The Razavi School of Art stands as an authentic and distinct current within the vast panorama of Islamic art. It represents a confluence of profound faith, deep spiritual knowledge, and artistic creativity that has blossomed and evolved within the sacred precinct of the Holy Shrine of Imam Reza (PBUH) in Mashhad, Iran. This school is not merely a collection of disparate artworks; rather, it constitutes a coherent intellectual and aesthetic system rooted in monotheistic doctrines and the teachings of the Ahl al-Bayt, particularly the conduct and sayings of the eighth Imam of Shia Muslims. The Imam’s noble hadith regarding “Qadar” (Divine Measure, Order, Proportion, and Destiny), where it is defined as “geometry and the setting of limits,” can be considered a foundational theoretical pillar of this school. This is because it emphasizes order, proportion, and harmony as manifestations of Divine wisdom in creation and, consequently, in art. The Razavi School of Art endeavors to embody the sacred truth and pure Razavi spirituality through form, structure, color, light, and symbolism, such that the artwork itself acts as a gateway to the realm of meaning, guiding the beholder towards contemplation and inner intuition.
Despite the immense artistic and spiritual value of the Razavi School of Art, there has been a notable absence of a cohesive theoretical framework for its comprehensive analysis. Previous studies in Islamic art generally addressed its various aspects, and while attempts have been made to elucidate its theoretical foundations, a specific framework for the Razavi School, particularly in light of Imam Reza’s (PBUH) concept of “Qadar,” remained a critical necessity. This research directly addresses this gap by proposing an innovative and comprehensive analytical model.
The primary necessity for this research stems from the need to move beyond mere descriptive or historical accounts of Razavi art and provide a robust theoretical framework for its interpretation. This study aims to answer two fundamental questions: Firstly, what criteria define artworks belonging to the Razavi School of Art?  Secondly, how can artworks of this school be read and analyzed using the theory of Qadar?  The main objective is to articulate and explain the “Seven Stages of the Manifestation of Qadar” theory, which offers a comprehensive and practical approach to understand the aesthetic and spiritual foundations of Razavi art. This framework can serve as a valuable tool for future research in Islamic and religious art, and provide guidance for contemporary artists seeking inspiration from Razavi teachings.
This qualitative study is based on the “theory development” approach and the “systematic theory abstraction development” model. This structured model is for expanding conceptual frameworks in qualitative research, which leads to the construction or development of theory through the back-and-forth between theoretical concepts and empirical data. The research employs analytical-interpretive methods:

Conceptual Thematic Analysis: This method was used to extract key concepts of Qadar theory and its religious, mystical, and aesthetic foundations. The Sources analyzed included the works of Dr. Hassan Bolkhari (especially Qadar: The Theory of Art and Beauty in Islamic Civilization), religious texts (the Holy Quran and Hadiths, including Imam Reza’s (PBUH) hadith on geometry), and Islamic mystical and philosophical texts (such as the works of Suhrawardi and Ibn Arabi). The process involved open conceptual coding, thematic categorization, and conceptual mapping to form the initial conceptual structure. MAXQDA software and manual analytical tables were used for coding and mapping.
Artistic Discourse Analysis: This method was applied to interpret specific examples of Razavi art and architecture as multi-layered cultural texts. This analysis facilitated the application of the theoretical framework to empirical instances.

The development of the “Seven Stages of the Manifestation of Qadar” framework commenced with the extraction of foundational concepts from theoretical and religious texts. Concepts like “Tajalli” (manifestation), rooted in Quranic verses and mystical interpretations, served as theoretical bases. Subsequently, using deductive-inductive reasoning, abstract concepts were linked with empirical observations. This process of moving from general principles (e.g., Qadar as cosmic order) to specific artistic features (e.g., architectural balance) and vice-versa, led to the structuring of the seven levels. These levels represent successive stages of the manifestation of Divine Qadar in art: Light as the Source of Qadar, Geometry as the Language of Qadar, Motifs and Symbols as Bearers of Qadar, Moderation as the Principle of Qadar, Ornamentation as the Manifestation of Qadar, Spiritual Space as the Environment of Qadar, and the Identity of Razavi Art as the Outcome of these Manifestations.
For a preliminary evaluation of the framework’s functionality, a case study approach with purposive sampling was employed. Two prominent examples from the Holy Shrine’s architecture—the Goharshad Mosque and the Golden Iwan of the Atiq Courtyard—were analyzed in detail. These analyses served as a pilot testing of the framework, aiming to elucidate and clarify the theoretical levels within a real-world artistic context, rather than for definitive validation. To enhance the internal validity of the research, strategies such as data triangulation, negative case analysis, and peer review by independent experts were utilized.
The core finding of this research is the introduction and elucidation of the “Seven Stages of the Manifestation of Qadar.” This theory provides a structured and systematic framework for reading, analyzing, and interpreting artworks of the Razavi School, moving from the tangible and sensory aspects to the deeper semantic and spiritual layers. Each level focuses on a specific aspect of the artwork and the manifestation of sacred truth within it:
Level One: Geometric and Structural Reading: Examines the underlying geometric composition, symmetry, and proportional systems, viewing them as a manifestation of Divine Qadar and cosmic order.
Level Two: Reading of Visual Components: Focuses on sensory elements like color, light, texture, and motifs, analyzing their role in creating aesthetic beauty and conveying meaning in harmony with Divine order.
Level Three: Symbolic and Codified Reading: Deciphers the symbolic language, iconography, and hidden meanings within the artwork, linking them to their source in Divine.
Level Four: Spiritual-Thematic Reading: Explores the overt spiritual and doctrinal messages embedded in the artwork, connecting them to Islamic and Razavi teachings and the purposeful order of creation.
Level Five: Pilgrimage-Centered Reading: Considers the phenomenological and spiritual experience of the pilgrim or viewer, analyzing how the artwork evokes emotions and spiritual states during ziyarah (pilgrimage).
Level Six: Historical and Cultural Contextualization: Situates the artwork within its specific historical, cultural, social, and political “Qadar” (time and place), addressing how external factors shaped its production and reception.
Level Seven: Reading of Divine Presence and Intuition: This ultimate level aims for a supra-sensory and intuitive understanding of the manifestation of sacred truth within the artwork. It delves into how the artwork acts as a locus for divine presence, enabling an immediate spiritual apprehension for the beholder. This is approached through an interpretive phenomenological lens, where the cumulative understanding from previous levels leads to an intuitive grasp of cosmic order (Qadar) and Divine beauty and majesty.
This research successfully articulated a novel theoretical framework for the Razavi School of Art based on Dr. Hassan Bolkhari’s “Qadar theory,” leading to the “Seven Stages of the Manifestation of Qadar” theory. This framework offers a systematic and practical approach to reading and analyzing the artworks of the Razavi School. Accordingly, Razavi artworks are defined not only by their temporal and spatial connection to the Holy Shrine but also by their inherent capacity for analysis through these seven levels of manifestation. These artworks, by leveraging the concept of Qadar as divine order and geometry and Tajalli as the manifestation of sacred truth, express Razavi teachings and spiritual values, guiding the audience towards contemplation and inner intuition. The application of this framework to prominent examples of Razavi art, such as the Goharshad Mosque and the Golden Iwan of the Atiq Courtyard, demonstrated its efficacy in uncovering the hidden semantic and aesthetic layers of these works. Ultimately, this study aims to fill a theoretical gap in the understanding of the Razavi School of Art and contribute to the broader field of Islamic art studies. It provides a valuable model for future research in religious art and a guide for contemporary artists inspired by Razavi spiritual heritage.