Abstract
The purpose of this research is analysis and survey architecture decorations of wooden pillars in the mosques of Maragheh. The research method in this study is based on surveying and descriptive analysis. The data of this research are contains 14 mosques in Maragheh, that from these numbers 8 mosques haven’t been studied because of that general reconstruction or without being pillars. So, in this study 6 mosques of Maragheh have been surveyed and analyzed. Today, because of the lack of use this kind of decorations in the construction of mosques and their uniqueness, this study is essential. The wooden capitals in this research are decorated with motifs of stalactite work and woodturning with shapes of geometric dangling, stair, and crenate. On these capitals are abundantly seen decorations of arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names. The results of this study indicate that decorations architecture of wooden pillars in the mosques of Maragheh despite having art style of unit, they have variety of colors, designs and form of pillars. The method of doing this research is field-library. The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. Thus, two main questions in this research that the authors try to analyze them is as follows: Can with compare and analyze the decorations of pillars common tips between them found? And, what have decorations of pillars pattern? 
Keywords: Decorations, wooden pillars, mosques of Maragheh, Islamic architecture.

Introduction 
In monuments and mosques have been used from the wood as the main components and also as a decorative element. The slender and long wooden trunks with decorations as carrier pillars of roof have been used in buildings. These wooden pillars have played a key role in holding pillars and prayers hall of mosques. The decorating the inner surface of wooden roofs has been of evolved over time and arrived in the late centuries of Islamic to ultimately development. During the Safavid period, that construction of wooden ceilings, known as Chehelsotun, has become spread (Soleymani et.al, 2011: 27).
In Maragheh city is remained wooden mosques of beautiful from Safavid period. These mosques have been contains 14 mosques, but in this research have been studied decorations of pillars mosques Molla Rostam, Molla Moez Aldin, Zarir, Sefid, Ghazi, and Najarlar. These mosques have wooden decorations and the capitals of wooden stalactite in these mosques have been decorated with motifs of arabesque and calligraphy. The artists tried in decoration of these pillars have been used the most beautiful and diverse designs. The authors in this research, after survey all of the pillars, have been presented the fixed pattern from them. So, due to the registration of Maragheh wooden mosques in the national monuments list and wooden decorations of unique them, do this research is essential.
The field data have been collected with direct observation from wooden pillars, and then designed them with using software Corldraw. The study of library resources is contains of study the articles and books published in this field and also use the archive of cultural heritage administration of Maragheh County.

Introducing samples of mosques
Mosque of Molla Rostam: This mosque is located in the south side of the Molla Rostam square and among the Chay Osto Bazaar. Most of the pillars of this mosque are made of wood and stalactite motifs. The wooden pillars in this mosque have been prepared from Sepidar tree and woodturning to form of octagonal.
Mosque of Molla Moez Aldin: This mosque is located on the west side of the Khoshkbar square (Salar neighborhood and Hatam alley) in Maragheh city. The mosque of Molla Moez Aldin has two prayers halls of eastern and western. These two prayers halls have roof with flat cover and beamed ceiling, and with the capitals of stalactite.
Mosque of Zarir: This mosque is located in the northeastern part of Maragheh City and in street of Mir Habib Agha. The roof with flat cover of prayers hall in mosque of Zarir has six wooden pillars in two rows. Each of these pillars are consists of a stone pedestal, stem of wooden pillar, and capitals of stalactite.
Mosque of Sefid: This building is located in the southeastern part of the historical context of Maragheh city, and along one of the historical and main gates of this city in the name of “Darvazeh Biron Ghaleh”. The prayers hall of this mosque has the pillar, and the pillars of them are numbers three.
Mosque of Ghazi: This mosque is located in the Ghazi neighborhood of Maragheh city and corner of Ghods street. The date of construction this mosque is Safavid period. The prayers hall mosque of Ghazi has roof with flat cover, and six of pillars with capitals of stalactite.
Mosque of Najarlar: This mosque is located in the Qom neighborhood of northern in Maragheh city. The plane of this mosque is to form of rectangle, and has a prayers hall with three numbers of pillars with stalactite.

