I am an Art historian specialising in Islamic art and architecture – especially the Seljuk Empire and the Turko-Persian cultural sphere– with an emphasis on architecture, book arts, motifs, and the history of depictions. Current research interests include Cross-Cultural Influences in the Persianate world.
آثار برجای مانده از هنرهای تزیینی در ابنیه اسامی، مخصوصا در اماکن مذهبی، نظیر مساجد واجد روحیات م... more آثار برجای مانده از هنرهای تزیینی در ابنیه اسامی، مخصوصا در اماکن مذهبی، نظیر مساجد واجد روحیات منحصر به فرد و ژرفای تجسمی هستند. درواقع مساجد به گنجینه های بی بدیلی از جلوه های هنر اسامی تبدیل شده اند. در تاریخ معماری ایران، معماری عصر سلجوقی از اهمیت ویژه ای برخوردار است. این اهمیت را می توان در تزیینات شاخص این دوره به خصوص انواع کتیبه های به جای مانده از این دوره ارزشمند یافت. بناهای دوره ی سلجوقیان اغلب با آجر تزیین یافته است اما در قسمت هایی از بنا مانند: محراب، کتیبه های گنبدخانه و ایوانها، گچ به دلیل انعطاف بیشتر(نسبت به آجر)، جای گزین گردیده است. یکی از بناهای شاخص دوره ی سلجوقیان از این حیث، مسجد جامع زواره است که در این مقاله با نگاهی به ابعاد تاریخی و محتوایی، بیشتر به قابلیت های گرافیکی کتیبه ها و نقوش آن پرداخته شده است. ه مچنین مقاله ی حاضر به تعمق و وارسی کتیبه ی تاریخ دار مسجد جامع زواره پرداخته و نتیجه ی حاصل آ نکه تاریخ ساخت مسجد جامع زواره برخلاف نظر آندره گدار، 564 هجری قمری است نه 530 هجری قمری. این مهم در گذار از آنالیز گرافیکی کتیبة تاریخی بنا و تأمل در آن حا...
Journal of Faculty of Art and Architecture Department of Archaeology, 2012
All the remaining works of decorative art of Islamic monuments, especially in religious places, l... more All the remaining works of decorative art of Islamic monuments, especially in religious places, like mosques have their particular emotions and deep visualization. In fact, mosques have been changed into unique treasury of Islamic art manifestation. In the history of Iranian architecture, the Seljuks architecture has the utmost importance. The importance of this critical period can be found in spectacular decorations of remaining inscriptions. Most of the Seljuks monuments are decorated with bricks, but in some parts of the monuments such as the inscriptions of the domes and porch(iwan), stucco had been used because of its more flexible form. In this case, Zavareh Jame Mosque is one of the spectacular monuments from Seljuks period. In this article, it’s tried to understand its historical and conceptual dimensions, in order to focus on its graphic capacities of inscriptions and Noqush(=patterns). We also contemplate and probe the historical monument of Zavareh Jame mosque. And the conclusion is that the date of making Zavareh Jame mosque, in contrast to what Andre Godard said, is back to the year 564 A.H., but not 530 A.H. This important fact is reached through the graphic analysis and deep consideration of the historical inscription of the monument, which shows the importance of documentary evidence in maintaining the real values of a monument. Referring to the point that the authors have used the graphic form to reach the shape and concept of the inscriptions and motifs, the decorative qualities of the monument can be apparently seen and compared with the decorations of their own periods of time. On the other hand, restoring the lost parts of inscriptions has made the general collection of Kufi alphabet of Zavareh Jame mosque, which is very useful in restoring those parts.
Journal of Maremat & Me'mari-e Iran, Art University of Isfahan, 2014
One of the bright periods of Iranian architecture art is Salgoghian period that its evidence can ... more One of the bright periods of Iranian architecture art is Salgoghian period that its evidence can be found in Isfahan, the political and cultural capital of that time. Ardestan, following political and religious changes of its capital, was considered one of the important and active centers of Isfahan and this matter caused fundamental changes in the space-frame structure of central mosque of the city. This building was one of the masterpieces of Islamic architecture of Iran that experienced dramatic changes in its lifetime. In spite of the importance of the mosque and the variety of the conducted studies, its space-frame changes are not clearly specified, therefore, the investigation of changes movement of the mosque and the separation of its historical layers was the main objective of the present research. The research methodology was interpretive-historical as well as documentary and comparative studies were the basis of the research. It is necessary to note that contemplating of researchers’ views and their generalization were to compensate the drawbacks that produced worthy results in separating its historical layers. The investigations indicated that the oldest architectural element of the mosque relics was parts of brick-shaped wall that were belonged to a building before the original mosque. According to comparative studies, the mosque was existed from Alebuyeh times and its major changes happened during Saljoghiyeh and Safaviyeh times and after that, its outward form changed. The research’s achievements resolve ambiguities regarding its historical layers, those parts which were ignored until now, to a large extent.
