Isfahan

«مسجد حکیم اصفهان، مسجدی چهارایوانی است که در زمان صفویان بر روی بقایای مسجدی قدیمی از دورۀ دیلمیان ساخته شده و مانند سایر بناهای مذهبی این دوره، از تزئینات زیبا و چشم‌نوازی برخوردار است. عمده تزیینات این بنا شامل کاشی‌کاری‌های معرق است که با رنگ‌های مرسوم در این دوره، زینت‌بخش فضای خارجی مانند صحن و فضای داخلی مانند گنبدخانه مسجد شده‌اند. چنانچه بگوییم مسجد حکیم، بزرگترین گنجینۀ کتیبه‌های "کوفی بنایی" یا همان "مُعَقلی" معماری ایران را به‌لحاظ تعدد و تنوع در خود جای داده است، سخن به گزافه نگفته‌ایم. کمتر بنایی را در تاریخ معماری ایران در دورۀ اسلامی می‌توان یافت که با این میزان از کتیبه‌های متنوع به خط کوفی بنایی آراسته شده باشد. تنوع در کتیبه‌ها، رنگ‌بندی کاشی‌ها، بهره‌گیری از ترفندهای فنی، هندسی و چیدمانی متفاوت در اجرای عبارات کوفی بنایی از جمله نکات شاخص کتیبه‌نگاری‌های این بناست.»

Featuring: the enigmatic Ka’aba, singular Dome of the Rock, urban Suleymaniya, Isfahan’s labyrinthine Bazaar, the incomplete Sultan Hasan madrassa, sensuous Alhambra, infinite Cordoba, photogenic Taj Mahal. Extant structures from 7th to 16th century in different regions will be introduced along with concurrent Muslim thinkers, poets, mystics, scientists and architects. As the enigmatic buildings are laden with inscriptions (given the the centrality of Quran and status of calligraphy in Muslim culture), they provide us clues to decipher the monument’s meaning in our attempt to make sense of the past as of the present.

Note: the lecture course was previously taught both at Carleton University, Ottawa and at Jnanapravaha, Mumbai in 2018. This course outline was for the course scheduled for 2020 (postponed due to the pandemic).

روستاي مورچه خورت در شمال غربي اصفهان به عنوان يكي از نقاط گره در شبكه راه های ارتباطي شمال اصفهان، در دوران  اسلامي از اهميت ويژه ای برخوردار بوده است. اين امر، سبب توسعه اين روستا در دوران اسلامي و تداوم سكونت در آن شده بود. نوشتار حاضر، درباره بخشي از بررسی باستان شناختي دشت مورچه خورت است كه با هدف شناسايي و معرفي محوطه ها و بقاياي معماري و  آثار فرهنگي آن و نيز روند شكل گيري و توسعه و تخريب سكونت ها در اين دشت به انجام رسيد. از  محوطه هاي مهم در اين دشت، محوطه دهچي در جنوب شرقي روستاي مورچه خورت است. با توجه به تداوم استقرار از دوران ساساني تا قاجار، اين محوطه اهميت زيادي در بررسي روند توسعه و تداوم سكونت در دشت مورچه خورت دارد. به همين منظور، تحليل داده هاي باستان شناختي آن، با بررسي روشمند باستان شناسي صورت گرفت. در اين مقاله، پس از بررسي وضعيت اقليمي و جغرافيايي دشت و روستاي مورچه خورت، پيشينه تاريخي اين روستا بر اساس متون و منابع مكتوب ارائه شده و سپس به شرح گزارش بررسي روشمند باستان شناسي محوطه دهچي در اين روستا و داده هاي سطحي آن اعم از بقاياي معماري و مواد فرهنگي پرداخته شده است. نتايج اين بررسي نشان مي دهد كه بقاياي مواد فرهنگي سطحي در اين محوطه، به دوران ساساني تا قاجار تعلق دارد. ساختارهاي معماري اين محوطه نيز نشاندهنده چند دوره بازسازي از دوران ساساني تا قاجار است.

