Introduction: By the establishing Turco-Mongol sovereignty in the Iranian-Islamic Middle Ages (ca 1000-1500 AD), a syncretic culture comprising Persian, Arabic, Turkish, Mongol, Chinese, Indian and Western elements, emerged in Iran. This cultural syncretism instigated a substantial reconceptualization across diverse disciplinary domains, notably within the realm of architecture and its attendant ornamental systems. In such circumstances, many identity-bearing elements to be altered or even disappeared. in relation to architectural ornaments and its subsequent transformations, it can be postulated that with the ascendancy of the Turko‑Mongol dynasties—who emerged as the principal patrons and sponsors of architectural monuments—their aesthetic tendencies and cultural preferences, dominate the artistic and architectural atmosphere of Iran which the emergence, development and predominance of color may be considered the most significant manifestation of this trend. Subsequently other decorative aspects were also transformed, among which the designs and construction methods were of paramount importance. in this process, ornamentation gradually detached from the structural essence and formal corporeality of architecture (Relief in Iranian art) and instead turning toward the pictorial qualities characteristic of painting (mural in central Asian art), wherein motifs were rendered on flat, multicolored surfaces. So, analyzing the trajectory of these stylistic transformations and identifying the elements that persisted throughout the Iranian-Islamic Middle Ages, serve as essential steps toward recognizing and revitalizing the components that articulate the unique identity of Iranian‑Islamic architecture.
Purposes and Questions: In this regard two main questions advised that the first of which is: “establishing the Turco-Mongol sovereignty over Iran in the Iranian-Islamic Middle Ages, what changes did it bring about in the colors, designs and construction methods that applied in the architectural ornaments?” And the second question can also be stated as follows: “in the process of transformation, which items can be introduced as structural elements?” thus with the aim of to “elucidate transformation in the nature of architectural ornaments (from Relief to Painting) and also to determine structural elements in which (Color, Design and Script), reconfiguration in architectural ornaments in the Iranian-Islamic Middle Ages were surveyed.
Methods: in the course of this study, at the first ornament evolution process in the architecture of greater Iran (including East and West Turkestan, parts of Afghanistan, Iran, and Anatolia) in the Iranian-Islamic Middle Ages, holistically were described. It is important to note that the study in this section focused on the emergence and development of color. Accordance with historical trends have passed, during the Iranian governments such as Samanids and Buyids, relief (stucco) was the unique aspect of architectural ornaments, but after sovereignty of Turco-Mongol states, The situation changed completely. under the patronage of new governors on monumental architecture, color was the most prominent tool to decorating buildings. In this process, turquoise appeared and developed during Seljuk period, lapis lazuli appeared in Ghaznavid architecture, Kharazmshahids applied both of them in monuments, Ilkhanids developed multi-colored decorations and finally during the Timurids, polychrome glazed panels became the main element of Iranian Islamic architecture's ornaments. accordingly, the study period is divided into six groups comprising “Iranian renaissance”, “Early nomadic”, “Pre Mongol”, “Mongol”, “Early Timurids” and “Late Timurids”. After that and in order to measuring match rate of this process to the specific monument, the colors, designs and construction methods that applied in the ornaments of 'Abd al-Samad Natanzi Shrine, precisely were surveyed. It should be pointed out that in this shrine there are buildings that belonged to three periods covering "Iranian Renaissance", "Mongol" and "Late Timurid". The case study selected by purposive sampling technique, data related to architecture of greater Iran collected through documentary method and those that belong to the shrine gathered via both documentary and fieldwork method and analyzed by quantitative and qualitative comparative way.
Finding and Results: Finally after surveying of 39 ornamental units in the shrine, were found that relief as main feature of ornaments before the Iranian-Islamic Middle Ages, entirely supplanted with flat polychrome surfaces, a method conformed more to the visual conventions of painting rather than to the intrinsic principles of architectural ornamentation. As well as after comparing number and lasting of elements that applied in ornamental units in order to determination of structural elements, Turquoise (and then lapis lazuli) introduced as structural color, Hexagram (and then Hexagon) as Structural geometric pattern, tendrils (and then sar-toranj) as structural vegetal motifs and Kufic writing as structural script.