عنوان مقاله [English]
The literary and architectural style that emerged in the early centuries of Islamic civilization in the Great Khorasan is called the Khorasani style. The present study recognizes the Khorasani style in these two artistic areas and tries to seek answers in a descriptive and interpretive way for the commonalities and differences that are sought in poetry and architecture in this definite period of time and place. We also try to understand that in which of the two areas the Khorasani terminology has a more comprehensive meaning. Accordingly, the applicable characteristics, similarities, commonalities, contraries and contradictions of these two areas are enumerated, and after reviewing the concept of style and explaining the structural style of constructivism, Khorasan's position as the origin of national movements - (Abu Muslim Khorasani, etc.), intellectual (Khorasani mysticism versus Baghdad mysticism), linguistic (Persian Dari as the national language), artistic ( Metallurgy, pottery, architecture, literature) description and stylistic features of Khorasani poetry and architecture are explained and analyzed. Through this comparative study, the following results can be traced: Both of these fields following the Sassanid artistic tradition, in a relatively common geographical and temporal period after a break begin their existence and become the founders of a new movement and model for the future. In Khorasani architecture, materials are ecological, and in Khorasani poetry, words are native. Simplicity, complication distance and avoidance of complexity are common traits of both artistic areas. In architecture, plan is Arabic and construction is Iranian, and in accordance with it, in the Khorasani poetry, the Arabic format carries the Iranian theme. Khorasani architecture is an introverted, populist style, while Khorasani poetry is materialistic and more in the service of aristocratic themes. The result of the analysis is that the similarities of Khorasani style poetry and architecture are at two levels of linguistic-formal and literary-aesthetic beauty, while the two are at the intellectual and cultural level that contradict each other's worldviews. This discrepancy questions the absent meanings of this definition and shows that the specialized term of Khorasani artistic style in architecture does not have as much meaning as its comprehensive poetry, because it has only been applied in the mosque and neglected the luxurious buildings mentioned in historical sources.