Hikayat Abi l-Qasim al-Baghdadi (The Portrait of Abu l-Qasim al-Baghdadi) is an 11th-century Arabic work by Abu l-Mutahhar Muhammad ibn Ahmad al-Azdi which tells the story of a Baghdadi party-crasher crashing a party in Isfahan. It is introduced by its author as a microcosm of Baghdad. This work, written in prose but containing numerous poems, is widely hailed among scholars as a narrative unique in the history of Arabic literature, but The Portrait also reflects a much larger tradition of banquet texts, from "Trimalchio's Dinner Party" and Plato's Symposium to the works of Rabelais. It also paints a portrait of a party-crasher who is at once a holy man and a rogue, a figure familiar among scholars of the ancient Cynic tradition or other portrayals of wise fools, tricksters, and saints from literatures around the Mediterranean and beyond. While some early scholars of The Portrait dismissed it as disgusting and obscene, this work, with its wealth of material-cultural, philosophical, spiritual, and literary treasures, is much more than just a "dirty book". Following an introduction, which offers new insights into the relationship of the work to both its Greek predecessors and to its European descendants, the volume presents a new, improved edition of the Arabic text, together with a richly annotated translation, that aims at being both scholarly and readable, reflecting the often racy style of the Arabic. This makes it not only useful to specialists and students of medieval Arabic literature, but also accessible to a much wider general readership of those interested in comparative literature or "world literature". There are extensive indexes of names, places, subjects, and rhymes.

ورودی بقعۀ شیخ‌ عبدالصمد، در ضلع جنوبی و مجاور با دیوارۀ منارۀ رفیع سی و هفت متری آن واقع شده است. از این مدخل ابتدا به یک هشتی و از آنجا با عبور از شبستان کوچکی به مزار شیخ دسترسی می‌یابیم. این مقبره به‌وسیلۀ دالانی به یک دهلیز در مسجد مجاور متصل می‌شود. این سردر رفیع، مملو از کاشی‌های فیروزه و آبی لاجورد است که در ترکیب با خشت‌های پختۀ منقوش بدون لعاب معرق‌کاری شده‌اند؛ و فضایی مُلوّن و مَملو از آرامش و زیبایی را شکل داده‌اند. مقرنس‌کاری‌های زیر طاق ورودی که از کاشی‌های چند سانتی‌متری ریزنقشی با درایت و دقت عمل پُر شده‌اند در هارمونی کامل با کاشی‌کاری‌های نُغول‌ها (فرورفتگی‌های طاقچه‌مانند) و همنشینی با تراش‌های هندسی دقیق گره‌های موجود در این بخش قرار گرفته‌اند. کتیبه‌های معرق کاشی کوفی بنایی و ثلث بدون لعاب در زمینه‌ای از بافت کاشیکاری، ریتمی بصری را از پایین تا بالا در چرخشی اعجاب‌آور ایجاد کرده‌اند که بیننده با خیره‌شدن به آن یارای ورود به داخل بنا را نمی‌یابد. به نظر می‌رسد طراحان و استادکاران به سفارش بانیان بنا، به تناسب هرجا توانسته‌اند با قرار دادن نقش‌ونگاری نمادین، ارجاعاتی به مفاهیم اسلامی و گرایشات مذهبی یا المان‌های صوفیانۀ فرقۀ خود و شیخ نطنزی پرداخته‌اند.
تمرکز این بنا بر نقوش هندسی، توجه انسان را از جهان مادی به جهان صور محض معطوف می‌کند. یکی از نقوش پرتکرار هندسی به‌کار رفته در بنا «شمسه» است. شمسه در هنر اسلامی، مجموعه‌ای از اشکال هندسی است که از مرکز یک دایره شروع شده و همانند شعاع‌های خورشید به اطراف گسترده می‌شود؛ علاوه بر آن دایره، هم دربردارنده و هم زیرساخت چندضلعی‌های متنوع نیز به‌شمار می‌رود. نقش شمسه، نزد اهل تصوف و عرفان، نماد انوار حاصل از تجلیات قدسی و حقیقت نور خدا و احادیث است و از آنجا که نور نزد صوفیان به اعتبار حضور حق و فی‌النفسه وجود حق است، نقوش شمسه و ستاره می‌تواند استعاره‌ای از نور الهی باشد که بنیاد عرفان و حکمت شرق محسوب می‌شود