Bastanshenasi & Tarikh-e Honar-e Shargh-e Bastan Journal, Art University of Isfahan, 2013
One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many... more One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many examples of it can be found in their political and cultural capital (Isfahan). The mosque is one of the most important pillars of Islamic architecture. Jame mosques of Isfahan, Bersiyan, Golpayegan, Zavareh and Ardestan are among the Seljuk valuable mosques that their domes have been ornamented with a variety of decorations. Architecture and decorations of the dome of these mosques due to periodic and regional similarity are comparable with each other. Therefore, the aim of the present study is the recognition and evaluation of architecture and decorations of the dome of the selected mosques, and finally to compare them with each other. Because of the high similarity of the structure of domes of these mosques, the issue of research is recognition and analysis of the dome style, and its decorative elements in the Seljuk era. In addition, the impact of mosques in the early period of the Seljuk and even before it in modeling the decorative elements and composition of the dome is remarkable. Therefore, using the comparative-analytic method the architectural aspects, motif, and the inscription of the dome (in the Mosque studied) has been investigated. For this purpose, architecture and decorations of the mosques have been investigated and analyzed using existing documents and research studies by the authors. According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
Mythologies of sun and moon in ancient Persian and Turks, International Symposium on Mythology, Ardahan University, 2019
The history of mythology is full of natural elements. In particular, the mythologies associated w... more The history of mythology is full of natural elements. In particular, the mythologies associated with the sun and the moon are remarkable. In fact, in the mythology of ancient Turks and Persians, the sun and moon related mythology are important as much as affecting human life. The aim of this paper is to compare the myths associated with the sun and the moon in both civility, from artistic, cultural, social and political dimensions. The sun and moon mythology in Turks and Persians are symbol of the opposite natural forces such as night and day, goodness and evil, life and death, famine and blessing, cold and heat. Myths which are symbolized the unity of opposites are common values of both societies. Most of these symbols are cosmic elements or terrestrial elements. In the myths of ancient Persian, the sun appears in the form of Lions, Eagles and etc. Also the moon has been also revealed in the form of cow, evil spirit and etc. Symbols of lion and cow are available as signs of the sun and the moon in important works such as Coins and Flags. But ın trackıng of time, lion in compare to cow predominated, and in the end, the conflict between the symbols of lion and cows, the cow is defeated, and lion is considered to be as a sign of the kingdom. On the other hands, the power of the king, symbolized by lion, is superior to anything. In the symbolic quarrel between the king and animals, the other combination of images drawn in the remnants of Persepolis, the king wins. The Sun and the Moon are important in the religions of Mani and Zoroastrian as Gods. In the mythology of Turks, the Sun and the Moon have similar concepts. Uyghurs, when they accept the religion of Manichaeism, they worship and sanctify the moon. In the Kutadgu Bilig, Gun Togtu/ Sun Tugdu=Xagan= (governmental) traditions which means the illuminated sun, has expressed as the traditions of the Turks. In this book, the Turks who considered the sun alike Persians as a kingdom believed that the moon is symbol of Kut. The Sun as a star and moon in Turkish art are two integral objects. Like the Persians, in Turks, the moon and sun symbol's in elements such as flags, Sanjak (war flag), Relief/Patterns and coins indicate the political, cultural and artistic effects of the myths.
