Search published articles
Showing 4 results for Inscriptions
Hamid Pourdavoud, Hossein Mostajeran, Parastoo Masjedi Khak,
year 3, Issue 7 (5-2019)
year 3, Issue 7 (5-2019)
Abstract
Abstract
the star tile Apart from beauty and eye-catching, is noteworthy for yet another reason, adorning the tiles with poems by high-profile poets that have doubled the beauty of these tiles. Paying attention to these inscriptions can in some cases be a guide to literary scholars, as the tile recordings sometimes differ from literary manuscripts, The difference most often seen in multiple tiles, probably each produced in a different workshop, is the same, and may indicate the prevalence of that recording during tile production. On the other hand, in some cases, because of the tile year on which the tile was written, the attribution of some poems to a particular poet can be ruled out because of the precedence of producing these tiles over the year of the poet’s birth. It should be noted, however, that in some cases there are differences due to individual scribe error, which require careful use of the inscriptions on these tiles. Because the authors of these tiles were also not error free. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. The research method was based on reading the inscriptions on the tiles and then comparing the Rubaiyat and verses inscribed on the tiles with the recorded form in the literary manuscript..
Keywords: Inscriptions, Golden Tile, Literary Texts, Rubaiyat, Literary Copy.
Introduction
Tile art reached its perfection during the Ilkhanid period and was recognized as an ornamental marker in the culture and art of architecture (Lashkari et al., 201440:). During this period, golden tile was used in different shapes and sizes, with different designs, motifs and inscriptions, the study of which is important in the expression of beliefs and cultures of that age. Studying the inscriptions of these tiles can help scholars to correct literary texts. Because in some cases the inscriptions on these tiles are inscribed with a poem that differs from existing literary manuscripts, or because of the precedence of the year of tile production on the poet’s birth, one can reject the attribution of poetry to a particular poet. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. Almost all the tiles inscriptions, except for a few (Tile 3, 8, 9, 13, First Rubai 14, 16, 17) Exactly as mentioned in this article, it is also mentioned in Takht-e-Soliman tiles (see: Quchani, 1992) and Moghadam Museum tiles (see: Quchani, 1986) Due to limitations, the image of these tiles has not been rendered, but it is important for the reader to note that this is a repetition of the recording. Also, regarding the importance of the inscriptions on these tiles, Abdullah Quchani has mentioned this in his works and has even encouraged scholars to use the inscriptions for the purpose of correcting the literary manuscript (Quchani, 1992: 24).
As mentioned earlier, this paper attempts to correct the literary texts by using the inscriptions of the golden tile, therefore, 19 tiles were studied, all of them with poems by prominent Iranian poets, including Ferdowsi, Baba Afzal Kashani, Mahasti Ganjavi and ... have been Inscriptions written. Among these poets, Ferdowsi and afterwards Baba Afzal have been the most sought after tile makers and their poems are more heavily embedded in the tiles under study than other poets. The point discussed in this article is that in all of the tiles introduced, the poems that are inserted on the tile’s margins differ from those recorded in the existing literary manuscript, In most cases this discrepancy has also been recorded in other identified golden tiles (Takht-e-Soliman tiles, or in front of museum tiles, etc.), which suggests that these differences may be due to the prevalence of the face. Recordings have been in the making of the tiles, though one cannot firmly rule out individual errors in making these differences. And it is necessary to use the inscriptions of these tiles with sufficient care to correct the literary texts about the poems of the famous Iranian poet Ferdowsi,It should be noted the recorded form of these tiles, despite the differences with some corrected manuscripts, however, the recorded form of the this tiles is found in some other manuscripts which appear in footnotes It is literally inserted And this shows the importance of these inscriptions. It is also used in cases such as Tile No. 14 Poems on these tiles, which can be used as an important version for correcting controversial Poems. As shown in the illustrations in the article, these tiles have been depicted in the central part with plant, animal and human motifs, and the tile makers have attempted to create these tiles in a naturalistic way.
