The new chapter
which was opened in the
Islamic period led to the
creation of remarkable
religious buildings. Iranian
arts such as calligraphy,
stucco, mirror work, and
mosaic work, became closely
tied together in this new
era. Islamic architecture
and building decoration are
among the most beautiful
means of expression.
Decoration does not play
such an important role in
any other type of
architecture.
The
archaeological excavations
have provided sufficient
documents in support of the
impacts of Sasanian
architecture on the
architecture of Islamic
period. According to a
classification suggested by
Zaki Mohammad Hossain, the
fourth period of Iranian
architecture (from 15
through 17 Centuries) is the
most brilliant period.
Various structures such as
mosques, mausoleums,
bazaars, bridges, and
different palaces have
mainly survived from this
period. In the old Iranian
architecture, semi-circular
and oval-shaped vaults
appeared and Iranians showed
their extraordinary skill in
making massive domes. Domes
can be seen mainly in the
structure of bazaars and
mosques, and particularly in
the historic buildings of
Isfahan. Iranian domes are
distinguished for their
height, proportion of
elements, beauty of form,
and roundness of the dome
stem. The outer surfaces of
the domes are mostly mosaic
faced, and create a magical
view.
According
to Dr. D. Huff, a German
archaeologist, the dome,
similar to Iran itself, is
the dominant element in
Persian architecture. This
statement, applies fully to
Iranian architecture;
because when one looks at
lrano-lslamic buildings,
huge halls and massive domes
are the first elements which
immediately attract one's
attention. The art of tile
work used to decorate all
sorts of ivans, domes, and
portals, is so interesting
that each part of it seems,
to be a magnificent piece of
painting.
Professor
A.U. Pope, who had carried
out extensive studies in
ancient Iranian and Islamic
buildings, believed: "The
supreme Iranian art, in the
proper meaning of the word,
has always been its
architecture. The supremacy
of architecture applies to
both pre-and post-Islamic
periods.
Islamic
architectural monuments of
Iran are extremely
versatile. Different
valuable samples of such
monuments are already
surviving in smaller and
larger towns of Iran. One of
the richest artistic centers
of Iran is the city of
Isfahan. In some art works
created in Isfahan, such
doors, seven famous arts of
joinery, gold beating,
embossing, lattice work,
inlay, raised work, and
painting are used at once.
Extremely fine doors are
decorating various religious
buildings in Iran, Najaf,
Karbala, Damascus, and other
sacred towns of the Islamic
world. Even some of these
doors are kept in major
local and foreign museums
because of their high
artistic values and
decorative arts used in
them. Shrine of Imam Reza,
8th Shi'ite Imam at Mashhad,
Shrine of Fatemeh the
Immaculate (Hazrat-i-Ma'sumeh)
at Qum, Shrine of Shah Abdul
Azim at Shahr-i-Rey, and
Shah-iCheraq Shrine at
Shiraz, as well as numerous
splendid mosques, open up
new vistas of the Islamic
art of Iran to the visitors.
Shrine of
Imam Reza consists of 33
buildings embodying Iranian
Islamic architecture through
5 continuous centuries.
Halls, porticos, ivans,
minarets, and belfries of
religious buildings and
mosques have been decorated
with a great number of arts
such as tile work, inlay,
mirror work, stucco carving,
stone carving, painting,
illumination and muqarnas
(honey comb work). Muqarnas
is a sort of stalactite
work, and an original
Islamic design involving
various combinations of
three-dimensional shapes,
corbeling, etc. which was
used for the decoration of
mosque portals. It can be of
terra-cotta, plaster, or
tiles.
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The
value and respect given by
Iranians to their religious
leaders, have deeply
penetrated in their
traditional and Islamic
architecture. The Iranian
Muslim artists have
decorated the interior and
exterior surfaces of
religious buildings, domes,
belfries, and mosque
minarets with the most
beautiful tiles in terms of
color and design. During the
Islamic period, several
palaces, bridges, avenues,
and gardens were either
built or reconstructed in
various towns of Iran,
particularly in Isfahan.
