General characteristics of geometric patterns and knotting designs in roof Qajar palace-fortress of Chaharmahal and Bakhtiari Province

Knotting designs ornaments and geometric patterns in Islamic art have many common features. Perfection and implementation of knotting designs ornaments and the use of geometric patterns in Islamic Iran both refer to the Seljuk period. Qajar-era Chinese knot ornaments and geometric patterns had many ups and downs connected with the arrival of wild-Maby. During that period Iranian culture was undergoing many changes. Masr Qajar art and architecture of Iran with the exception of a few examples stopped being connected with the government. The most brilliant examples of the Qajar architecture are palace-fortress in Chaharmahal and Bakhtiari Province Chaleshtori (Dezzak Castle). Under their arches, there are beautiful examples of Knotting designs with geometric motifs made of wood, metal and mirrors. Local influence on these samples is obvious. In this regard we can see dramatically more complicated and elegant interior designs and decorations on the top of porch roof. The major reason is that the maintenance of the interior to the exterior decorating easier. Iranian art has always created eternal beauties with thought and knowledge. Along with a beautiful understanding of mathematics and geometry, it has succeeded in creating geometric and decorative patterns such as porcelain knots. Chinese knot is an art from the Islamic era that has adorned magnificent and beautiful buildings from all over Iran and has given a valuable effect to the interior and exterior decoration of buildings, especially roofs and doors. This art can be seen in areas that have been safe from foreign invasion and have remained intact, such as Chaharmahal and Bakhtiari province. A beautiful art that has been able to impress Bakhtiari readers and the Lorish people and decorate their buildings and palaces is in this style. Extensive and relatively specialized research on cultural heritage and industrial arts in Chaharmahal and Bakhtiari province took a serious shape after the establishment of the Faculty of Arts at Shahrekord University. This article is the result of the recorded studies of the authors of this article and other researchers of the same faculty, which has formed the history of this research. Regarding the castle palaces of Chaharmahal and Bakhtiari province, studies have been done in relation to the field of architecture. Less attention in construction and architecture was paid to the industrial arts. Most of the studies in this regard were done by handicraft students of Shahrekord Universitychr('39')s Faculty of Arts in student dissertations, but recent example is new and unprecedented with the approach of paying attention to the geometric patterns in this castle palace. Geometric patterns, in addition to geometric beauties, refer to immaterial and metaphysical matters semantically and aesthetically. The spiritual and non-figurative nature of these motifs, which are mainly in terms of visual games, fluidity and mental movement and summative rotations and moving the corners and angles with special mathematical and geometric features, in terms of sensory visualization full of fit, rhythm, movement and dynamics. Most figurative motifs and images cannot have such an impact. In terms of visual autopsy, the adherence of geometric patterns to the geometric cryptic nature of the pure elements of nature, especially the strange overlaps of parts to whole and whole to parts and the fit of the original patterns with the developed patterns that play more like magic and also wonder at the numerical and quantitative proportions in The patterns, which are mostly naturalistic and interpreted only in a bit of mathematical language, speak to the beauty and astonishment of these hidden aspects of nature. They eventually manifest themselves in the form of geometric patterns. When a circle alone can create countless roles and nodes without computational tools and simply by repeating similar situations and spreading it to all points where it can be placed anywhere in the circle, and everything we see fits perfectly. This is nothing else but the embodiment of the hidden layers of nature. This concealment, which remains mysterious with the image of the image, as long as it sits on the body of man-made products, spreads the same mysteries and magic, and impresses the things (products) with the spirit contained in the roles.