The Adaptation of the Function of "Ḥarīm" in Traditional Iranian Architecture to the Concepts of "Ambiguity" and "Concealment" in Islamic Art: A Dialectical and Semiotic Approach

Abstract

The concept of ḥarīm (spatial and semantic boundary) as a structural element is one of the most fundamental components in traditional Iranian architecture, extending beyond physical borders to deeply influence the aesthetic, spiritual, and social experiences of inhabitants and observers. On the other hand, ambiguity and concealment (or intentional invisibility) in Islamic art—particularly in miniature painting, calligraphy, architecture, and decorative ornamentation—serve as foundational mechanisms to invite active audience participation in the discovery and interpretation of artworks. This study conducts a comparative analysis between the function of ḥarīm in traditional Iranian architecture and the mechanisms of "ambiguity" and "concealment" in Islamic art. Employing a dialectical aesthetic framework (Adorno, 1970/1997) and spatial semiotics (Eco, 1976; Barthes, 1967), a qualitative case study analysis was conducted on four examples: the Borujerdi House, Sheikh Lotfollah Mosque, the Shrine of Shah Nematollah Vali, and Fin Garden. Findings reveal that in both aesthetic systems, ambiguity and ḥarīm function as mechanisms guiding the spiritual and perceptual experience of the audience. In architecture, ḥarīm creates a gradual, dialectical experience through spatial hierarchies and delayed visual revelation. In Islamic art, ambiguity—achieved through the elimination of a fixed semantic center and the interplay of visual signs—invites the audience to engage in interpretive processes. Comparative analysis demonstrates that these mechanisms reflect an Islamic worldview regarding humanity’s relationship with meaning and the sacred—a world where meaning is sought not in certainty but in the movement between presence and absence. Based on these findings, reinterpreting these principles could inspire contemporary spatial and artistic designs with greater spiritual and aesthetic depth. The results indicate that these mechanisms are not merely functional necessities but reflections of an Islamic-Iranian worldview concerning humanity’s relationship with the absent, the enigmatic, and meaning—a world that finds presence within absence and creates meaning through invisibility.