As the warriors of Islam entered Persia they realized that the people of this land behold an ancient historical, cultural and artistic heritage. The people of Persia also acknowledged that the new bestowed religion will ultimately enhance their culture and art. The initial response to the newly established religion did not take long and soon Persian artists adorned the arts of the land. It was in the fourth and fifth century that Persia became the home of prominent artists in various architectural and artistic fields. The artists of the Safavid Empire enriched this status to its ultimate state and bequeathed this aptitude to the Afsharid era. One of the magnificent achievements of the Safavid Empire is the ornamentation of the dome and golden portico of Iman Ali’s shrine in Najaf. This paper seeks out to describe and identify the inscriptions and ornamentations of this holy dome that is immersed with historical, cultural and artistic values.

By accepting the tendency of the world to evolve around the axis of the pure Imams (Peace be upon them) as examples of “perfect human”, it is important to know the architectural features of the perfecting architecture of their holy shrines. Ashura opens a gate of light to the inside of the Qibla and luminous city of love. The qibla is a sign not to be lost the path. And this is how the signs became important in the holy shrines. Islamic art and architecture is expression of God's word. And religious spiritual inscriptions are the most prominent symbol that is connected like a bridge from the sensible world to the universe of meaning by manifesting truths.
In this article, in response to the question that "Religious-spiritual inscriptions as enduring media with what conceptual-formal pattern, have expressed the original religious concepts in epic-religious architecture?" We have dealt with the dome of the holy shrine of Imam Hussein, which is the point of connection between earth and heaven and a symbol of justice. First, by reviewing the types of decorative and artistic calligraphy, in order to know the type of them and artistic form and understanding the content of the inscriptions of the dome, and then by the method of illustration and field interpretation and then by analytical-interpretive method, it is clear that the holy inscription of the holy shrine has been prepared as a symbolic medium in accordance with the uprising of Imam Hussein. Meanwhile, Surah “Fajr” in the scroll inscription of the dome, with a height of 5 meters, as a surah related to Imam Hussein (AS) in the circular geometry of the center of the dome is located; the height of the leg and itself to the top is 14 meters. The type of calligraphy shows the art of tholth calligraphy by Mohammad Hossein Shahid Mashhadi, a prominent Qajar calligrapher in 1373 AH, who also succeeded in writing inscriptions in the holy shrine of Imam Reza at that time. The concept of the four bergamot inscriptions on the base of the dome, includes thanking God for the success in decorating and gilding the dome, deals with the period and the founder of the construction.
Finally, and according to the plan to elevate the holy dome of Imam Hussein at the present time, the offer of this article is to add the mention of brotherhood and unity of the two nations of Iran and Iraq in the terracotta inscriptions of the dome and repeat Surah Fajr in the scroll inscription of base of the dome.

The shrine of Imam Reza (AS) is considered to be the largest and the most important religious attraction in Iran, which we see throughout the history of Islam. The dynasties, personalities, and elders of each era have been refurbishing and developing this sacred place, to the extent that each section describes the art of architecture at a specific time in the history of Islamic art, including the elders and kings of the Safavid dynasty, the main reason being the recognition of the Shiite religion and the reverence and respect for the elders of this religion. The architecture of the Safavid era is a symbolic manifestation of a sublime truth, leading man from the multitude of the outside world to divine unity where one can feel the presence of God. The kings, artists, and architects of this period, with an emphasis on unity, sought to evoke divine unity in minds, creating a style known as the Isfahan style; the latest of the four Islamic architectural styles in Iran which is based on the simplicity of most designs. Allah Verdi Khan, a brave warrior and military commander of the Safavid era, has done a lot of work to promote the culture and civilization of Iran and paid special attention to the architecture of this era. This can be emphasized by looking at the works remaining from him in Isfahan (Si-o-se-Pol), Shiraz (Khan School) and Mashhad (Dome of AllahVerdi Khan). The dome is one of the most important mystical symbols. Its special form, which resembles the enameled dome, represents the inclusion of all creation (by heaven). For this reason, the artist always imitates the dome of heaven with large domes in the mosques and provides the opportunity for spiritual worship to seek the blessings of divine power for believers. Dome of AllahVerdi Khan, is one of the most beautiful buildings of the Astan Quds Razavi, which Arthur Pope, in the book of Iranian Architecture, considers to be the most complete part of the shrine of Imam Reza (AS). The mosaic tiles of this porch are decorated with the inscriptions and animal, plant, and geometric motifs. Many of these motifs include a concept that has a particular place in the culture and literature of this land. Since the use of peacock motif, as a decorative element, has reached its perfection in Safavid era architecture, and its use is observed in many buildings of this period, the main purpose of this paper is to study the motif of peacocks in the tiles of the above-mentioned porch. The questions are: 1- To which period most of the peacock motifs belong? 2-What is the position of this motif in the holy shrine in the Safavid era and the subsequent periods? The symbol of the peacock has cosmic, intrinsic and mythological meanings in the art and architecture of ancient and Islamic Iran. Therefore, its study as one of the most widely used animal motifs, considering the historical period, in order to grasp symbolic concepts and how to place this role and the type of attitude towards it in different periods is of importance and necessity. In this regard, the writing of this article is based on the historical-descriptive method and the use of library documents, as well as the gathering of material as a transcript, field observations, and photography of other peacock motifs on the tiles of the holy shrine of Razavi and Porch of AllahVerdi Khan. Data analysis is also qualitative. In total, 132 peacock motifs from the three historical periods of the Safavids, Pahlavis and the Islamic Republic era have been studied, including 10 compositions in 17 tiled frames in the Porch of AllahVerdi Khan and 6 compositions in 14 tile frames related to other parts of the shrine. Most of these motifs in the holy shrine are related to the Islamic Republic era (96), 26 to the Safavid period and 10 to the Pahlavi period. In terms of positioning, most of the peacock motifs are represented in a side view, 114 of which as guardians, while there are 18 motifs from the front view. Finally, after searching and discovering the deep meanings of this symbol, one can reach the semantic underlying layers and the reasons for its application. These tiles, consisting of physical form, layout and motif, are all intended to attain the highest order of existence, immortality and rebirth, to relate to the creator of life, blessings and fertility, as well as to pass through the temporal phase of the lowness and to connect to the highest eternal order. Repetition and symmetry also have existential and anti-mortal meanings, so there is no custom in which there is no repetition. The presence of these motifs, besides the quoted meanings, also induces these implicit meanings: unity in plurality, plurality in unity, plurality of eternity and infinity, power, spirituality, bottom-up connection, and earth to heaven.