Conclusion
Golden tile is an art and literary display, on most of these tiles due to the space constrained try to use Persian Rubaiyat for inscriptions, because in a low space it was possible to convey a wide meaning. In some cases these verses are in conflict with the recordings in the existing literary manuscript. In most cases where discrepancies are observed, the golden tiles emphasize a particular case, which may indicate the prevalence of the form in the past. As it was said, these tiles were manufactured in a wide area in Islamic Iran and this can increase the importance of this tile Inscriptions because if we believe that the difference between the manuscript and the tiles was due to the mistake of the tiles maker how is it possible this mistake be made in a wide area and several different workshops have taken place in an Identical form. But there were also cases where there was a discrepancy between the tiles, as was often seen in the tiles that were inscribed with the Shahnameh verses, which may have been because the Shahnameh copies were in large numbers in the past, as can be seen in the description given for tile NO 14. Also, most of the recordings on these tiles are at least in line with one version. On the other hand, as can be seen in tiles 1,7,15,18 Using these tiles can be questioned the assignment of a poem to a particular poet. Note that the creators of these tiles were not The scribe and may have been mistaken in some cases, which is why they should be cautious in the use of the inscriptions of this tile, especially when a poem comes in only one tile, as this difference It could be due to a scribe’s mistake.
the star tile Apart from beauty and eye-catching, is noteworthy for yet another reason, adorning the tiles with poems by high-profile poets that have doubled the beauty of these tiles. Paying attention to these inscriptions can in some cases be a guide to literary scholars, as the tile recordings sometimes differ from literary manuscripts, The difference most often seen in multiple tiles, probably each produced in a different workshop, is the same, and may indicate the prevalence of that recording during tile production. On the other hand, in some cases, because of the tile year on which the tile was written, the attribution of some poems to a particular poet can be ruled out because of the precedence of producing these tiles over the year of the poet’s birth. It should be noted, however, that in some cases there are differences due to individual scribe error, which require careful use of the inscriptions on these tiles. Because the authors of these tiles were also not error free. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. The research method was based on reading the inscriptions on the tiles and then comparing the Rubaiyat and verses inscribed on the tiles with the recorded form in the literary manuscript..
Keywords: Inscriptions, Golden Tile, Literary Texts, Rubaiyat, Literary Copy.
Introduction
Tile art reached its perfection during the Ilkhanid period and was recognized as an ornamental marker in the culture and art of architecture (Lashkari et al., 201440:). During this period, golden tile was used in different shapes and sizes, with different designs, motifs and inscriptions, the study of which is important in the expression of beliefs and cultures of that age. Studying the inscriptions of these tiles can help scholars to correct literary texts. Because in some cases the inscriptions on these tiles are inscribed with a poem that differs from existing literary manuscripts, or because of the precedence of the year of tile production on the poet’s birth, one can reject the attribution of poetry to a particular poet. The main question of this study is: Can golden tile inscriptions be considered as a basic version? And if so, to what extent can these inscriptions be considered important? The main hypothesis can be put forward as follows: Since tiles are manufactured in a wide range and in different centers, in cases where all the tiles indicate a particular form of verse recordings as opposed to literary manuscripts, tile inscriptions may be given more value. And these tiles are used for critical correction, but for poems that only represent one tile, it should be used more cautiously and deductive correction, in which case only tile inscriptions can be considered as a complement to manuscripts. Almost all the tiles inscriptions, except for a few (Tile 3, 8, 9, 13, First Rubai 14, 16, 17) Exactly as mentioned in this article, it is also mentioned in Takht-e-Soliman tiles (see: Quchani, 1992) and Moghadam Museum tiles (see: Quchani, 1986) Due to limitations, the image of these tiles has not been rendered, but it is important for the reader to note that this is a repetition of the recording. Also, regarding the importance of the inscriptions on these tiles, Abdullah Quchani has mentioned this in his works and has even encouraged scholars to use the inscriptions for the purpose of correcting the literary manuscript (Quchani, 1992: 24).
