Recognition of The Structure of Iranian Mosques in Comparison with Other Mosques of the Islamic World Based on The Concept of Perfectionism (Monotheism) In The Chalipa Symbol

The ancient Chalipa pattern in architecture is one of the patterns that have been considered as the main symbol of pre-Islamic Iranian architecture. Today, decoding different meanings of this symbol in the mosques as the base model, which is the source of Iranian and Islamic architecture, has been neglected. The present research is constantly attempting to compare the Iranian mosques with mosques of other Islamic countries as their structural differences and to compare the two concepts of centrality and orientation as the two main components of the Chalipa pattern that exists in Iranian mosques. In this research, which has a historical-analytical method, has attempted to introduce the main difference between mosques and Iranian mosques during the 5th and 6th centuries Ages in the presence of the Chalipa model and the reason for this difference in the common meanings of Iranian civilization And Islamic, which did not exist in other civilizations. Ancient Chalipa pattern is in the form of a four-ivan in the central courtyard of Iranian mosques, dedicated to Iranian thought. There is no such pattern in the central courtyard of other mosques in Islamic countries that Suggests the evolution of the concept of pre-Islamic centralism. On the other hand, it shows the concept of unity in Islamic mysticism, which may be the cause of this connection in the common principles of the monotheistic religions of Iran (Islam and Zoroastrianism) With the concept of the transition from the past to now, it has provided a revival of the concept of monotheism in Iranian civilization in Islamic architecture. In the historical course of architecture from ancient Iran to Islamic Iran, Chalipa was the link between the architectural spaces of these two civilizations, which is not seen in the historical course of the monuments of other civilizations. The crucifix pattern, which is adapted in this study to the four-porch pattern, is only visible in the architecture of Iranian mosques, and if found in other countries such a pattern can be seen through imitation of Iranian mosques.Therefore, it seems necessary to study such a trend as to why the crucifix pattern existed in Iranian historical evolution but is not seen in other civilizations. The link between the Iranian mosques and the pre-Islamic monuments in Iran has been distinguished from other Islamic mosques in different countries by the cruciform pattern. Therefore, it is necessary to study and prove that this ancient pattern appeared only in Iranian mosques and is rooted in the common meanings of Islam and Iran. When it comes to sacred orientation, it unconsciously associates the Qiblah and the Ka›bah house with prayer in Islamic religion, which has played a key role in the design of architectural and urban spaces since the arrival of Islam. According to this principle, the mosque›s space is designed in such a way that their nave is in the south and facing the Qiblah. Looking at Iran›s pre-Islamic architecture and urban history, one can see signs of such a sacred orientation in the form of a quadruple or quadruple design in four different directions. Influence of this orientation is particularly evident in the design of quadrangle cities, the plan of the four porches, the design of the gardens called the four gardens and the buildings of the four quadrants. Later converted to Islamic architecture and in order to interact with the Qiblah, it was incorporated into the body of Iranian mosques and became the main characteristic of Iranian mosques compared to other mosques. Crosses have existed in most civilizations and in various forms at different times, but there is a form of architecture that, if identified in the plan of an architectural space, must be at its center in the center, for example the dome on The flame rises exactly at the center of the intersection of these two directions and manifests itself. In most introverts such as mosques and temples where the center is very important, this symbol can be . The present study examines the symbol and form of the crucifix in the spatial organization of the mosques and emphasizes the concept of centrality and orientation of the symbol, which are its two main components, trying to show the pattern of the crucifix in unifying the spatial structures of a The building has an important role, has its roots in pre-Islamic architecture and first appeared in post-Islamic architecture in the sixth century AH, which was the reason for this change in the thinking of the rulers, philosophers and artists of the Al-Buoy period. Thereafter, they have always sought to link Iranian thought with Islamic thought Architecture therefore, also not an exception. In other words, in the study of the architecture of other countries, it is always found that their ancient temples have no common ground with the mosques or churches of the time, and that the architectural structure of the transition from ancient to monotheistic religions has always been accompanied by a gap in meaning. In Iran, however, the crucifixion pattern closes the gap between Iranian architecture and Islamic architecture, rooted in the mystical meanings embedded in the symbol that links the two monotheistic religions through the common concept of light or fire.