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The theory underlying this article argues that Iranian architecture before and after Islam pursued a unifying spirit.
If we assume the mode of expression for arts and human feelings to be architecture, then major conceptual transformations will not be unmarked by history, though the mode would neither be suppressed nor ravaged and will always move towards further fulfillment.
“Renovational” intentions have often been employed byIranian architects during the history of the art. For example, “JamA” mosque of Isfahan, during its 1200 yearhistory, has been renovated several times. Ali-ghapou has undergone major restorations during the past 200 years as many other edifices have been restructured in a similar fashion