As mentioned earlier, this paper attempts to correct the literary texts by using the inscriptions of the golden tile, therefore, 19 tiles were studied, all of them with poems by prominent Iranian poets, including Ferdowsi, Baba Afzal Kashani, Mahasti Ganjavi and ... have been Inscriptions written. Among these poets, Ferdowsi and afterwards Baba Afzal have been the most sought after tile makers and their poems are more heavily embedded in the tiles under study than other poets. The point discussed in this article is that in all of the tiles introduced, the poems that are inserted on the tile’s margins differ from those recorded in the existing literary manuscript, In most cases this discrepancy has also been recorded in other identified golden tiles (Takht-e-Soliman tiles, or in front of museum tiles, etc.), which suggests that these differences may be due to the prevalence of the face. Recordings have been in the making of the tiles, though one cannot firmly rule out individual errors in making these differences. And it is necessary to use the inscriptions of these tiles with sufficient care to correct the literary texts about the poems of the famous Iranian poet Ferdowsi,It should be noted the recorded form of these tiles, despite the differences with some corrected manuscripts, however, the recorded form of the this tiles is found in some other manuscripts which appear in footnotes It is literally inserted And this shows the importance of these inscriptions. It is also used in cases such as Tile No. 14 Poems on these tiles, which can be used as an important version for correcting controversial Poems. As shown in the illustrations in the article, these tiles have been depicted in the central part with plant, animal and human motifs, and the tile makers have attempted to create these tiles in a naturalistic way.
Conclusion
Golden tile is an art and literary display, on most of these tiles due to the space constrained try to use Persian Rubaiyat for inscriptions, because in a low space it was possible to convey a wide meaning. In some cases these verses are in conflict with the recordings in the existing literary manuscript. In most cases where discrepancies are observed, the golden tiles emphasize a particular case, which may indicate the prevalence of the form in the past. As it was said, these tiles were manufactured in a wide area in Islamic Iran and this can increase the importance of this tile Inscriptions because if we believe that the difference between the manuscript and the tiles was due to the mistake of the tiles maker how is it possible this mistake be made in a wide area and several different workshops have taken place in an Identical form. But there were also cases where there was a discrepancy between the tiles, as was often seen in the tiles that were inscribed with the Shahnameh verses, which may have been because the Shahnameh copies were in large numbers in the past, as can be seen in the description given for tile NO 14. Also, most of the recordings on these tiles are at least in line with one version. On the other hand, as can be seen in tiles 1,7,15,18 Using these tiles can be questioned the assignment of a poem to a particular poet. Note that the creators of these tiles were not The scribe and may have been mistaken in some cases, which is why they should be cautious in the use of the inscriptions of this tile, especially when a poem comes in only one tile, as this difference It could be due to a scribe’s mistake.
Shahriar Shekarpour, Manzarbano Oladghobad, Abolfazl Abdollahifard,
year 3, Issue 7 (5-2019)
year 3, Issue 7 (5-2019)
Abstract
Abstract
In the Islamic era, the mosque is known as an architectural index and is considered a sacred and blessed place for the Muslims and has a special status and importance. The architecture of the mosque was gradually embellished with decorations, and over the time, it was filled with special concepts that are full of semantic and decorative elements in Islamic architecture that have extremely benefited from the teachings of Qur’an the Muslim Bible. This diamond engraving has been executed with various Quran, prayer, historical and divine names, and sometimes with the techniques of tiling, brickwork and craftsmanship. The analysis of the contents of the inscriptions used in Goharshad and Hakim mosque and also the exploration of the differences and similarities of the inscriptions of the two mosques are the purposes of this article. Which is in response to the following questions: What are the implications in the Qur’an inscriptions of the Hakim Mosque of Isfahan and Goharshad of Mashhad? What is the difference and similarities between the two mosque inscriptions? The study shows that in the inscriptions of Goharshad mosque, Thuluth script is most used among other scripts, and the Cathay bearings, Scrollwork arabesque bearings motifs coincided with the decoration of the building. In Hakim Mosque of Isfahan, the index script in the inscription is Cufic, Sotto script), and most of the inscriptions are on the same script, and also Thuluth script as well as Nasta’liq script are used in the inscription of this collection. Tobeh, Asra ,Jom ‘eh, Dahr are among the common chapters between these two collections. Although in the Goharshad Mosque of Mashhad and Hakim mosque of Isfahan share similarities in the structure and content of the inscriptions, the decorative enrichment and Quran inscriptions of Goharshad Mosque are more than Hakim Mosque. The research method in this study is descriptive content analysis and collecting the necessary information was through library studies, observation of collected works and fieldwork.
Keywords: The Art of Teimouri, Safavid Art of Goharshad Mosque of Mashhad, Hakim Isfahan Mosque, Quran Inscriptions.