Bastanshenasi & Tarikh-e Honar-e Shargh-e Bastan Journal, Art University of Isfahan, 2013
One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many... more One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many examples of it can be found in their political and cultural capital (Isfahan). The mosque is one of the most important pillars of Islamic architecture. Jame mosques of Isfahan, Bersiyan, Golpayegan, Zavareh and Ardestan are among the Seljuk valuable mosques that their domes have been ornamented with a variety of decorations. Architecture and decorations of the dome of these mosques due to periodic and regional similarity are comparable with each other. Therefore, the aim of the present study is the recognition and evaluation of architecture and decorations of the dome of the selected mosques, and finally to compare them with each other. Because of the high similarity of the structure of domes of these mosques, the issue of research is recognition and analysis of the dome style, and its decorative elements in the Seljuk era. In addition, the impact of mosques in the early period of the Seljuk and even before it in modeling the decorative elements and composition of the dome is remarkable. Therefore, using the comparative-analytic method the architectural aspects, motif, and the inscription of the dome (in the Mosque studied) has been investigated. For this purpose, architecture and decorations of the mosques have been investigated and analyzed using existing documents and research studies by the authors.
According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
Churches were at the heart of the cities during Safavid era. These churches have gone through cha... more Churches were at the heart of the cities during Safavid era. These churches have gone through changes and developments during their historical courses. Therefore, along with keeping the principles of the Armenians architecture, they have gained new shapes and appearances based on their new locations. Vank cathedral, belonging to the Safavid dynasty, is established in Jolfa district. It is an excellent example of adaptation with the environment, culture, and the new region.as a result it has been selected as a matter of study and evaluation. This church has a different framework from other Armenian churches and is closer to structures and patterns of Iranian architecture. Some of the reasons are regional and territorial features, architectural techniques, and political, cultural, and social conditions of that era and so on. The mentioned reasons allowed them to find their own style in church architecture without using predefined templates (but by selecting templates). The present study has analyzed and evaluated Vank cathedral regarding its communication with other applications. Physical structure, schema (plan), relationship between open, semi-open and closed spaces and functional relationships of the spaces. In this paper, physical-spatial and social features of this church were also evaluated, especially with considering its architectural elements. Although numerous studies have been conducted, some of architectural elements are still unknown. Therefore, library and field research, architectural style of this church and its differences with architecture of Armenian churches (which is rooted in several factors) have been studied. The results of the present paper revealed that construction patterns of Vank cathedral are completely consistent with its environmental conditions and Iranian and Armenian architects have successfully identified the environmental features and used them in building the church. It was beyond the conventional patterns of their time. Another result of the research deducts from the representations of Armenian's religious beliefs in spatial and physical connections of the building.
آثار برجای مانده از هنرهای تزیینی در ابنیه اسامی، مخصوصا در اماکن مذهبی، نظیر مساجد واجد روحیات م... more آثار برجای مانده از هنرهای تزیینی در ابنیه اسامی، مخصوصا در اماکن مذهبی، نظیر مساجد واجد روحیات منحصر به فرد و ژرفای تجسمی هستند. درواقع مساجد به گنجینه های بی بدیلی از جلوه های هنر اسامی تبدیل شده اند. در تاریخ معماری ایران، معماری عصر سلجوقی از اهمیت ویژه ای برخوردار است. این اهمیت را می توان در تزیینات شاخص این دوره به خصوص انواع کتیبه های به جای مانده از این دوره ارزشمند یافت. بناهای دوره ی سلجوقیان اغلب با آجر تزیین یافته است اما در قسمت هایی از بنا مانند: محراب، کتیبه های گنبدخانه و ایوانها، گچ به دلیل انعطاف بیشتر(نسبت به آجر)، جای گزین گردیده است. یکی از بناهای شاخص دوره ی سلجوقیان از این حیث، مسجد جامع زواره است که در این مقاله با نگاهی به ابعاد تاریخی و محتوایی، بیشتر به قابلیت های گرافیکی کتیبه ها و نقوش آن پرداخته شده است. ه مچنین مقاله ی حاضر به تعمق و وارسی کتیبه ی تاریخ دار مسجد جامع زواره پرداخته و نتیجه ی حاصل آ نکه تاریخ ساخت مسجد جامع زواره برخلاف نظر آندره گدار، 564 هجری قمری است نه 530 هجری قمری. این مهم در گذار از آنالیز گرافیکی کتیبة تاریخی بنا و تأمل در آن حا...