Historic monuments of the
latter town are so numerous
that Nowadays it is compared
to huge museum of art works.
Foreign travelers called it
"Half of the World". Sir
Jean Chardin (161713) a
dependable observer and a
French traveler who made
journeys to Persia and
visited Isfahan during
Safavid period, said in 1666
that the town had 164
mosques, 48 madrasas
(schools), 182
caravanserais, and 373
baths.
The
great maydan (square) at
Isfahan called Naqsh-i-Jahan
(world image) contains a
galaxy of excellent
architectural works of Iran.
The square is situated in
the center of the present
city of Isfahan, and has
been described as unique by
world archaeologists in
terms of architectural
style, dimensions, and
splendor.
No
doubt, by the end of 16th
century, no such maydan had
been constructed neither in
Iran, nor in other countries
of the world. This unique
phenomenon of art and
architecture is a creation
of experienced and creative
Iranian architects.
The
most famous architectural
works of Maydan
Naqsh-i-Jahan are
Masjid-i-Shah (now Imam
Mosque),. Shaykh Lutf' Allah
mosque, and the Al Qapu
Palace - seat of government
- situated in their full
splendor at the north end,
east and west of maydan,
respectively.
The
southern side of maydan
leads to the great bazaar of
Isfahan, which is one of the
most attractive and
beautiful bazaars of the
east, representing the great
era of Islamic architecture
with its buildings, the
maydan and its historic
monuments during the Safavid
period (1491-1722).
Architectural monuments of
Isfahan are known for better
in western countries
compared to other
architectural masterpieces
of Iran. They enjoyed a
legendary fame in European
countries at the time of
their construction. Foreign
merchants, travelers, and
ambassadors have appreciated
the beauties of Isfahan in
their own languages. During
the recent centuries, too,
many famous Iranologists and
archaeologists have traveled
to Iran from all over the
world and carried out deeper
studies concerning the
architectural monuments of
Isfahan. As the result of
such- studies, numerous
books and articles have
appeared in connection with
the Islamic art of Iran,
particularly its
architecture.
The
Masjid-i-Shah (Imam Mosque),
begun in 1612, and, despite
Shah Abbas' impatience,
under construction until
1638, represents the
culmination of a thousand
years of mosque building in
Persia, with a majesty and
splendor which places it
among the world's greatest
buildings..
In
designing and constructing
domes, minarets, ivans,
halls, Shabistans, and
Mihrabs of this mosque,
Iranian architects have made
use of their utmost degree
of taste and artistry.
Inscriptions of the mosque
have been written on colored
tiles by the most famous
calligraphers of Safavid
period. The massive dome of
the mosque is of double
shell type, the highest
exterior point of which
rises 54m above ground. Its
interior and exterior
facings are decorated as
beautifully as possible with
plain and patterned tiles.
The
mosque of Shaykh Lutf Allah
(1601-28), one
of the most beautiful
architectural monuments of
Iran, is situated on the
east side of the
Naqsh-i-Jahan square.
Designs and colors used in
the dome mosaics are among
the most elegant designs and
colors existing in Iranian
architecture.
According to A.U. Pope,
there is no weak point in
this building. Its plan and
design are so strong and
attractive. It is a
combination of excitement
and passion, glorious calm
and rest which originates
but from religious faith and
divine inspiration.
Masjid-i-Jameh (FriDay
Mosque) is another valuable
architectural work of
Islamic period displaying
experiences of more than
nine hundred years of
creativity. Thirty various
historical inscriptions give
details on different
architectural structures of
the mosque.
Apart from Iranian
archaeologists, some
European archaeologists like
All A.U. Pope, Andre Godard,
Myron Smith, etc., have made
extensive studies about
various architectural
aspects and decorations of
Masjid-i-Jameh at Isfahan.
The result has been several
books and specialized
scientific articles dealing
with the marvelous
architecture of this mosque.
The
mosque has been restored and
changed several times and by
several generations of
artists and architects.