Introduction
After the emergence of Islam, Mosque was considered as main and holy element of Islamic architecture for representing different arts like inscription writing. The Great Mosque of Goharshad was established in Teimouri age to the request of Gohar Shad Aqa, the wife of Shahrokh Teimouri. Hakim Mosque is also a permanent monument form Safavid age adorned with different inscriptions and considerable decorations. In this research two mosques of Goharshad in Mashhad and Hakim in Isfahan about Quran inscriptions will be studied.
Objectives and Necessity
The objective of this research is presenting a fundamental analysis about concepts and meanings of Quran inscriptions in two mosques of Goharshad and Hakim and examining this concepts wit thought and religious backgrounds. The necessity of this research related to content analysis of these works and relationship between them.
Research questions and hypotheses
Research questions are: what concepts are presented in Quran inscriptions in two mosques of Goharshad in Mashhad and Hakim in Isfahan in terms of political and religious contexts of two periods? What are the common and different points of inscriptions? Hypotheses are: as the two mentioned monuments are established and inscription writing in two different periods in terms of time and place and ideology and religion in different thinking contexts, probably choosing verses and sayings will have considerable common and different points coming from thinking and religious orientations of rules of those periods.
Research Methodology
In this research, it has been attempted to gather information by library studies and field observation, then the data are analyzed by descriptive-analytical method.
Research Background
Goharshad mosque in Mashhad is considered as one of the main monuments of period of Shahrokh Teimouri. It was built by the command of his wife, Goharshad Aqa in vicinity of Holy Shrine of Imam Reza. Its architect was Qavm Al-din Shirazi, famous architect in Teimouri Period has not only the responsibility of designing and building, but tile working and mosque decorations. The dome of Goharshad Mosque has been decorated with turquoise color with the glory expression “There is just one God, He is Allah”. Hakim mosque in Isfahan is one of the Iran’s architecture masterpieces in Safavid age, having various Banaee (geometric Kofi) scripts. This mosques architecture, tile working and especially Banaee script in this mosque can be considered among the great works of Safavid period and the age after this period. This Mosque was established in period of Second Shah Abbas by “Hakim Mohammad David” (his doctor).
This mosque is located in an old neighborhood called “Bab Al-Dasht”. The biggest and most beautiful altar in Hakim Mosque is altar under dome having special decorations. Ekhlas chapter has been used in some locations of Hakim mosque. Hakim mosque and Goharshad mosque have been studied in many articles by researchers individually or comparing with other complexes in other terms. Quran verses are the most important themes used in architecture inscriptions especially in holy monuments.
Analytical examination of inscriptions
In Teimouri period these themes was affected by Sunny religion in the country and emergence of Sufi and Shia Movements and Sufi social circles. In religion inscriptions of Goharshad mosque, verse18 of Toubeh Chapter has been scripted. Verse18 of Toubeh Chapter mentions five features for builders of center of worship: faith in God, faith in doomsday, saying prayers, giving alimony, being modesty in front of Glorious God.
Conclusion
Examinations of decoration and adornment of the two mentioned monuments indicates this point that in both complex Quran katibehs, divine names, Persian poems and also Kufi manucripts have been used. The theme of these verses is about purity, uniqueness and glory of God. In these verses it has been emphasized on worshipping God, saying prayers, biulding mosques, being honest and faith in Doosday. By studying these katibehs it becomes evident that for Teymoori Empirs these works have been a device for expressing kingdom styles, but Safavi rulers used it as concepts and religious slogans supporting Imams and their revelation. Among the different points of Katibes of the two metioned monuments, we can point to this matter that in Great Goharshad mosque the Thoulth manuscript in inscription writing of this monument is among the top of other manuscripts, but in Hakim mosque, Banaee script is evident in its inscriotion writing and also in inscriptions of Gorarshad mosque names of Holy Imams was not evident-except the name of Imam Ali (P.B.U.H). While in Hakim mosque- in south gate and north façade- there are inscriptions adoned by His names. Nastaliq script in these mosques has been used for writing inscriotions of Persian poems that this case is among the common aspects of inscription writing in these two mosques.
Among the other inscription differences between these two mosques is using Mohaghegh script in the form of a mother and child in edge of Maqsoureh gate. About our hypothesis it can be said that most of the inscriptions in Hakim moaque (Quran and Haith) has fouced on the issue of province as one of the most findamental principles of Sia, but in Goharshad mosque the focus has been on uniqueness of God and His instructions.