This paper concentrates on the results of sustainability caused by Courtyard as a climatic element in Iranian traditional architecture of cold regions. Traditional architecture of Iran is perceived sustainable for having sustainable features. It is able to response to environmental problems from a long period. Its features are based on climatic factors as well as local construction materials of cold regions and Courtyard (hayate- markazi) is one of this features .Courtyard as one of the determining and organizing factor of traditional architecture in cold regions involves varies aspects. This research uses library documents and Internet sites as well as analyzing building plans. Result of this paper; show that considering the experience in traditional architecture of cold regions, it is possible to create an environmental and sustainable architecture.

This is a study of the Manda family of hadith scholars and theologians, which flourished in Isfahan from the beginning of the third/ninth century until the Mongol conquest ca. 632-3/1235-6. I collected the names of more than thirty men and women from the family, who were active as scholars during that period. I pay special attention to the oeuvre of Abu Abdallah Muhammad b. Ishaq b. Manda, Abu al-Qasim Abd al-Rahman b. Muhammad b. Ishaq b. Manda, and Abu Zakriyya Yahya b. Abd al-Wahhab b. Muhammad b. Manda.

ز پیشـترها میشـناختیمش. بـا او
در شـمارههای پیشـین ماهنامـه دربـارۀ
هنـر و گالریهـای اصفهـان گفتوگـو
کـرده بودیـم و از شـخصیت هنـری او خبـر
داشـتیم: هنرمنـد نقـاش و معمـار بـا بیش
از چهل نمایشـگاه انفـرادی و گروهـی. او
یکـی از اصلیتریـن کاندیداهـای مـا بـود
تـا بهعنـوان یکـی از چهرههـای برجسـتۀ
هنـری اصفهـان روی جلد ماهنامه بیاید؛
بنابرایـن وقتـی موضـوع پرونـدۀ کلیمیـان
اصفهـان در تحریریـه مطـرح شـد، همـه
دربـارۀ وجوب حضـور او در پرونده همنظر
بودیـم. بـرای گفتوگـو میهمـان گالـری
کوچـک و همیشـگیاش در خیابـان
اسـتانداری شـدیم. از هـر دری گفتیـم
و شـنیدیم. از محلـۀ جوبـاره گذشـتیم،
روزهـای انقلاب را در خیابـان اسـتانداری
و مسـجد هارونیه مرور کردیم، به کنیسـۀ
کتـرداوود رفتیـم، یـادی از مدرسـه اتحـاد
کردیـم و بـه اقتضـای هنـرش سـری بـه
میـدان نقشجهـان و چهاربـاغ زدیـم و
سـرانجام، خداحافـظ.

Public Square is one of the main pillars in social life that has effects on the social quality of the urban public space, and improving the level of social interactions of the citizens. Considering the effect of public space in quality of social life, in many modern cities, the public squares that have recently designed and constructed aren’t responsive for social needs, improvement of communications and the social relations of citizens. This matter appears because of poor conditions of cities during modernization and lack of attention to cultural, sociological and psychological needs, therefore analyzing the contributing factors on urban quality of successful historical public squares for improving citizens’ quality of life can introduce a guideline for designers and planners to solve contemporary urban problems. In this research, that has been developed based on descriptive procedure, the characteristics of Naghshe-Jahan Square as an active and vibrant historical public square has been examined to realize the effective factors on improving the quality of citizens’ urban life. The results of research indicate that quality of citizen’s urban life indicators in historical public square included visual aesthetic (Spatial continuity and hierarchy, emphasis on the axis of symmetry, balance and visual contrast, Sense of closure and introspection, Sense of wideness based on observer’s field of view), functional qualities (Special location in city core, political, religious, economical, commercial, tourism, recreation, cultural, historical and social values of the square, pedestrian accessibility, inclusiveness  of square to different social groups, various ages and genders). However, results show that, in developing the design for this historical public square, a comprehensive attention was paid to non-physical aspects like social beliefs, culture, traditions and religion. Therefore, Naghshe-Jahan Square in Isfahan, served as a multifunctional historical public space for improving the quality of urban life in the Iranian urbanism history.