Skillful Iranian tile makers
have embellished its walls
and vaults with
astonishingly beautiful
tiles and mosaics. The tiles
are decorated with floral
designs in arabesque style
and phrases from the Holy
Quran.
The
splendor and architectural
beauty of the Iranian
mosques belongs to their
tile work and artistry of
tile workers. Tile making
and tile working are among
the most spectacular Iranian
arts which culminate in the
tile work of mosques and
historical structures of
Iran,
The
tile makers of Isfahan,
Kashan, and Rey used to be
unique master of their
trade. Tiles were designed,
painted and decorated in
various types. Various tiles
were used in the
embellishment of mosques.
Tiles contained floral
designs in Arabesque and
phrases of the Holy Quran in
different Arabian
calligraphy known as Sols,
Nastaliq, Kufic, etc., all
on tiles of deep azure blue
or other colors. Tiles used
in non-religious buildings
were designed and painted
with brighter floral and
animal, and sometimes human
images.
Development of Iranian
architecture can be traced
also in mosques of other
towns such as Masjid-i-Jameh
Nayin (mid-tenth century),
Masjid-i-Jameh Ardistan
(circa 1180), Masjid-i-Jameh
Zawareh (1153),
Masjid-i-Jameh Golpayegan
(12th century), and
historical mosques of Tabriz
and Yazd.
Stucco is another decorative
art of Iranian architecture.
The Islamic period
architects were unparalleled
in the art of stucco.
An
outstanding example of
stucco fulfilled with
extraordinary precision, is
observed in the mihrab of
Nayin Mosque. The stucco
belongs to tenth century
A.D. During the 1h century (Seljoogh
period: 1000-1157) A.D.,
majority of mihrabs were
decorated with the most
beautiful stuccos.
Stone and stucco carvings
have played a significant
role in the internal and
external decorations of
Seljoogh buildings, the most
remarkable examples of which
are the magnificent
inscriptions in kufic and
nastaliq calligraphy as well
as stucco carvings of
mosques. The stucco and
stone carving techniques of
Seljoogh architecture can be
observed in the majority of
12th century buildings and
monuments. Mihrabs of
Masjid-i-Jameh Qazvin (1116
A.D.) and Masjid-i-Jameh
Ardistan (1160 A.D.) are
extremely valuable examples
of stucco carving art.
During Seljoogh period,
stucco carving was used not
only for the decoration of
mosques but also for palaces
and houses of the nobility,
with themes varying from
landscapes or hunting scenes
of kings accompanied by
their courtiers and princes.
Seljoogh decoration
techniques was carried
further until a certain time
when it was replaced by a
new technique during Mongol
period (1211334 A.D.). The
Mongol technique of
decoration can be observed
in some structures of
Azarbaijan. A good sample of
Mongol stucco carving is
surviving at Hedariya
Madrasa (mosque), Qazvin
(early twelfth century).
The
power and nobility of Mongol
stucco carving is probably
best exemplified by the
mihrab of Masjid-i-Jameh
Isfahan built in 1310 AD.
during the reign of Ulyaitu
and known as the Uljaitu
Mihrab with the
archaeologists.
In
addition to religious
structures, there are a
number of old houses in
various towns of Iran which
were decorated with unique
stucco carvings, already
being preserved as historic
buildings.
Suitability of brick for
plaster facing, had been the
main reason for the spread
of the finest stucco
carvings in the decoration
of Iranian architectural
buildings.
Stuccos using carving,
molding and painting,
constitute one of the main
decorative elements of
Iranian architecture, and
have a long history of
development. Types of stucco
decoration have been tested
by Iranian architects since
approximately 2000 years
ago.
Mirror work is another
decorative element of
Iranian structures during
Islamic period. The finest
examples of skillfully
fulfilled mirror work can be
seen in the religious
buildings of Mashhad,
Shiraz, Qum, and Rey. The
technique has been used in
palaces and magnificent
traditional houses as well,
and follows architectural
elements such as domes,
minarets, and towers in
terms of significance.