Conclusion
The motifs and schemes in architecture decorations of wooden pillars in the mosques of Maragheh, in addition to the have artistic style of unit, they have color variation, scheme, and form in pillars. According to the construction period these mosques, we can see differences in them. The main decorations in these mosques are contains of the rich motifs and arabesque motifs. The colors are used in this motifs contains black, white, red, green, yellow, blue, light brown and dark, turquoise, and ranges of these colors. The alongside these decorations has been used calligraphy of verses and holy names.

Abstract
The tombs or funerary monuments are one of the most important elements of Iranian-Islamic architecture that in different fields require careful investigation. This group of buildings is important among Iranians; for this reason, in each period of the Islamic era of Iran the most important and most used arts related to that period have been used in their construction. Generally, the decoration in buildings has a more effective role, because, if it is understandable in terms of form and structure for archaeologists and designers, it’s possible this isn’t understandable for the general public. So, decorations in the buildings at first sight are attracts the viewer. In this article epigraphy art as one of the most important decorative elements of Islamic buildings have been reviewed in the four Seljuk tombs of Northwest of Iran: Gonbad Sorkh, Borj Modavar in Maragheh, Seh Gonbad, and Gonbad Kabood. The research method in this study is interpretive – historical. In this study with analytical method have been studied decorations of these four tombs (especially in terms of architecture, motifs, inscriptions and their position on the buildings). Also, in addition to reviewing the articles, books, and evidences, with field survey from these tombs, plan and decorations, and then a comparison table of inscriptions has been provided. In this regard, the following questions are raised:
- How is architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content?
- What are the effects of concepts of the inscriptions on position them on the buildings?
Reviews show that inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.
Keywords: Islamic architecture, Seljuk tombs, Northwest of Iran, decorations, inscription.

Introduction
Generally, one way of cognition more about periods of Islamic architecture besides of decorative elements and motifs, is study of inscriptions and their texts. In the Seljuk period, one of their architectural features, are create inscriptions and decorative lines from shaved bricks, that in most of buildings this period (especially tombs) is seen. Furthermore, due to the difficulty of shaving the bricks and the formation of letters and words with it, during this period, the Naskh script was replaced by the Kofi script and inscription with style of stucco was used (Hatam, 1999: 162).
In this article, in addition to reviewing the historical background and the process of build tombs in the Seljuk period to study and compare four tombs in the Seljuk period in Northwest of Iran, first have been introduce architectural features and decorative motifs them. Then, in comparative tables have been specified types of inscriptions and their position on the tombs. In this regard, following questions are raised: How are architecture, motifs and decorations of the Seljuk tombs in northwest Iran? And, their inscriptions are divided into several categories in terms of content? And, what are the effects of concepts of the inscriptions on position them on the buildings?
This study shows, inscriptions of Seljuk tombs in the Northwest are divided into four groups: The Quranic verses, inscription with the theme of the date of construction, inscription with the topic of prayer, and inscription with the theme of the architect and the builder. On the other hand, position these inscriptions in the buildings have been differed proportional in their content. Inscriptions of the Quranic verses in the highest section of building, inscription with topic of prayer in the lower, inscription with the theme of date of construction and architect and builder are placed on the lower levels and on the body of building.

Buildings under study
Gonbad Sorkh: The Gonbad Sorkh is oldest tomb in the Maragheh that is located in the southern part of the city and west side of Hashtrod road. Generally, in the Gonbad Sorkhon and in different parts and also on all sides this tomb is inscription.
Borj Modavar: The Borj Modavar is second tomb built after the Gonbad Sorkh and inside the city of Maragheh. This tomb now is located in Khaje Nasir Street and behind the building of Bank Melli. The Borj Modavar has two inscriptions that both of them are located in the main direction of the building and facing the North. 
Seh Gonbad: The Seh Gonbad is third tomb that was built in the Seljuk period in Azerbaijan. This tomb is located in the southeastern of Urmia city. The three inscriptions with Kofi script and geometric motifs at the facades of this tomb have created beautiful view.
Gonbad Kabood: The Gonbad Kabood after the Gonbad Sorkh and the Borj Modavar is third of building that has been made in the Maragheh city. In this building 5 inscriptions are visible.