The chapter focuses on the emerging role of adībs [litterateurs] in the early-modern Iran, especially during the Safavid period (1501-1722 AD) through which civil and urbane values were means of religio-political legitimisation of the state.

In the mid-1874 C.E. (1291 A.H.) Ẓill al-Sulṭān, the ruler of Isfahan and the son of Nāṣir al-Dīn Shāh (r. 1848-1896), visited the Chāhār-Bāgh Madrasa (or Mādar-Shāh Madrasa, one of the latest buildings of the Safavid dynasty), where he found its walls covered with an enormous number of graffiti. He himself wrote a graffito on the madrasa’s marble menbar. In the same year or perhaps even on the same day, Ẓill al-Sulṭān ordered one of his servants, Muḥammad Bāghir, to record all the graffiti on the building’s walls. Thus, a collection of approximately 150 graffiti were gathered. These are mostly from the Qajar era and provide us with useful and often unique information about the condition and the function of the Chāhār-Bāgh Madrasa in this period. Together with descriptions of some travel accounts, such as that of Dieulafoy, this collection confirms that during the Qajar era the building became, to some extent, an urban esplanade which altered its initial function as a royal seminary school with specific rules as described in its endowment document.
This study shows how graffiti can reveal some details about the past life of a building, and add a new image to its history. Graffiti are a less used source of historical information. Considering the presence of graffiti in the majority of public buildings in Iran, this source of information can play a significant role in the cultural historiography of Iran’s architecture.

This article examines the architectural form and potential functions of two royal buildings: the Sher Mandal and the Guldasta pavilion. An octagonal tower located in the Purana Qilʿa in Delhi, the Sher Mandal was in all likelihood the library (kitāb-khāna) built by the Mughal emperor Humayun (r. 1530-56). Erected during the reign of the Safavid ruler Shah ʿAbbas I (r. 1587-1629), the now-vanished Guldasta pavilion was located south of the palace complex in Isfahan, Iran, and can be studied through drawings and photographs. A close examination of the formal structure of these two buildings reveals that they belong to a distinct type of polygonal pavilion that first emerged in the late fifteenth century in the works of architecture sponsored by the Timurid dynasty (c. 1370-1405). Moreover, this comparative study opens up new venues for investigating the physical setting of the royal kitāb-khāna in Persianate contexts.

This article focuses on a set of figural tile panels, three of which are preserved at The Metropolitan Museum of Art. Made in Isfahan, Iran, the capital of the Safavid dynasty (1501-1722), the panels depict elegantly attired figures relishing drinks and refreshments in verdant, outdoor settings. Although previous studies have noted the stylistic and thematic uniformity of the panels, as well as their origin as decoration for a royal pavilion, many questions still surround their subject matter, provenance, and contemporary reception. A study of literary and archival documents reveals that the three panels in the Metropolitan Museum and their cognates in the collections of the Musée du Louvre, Paris, and the Victoria and Albert Museum, London (V&A), once adorned the now-demolished pavilion known as the Jahan-nama. It is argued here that while aspects of the panels might have been evocative of paradise and its earthly manifestation in Safavid Isfahan, their main focus—lavishly dressed women in languorous postures— finds its closest analogue in the performative, urban presence of courtesans in Safavid Isfahan.