Journal of Faculty of Art and Architecture Department of Archaeology, 2012
All the remaining works of decorative art of Islamic monuments, especially in religious places, l... more All the remaining works of decorative art of Islamic monuments, especially in religious places, like mosques have their particular emotions and deep visualization. In fact, mosques have been changed into unique treasury of Islamic art manifestation. In the history of Iranian architecture, the Seljuks architecture has the utmost importance. The importance of this critical period can be found in spectacular decorations of remaining inscriptions. Most of the Seljuks monuments are decorated with bricks, but in some parts of the monuments such as the inscriptions of the domes and porch(iwan), stucco had been used because of its more flexible form. In this case, Zavareh Jame Mosque is one of the spectacular monuments from Seljuks period. In this article, it’s tried to understand its historical and conceptual dimensions, in order to focus on its graphic capacities of inscriptions and Noqush(=patterns). We also contemplate and probe the historical monument of Zavareh Jame mosque. And the conclusion is that the date of making Zavareh Jame mosque, in contrast to what Andre Godard said, is back to the year 564 A.H., but not 530 A.H. This important fact is reached through the graphic analysis and deep consideration of the historical inscription of the monument, which shows the importance of documentary evidence in maintaining the real values of a monument. Referring to the point that the authors have used the graphic form to reach the shape and concept of the inscriptions and motifs, the decorative qualities of the monument can be apparently seen and compared with the decorations of their own periods of time. On the other hand, restoring the lost parts of inscriptions has made the general collection of Kufi alphabet of Zavareh Jame mosque, which is very useful in restoring those parts.
Journal of Maremat & Me'mari-e Iran, Art University of Isfahan, 2014
One of the bright periods of Iranian architecture art is Salgoghian period that its evidence can ... more One of the bright periods of Iranian architecture art is Salgoghian period that its evidence can be found in Isfahan, the political and cultural capital of that time. Ardestan, following political and religious changes of its capital, was considered one of the important and active centers of Isfahan and this matter caused fundamental changes in the space-frame structure of central mosque of the city. This building was one of the masterpieces of Islamic architecture of Iran that experienced dramatic changes in its lifetime. In spite of the importance of the mosque and the variety of the conducted studies, its space-frame changes are not clearly specified, therefore, the investigation of changes movement of the mosque and the separation of its historical layers was the main objective of the present research. The research methodology was interpretive-historical as well as documentary and comparative studies were the basis of the research. It is necessary to note that contemplating of researchers’ views and their generalization were to compensate the drawbacks that produced worthy results in separating its historical layers. The investigations indicated that the oldest architectural element of the mosque relics was parts of brick-shaped wall that were belonged to a building before the original mosque. According to comparative studies, the mosque was existed from Alebuyeh times and its major changes happened during Saljoghiyeh and Safaviyeh times and after that, its outward form changed. The research’s achievements resolve ambiguities regarding its historical layers, those parts which were ignored until now, to a large extent.
Bastanshenasi & Tarikh-e Honar-e Shargh-e Bastan Journal, Art University of Isfahan, 2013
One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many... more One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many examples of it can be found in their political and cultural capital (Isfahan). The mosque is one of the most important pillars of Islamic architecture. Jame mosques of Isfahan, Bersiyan, Golpayegan, Zavareh and Ardestan are among the Seljuk valuable mosques that their domes have been ornamented with a variety of decorations. Architecture and decorations of the dome of these mosques due to periodic and regional similarity are comparable with each other. Therefore, the aim of the present study is the recognition and evaluation of architecture and decorations of the dome of the selected mosques, and finally to compare them with each other. Because of the high similarity of the structure of domes of these mosques, the issue of research is recognition and analysis of the dome style, and its decorative elements in the Seljuk era. In addition, the impact of mosques in the early period of the Seljuk and even before it in modeling the decorative elements and composition of the dome is remarkable. Therefore, using the comparative-analytic method the architectural aspects, motif, and the inscription of the dome (in the Mosque studied) has been investigated. For this purpose, architecture and decorations of the mosques have been investigated and analyzed using existing documents and research studies by the authors. According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
Mythologies of sun and moon in ancient Persian and Turks, International Symposium on Mythology, Ardahan University, 2019
The history of mythology is full of natural elements. In particular, the mythologies associated w... more The history of mythology is full of natural elements. In particular, the mythologies associated with the sun and the moon are remarkable. In fact, in the mythology of ancient Turks and Persians, the sun and moon related mythology are important as much as affecting human life. The aim of this paper is to compare the myths associated with the sun and the moon in both civility, from artistic, cultural, social and political dimensions. The sun and moon mythology in Turks and Persians are symbol of the opposite natural forces such as night and day, goodness and evil, life and death, famine and blessing, cold and heat. Myths which are symbolized the unity of opposites are common values of both societies. Most of these symbols are cosmic elements or terrestrial elements. In the myths of ancient Persian, the sun appears in the form of Lions, Eagles and etc. Also the moon has been also revealed in the form of cow, evil spirit and etc. Symbols of lion and cow are available as signs of the sun and the moon in important works such as Coins and Flags. But ın trackıng of time, lion in compare to cow predominated, and in the end, the conflict between the symbols of lion and cows, the cow is defeated, and lion is considered to be as a sign of the kingdom. On the other hands, the power of the king, symbolized by lion, is superior to anything. In the symbolic quarrel between the king and animals, the other combination of images drawn in the remnants of Persepolis, the king wins. The Sun and the Moon are important in the religions of Mani and Zoroastrian as Gods. In the mythology of Turks, the Sun and the Moon have similar concepts. Uyghurs, when they accept the religion of Manichaeism, they worship and sanctify the moon. In the Kutadgu Bilig, Gun Togtu/ Sun Tugdu=Xagan= (governmental) traditions which means the illuminated sun, has expressed as the traditions of the Turks. In this book, the Turks who considered the sun alike Persians as a kingdom believed that the moon is symbol of Kut. The Sun as a star and moon in Turkish art are two integral objects. Like the Persians, in Turks, the moon and sun symbol's in elements such as flags, Sanjak (war flag), Relief/Patterns and coins indicate the political, cultural and artistic effects of the myths.