Conclusion
It’s certain, in Seljuk period and in the method architects and artists of this period, concepts of inscriptions have played an important role in location of inscriptions. According to this, inscriptions of Quranic verses and inscriptions of mystical concepts and prayers have usually been located at higher levels. Other inscriptions (such as inscriptions with historical or political themes) have usually been located in lower levels. The location of inscriptions in buildings from the down to up in four sections 1, 2, 3, and 4 in the table below is shown.

Abstract
The Iranian house is full of structural units. The cohesion of the units creates more complex patterns, which, as a result of their location in different parts of the building, also form its physical structure and functional and cultural characteristics. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used on a larger scale in the design of new homes. The content of structural patterns and the extent of their impact on Iranian-Islamic residential architecture is the basis of research inquiry. The research intends to take a physical approach to express the structure of the architectural language of the house in the sample buildings of the Qajar period; and in this way provide the basis for restoring the architectural values of the past. The research method is descriptive-historical and the method of finding research is a combination. The basis of observational studies has also been done through the presence of buildings that have a relatively complete architectural composition, and citation of existing maps, images and texts. The abstracted contents with the help of AutoCAD software introduce the basic units in geometric shapes and check their applicability in 50 houses of historical-cultural value. One of the important results of this search is the generalizability of the logical order of the initial units identified in various combinations and the production of more complex spatial units than the initial units of 5040 patterns. The results show that the patterns participate in various proportions from 0.06% to 27.16% and 42 in selected houses. Among these, pattern number 8 has the most (453) presence; while Patterns 12, 33 and 42 have the least (1) applications.
Keywords: Iranian-Islamic Architecture, Architectural Model, Architectural Physical Order, Language of Architecture, Qajar House.

Introduction
Due to the common economic and social prosperity, the residential houses of the Qajar period define a rich language in architecture that can be extended to Iranian-Islamic houses in the contemporary and future periods. Field studies show that there are a variety of patterns in residential homes that are physically part of a sequential structure and order. From the coherence of these initial units, more complex patterns emerge, which, according to their location in different parts of the building, express the physical structure and functional and cultural characteristics of the building. Since the combination of these patterns in the home is always a reflection of the customs and lifestyle of residents and local conditions, knowing each of the patterns allows them to be used in the design of new homes on a larger scale.
Housing construction in the contemporary era of Iranian architecture and urban planning, especially in recent decades, has found significant differences with the previous era. Field studies and observations indicate a significant reduction in physical-cultural values arising from new housing methods. For example, the gradual obsolescence of the middle fabric of cities is an issue that easily causes their instability. 
This study tries to identify the past methods in housing architecture and highlight the points of emphasis in its structures and concepts, and then shaping those features into a new format, introduce the most important effective spatial patterns in order to improve the physical and quantitative structure of modern house.
According to historical background of home architecture in Iran, and the need to review the structure of modern home architecture, research seeks to find answers to these questions: 1- What are the basic spatial units in the architecture of the Iranian-Islamic house? 2. What patterns does the spatial order of the units create? 3- What is the frequency of these patterns in the existing samples?

Survey of Basic Spatial Units
The research has summarized the data using a descriptive-historical method. A review of studies conducted by researchers and experts in Iranian and non-Iranian architecture and urban planning confirms the similar and sometimes different points of view of the linguistic structure of Iranian-Islamic architecture. Each of the statements has somehow emphasized the characteristics of Iranian-Islamic architecture; and they are summarized at the crossroads of the world of meaning and the world of matter and are located in six directions (Falamaki, 2012, 194).
In the Iranian- Islamic culture, it is believed that matter or the material world is opposite to light or the spiritual world (Holy Quran, Esra: 70). In Iranian-Islamic architecture, the spatial arrangement of the body shows that, in its spatial organization, attention is directed from light to matter. In fact, “it is a journey from pure light to the depths of matter” (Holy Quran). Although architecture is shaped by the combination of matter and space, form is created by the domination of space. Therefore, the form depends on the arrangement of the initial units that make up the architecture of the building. These units include a closet, room, living room, hall, porch, Platform, courtyard and basement.
Examination of the frequency of practical application of patterns in sample houses shows that out of a total of 42 patterns used, pattern No.8 has the highest presence among the 42 units; Patterns No. 12, 33, and 42 have the least presence in the composition of houses. Among the most complex patterns, pattern No. 1 with 15 times the company had the least and pattern No. 18 with 40 times had the most use. The results also show that the patterns contribute in various proportions from 0.06% for patterns No. 12, 33 and 42 to 27.16% for pattern No. 8 in the sample houses.