ENG:
In this study, the Great Seljuks, who have a very different place in Turkish and
Islamic history, are discussed. We will examine the political history of the era Malikshah,
so the greatest representative of Turks before the Ottoman Empire and the III ruler of the
Great Seljuks. Malikshah had a reign of 20 years between 1072-1092. During the 9-year
rule of his father Sultan Alparslan, ongoing to be celebrating the anniversary even today,
decorated with a great victory like Manzikert, there was a glorious Seljuk state. When
Melikşah came to the throne, although 32-34 years passed since its establishment and
there were some problems, the great Seljuk State grew very fast and became an empire.
Malikshah era is the breaking point of this empire. Because with this period, both the
state will experience its brightest period and the process leading to collapse will begin
with the end of the period.

TUR:
Bu çalışmada Türk ve İslam tarihi açısından fevkalade önemli, Osmanlı’dan önce
Türklerin en büyük temsilcisi olup azametiyle tarihimizde müstesna bir yere sahip olan
Büyük Selçukluların, III. Hükümdarı Melikşâh’ı, bu devrin siyasi tarihini inceleyeceğiz.
Melikşâh’ın 1072-1092 yılları arasında sürdüğü 20 yıllık saltanat süresi vardır. Babası
Sultan Alparslan’ın 9 yıl idaresinde, bugün dahi sene-i devriyesi kutlanmaya devam
edilen Malazgirt gibi büyük bir zaferle süslenmiş, ihtişamlı bir Selçuklu İmparatorluğu
vardı. Melikşâh tahta çıktığında Büyük Selçuklu Devleti, kurulalı 32 veya 34 sene geçmiş
olmasına ve ayrıca içeride birtakım sorunlar yaşanmasına rağmen çok hızlı bir şekilde
büyümüş, imparatorluk mahiyetini kazanmıştır. Melikşâh devri de bu imparatorluğun
kırılma noktasıdır. Zira bu devirle birlikte hem devlet en parlak dönemini yaşayacaktır
hem de devrin son bulması ile beraber yıkılışa giden süreç başlamış olacaktır.

This article explores a corpus of literary works in verse and prose that deal with the city of Isfahan, the capital of the Safavid dynasty in seventeenth-century Iran. Following a brief overview of the formats and conceptions of city description in medieval Persian literature, the essay examines seventeenth-century topographical works as verbal expressions of emergent modes of urban experience in early modern Isfahan. Seen together, these works bespeak the formation of a novel arena of literary production—a social terrain nourished by the city and largely independent of courtly circles. The corpus reveals the ways in which seventeenth-century Isfahan became intertwined with the emergence of new expressions of subjectivity and new modes of fashioning the self. Markets, gardens, urban spaces, and coffeehouses were represented in various narratives integrating subjective experiences into the urban landscape.

By working between the two media of art and literature, this paper challenges some manners by which the textually infused arts of the early modern Iran have been conventionally perceived. While through the inherited discourse of Western art history, the inscription or epigraph is an appurtenance of the object’s visual and thematic language or is, on some occasions, reduced to a purely scientific and palaeographic element, this paper suggests an alternate discourse that extends the significance of such texts, especially the imżā [signature] inscriptions, beyond the normative, emphasising their particular agency as possible strategic ‘interventions’ envisioned and adopted by the artist, architect, or the patron.
Tracing its earlier roots in the increasing use and thematic specificities of text in the artistic productions of the Persianate societies from the thirteenth and fourteenth centuries onwards, this paper aims to open the current methodologies and understandings of the arts of the Safavids (1501-1722 AD) to a rereading. It does so by engaging with the ‘signature inscriptions’ as systematic architectonic design strategies that constantly de and re construct the object/space and the inter-woven micro politico-cultural context around it through activating the emotive-cognitive recipients of the user. By focusing on a number of cases such as the early seventeenth century mosque of Luṭfullāh in Isfahan and the mid-sixteenth century Sultan Ibrāhīm Mīrzā’s manuscript of Haft Awrang of Jāmī, this study shows how the application of text in the arts of early modern Iran operates as a mechanism through which the boundaries between different branches of art and knowledge may blur, making space for the reception and perception of art as an abstruse apparatus that functions through the layers of connotations of Persian psyche, language and literature. In this new perspective, the object/space is not what is momentarily perceived. Rather, it is a set of invisible realisations to be processed and synthesised through the recollection of memories, urban/e networks of signification, and linguistic-rhetoric sequences of association. This methodology may invoke a reassessment of current Persian art curatorial practices and the pedagogical systems of Persian Islamic art history.