Bastanshenasi & Tarikh-e Honar-e Shargh-e Bastan Journal, Art University of Isfahan, 2013
One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many... more One of the brightest periods of architecture in Iran, is the Great Seljuk Empire period that many examples of it can be found in their political and cultural capital (Isfahan). The mosque is one of the most important pillars of Islamic architecture. Jame mosques of Isfahan, Bersiyan, Golpayegan, Zavareh and Ardestan are among the Seljuk valuable mosques that their domes have been ornamented with a variety of decorations. Architecture and decorations of the dome of these mosques due to periodic and regional similarity are comparable with each other. Therefore, the aim of the present study is the recognition and evaluation of architecture and decorations of the dome of the selected mosques, and finally to compare them with each other. Because of the high similarity of the structure of domes of these mosques, the issue of research is recognition and analysis of the dome style, and its decorative elements in the Seljuk era. In addition, the impact of mosques in the early period of the Seljuk and even before it in modeling the decorative elements and composition of the dome is remarkable. Therefore, using the comparative-analytic method the architectural aspects, motif, and the inscription of the dome (in the Mosque studied) has been investigated. For this purpose, architecture and decorations of the mosques have been investigated and analyzed using existing documents and research studies by the authors.
According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
Churches were at the heart of the cities during Safavid era. These churches have gone through cha... more Churches were at the heart of the cities during Safavid era. These churches have gone through changes and developments during their historical courses. Therefore, along with keeping the principles of the Armenians architecture, they have gained new shapes and appearances based on their new locations. Vank cathedral, belonging to the Safavid dynasty, is established in Jolfa district. It is an excellent example of adaptation with the environment, culture, and the new region.as a result it has been selected as a matter of study and evaluation. This church has a different framework from other Armenian churches and is closer to structures and patterns of Iranian architecture. Some of the reasons are regional and territorial features, architectural techniques, and political, cultural, and social conditions of that era and so on. The mentioned reasons allowed them to find their own style in church architecture without using predefined templates (but by selecting templates). The present study has analyzed and evaluated Vank cathedral regarding its communication with other applications. Physical structure, schema (plan), relationship between open, semi-open and closed spaces and functional relationships of the spaces. In this paper, physical-spatial and social features of this church were also evaluated, especially with considering its architectural elements. Although numerous studies have been conducted, some of architectural elements are still unknown. Therefore, library and field research, architectural style of this church and its differences with architecture of Armenian churches (which is rooted in several factors) have been studied. The results of the present paper revealed that construction patterns of Vank cathedral are completely consistent with its environmental conditions and Iranian and Armenian architects have successfully identified the environmental features and used them in building the church. It was beyond the conventional patterns of their time. Another result of the research deducts from the representations of Armenian's religious beliefs in spatial and physical connections of the building.