Minaret is a slender and
tall structure (tower)
constructed on both sides of
a mosque dome or domes of
religious buildings. Some
minarets are constructed
independently. The oldest
known Iranian minaret, Mil-i-Ajdaha,
was built during Parthian
period in Nourabad Mamasani,
Fars Province, to guide the
caravans. In remote past,
minarets were used as guide
posts. Caravans moving on
the vast Iranian plateau,
could find their routes in
endless deserts and plains
only by mean of such
minarets.
Minarets were signs of
nearly caravanserais, towns,
or inns. Minarets built
along Persian Gull'
coastline and main ports,
served as light houses. Land
caravan and ship arrivals or
departures, and possible
attacks by pirates were
signaled through these
minarets by fire or smoke.
In
Islamic period, minarets
appeared shortly after
mosques. Mosque minarets had
mostly tile facings, while a
grate number of minarets
were built using brick
alone. Their brick
decorations were extremely
fine and artistic.
The
finest and tallest Iranian
minarets are standing in
Isfahan and certain towns in
Kavir. Brick work as
decorative art of Iranian
architecture developed to
its highest triumph in many
ancient structures, towers,
and minarets.
In
his description of the
Iranian artists' brick work,
Sir Edwin Lutyer said: One
should never talk of Iranian
brick work, but mainly of
the magic of Iranian brick
work. Endless variety of
arches and cross vaults with
their exciting shapes, all
stem from the artistic taste
of Iranian brick work
architects.
The
quality and skills of
Iranian brick work
architects can be
distinguished in monuments
they created and left for
us. Altogether 12 slender
and very tall minarets
survive in Isfahan region,
which are unique in their
architecture and beauty.
Little has remained of
minarets built of mud brick.
Construction date of some
brick minarets are given on
their inscriptions: Damaqan
minaret in 1209 A. D.,
Isfahan Chehel Dokhtaran
Minaret in 1107 A.D., and
Isfahan Qushkhaneh Minaret
in 15th century A.D.
Unique architecture and
first clan brick and mortar
used in the construction of
minarets have resulted in
their surviving after 9
centuries in the earthquake
prone land of Iran.
Huge brick tower
construction represents
another creative aspect of
Iranian architecture.
Gunbad-i-Qabus is one of the
greatest and most beautiful
brick towers of Iran built
approximately thousand years
ago, which stands in
perfectly good condition.
Under the shadow of the
eastern Alborz mountains,
facing the vastness of Asian
steppes, stands in stark
majesty a supreme
architectural masterpiece:
The Gunbad-i-Qabus, the tomb
of Qabus-ibn-Washmgir. It
rises a full 167 feet, with
another 35 feet or so
underground. It was built in
1006 A.D. and is the
earliest and most expressive
of a series of some fifty
monumental towers still
standing. Tuqrol Tower near
Rey (1139 A.D.) and Bistam
Tower (1314 A. D.) are among
such towers, each
representing a masterpiece
of architecture and brick
work.
Palaces and gardens of
Islamic period introduce us
to other aspects of Iranian
architecture. Because of the
multiplicity of such works
and monuments, we give only
a few examples here.
The
Chehel Sutun palace at
lsfahan stands amid a garden
called Jahan Nama. It was
built in 16 century A.D.
during the reign of Safavids.
The wooden columns of the
palace are placed on stone
plinths. The ivan ceiling
has been decorated by fine
wooden frames of different
geometrical shapes. A vast
water pond was built
immediately in front of the
building which gives a
mirror-like image of it.
The
interior of the palace is
covered with beautiful
miniature paintings which
portray the wars and other
ceremonial receptions of
Safavid kings. Here one
could see the finest
paintings of Safavid period.
Mirror work designs and
latticed windows too, are
unique in themselves.
Ah
Qapu palace at
Naqshi-i-Jahan square,
Isfahan is another
architectural monument of
Safavid period built in six
stories. It contains various
masterpieces of stuccos and
murals. Chardin, who visited
the palace during Safavid
period, described it as the
greatest palace to be found
in any capital city. The
sixth floor was used for
Safavid kings' official
receptions. The palace is
also unique in terms of its
stuccos, murals, rooms, and
halls.
