الهام صادق پوری

Chivalry mores and etiquettes have never been limited to a specific time, place, or tradition, but the topic of discussion in this research holds some symbols of Chivalry mores in Iranian architecture in Islamic period. Chivalry principles, in Islamic period, are based on the pure nature of manliness and its origin and orientation goes back to Imams and prophets. By obeying and adherence to these principles, which have been called as Chivalry principles, people were categorized as the Chivalry. These mores have also been common in other countries such as Iraq, Anatoly, and todays’ Syria. In early Islamic period, Chivalry mores was only peculiar to some specific people, but as the time passed guilds also founded some rules based on Chivalry, which must have been obeyed by volunteers willing to join that guild. The place and footprint of mores and etiquettes of chivalrous people in Islamic architecture works were studied in this research. To do this, Chivalry appearances in the architecture of Islamic period buildings investigated. Relying on the comparative and analytical reasoning between the moral principles of the Chivalry and the Islamic architectural works, some results were gained. Some of them are the existence of internal spaces, taken from the idea of confidentiality of the Chivalry and leaving the doors shorter in Islamic architecture of some structures like Zurkhaneh (gymnasium), to illustrate the humility and modesty while entering into such places.

Islamic architecture has a fundamental dignity and tries to preserve the spiritual and immortal elements. The most sensible characteristic of this type of art is the compatibility with the nature of Islam; monotheism, which the mosque architecture provides the best bed for such purpose. The main model for constructing mosques, from both outward and internal spiritual truths point of view, is the Kaaba. It is considered as a religious and holly symbol in Muslims’ all issues. Since the Islamic artist in Islamic architecture seeks the means through forms, therefore, in addition to engineering appearance of Kaaba, which is the model of Islamic mosques’ architecture, its innate mysteries are also emanated in this type of art. Quiddity of these mysteries and their advent quality in the architecture of the mosques is the main issue we are confronting with. This research tries to uncover the coded forms of Kaaba and come out of the attaining unique secrets of these forms in the rational and material world and the way of their emanation in the Islamic architecture, which is the main purpose here. Achieving this purpose is due to benefiting from theological sciences, studying Islamic narratives and verses, and also philosophical, theosophical and knowledge studies which are in descriptive and library types. It is possible to reach the depth of existential philosophy of Kaaba under the shadow of these investigations and the basics of the Islamic architecture would be considering in the next phase and that information in literature review, which features the mysteries of Kaaba would be interpreted in this sacred art. These studies clarify that Kaaba is a secret of unique being of God and it is the emanation of his terrestrial form in divine heaven. Thus, mosques’ architecture is an appearance of the divine house trying to create sacred atmosphere, to indicate this eternal truth and capable the human being to connect to his idol and reach to the final destination of the creation, which is knowing the single God.