Conclusion
The seven structural foundations of house architecture in Iranian-Islamic, including: basement, room, living room, hall, porch, platform and courtyard are clearly recognizable. Each of these seven primary units is distinct due to its purity and structural simplicity. The reason for the differentiation of the primary units is their placement in a successive series from darkness to light. For this reason, these units are turning points in marking the evolution of syntax and syntactic language of Iranian-Islamic housing architecture, and their location in the series of units generates patterns that allow them to produce a significant variety in housing architecture. In order to accept this theoretical view, field observations on houses of historical-cultural value make the existence of diversity correct. Based on factorial 7 mathematical calculations, there are 5040 possibilities for the logical arrangement of the initial space units and the production of a pattern; while according to field observations, only 42 possibilities have been used in sample houses so far. Primary units, in part or in whole, can communicate with other units in four directions. Studies show that the two directions of north-south and east-west are the most important patterns in terms of complexity and the extent of their use in Qajar period houses. Patterns together create a large, controlled space that joins together in hot conditions to create a larger space; while in cold conditions, these spaces separate from each other and create small and independent single spaces.
The coherence of the patterns in both longitudinal and transverse directions shows that the design language of the Iranian house, based on the flexibility of the constituent patterns in practice, has the ability to create newer examples. The flexibility of the patterns is affected by the integrity of the initial units, which is provided by adding and subtracting some initial units in the form of order.

Abstract
Qal’eh Dokhtar, as one of the important historical sites on the eastern outskirts of Kerman, has been described in historical texts with different names such as Qal’eh Kooh and Qal’eh Kohan, as a place of political and social events. One of the important features of this castle is its special location in Kerman plain, as well as the extent of its architectural structures and type of materials. The purpose of this study is to analyze the nature, function, and chronology of Qal’eh Dokhtar. This study was done based on the results of an archaeological survey, sounding, and archaeological excavation in 2019 in this site. This study can explain the role and position of Qal’eh Dokhtar in the social and political developments of Kerman during the Islamic era. Data collection was done by documentary and field methods and the research method is descriptive-analytical. The questions are: When were the foundations and renovations of Qal’eh Dokhtar made and what were the functions of this complex? For this purpose, the data of previous archaeological research and recent field activities of the authors were studied and reviewed, and while studying the historical geography of the region, a correct idea of the nature, formation, and function of this building in relation to cultural developments, Political and social of this area in the different period were presented. The study of cultural materials along with the study of historical sources shows that this site is probably almost continuously inhabited from the pre-Islamic period and certainly from the first centuries of Islam to the tenth century AH. The results show that this structure has played a decisive role in the political and social developments in the region. It seems that Qal’eh Dokhtar was probably constructed and reconstructed from the pre-Islamic period and certainly from the first centuries of Islam to the Safavid era for establishing a military and defense base, as a place to hold political prisoners, a treasury, a safe haven for sit-ins and the rulers and their families.
Keywords: Qal’eh Dokhtar in Kerman, Qal’eh Kooh, Qal’eh Kohan, Historical Castles, Islamic Architecture.