Altogether 6 palaces and 34
historical gardens had been
built in Isfahan, a number
of which are serving toDay
and the rest have
disappeared through the
ages. The Iranian
architecture can be further
traced in historical and
famous bazaars of great
towns of Iran. These bazaars
have enjoyed a great
reputation among Europeans
travelers and merchants.
]The bazaars, known as
Eastern Bazaars, apart from
being centers of commercial
and civic activity were
mostly surrounded by public
facilities such as the
mosques, baths, and
caravanserais to meet the
requirements of travelers,
merchants, and nearly
inhabitants. The handsomest
traditional and historical
bazaars of Iran built in
Isfahan, Shiraz, Tabriz,
Yazd, Mashhad, and some
other towns, are highly
important in terms of
structure and texture.
In
introducing Iranian
architecture, one should
never overlook the
architectural techniques
used in the construction of
madrasas, baths, and
historical caravanserais, a
number of the most
significant examples of
which have survived until
our Day. Examples of
historical baths of the
country have already been
changed into anthropological
museums, with the intention
of being well preserved as
well.
Architectural monuments and
buildings of older times
remaining on the vast
exauses of Iranian Kavir
(desert), too, have always
attracted attention of
archaeologists and
aestheticians. Inhabitants
of Kavir have constructed
various settlements
villages, 102 and towns in
margins of Kavir, which give
a clear picture of their
original architecture and
arts. These buildings, apart
from being strong in
structure, brought about the
best and most bearable
conditions of living in
extremely dry and hot
weather of Kavir. Necessity
of living in the margins of
dry and arid Kavir, and
existence of a native art,
red to the rise of Kavir
architecture in Iran.
According to the
archaeological researches
carried out so far, the
oldest Kavir towns of the
world have been built in the
margins of Iranian Kavirs.
Yazd, the town of
graceful high rising Badgirs
(wind towers), is one of the
oldest Kavir towns of Iran.
The Islamic and traditional
architectural monuments
existing in this town are
extremely versatile. Badgirs
and great Anbars (water
stores) of Kavir are among
the most interesting
architectural developments
of Iran. Badgirs were
invented in Yazd to cool the
people's residences many
centuries ago. In other
words, they are traditional
coolers of Yazd. Architects
of Kavir towns have employed
the wind energy in order to
overcome the unbearable hot
weather of Kavir.
Badgirs are inventions of
unknown architects whose
creative imaginations and
taste developed to the
highest peaks in
architecture. Most houses in
Kavir are equipped with
Badgir which brings cool air
into large rooms and halls
in hottest day of summer.
Considering the rarity of
water in Kavir regions,
people have devised
ab-anbars (water stores) as
water storages. There is an
interesting technique for
the construction of anbars
in Yazd. One of the most
valuable and well-preserved
ab-anbars in this town is
the one with six huge
badgirs used to cool its
water. Several examples of
badgirs and anbars survive
in Kavir towns of Iran.
Iranian architecture at
Kavir towns is not limited
to the construction of
ab-anbars and badgirs, but
its main importance lies in
house building and city
planning. Another
manifestation of Iranian
architecture in Kavir lands
is the construction of
Quanat (underground water
channel). It consists of a
series of wells connected to
each other through an
underground channel,
carrying water from
underground depths to its
surface. Excavation of
quanat presupposed mastery
of certain techniques of
which only Iranians were
fully aware.
Heroclotus writes that
Iranians were inventors of
quanat. "Iranians were the
first nation to carry water
from underground channels,
to the surface. They were
inventors of quanat. Iranian
architects have also created
extremely valuable monuments
in areas such as water and
irrigation, dams, canals,
and bridges or rivers. The
Soviet archaeologists
discovered remnants of one
of the oldest irrigation
canals of the world near the
town of Van urkey) which was
constructed by the Urartu
people in the late 9th
century A.D. A cuneiform
inscription unearthed from
the rubble walls of the
canal describes how it was
built.
