Architecture in any civilization and climate is an embodiment of the lifestyle, tradition, beliefs, and culture of society and also encompasses an important part of the history of progress and social transformations. In this context, the design of the plan, the exterior facade, and the execution of the building's decorations are symbols of the degree of attention and precision that architects and rulers in each period employed as signs of their power, taste, skill, belief, and political authority in constructing the architecture of that land. With the emergence and arrival of the holy religion of Islam, mosques were among the first buildings that, by Muslim architects for the purpose of being a place of worship for the faithful, displayed the noblest and most delicate arts. The examination of the evolution of the dome and its decorations during the Timurid and Safavid periods, both renowned for the grandeur of Iranian architecture, was the motivation for conducting this research, so that the effects of internal and external factors such as religious changes, type of government, cultural transformations, and such differences in the design of motifs and construction methods could be comparatively studied. The data collection method of this fundamental research was based on documentary studies and library sources, and the nature of the analysis of the findings was historical and descriptive. It should be noted that for the selection of the statistical population and study samples, the Bibi Khanum Mosque (Timurid period) and the Chaharbagh Madrasa of Isfahan (Safavid period) were considered. Finally, the most important findings and results of this research are as follows: the evolution of dome motifs and decorations from the Timurid to the Safavid period had a considerable quantitative and qualitative growth; moreover, the change in the techniques of executing dome coverings from mosaic tile (kashi-e moarraq) to seven-color (haft-rang) tiles, despite the decline in quality, provided artists of the Safavid era with increased speed of work progress, the possibility of executing details of arabesque motifs, and greater color diversity. Meanwhile, the function of the dome in spiritual aspects and manifestations of glory and beauty was, for both periods, a platform for spiritual journey and mystical expression of Muslim architects, artists, and patrons (the rulers and kings of the time).
Research Objectives:


Re-reading the historical evolution and analysis of dome motifs in Iranian architecture of the Timurid and Safavid periods.


Achieving the relationship between dome motifs and their function.


Research Questions:


What is the evolution and difference of dome architecture and its motifs in the Timurid and Safavid periods, two glorious periods of Islamic architecture?


What is the relationship between the motifs and decorations of the dome and its function in the Timurid and Safavid periods?