Among various fields of Islamic arts the Islamic architecture and, especially, the decorations re... more Among various fields of Islamic arts the Islamic architecture and, especially, the decorations related thereto, are of significant importance. Works persisted from decorative arts in Islamic buildings, particularly in religious buildings such as mosques are of exclusive moods and visual depth. In fact, the mosques have become unique treasures of Islamic art manifestations. Examples as presented in this study, including graphic review of Jame mosques in Golpaygan, Ardestan and Zavareh are regarded as a part of such valuable art heritage which can be studies and examined in various aspects. The generality of the present survey is based upon the necessity of dealing with native Iranian graphics and recognition of capabilities latent therein in order to make them applicable in contemporary graphics. As long as no primary measuring and reading of decorative arrangements of such buildings has been made, it will not be possible to reach their semantic layers and implied concepts. Thus, Noqush (=patterns) is separated from the collection of naqsh (=pattern) and is examined as an art text to be used in an appropriate content during the primary reading of works. In this respect, the decorative arrangements and the inscriptions of the three buildings were firstly analyzed graphically with using graphic tools in order to make the works enter into a framework to become more approached to the graphic content. Decorative arrangements and inscriptions were studied in terms of pattern and form and the decorative pattern latent in the architectural decorations of these buildings were separated into layers. A coherent design of alphabet in Kufic script of the studied mosques was conducted and it was dealt with the visual values of various Kufic scripts of mosques. The Mihrabs of mosques were studied in terms of structure, type of pattern, common and differential aspects compared to one another. In conclusion, the practical and applied results of the present article were presented with applications of the decorative patterns of the studied mosques in contemporary graphics. At the end, this article gives a positive answer to the questions of the hypothesis on how the mosques' patterns and inscriptions can be used in graphic design and that if the patterns and inscriptions of these monuments may be used in graphic design or not. Also, this article found the arrangements of inscriptions of the Jame mosques in Golpayegan, Ardestan and Zavareh highly potential in creating novel forms and designing letters. With considering the visual capabilities of the motifs and inscriptions discussed above, obviously one can have a new look to them and to make use of them as wide and rich pectoral resources in various fields of contemporary arts and graphics. This article involved in the study of patterns and inscriptions for the purpose of introducing samples for the recognition of Iranian traditional graphic dimensions and their applicability in the contemporary graphic art, on one hand, and to make the graphic artists familiar with their country's art heritage. Thus, it is hoped that we will witness art works matched with Iranian continental and cultural values in the near future.
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The research methodology was interpretive-historical as well as documentary and comparative studies were the basis of the research. It is necessary to note that contemplating of researchers’ views and their generalization were to compensate the drawbacks that produced worthy results in separating its historical layers.
The investigations indicated that the oldest architectural element of the mosque relics was parts of brick-shaped wall that were belonged to a building before the original mosque. According to comparative studies, the mosque was existed from Alebuyeh times and its major changes happened during Saljoghiyeh and Safaviyeh times and after that, its outward form changed. The research’s achievements resolve ambiguities regarding its historical layers, those parts which were ignored until now, to a large extent.
According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
The sun and moon mythology in Turks and Persians are symbol of the opposite natural forces such as night and day, goodness and evil, life and death, famine and blessing, cold and heat. Myths which are symbolized the unity of opposites are common values of both societies. Most of these symbols are cosmic elements or terrestrial elements.
In the myths of ancient Persian, the sun appears in the form of Lions, Eagles and etc. Also the moon has been also revealed in the form of cow, evil spirit and etc. Symbols of lion and cow are available as signs of the sun and the moon in important works such as Coins and Flags. But ın trackıng of time, lion in compare to cow predominated, and in the end, the conflict between the symbols of lion and cows, the cow is defeated, and lion is considered to be as a sign of the kingdom. On the other hands, the power of the king, symbolized by lion, is superior to anything. In the symbolic quarrel between the king and animals, the other combination of images drawn in the remnants of Persepolis, the king wins. The Sun and the Moon are important in the religions of Mani and Zoroastrian as Gods.
In the mythology of Turks, the Sun and the Moon have similar concepts. Uyghurs, when they accept the religion of Manichaeism, they worship and sanctify the moon. In the Kutadgu Bilig, Gun Togtu/ Sun Tugdu=Xagan= (governmental) traditions which means the illuminated sun, has expressed as the traditions of the Turks. In this book, the Turks who considered the sun alike Persians as a kingdom believed that the moon is symbol of Kut. The Sun as a star and moon in Turkish art are two integral objects. Like the Persians, in Turks, the moon and sun symbol's in elements such as flags, Sanjak (war flag), Relief/Patterns and coins indicate the political, cultural and artistic effects of the myths.