In the Islamic era, the mosque is known as an architectural index and is considered a sacred and blessed place for the Muslims and has a special status and importance. The architecture of the mosque was gradually embellished with decorations, and over the time, it was filled with special concepts that are full of semantic and decorative elements in Islamic architecture that have extremely benefited from the teachings of Qur’an the Muslim Bible. This diamond engraving has been executed with various Quran, prayer, historical and divine names, and sometimes with the techniques of tiling, brickwork and craftsmanship. The analysis of the contents of the inscriptions used in Goharshad and Hakim mosque and also the exploration of the differences and similarities of the inscriptions of the two mosques are the purposes of this article. Which is in response to the following questions: What are the implications in the Qur’an inscriptions of the Hakim Mosque of Isfahan and Goharshad of Mashhad? What is the difference and similarities between the two mosque inscriptions? The study shows that in the inscriptions of Goharshad mosque, Thuluth script is most used among other scripts, and the Cathay bearings, Scrollwork arabesque bearings motifs coincided with the decoration of the building. In Hakim Mosque of Isfahan, the index script in the inscription is Cufic, Sotto script), and most of the inscriptions are on the same script, and also Thuluth script as well as Nasta’liq script are used in the inscription of this collection. Tobeh, Asra ,Jom ‘eh, Dahr are among the common chapters between these two collections. Although in the Goharshad Mosque of Mashhad and Hakim mosque of Isfahan share similarities in the structure and content of the inscriptions, the decorative enrichment and Quran inscriptions of Goharshad Mosque are more than Hakim Mosque. The research method in this study is descriptive content analysis and collecting the necessary information was through library studies, observation of collected works and fieldwork.
Keywords: The Art of Teimouri, Safavid Art of Goharshad Mosque of Mashhad, Hakim Isfahan Mosque, Quran Inscriptions.
Introduction
After the emergence of Islam, Mosque was considered as main and holy element of Islamic architecture for representing different arts like inscription writing. The Great Mosque of Goharshad was established in Teimouri age to the request of Gohar Shad Aqa, the wife of Shahrokh Teimouri. Hakim Mosque is also a permanent monument form Safavid age adorned with different inscriptions and considerable decorations. In this research two mosques of Goharshad in Mashhad and Hakim in Isfahan about Quran inscriptions will be studied.
Objectives and Necessity
The objective of this research is presenting a fundamental analysis about concepts and meanings of Quran inscriptions in two mosques of Goharshad and Hakim and examining this concepts wit thought and religious backgrounds. The necessity of this research related to content analysis of these works and relationship between them.
Research questions and hypotheses
Research questions are: what concepts are presented in Quran inscriptions in two mosques of Goharshad in Mashhad and Hakim in Isfahan in terms of political and religious contexts of two periods? What are the common and different points of inscriptions? Hypotheses are: as the two mentioned monuments are established and inscription writing in two different periods in terms of time and place and ideology and religion in different thinking contexts, probably choosing verses and sayings will have considerable common and different points coming from thinking and religious orientations of rules of those periods.
Research Methodology
In this research, it has been attempted to gather information by library studies and field observation, then the data are analyzed by descriptive-analytical method.
Research Background
Goharshad mosque in Mashhad is considered as one of the main monuments of period of Shahrokh Teimouri. It was built by the command of his wife, Goharshad Aqa in vicinity of Holy Shrine of Imam Reza. Its architect was Qavm Al-din Shirazi, famous architect in Teimouri Period has not only the responsibility of designing and building, but tile working and mosque decorations. The dome of Goharshad Mosque has been decorated with turquoise color with the glory expression “There is just one God, He is Allah”. Hakim mosque in Isfahan is one of the Iran’s architecture masterpieces in Safavid age, having various Banaee (geometric Kofi) scripts. This mosques architecture, tile working and especially Banaee script in this mosque can be considered among the great works of Safavid period and the age after this period. This Mosque was established in period of Second Shah Abbas by “Hakim Mohammad David” (his doctor).
This mosque is located in an old neighborhood called “Bab Al-Dasht”. The biggest and most beautiful altar in Hakim Mosque is altar under dome having special decorations. Ekhlas chapter has been used in some locations of Hakim mosque. Hakim mosque and Goharshad mosque have been studied in many articles by researchers individually or comparing with other complexes in other terms. Quran verses are the most important themes used in architecture inscriptions especially in holy monuments.