Introduction
Based on historical evidence, Kerman city was founded due to an economic-military necessity. The necessity that required the important branch of the Khorasan arterial road, that is, the spice route of India and the coasts of the Oman Sea, passes through the deserts of Kerman and Baluchistan and connects to the Khorasan arterial road. The Kerman region was located in the center of the intersection of the mentioned roads (Zarei and Heydari, 2013: 202). Because of this special situation, Kerman was also subject to internal and external attacks since historical times (Bastani Parizi, 2016: 40). Therefore, large castles were built for military and defensive purposes to prevent damage and protect lives and property from enemy attacks. Qal’eh Dokhtar is one of the important castles that was founded in response to such needs. In its ups and downs history, this castle has been one of the most famous and eventful castles, especially during the Islamic era, compared to other historical castles in the southeast. Based on the historical sources, political events in the history of Kerman in different periods are connected with this castle (see: Afzal al-Din Kermani, 2016: 124; Vaziri, 2016: 102; Monshi Kermani, 2018: 62; Sykes, 2016: 80).
Despite this, none of the above studies gives a detailed understanding of the nature, function, and chronology of this monument in connection with the social and political developments of Kerman. Historical sources also show a number of contradictions about the date of construction and function of Qal’eh Dokhtar. Most of these contradictions have been caused by the lack of detailed and comprehensive investigation or the ignorance of historians. Considering that the previous researches related to Qal’eh Dokhtar were only descriptive, the importance of the research is that it studied the nature and use of this castle with an analytical approach.
Materials and Method: In this research, by studying historical texts and architectural structures and cultural data (including the remains of pottery from the archaeological excavation and survey in Qal’eh Dokhtar), an attempt was made to create a clear understanding of the history of construction, the process, and stages of renovations, its functions based on the developments. Data collection in this research has been done by field and documentary methods. Based on this, the study and analysis of the findings of the authors’ excavation and survey in Qal’eh Dokhtar has been done to explain the construction chronology, the process and stages of renovations, and the functions of the castle. Also, the historical texts related to this work have been analyzed in the “content analysis” method, and by matching the data from these documents with the archaeological findings, new analyzes have been tried to be presented about this work.

Data
Qal’eh Dokhtar is built on a high rock overlooking the landscape of Kerman plain. This high rock is stretched lengthwise from east to west and its length is more than 720 meters. The architecture of Qal’eh Dokhtar follows the topography of this rock. Some of the architectural spaces of Qal’eh Dokhtar were formed on large stone slabs, and in some others, space was provided for construction by carving the mountain rocks, and buildings were formed with mud-brick, crushed stone, Sarooj, plaster, and lime. In the eastern part of the complex, architectural evidence of two and three stories has been left. In the northernmost part of the middle section, the architectural structures of this section were probably the ruling buildings. In the northwest of the middle part of Qal’eh Dokhtar, there is a wide and half-ruined gate, a small pedestrian gate, and a high and solid tower. In the south of the middle part of Qal’eh Dokhtar, there are remains of a brick water basin.

Discussion
Analyzing the content of historical sources provides information about the functions of Qal’eh Dokhtar during the Islamic era. For example, the first function of Qal’eh Dokhtar as a “place for opponents of the government” can be mentioned (Monshi Kermani, 1328: 23; Hafez Abro, 1375: 53-52). The second function of Qal’eh Dokhtar was based on the analysis of the content of historical texts, “a place to store government treasures” (Katabi, 1985: 100; Hafez Abro, 1996: 157). The third function of Qal’eh Dokhtar can also be considered as “the residence of rulers and their families” in some periods (Afzal al-Din Kermani, 1977: 124). The last function of Qal’eh Dokhtar can be seen as a shelter for besiegers (Khabisi, 1994: 187). In addition to these, we can also mention the role of Qal’eh Dokhtar in keeping political prisoners, which is hidden in historical sources (Monshi Kermani, 1949: 15; Hafez Abro, 1996: 20). Based on this, Qal’eh Dokhtar has had different functions in different eras and as a part of the spatial organization of Kerman city, it has played a special role in the political and social developments of this city in the Islamic era.