Excavation of Suez Canal
between the Nile river and
the Red Sea during the reign
of Achaemenids was carried
out under the supervision
and initiation of Iranian
engineers and architects. In
the vicinity of the canal a
stone inscription was
discovered from the time of
the Achaemenid king Darius I
together with an account of
how the canal was
constructed.
The
Athos canal in Greece, too,
had been another masterpiece
of Iranian architecture.
Remnants of the canal stand
up to this Day.
Numerous bridges and dams
had been built during the
Achaemenid and Sasanian
period in Provinces of Fars
and Khuzistan, as well as
Mesopotamia. Some of these
monuments are standing even
toDay.
Shushtar dam on Karun River,
is a dam building
masterpiece from Sasanian
period in Khuzistan. Dam
building techniques
continued even during the
Islamic period in Iran. Many
pre-Islamic dams were
repaired by Muslim engineers
of Iran, and they applied
their own innovation in the
construction of newer dams
and bridges. Arch dams and
diversion canals were first
built by Iranian engineers
and architects on various
rivers. Their methods are
used in the construction of
the greatest dams of the
world even toDay.
The
oldest bridge the remnants
of which have survived to
our Day, is the one built by
Urartu people on Araxes
River, North West Iran. It
was built in 8th century BC.
An
example of the most
magnificent bridges of Iran
are standing in absolutely
good conditions in the city
of Isfahan. Zayandeh Rud is
the greatest river flowing
into central plateau of
Iran. It flows through the
city of Isfahan dividing it
into two north south pans.
Twelve samples of historic
bridges built from Sasanian
through Safavid periods
stand on it even toDay.
Shahristan bridge is the
oldest of those bridges with
a minimum history of one
thousand years, which
belongs to Sasanian period.
There are two other
world-famous complex bridges
built during the Safavid
period: (1) Allahverdi Khan
or 33-span bridge, which is
360m long and 14m wide, It
has 33 spans, and was built
by the artful engineers of
Isfahan in 1602 A. D.; and
(2) Khadlu bridge (in two
stories) built during the
reign of Shah Abbas II,
serving both as a bridge and
a dam. It is one of the most
elaborate combined bridges
of the world, 133.5m in
length and 12m in width. It
can be changed into a
temporary dam by blocking
its spans. Wide and thick
timbers (stop - logs) had
been prepared to be used for
this purpose and create a
beautiful reservoir on one
side of the bridge. The
second floor, constructed on
the main spans, includes its
most fascinating feature,
i.e., the pavilions set into
its width called "Princes
Pariours" and once decorated
with faience stucco
carvings, and inscriptions.
The main parlor was used for
the king's receptions and
festivals. In terms of
architectural style, it is
unique all over the world.
Majesty and splendor of the
historic bridges of Isfahan
are vivid manifestations of
the creativity of Iranian
architects.
The
endless variety of
architectural monuments in
Iran shows that Iranian
architects enjoyed highly
valuable creativities and
experiences in various
fields. Despite intervals
due to wars, military
expeditions, and foreign
offensives, Iranian
architecture has continued
to develop and flourish
through the ages. Artists
have enriched their previous
styles and methods and built
on them. Although
temporarily influenced by
foreign art styles, they
proved capable of dissolving
such influences in their own
arts and creating new forms
of Iranian art, even
influencing the architecture
of other countries.
Architecture in Iran has a
continuous history of more
than 6,000 years, from at
least 5,000 BC to the
present, with characteristic
examples distributed over a
vast area from Syria to
North India and the borders
of China, from the Caucausus
to Zanzibar. Iranian
architecture has manifested
its own particular
characteristics and
originality throughout its
prolonged history. It was
based on a multi-thousand
years of experience which,
according to A.U. Pope, was
popular. Despite being at
the service of kings and
rulers the main agents of
Iranian architecture were
artists arising from among
the people.
Religious beliefs,
particularly during the
Islamic period, played a
decisive role in giving
birth to the majority of
Iranian architectural
monuments.
Faith, thinking, and
creativity were three
elements out of which rose
Iranian architecture.
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