Analytical examination of inscriptions
In Teimouri period these themes was affected by Sunny religion in the country and emergence of Sufi and Shia Movements and Sufi social circles. In religion inscriptions of Goharshad mosque, verse18 of Toubeh Chapter has been scripted. Verse18 of Toubeh Chapter mentions five features for builders of center of worship: faith in God, faith in doomsday, saying prayers, giving alimony, being modesty in front of Glorious God.
Conclusion
Examinations of decoration and adornment of the two mentioned monuments indicates this point that in both complex Quran katibehs, divine names, Persian poems and also Kufi manucripts have been used. The theme of these verses is about purity, uniqueness and glory of God. In these verses it has been emphasized on worshipping God, saying prayers, biulding mosques, being honest and faith in Doosday. By studying these katibehs it becomes evident that for Teymoori Empirs these works have been a device for expressing kingdom styles, but Safavi rulers used it as concepts and religious slogans supporting Imams and their revelation. Among the different points of Katibes of the two metioned monuments, we can point to this matter that in Great Goharshad mosque the Thoulth manuscript in inscription writing of this monument is among the top of other manuscripts, but in Hakim mosque, Banaee script is evident in its inscriotion writing and also in inscriptions of Gorarshad mosque names of Holy Imams was not evident-except the name of Imam Ali (P.B.U.H). While in Hakim mosque- in south gate and north façade- there are inscriptions adoned by His names. Nastaliq script in these mosques has been used for writing inscriotions of Persian poems that this case is among the common aspects of inscription writing in these two mosques.
Among the other inscription differences between these two mosques is using Mohaghegh script in the form of a mother and child in edge of Maqsoureh gate. About our hypothesis it can be said that most of the inscriptions in Hakim moaque (Quran and Haith) has fouced on the issue of province as one of the most findamental principles of Sia, but in Goharshad mosque the focus has been on uniqueness of God and His instructions.
Seyed Fazlollah Mirdehqan, Yadollah Heidari Babakamal, Elahe Khakbaz Alvandian,
year 8, Issue 30 (1-2025)
year 8, Issue 30 (1-2025)
Abstract
Abstract
Kamaliyeh Collection is one of the most significant remnants dating back to the first half of the 8th century AD in the city of Yazd. Despite its historical and archaeological importance, no studies have been conducted on this collection. Through systematic efforts carried out in the 1970s, 24 intact or broken tiles with luster patterns depicting plants, birds, and inscriptions in the form of star-shaped (kokabi) motifs were discovered. Since there have been no published studies or reports on these tiles, the present research aims to examine their visual, content, and probable origin characteristics based on historical and architectural evidence through a comparative analysis with existing samples. Therefore, the following research questions are addressed: 1. What information can be obtained from the patterns and inscriptions on luster tiles of Kamaliyeh School in Yazd? 2. Based on the visual features of the patterns, which centers of luster tile production do the identified tiles belong to? The current study employs a documentary and descriptive-historical approach, along with analytical and comparative methods, to logically address the research questions. The results indicate that the patterns on the tiles include floral designs (three pattern models with a lotus flower motif and Shah Abbasid buds around the center of the tile), birds (a flying eagle with spread wings among floral patterns), and inscriptions (Quranic verses with themes of victory, admonition, sustenance, and Persian literature derived from Ferdowsi’s Shahnameh and Shams Tabrizi). These designs on the tiles serve specific religious, belief, and burial functions within the collection. Moreover, considering the significant similarity in pattern models, designs, and inscriptions among the studied samples, it is likely that Kashan was the major center for tile production. This is plausible considering the strategic communication route from Rey to Kerman passing through Kashan to Yazd for the distribution of luster tiles.
Keywords: Kamaliyeh School, Yazd, luster tiles, floral patterns and inscriptions, Kashan.
Introduction
The Al-Muzaffar era is one of the significant historical periods in the city of Yazd, ruling over the southern and central regions of Iran in the 8th century AD. The flourishing construction and development in Yazd during this period were substantial enough to lead to the expansion of its citadel and wall in several stages, particularly the relocation of some city districts outside its fortifications (Kateb, 1966: 69).