According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
The research methodology was interpretive-historical as well as documentary and comparative studies were the basis of the research. It is necessary to note that contemplating of researchers’ views and their generalization were to compensate the drawbacks that produced worthy results in separating its historical layers.
The investigations indicated that the oldest architectural element of the mosque relics was parts of brick-shaped wall that were belonged to a building before the original mosque. According to comparative studies, the mosque was existed from Alebuyeh times and its major changes happened during Saljoghiyeh and Safaviyeh times and after that, its outward form changed. The research’s achievements resolve ambiguities regarding its historical layers, those parts which were ignored until now, to a large extent.
According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
The sun and moon mythology in Turks and Persians are symbol of the opposite natural forces such as night and day, goodness and evil, life and death, famine and blessing, cold and heat. Myths which are symbolized the unity of opposites are common values of both societies. Most of these symbols are cosmic elements or terrestrial elements.
In the myths of ancient Persian, the sun appears in the form of Lions, Eagles and etc. Also the moon has been also revealed in the form of cow, evil spirit and etc. Symbols of lion and cow are available as signs of the sun and the moon in important works such as Coins and Flags. But ın trackıng of time, lion in compare to cow predominated, and in the end, the conflict between the symbols of lion and cows, the cow is defeated, and lion is considered to be as a sign of the kingdom. On the other hands, the power of the king, symbolized by lion, is superior to anything. In the symbolic quarrel between the king and animals, the other combination of images drawn in the remnants of Persepolis, the king wins. The Sun and the Moon are important in the religions of Mani and Zoroastrian as Gods.
In the mythology of Turks, the Sun and the Moon have similar concepts. Uyghurs, when they accept the religion of Manichaeism, they worship and sanctify the moon. In the Kutadgu Bilig, Gun Togtu/ Sun Tugdu=Xagan= (governmental) traditions which means the illuminated sun, has expressed as the traditions of the Turks. In this book, the Turks who considered the sun alike Persians as a kingdom believed that the moon is symbol of Kut. The Sun as a star and moon in Turkish art are two integral objects. Like the Persians, in Turks, the moon and sun symbol's in elements such as flags, Sanjak (war flag), Relief/Patterns and coins indicate the political, cultural and artistic effects of the myths.
According to the goals listed, the main question for this article is that what is the structural and decorative pattern of the dome in the Seljuk buildings of Isfahan? For this purpose, the primary field and library data were collected and leading examples of the age of great Seljuk Empire in Isfahan were presented. Then by studying the map of buildings, the architectural elements and function of the works have been introduced and based on the comparative study the dominant pattern of their construction and decoration has been interpreted. According to the reviews, among the elements matched in the proportions, techniques, motifs and building Kufic script, there have been mosques, bulk and templates similarities (the types of the dome, the type of populate building, the type of cornering, bricklaying practices, jointing decorations, motifs, calligraphy of inscription, etc.).
In this respect, the decorative arrangements and the inscriptions of the three buildings were firstly analyzed graphically with using graphic tools in order to make the works enter into a framework to become more approached to the graphic content. Decorative arrangements and inscriptions were studied in terms of pattern and form and the decorative pattern latent in the architectural decorations of these buildings were separated into layers. A coherent design of alphabet in Kufic script of the studied mosques was conducted and it was dealt with the visual values of various Kufic scripts of mosques.
The Mihrabs of mosques were studied in terms of structure, type of pattern, common and differential aspects compared to one another. In conclusion, the practical and applied results of the present article were presented with applications of the decorative patterns of the studied mosques in contemporary graphics.
At the end, this article gives a positive answer to the questions of the hypothesis on how the mosques' patterns and inscriptions can be used in graphic design and that if the patterns and inscriptions of these monuments may be used in graphic design or not. Also, this article found the arrangements of inscriptions of the Jame mosques in Golpayegan, Ardestan and Zavareh highly potential in creating novel forms and designing letters.
With considering the visual capabilities of the motifs and inscriptions discussed above, obviously one can have a new look to them and to make use of them as wide and rich pectoral resources in various fields of contemporary arts and graphics. This article involved in the study of patterns and inscriptions for the purpose of introducing samples for the recognition of Iranian traditional graphic dimensions and their applicability in the contemporary graphic art, on one hand, and to make the graphic artists familiar with their country's art heritage. Thus, it is hoped that we will witness art works matched with Iranian continental and cultural values in the near future.