This article deals with the history of Isfahan during the five centuries from the arrival of the Saljuq Turks to the beginning of the Safavid period. Relying mainly on existing scholarship, it attempts to identify continuities and ruptures from three different perspectives: To what extent can we speak of an urban decline? What was the relationship of the Isfahanis with the imperial rulers? How did the general context impact the makeup and the organisation of the society? It appears that Isfahan demonstrated remarkable reslience over this troubled period, and that it is only beginning with the Timurid period that we can speak of a decline. Likewise, there is remarkable continuity in the ways in which the local elites collaborated with or resisted the imperial players. The role of the Ṣāʿid family, which held the cadial function over four centuries, is emblematic. Conversely, under special circumstances, the imperial players were able to exert great substantial influence on the local communities, and this political backing explains the strengthening of the Hanafis in the sixth/twelfth century, and that of the Shiis in the following. This synthesis assesses the effects of the Mongol domination relative to that of other periods.

Jean Chardin  orjinal kitabi 1711  , 

Voyages de Mr. le chevalier Chardin, en Perse, et autres lieux de l'Orient Tome premier, contenant le voyage de Paris a Ispahan, capitale de l'Empire de Perse. Premiere partie, qui comprend le voyage de Paris en Mingrelie, & la relation de la religion des Mingreliens, par le P. J. M. Zampi, Theatin. Enrichi d'un grand nomber de

The Iranian languages spoken by the Jews are often lumped under the term “Judeo-Persian.” Yet properly construed, the latter term refers to forms of Persian written with the Hebrew script. The corpus of Judeo-Persian texts is significant for both linguistic and literary reasons, because it includes some of the earliest documents of New Persian, and because it constitutes a sizable literature written by Persian Jews. However, there are also several spoken languages, different from Judeo-Persian, that also belong to the Iranian stock and are associated with Jewish populations in Iran. What we refer to here as “Judeo-Median” are a number of languages that have their core in central Iran and are/were spoken by the Jewry of Isfahan, Kashan, Yazd, and outlying western towns. All of these varieties are on the verge of extinction, both in their original homeland and in diaspora. Belonging to the Northwest group of Iranian languages, Judeo-Median differs from Persian (a Southwest language) not only in pedigree but also in its vocabulary and grammar—rendering it unintelligible to Persian monolinguals. This article studies the Judeo-Median dialects collectively, exhibiting their major similarities and differences, and attempting to enumerate and arrive at a tentative classification.

The present article is an investigation of talismans and prayers emerging from the recently dried Zāyandehrud riverbed. Adopting an archaeological approach, this article seeks for the relation between these materials and the surrounding ritual behavior through evaluating the former. These materials are the only remnants of a behavior that is essentially immaterial. They are created to be thrown into the river and hidden in it with the intention of triggering the magical effects or breaking up them. These material objects which are discovered by chance and because of the river water stop flowing represent a covert behavior of the people of Isfahan who tend to secrecy and leave little material evidence of their behaviors. Without trying to make any judgement on any behavior, the main goal of this study is to evaluate and analyze one of the behaviors of a contemporary people through the lens of their remaining material cultures. To have a more accurate picture of various layers of this cultural behavior in the city, three different communal space i.e., mosque, shrine and cemetery have been also surveyed. At the end, after providing a brief historical background, there is a discussion focused on this kind of attitude toward the mysterious knowledges within the context of modern everyday life in Iran.

