Volume 9, Issue 3 (2019)
Naqshejahan 2019, 9(3): 191-202 |
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Mansori R, Nasr T, Hadiyanpour M. Islamic Principles and Quranic Verses in Safavid Dynasty and Qajar Dynasty Masterpieces (Case Studies: Chahar-Bagh School-Mosque and Shah-Abdol-Azim Tomb). Naqshejahan 2019; 9 (3) :191-202
URL: http://bsnt.modares.ac.ir/article-2-37041-en.html
URL: http://bsnt.modares.ac.ir/article-2-37041-en.html
1- Architecture Department, Engineering Faculty, Ilam University, Ilam, Iran , r.mansoori@ilam.ac.ir
2- Architecture Department, Art & Architecture Faculty, Shiraz Branch, Islamic Azad University, Shiraz, Iran
3- Architecture Department, Art & Architecture Faculty, Tarbiat Modares University,Tehran, Iran
2- Architecture Department, Art & Architecture Faculty, Shiraz Branch, Islamic Azad University, Shiraz, Iran
3- Architecture Department, Art & Architecture Faculty, Tarbiat Modares University,Tehran, Iran
Abstract: (7108 Views)
Aims: This paper was carried out to show Islamic principles and Quranic verses in the Safavid Dynasty and Qajar Dynasty masterpieces, especially in the case of studies (Chahar-Bagh School-Mosque and Shah Abdol-Azim Tomb). Chahar-Bagh School-Mosque is one of the masterpieces of Safavid Dynasty, and Shah Abdol-Azim Tomb is one of the most important buildings of Tehran. The centrepiece of its tiling ornament has accomplished in the Qajar Dynasty.
Instruments & Methods: Comparative analysis of tiling in these two buildings can help in recognition of them. This study compares these two buildings with analytical-descriptive, and survey study methods.
Findings: The Findings of the present study indicate that the main difference between these two buildings’ tiling is in pattern and colour. In the Safavid Dynasty, azure and turquoise colours are dominant, but in Qajar yellow, orange, pink and brown are seen the most. In Chahar-Bagh complex, Suls and Kufi-ye-Bannai typefaces are used to inscribe Quranic and religious anecdotes. In Shah Abdol-Azim Tomb Nastaliq typeface is used to inscribe anecdotes, holy names, craftsmen’s signatures, and describing the date of building construction. Geometric and arabesque patterns in tiling decoration of the Safavid Dynasty are simple and separate; in the Qajar Dynasty, complex shapes made of geometric and patterns with elaborate and complicated details can be seen.
Conclusion: A review of the two case studies studied, the Chahar-Bagh School-Mosque and Shah Abdol-Azim Tomb, shows that the verses of the Holy Quran can be considered as the source of the artist's idea of understanding the Safavid and Qajar works.
Instruments & Methods: Comparative analysis of tiling in these two buildings can help in recognition of them. This study compares these two buildings with analytical-descriptive, and survey study methods.
Findings: The Findings of the present study indicate that the main difference between these two buildings’ tiling is in pattern and colour. In the Safavid Dynasty, azure and turquoise colours are dominant, but in Qajar yellow, orange, pink and brown are seen the most. In Chahar-Bagh complex, Suls and Kufi-ye-Bannai typefaces are used to inscribe Quranic and religious anecdotes. In Shah Abdol-Azim Tomb Nastaliq typeface is used to inscribe anecdotes, holy names, craftsmen’s signatures, and describing the date of building construction. Geometric and arabesque patterns in tiling decoration of the Safavid Dynasty are simple and separate; in the Qajar Dynasty, complex shapes made of geometric and patterns with elaborate and complicated details can be seen.
Conclusion: A review of the two case studies studied, the Chahar-Bagh School-Mosque and Shah Abdol-Azim Tomb, shows that the verses of the Holy Quran can be considered as the source of the artist's idea of understanding the Safavid and Qajar works.
Article Type: Original Research |
Subject:
Pioneer Islamic Iranian Art and Architecture
Received: 2019/10/4 | Accepted: 2019/10/29 | Published: 2020/02/10
Received: 2019/10/4 | Accepted: 2019/10/29 | Published: 2020/02/10
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