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Atayinia S, Mortezaee M. (2024). The Interaction of Iranian Art and Shia Ideas in the Tower Tombs of Kojur. Parseh J Archaeol Stud. 8(27), 313-335. doi:10.22034/PJAS.8.27.313
URL: http://journal.richt.ir/mbp/article-1-650-en.html

Abstract
With the arrival of Islam in Iran, art came into the service of Islam and an interaction between Iranian art and Islamic thought was formed, which can be observed in the art of Islamic architecture in Iran. One of the most obvious types of cultural and religious architecture of the past, which has played an essential role in Islamic architecture from various historical, artistic, religious and social aspects, is tower-shaped tombs. These buildings have a long history in the context of Iranian culture and society, and for this reason, they have a relatively high diversity. The tombs and the blessed shrines after the mosques are the most important elements of religious architecture, in which you can see the beauty, elegance, technique and creativeness of architecture. In this research, it is tried to deal with Iranian art and Shia ideas in the architecture of religious-monumental buildings, as well as the connection between politics and religion in terms of architecture and aesthetics. The ancient region of Kojur (Old Royan) contains a considerable number of Islamic era tomb buildings that, in addition to having the general principles of Islamic architecture, also have special regional characteristics which can contribute to better understanding the native architecture and its function; furthermore, the religious and political link demonstrated in the architectural art of this region. The question raised in this research is, what was the function of the religious buildings of the tower-shaped tombs in the Islamic era? And in response, it can be said that, in addition to the funerary function, these religious elements can also have a religious-political function. The research method of this article in the context of studies was based on the purpose of the fundamental research type and based on the nature and method of the descriptive-historical research style. The way to collect information in this research is through documentary (library) method. The results of this research in the analysis and investigation of the architectural developments of the tower-shaped tombs in the Kojur region have shown the combination of Iranian, Islamic art and native architecture.
Keywords: Iranian Art, Shia Ideas, Tower Tombs, Kojur.

Introduction
The Muslim artist, realizing this meaning and value, designs the face and creates his artwork according to the aspects of Islamic (Shia) thought and wisdom. Religious architecture has also indicated and emerged meanings with the same foundations and concepts. Now considering that the greatness and sanctity of the personality of the prophet of Islam together with the orders given in the Quran and Hadith about his “relatives” and “Ahl al-Bayt” (siblings) caused Muslims to value and respect him from the very beginning and give a special place to their associates. This group, which was initially called by names such as “Al”, “Ahl”, “Zariyah”, “Atrat” and “Aqraba”, was later called “Sadat”, which at the same time they were called because of their sovereignty and glory in the sight of Muslims. Iranians, after converting to Islam, paid special attention to the children and grandchildren of the prophet. Signs of this attention can be observed in the presence of a significant number of memorial and burial monuments (tower-shaped tombs and blessed tombs) of the children and grandchildren of Shia imams in Iran, especially in Mazandaran, decorated with Iranian art and Shia thought.
In Iran during the Islamic era, tomb buildings are among the most numerous architectural works after mosques. The construction of these buildings with different names such as “dome”, “Madfan” (burial place) , “tomb”, “Rouzah”, “Meshhad” (place of becoming martyr), “Maqam” (position), “mausoleum”, “Beqaa”, “Astane”, “dome” , also called “Qasr” (palace) and “Imamzadeh” (son of Imam), became popular from the 4th century AH (Hejri Ghamari) and with the emergence of different local dynasties in the east and north of Iran, which coincided with the weakening of the Abbasid caliphate (Grabar, 1375: 16). 
The local rulers in the Mazandaran region, who had Shia and Alavi tendencies since the second century of Hejri, supported Shia ideas and beliefs in the following centuries. This protection in architecture was more visible in the form of tower tombs on the graves of Shia Imams.

Identified Traces 
The background of tower-shaped tombs: A tower is historically referred to as a tall and circular or polygonal building or “A tall and strong building next to a rampart with a castle or between a road for observation and guarding” (Seyd Sadr, 2001: 90). Sometimes the towers are built as a sign on the graves of the prominent and great figures which are actually considered a kind of tomb. In fact, here, in addition to the function of observation, the function of being seen by the tower itself is mentioned; tomb towers with different forms and shapes were able to demonstrate the effects of different goals and functions in their usages (Pirnia, 1383: 170).
Mausoleums (Shrines) in Kojur: Tomb buildings (shrines) in Kojur and their investigation can clarify many cases and answer most of the surrounding questions. The appearance, structure, materials used, the spaces employed, the dome and the inscriptions of the building represent the existence of a close historical-cultural relationship between the people of the region and their contemporary conditions. Tombs such as the tomb of Seyyed Mohammad Kia Sultan (Imamzadeh Debir Salehani), the tomb of two Imamzadeh Tahir and Motahar (Malek Kiyomarth bin Bistun), which are mentioned in detail as an example.
Tahir and Motahar tomb tower (King Kiyomarth bin Bistun): This building is located in the southwest of Hazar Khal village, near the Kojur-Salehan asphalt road. The cemetery of the people of Khachak and Hazar Khal villages surrounds the building due to the sanctity and respect they have for it, and some of the gravestones in the mentioned cemetery are dated between 1290-1309 AH (Hejri Ghamari).
Mausoleum of Seyyed Mohammad Kia Sultan: Geographical location of Seyed Mohammad Kia Sultan (Imamzadeh Debir Salehani) tomb (registration number 3659). The mausoleum of Seyed Mohammad Kia Sultan, known as Imamzadeh Debir Salehani, is located on the east side of Kojur district and Salehan village.

Conclusion 
Regarding the interaction of Iranian art and Shia ideas in Islamic architecture (in general) and religious monuments (tower-shaped tombs) of Islamic mysticism and Sufism, various opinions have been expressed so far and each of which represents a corner of the mellifluous works of Iranian architects; that the speakers of these ideas have accompanied with it from their perspective. Since artistic understanding, like mystical perception, has a taste and personal aspect, according to the author of these lines, it can be concluded that this collection as an architectural work in its form, space and function has characteristics derived from the fundamentals of Islamic mysticism and wisdom. These characteristics and features have been influential both in the formation of the buildings’ figure and decorations and in the formation of internal and external spaces.
Considering the function, it can be said that this collection, which is basically designed for a religious-mystical function, in addition to providing this function considerably has a mystical function and the forms, spaces and architectural decorations in this collection are a kind of reflection of the mystical meanings and they are specific to Shia mysticism; such as asceticism, love, unity and guardianship.  The demonstration of these concepts can be seen most of all in the decorations and the way of spatial communication of this collection.
Taking a look at the decorations used in these monuments indicates the Shia thinking of the Muslim artist in the form of motifs, decorations and inscriptions. Along with the verses and hadiths that reflect the Shia vision. Patterns of trees, birds, and so on are also a reflection of Shia thought and mind. Among the most important manifestations of this, the following can be listed: the use of geometric, plant and animal motifs with mystical symbolic concepts; in the decorations, the use of mystical symbolic colors, respecting the hierarchy of entry into the tomb of this collection in addition to showing the art and mysticism of architects and masters, it also represents the political, social and artistic beliefs of the society. These buildings as a whole, in all their components have symbols indicating the influence of mysticism, especially Shia mysticism.