This article studies the native language of the Isfahani Jewish community. A description of the provenance of the community is followed by the sociolinguistic situation in the diaspora. The language description includes phonology, and morphosyntax, with an emphasis on poorly studied features. The paper is supplemented with texts and a glossary. The data was collected in Isfahan and from the diaspora community in New York City.

مسجد شيخ لطف الله
Shaikh Lutfullah Mosque
A highly praised Safavid architectures of Isfahan, the mosque was built on the eastern edge of the Royal Plaza , across the palace’s lofty gate, the Ali Qapu.

Bu madde ilk olarak 2010 senesinde TDV İslâm Ansiklopedisi’nin 39. cildinde, 57-58 numaralı sayfalarda yer almıştır.

Isfahan was conquered at the time of Hz. Omar. In the following years of conquest, many ravi of sahabî, tabiûn, tebeu't-tabiîn and other strata came to Isfahan and narrated the hadith. Thus, city gained an important accumulation in the hadith scholarship and many works were written by the scholars of the city. This situation has become accumulation in some families and has been transformed into a scientific tradition by transferring generations from generation to generation. One of the family members of this tradition is Abu'sh-Sheikh, who was born in Isfahan and died in this city. The reason for the selection of my research subject is that no study has been done in Turkey regarding Abu'sh-Sheikh (v. 369/979). In our research, the life, the proponents, the tales, the rises, the hadiths and the works have been determined as the field of investigation and tried to give information about them.
Ebu'sh-Sheikh began to learn science at an early age because his family belonged to a scientific tradition. After receiving the instruction of his own town, he undertook the activities of the period, which is the custom of the period, in this context went to places such as Basra, Kufa, Mosul, Cezirre and Hijaz and benefited from scholars in these cities. He has written works related to tafsir, hadith, history and jihad based on the information he has obtained. For this reason, it should not be a mistake to call it muhaddis, fakih, müfessir and müverrih. Apart from the above sciences, he also learned and taught curriculum. Among his works, Tabakâtu'l-Muhaddisîn bi Isfahan, especially about Isfahan history and ravins, has a great significance for the fact that other works related to the history of Isfahan, which had been received before him, could not be sunk.

This paper aims to analyze the square beyond an architectural element in the city, but weaves this blank slate, with its contemporary socio political atmosphere as a new paradigm. As a result, this research investigates the historical, social and political concept of Meydan – a term which has mostly applied for the Iranian and Islamic public squares. This interpretation, suggested the idea of Meydan as the core of the projects in the city, which historically exposed in formalization of power relations and religious ideologies. In this sense, studying the spatial transformation of Iranian public squares introduces the framework, which is adaptable to contemporary urban context.

Mosque in Isfahan, Iran was the most valuable monuments with unique architectural decorations and designs are technically. Decorations, including the provisions that the technique Toopi bed located in the lower bottom of plaster bricks brick known as the hub. This research aimed at understanding more decorative arts in architecture in Iran attempted to collect and categorize them according to all the designs. In terms of both graphics and line graphs, descriptive and analytical methods to be paid on them.
The oldest examples of these motifs in the southeast entrance of the mosque are Shabestani and corridors that are related to the period and Samanids. These samples and samples of designs available in North Shbstanhay Seljuk mosque, which is related to the courses and the techniques are just a few examples of stamp conducted on the mortar is simple; But most of the decorations in the eastern porch of the mosque are two Trfynsh corridors that are related to the period Ilkhanate. Other examples of this very diverse and decorations that are applied directly to the tool on the mortar. In addition to these decorations motifs, independently or in combination with the various calligraphy motifs designed and expressions with a variety of conventional sols and Kufic Building built in his time.
The results can be said of the total number of 255 samples of different designs, motifs calligraphy over 136 types and 119 different types of make up.
Key Words: Stamp Stucco, Jameh Mosque of Isfahan, Motifs, Calligraphy.