The identity of the cities with pilgrimage potentials can be partly defined by its soundscape identity, religious soundmarks and its values. Urban designers and planners can play a positive role in the environmental richness of these territories by providing and managing proper soundscape in accordance with the contextual values. The aim of this article is to evaluate the soundscape of the peripheral territory of Hazrat Masoumeh’s holy shrine. In order to achieve the aim of this research, a descriptive-analytical research method with a qualitative - quantitative approach was applied. In this regard, qualitative evaluation of the soundscape of this territory using soundwalking technique as well as the quantitative evaluation with Equivalent Sound Level (Leq) by Sound Analyzer TES-1358 in two time periods of day and night were conducted. Based on the findings of this research, quantitatively, Day-Night average sound level is higher than the standards approved by the High Commission of Environment of Iran. In Pedestrianized areas such as Bahar pedestrian walkway, Eram pedestrian walkway and surrounding areas of the holy shrine in Astaneh Square and Imam Khomeini Square, the Day-Night average sound level is more proper compared to other areas. In the streets of Emam Musa Sadr, Taleghani and especially Motahhari Square, the Day-Night average sound level had the highest intensity. Also in the qualitative evaluation according to the religious role and spirit of this territory, there are many religious and cultural soundmarks that the holy shrine is the main one. However, the dominance of noise and anthrophonic sounds overshadows the identity of the religious and cultural soundmarks of this territory. Also, geophonic and biophonic sounds seems appropriate in this context, playing a small role as the pleasant sounds.

In the Islamic architecture, functional geometric designs have more than technical means, in other words, the spirit of Islamic art has always been reasonable to the world and the world, because of the alternative to the materialist art, and in any case, the Muslim artist was able to draw a picture of the geometry of science. The application of this geometry, which is generally in different forms of geometry in the interior and exterior of buildings, these varied forms in the traditional domain of the Islamic religion can be able accompanied by national religious approaches. The symbol of the eight-pointed star due to its geometry and its specific form in Iran, especially in the sanctuary Razavi, has been considered as a spiritual center on the religious position of Imam Reza.The purpose of this article is to investigate the link between the symbolic concept of the 8th star in the sanctuary Razavi with the spiritual position of Imam Reza. Geometric shapes are an important part of the identity Iranian-Islamic art, this study examines the relationship between the star's eight and the imam of the eighth by examining the existential nature of the geometric role of the star.  To examine the relationship between the symbolic concept of the eighth star in Razavi's area and the spiritual position of Imam Reza. The research approach of this artical is based on a descriptive-analytical method based on library and field studies. According to the analyzes, the combination of spirituality and science in the context of the symbolic dimensions of geometric shapes (in particular the geometric role of the 8th star) and the theme of this form in terms of the science of numbers and graphs represent the artist's perception of their semantic function, and the relation of the symbol to the position The spirituality of Imam Eight was fully observed in the architecture of Razavi's shrine in Mashhad. Overcoming the symbol of the other symbols and diversity that artists have drawn in and painted has a symbolic link. Reviewing the historical background of the shape of the eight star and its application in the Razavi sanctuary indicates that the artists, using the science of numbers and the knowledge of the symbolic meaning of the number eight and the geometric shape of the eitgh angke star, have deep links with Imam Reza.