Conclusion
Qal’eh Dokhtar in the east of Kerman city was one of the important castles that was founded in the pre-Islamic and early Islamic period due to the need to deal with the threat of invading tribes on the south and southeast highway of the country, and it became the throne of the rulers of Kerman in different periods. For two reasons, Qal’eh Dokhtar played a role as a military and defense structure along with other castles in Kerman in providing security to the east of Kerman and the highways of the region. The First reason is “its location on top of the natural elevation and dominates the Kerman plain”, and the Second is “the important position of the city of Kerman from a military point of view during the Sassanid era”. However, the analysis of the content of Islamic written sources and the study of archaeological evidence, including pottery and architectural structures, show a basic reconstruction phase in the 4th century AH, a deliberate destruction phase in the late 6th century AH, two phases of reconstruction in the early and at the end of the 7th century A.H. and a stage of reconstruction took place in the second half of the 8th century A.H. in Qal’eh Dokhtar. Along with these developments and renovations, other functions were added to the security and defense functions of Qal’eh Dokhtar. As it has functioned as a place to keep political prisoners, in other times as a place to keep government treasures, sometimes as a safe haven for the opposition and in other periods as a residence of rulers and their families.

Acknowledgments
The authors are grateful to Dr. Asadullah Jodaki Azizi for his advice.

Abstract
India, with its very cultural and religious diversity, underwent changes and transformations with the domination of the Mamluk government. The minaret as one of the elements of Islamic architecture, apart from playing the role of the minaret, was a symbol of Islamic rule. The minaret is a lasting symbol of the rich history of India, architectural skills and cultural exchange. The purpose of this research is the analysis of decorative elements and re-reading the inscriptions of “Minaret Qutub”, by answering these questions, what effect did the decorative elements of Islamic architecture have on this building? And what are the themes of the inscriptions? The research method of this research is based on library studies, study of first-hand sources, field studies and objective observations of the author and has been done by describing, analyzing and using historical sources. The results of this study show that the minaret is decorated under the influence of aesthetics and elements of Islamic architecture, and the decorative elements of the Qutub minaret are a combination of Islamic and Indian elements. Although the minaret follows the general form of Islamic minarets, it contains elements of Indian architecture such as precise and complex carvings, the use of sand, red stone and marble, the use of lotus flowers and bell-shaped decorations, various inscriptions, geometric and plant motifs that It reflects the combined nature of Indian and Islamic architecture, and the title “Indo-Islamic” architecture can be used for the art of the Mamluk period.
Keywords: Decorative Elements, Inscriptions, Islamic Architecture, Indian Architecture, Mamluk, Qutub Minaret.

Introduction
The Qutub in Delhi is a notable example of Islamic architecture, but it also incorporates elements of Indian design. The use of intricate stone carving techniques, geometric patterns, and calligraphic inscriptions is prominent in this period. This assimilation of diverse influences and the development of a unique artistic style continued to flourish in the following centuries.
In 588 AH, Mu’izzuddin Muhammad Ghori succeeded in capturing the city of Delhi and, while there was no heir to Muhammad Ghori, appointed Qutbuddin Aybak as the successor to the Ghorid government there. He established the Mamluk rule in Delhi and established the first Islamic state called the “Delhi Sultanate”. The Mamluk sultans, who were originally from Central Asia and Iran, brought with them a rich architectural tradition that combined elements of Iranian, Islamic and Indian styles. This fusion led to the development of unique architectural features such as the use of arches, domes, minarets and intricate decorative motifs.
The Qutub Minaret in Delhi is a notable example of Islamic architecture but also incorporates elements of Indian design. The use of intricate stone carving techniques, geometric patterns and calligraphic inscriptions were prominent during this period.
The purpose of this research is to analyze the decorative elements and reinterpret the inscriptions of the “Minaret of Qutub”, in order to answer the questions, what effects did the decorative elements of Islamic architectural art have on this building? And what topics do the themes of the inscriptions express? 
This research seeks to understand the themes of the inscriptions by rereading the inscriptions, the inscriptions of this building have been objectively observed and rewritten, while explaining the concepts of symbols and decorative elements, it aims to clarify the effects of Islamic art on the aforementioned building.
 
