies and also in the analysis section of the article according to the more foundation of research based on the system of wisdom it is Islamic. The combined method is used, which consists of qualitative content analysis and stables reasoning argument in the field of beauty.The results of the research show that in all the physical organs of the architecture of Chaharbagh School Mosque, its modes and bodies, as well as the collective dormitory between Jamal Tashbihi and Jalal Tanzieh, light and geometry are semantic complements in the field of metaphorical beauty. Shows the unity in plurality with the components of transparency and torality, the color of the fluidity of continuity and complexity, and shows the sphere of glorious Tanvini with its static elegance, symmetry, simplicity and empty space.