1. Introduction

The church, at its most superficial level, can represent the shape of a cross, and the axes that make up the church can be considered a historical-religious symbol, consistent with the axes of the cross. What is evident in the structure of the church is the existence of a path to the afterlife. At the beginning of the path, the most worldly realm is displayed, and at the end of the path, the most otherworldly realm. The lack of connection and dependence between the world and the afterlife in this religion has led to the formation of the axis of the world to the afterlife in churches (Fathi and Hamzehnejad, 2014: 60-66). Churches are places of worship and, therefore, are respected by people, and Christians have tried to build them in the most beautiful way possible. Most of these churches have unique architecture and are decorated with carvings, paintings, stucco, etc. Throughout history, the people of Tabriz have respected followers of monotheistic religions and religious minorities, and many of these individuals have lived in the city for years, building several churches for worship that are significant in terms of architecture and history. Architecture is the organization of space, and architects utilize various forms of knowledge for this organization, the most important of which is the knowledge of geometry. Geometry is a knowledge that deals with the relationships and characteristics between shapes and sizes. This knowledge includes the two concepts of number and shape. In many sources, the word geometry is equivalent to size and shape. (Khalaf Tabrizi, 1982: 702; Dehkhoda, 1998: 23559; Moein, 1981: 3258). The knowledge of geometry can be examined in three general categories: shape, numbers, and proportions. In this research, the geometry and physical proportions of the plans and elevations of several churches in Tabriz are discussed.

2. Research Background

Several studies have been conducted on churches, including the following:

Several studies have been conducted on church architecture (Simoni, 2015; Pourjafar and Shahidi, 2009; Burckhardt, 2011). Studies have compared aspects of church architecture and mosques or Islamic architecture (Mirmoradi, 2010; Ghochani et al., 2018; Noqrehkar and Tabatabaei Yeganeh, 2021; Akbari and Moulaii, 2019). Some articles have examined the comparative spatial structure and architectural arrangements of two or more churches (Momeni et al., 2010). Most of these studies on church architecture, especially in Tehran and Isfahan, have compared the architecture and geometric structure of churches and mosques. No comprehensive research has been conducted on the architecture and geometric structure of Tabriz churches, and the innovation of the above research is the study of the geometric structure and archetypal concepts of Tabriz churches for the first time.

3. Materials and Methods

The research method of the above research is qualitative and descriptive-analytical. To obtain the desired data, through library studies, existing documents and records in the field of church architecture, including plans, facades, and architectural elements of churches, have been studied and examined. The number of samples studied in the architectural design section is 4 churches in Tabriz, whose architectural plans were available to researchers. Next, the effect of Iranian architectural proportions and the use of geometric shapes on the formation of the plans and facades of Tabriz churches was examined.

4. Results & Discussion

The analysis of selected Tabriz churches revealed recurring geometric patterns and proportional systems that suggest the influence of archetypal concepts. Key findings include:

 1. Geometric Structure

 • Most churches exhibited reliance on centralized and cruciform plans, rooted in archetypal sacred geometry.

 • Use of circles, squares, and equilateral triangles was frequent in plan layouts, symbolizing unity, balance, and harmony.

 • The transition from square bases to domes through pendentives or squinches reflects a symbolic archetype of connecting earth (square) to heaven (circle).

 2. Proportional Relationships

 • Ratios close to the golden section and modular systems were consistently identified in the height-to-width and nave-to-aisle proportions.

 • Vertical proportions emphasize ascension, aligning with archetypal ideas of spiritual elevation.

 • Proportions were not arbitrary but repeated across different churches, suggesting a shared design language rather than isolated stylistic choices.

 3. Symbolic Archetypes in Design

 • The recurrence of archetypal forms such as the cross, dome, and axial symmetry indicates a symbolic continuity within Tabriz ecclesiastical architecture.

 • Ornamentation and iconography were often secondary, while geometry itself carried the archetypal meaning.

5. Conclusion

According to the studies conducted on the churches of Tabriz, the following results were obtained: The main style of Tabriz churches is derived from Armenian churches. The characteristic of Armenian churches is the conical dome, which is built in the east-west direction, and the altar of the church is located in its eastern part. Armenian churches are usually cruciform, but some of them are built with a basilica plan. The architecture of Tabriz churches uses Iranian architecture and its combination with Armenian architecture. The geometric proportions of Tabriz churches are based on the Iranian golden proportions, which have their roots in mystical thoughts and sacred numbers. These geometric numbers and shapes are archetypes that have been used in science and art. The use of each of these archetypes has specific semantic concepts. The way these archetypes appear in works of art, including architecture, which is closely related to geometry and mathematics, is practically evident in the shape of the plan and facade of the churches. This has created a visual language, or golden proportions, in the components of churches.

Acknowledgments

The authors would like to thank Tabriz Islamic Art University for providing research facilities to complete this study.

Contribution of authors

The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. 

Conflict of Interest

None 

Material and spiritual supporters

None supports

Access to materials and data

The raw data of this study are available to the authors and can be accessed upon request through correspondence.