Discussion
The Qutub Minar is the tallest brick building in the world with a height of 72.5 meters and a diameter of about 14 at the base and about 3 meters at the highest balcony. The Qutub Minar has five floors and a spiral staircase with 379 steps. The entrance to the minaret is through a door facing north. Between each floor, a circular porch surrounds the building. This porch plays an effective role in maintaining and supporting the weight of the upper floors. Materials such as red and light brown sandstone and gray quartzite were used in the construction of this building, and its two rows are made of white marble.. Indo-Islamic structures often incorporate elements inspired by Hindu and Jain temple architecture. This approach results in a unique combination of forms, motifs and techniques.
Geometric shapes in Islamic architecture often represent the concept of unity, harmony, and precise mathematical proportions and symmetrical arrangements of patterns, the idea of balance and order in the universe, and reflect the belief in the harmonious interaction of various elements in creation.The repetition of geometric shapes with no discernible beginning or end was seen as indicative of the infinite and eternal nature of God.
The Qutub Minaret features intricate carvings, geometric patterns, and ornamental designs that are indicative of the art of its time. Its five floors are separated by carved balconies and fluted columns with Muqarnas decorations. The decorative elements used in Mamluk architecture reflect the sophisticated artistry, aesthetic appeal, and symbolic meanings associated with Islamic art and architecture. They represent a combination of mathematical precision, decorative beauty, and spiritual symbolism. The repetition of geometric shapes without a discernible beginning or end indicated the boundless and eternal nature of God.
Geometric shapes in Islamic architecture often represent the concept of unity, harmony, and precise mathematical proportions and symmetrical arrangements of patterns, the idea of balance and order in the universe, and reflect the belief in the harmonious interaction of various elements in creation.
The inscriptions on the minaret provide valuable historical information about its construction. On each floor, there are two relief inscriptions containing the names of rulers and sultans. The inscriptions on the Qutub Minaret include verses from the Holy Quran, the names and titles of rulers associated with the building, and historical information about its construction.
These inscriptions are skillfully and beautifully executed in calligraphy.
Various styles of Arabic calligraphy such as Kufic, Naskh and Thuluth can be seen on the minaret. 

Conclusion 
The influence of Islamic culture and civilization in the 6th century AH with the establishment of the Delhi Sultanate had a profound impact on the Indian subcontinent. This state, which was the beginning of Muslim rule in India, served as a political and cultural center for the spread of Islamic civilization. The influence of Islamic culture and civilization in India can be seen in various fields, and Islamic architecture in India in particular flourished from the period of the Delhi Sultanates.The architectural elements, decorations, symbols and signs common to Islamic architecture were incorporated into almost all the buildings of the Delhi Sultanate period and later became a common practice in Indian architecture. Several architectural innovations were introduced during the Delhi Sultanate period. These innovations included the construction of minarets, the use of complex stone carving techniques, geometric designs and calligraphic inscriptions, which were prominent during this period.The inscriptions on the building, which are mainly in Arabic, contain verses from the Holy Quran as well as information about the construction of the building. The oldest inscription at the base of the Qutub Minar is attributed to Qutubuddin Aibak, the founder of the Delhi Sultanate. As you ascend the minaret, the text of the inscriptions reflects later additions and renovations made by the rulers of subsequent periods.The inscriptions also display linguistic diversity, with the diversity of Arabic, Persian, Turkish and Hindi languages reflecting the multicultural nature of the Delhi Sultanate. This building is also noteworthy in terms of calligraphy styles and technical techniques of carving and decorative elements and layout, while the symbols and motifs of each one convey a specific meaning to the viewer.Another prominent feature of Indian and Islamic architecture is the use of red sandstone and marble. The use of red sandstone along with decorative elements made of marble creates a significant contrast and adds to the attractiveness of the structures.
The creation and attractiveness of the structures has added to the charm.Indian decorative motifs are often inspired by nature and the local environment. By incorporating these motifs, Indo-Islamic architecture was able to adapt itself to the local context. During the period of the Delhi Sultans, the fusion of Islamic and Indian culture led to Indo-Islamic art, which was characterized by the fusion of Persian, Turkish and Arabic elements with indigenous Indian traditions, resulting in a unique architectural style. The intricate carvings on the minaret, including lotus flower motifs and bell-shaped motifs, indicate a cultural fusion that occurred during the Delhi Sultans and highlighted the inclusive nature of Islamic art.