Luster tiles were crucial architectural elements used in both religious and non-religious structures during this period, adorning interior or exterior facades and mihrabs. In the Ilkhanid era, some religious buildings in cities, including the mausoleums of Shiites, were adorned with luster artworks. It seems that Yazd was one such city, gaining increased significance during the Middle Islamic centuries with the rise of the Al-Muzaffar dynasty. The Al-Muzaffar rule in Yazd, due to their support for the arts and culture of the Yazdi people, contributed significantly to the prosperity and development of the city. This support was to such an extent that one of the shining cultural periods in Yazd’s history is attributed to the reign of the Al-Muzaffar dynasty (Kateb, 1966: 89).
One notable feature of this era was the establishment of numerous Dar al-’Ilms (houses of knowledge), with Yazd earning the title of Dar al-’Ilm. Various sciences were taught in schools, mosques, Dar al-Siyadehs, and Khanqahs (Mirhosseini, 1993: 58). Another characteristic of this period was the flourishing of Sufism and the creation of various khaneqahs in Yazd and its surrounding regions, including the Rastaq Khanqah (Ibid: 265). These institutions made utmost efforts to create robust architecture and embellish it with the finest elements. One of the historical buildings of great value, adorned with remarkable luster tiles, is the Kamaliyeh Collection or Shah Kamal in Yazd. This structure was constructed in the year 720 AH by Khwaja Kamal al-Din Abu al-Ma’ali.
In the early 1970s, during organizational efforts, a number of luster tiles were discovered installed above a wall and are currently preserved in the secure storage of the Cultural Heritage, Handicrafts, and Tourism Organization of Yazd Province (Afshar, Vol. 2, 1996: 613). Although these objects have been organized and cataloged in recent years, a comprehensive scientific study on these tiles and their origin has not been conducted so far. Therefore, the present research aims to provide logical answers to existing ambiguities regarding the origin and nature of these tiles by studying their patterns and inscriptions and comparing them with contemporary and similar samples.
Discussion and Analysis
Tile Shape: The identified luster tiles in this structure are octagonal, a model commonly used in combination with cross-shaped (Chelipa) tiles with turquoise single-glaze enamel in the decoration of religious Shia buildings, such as the shrines of Imam Reza (AS) and Hazrat Masoumeh (SA) or Takht-e-Soleiman, dating back to the 7th century AD. In their decoration, plant, animal, and inscription motifs have been employed.
Patterns: The bird pattern of a flying eagle is one of the common motifs in the decoration of these tiles, appearing in the midst of floral patterns with outspread wings. Comparable examples can be identified among luster vessels produced in the city of Kashan. Among the comparable examples, luster star-shaped tiles in the Museum of Islamic Art in Istanbul, a sample from Takht-e-Soleiman in the British Museum, samples from the Sackler collection, the Victoria and Albert Museum, and the Freer Gallery of Art, all date back to the Ilkhanid period and were produced in the city of Kashan.
Floral Patterns
Most of the studied tiles depict a blue lotus flower with dense branches and leaves covering the entire central area of the tile. The spaces between the branches and leaves are filled with small circular motifs arranged in a band. While the floral patterns show overall similarity, careful examination reveals at least three design patterns among them: 1) a floral design with a Shah Abbasid flower at the top with branches and leaves on both sides (examples 16-1), 2) a Shah Abbasid flower in the center with dense branches and leaves around it (example 17), and 3) a small hexagonal flower at the top with two Shah Abbasid flowers on either side (example 20). Among these three patterns, the similarities between patterns 1 and 2 with samples from the Cambi Auction House in Genoa, Italy, a specimen from Sultanabad, and a sample preserved in the Victoria and Albert Museum are noteworthy.
Inscriptions
All the studied tiles include outer margins adorned with inscriptions. Among the 24 studied tiles, 18 are adorned with Quranic verses, 6 with Persian verses, 5 with verses from the Shahnameh, and one of the samples features verses from Shams Tabrizi.
The detailed analysis of the identified luster tiles in the Kamaliyeh Collection provides valuable insights into the patterns, shapes, and inscriptions used during the Al-Muzaffar era in Yazd. Comparisons with contemporary examples from Kashan and other regions contribute to a better understanding of the cultural and artistic context of this historical period.
Conclusion
The Kamaliyeh School is one of the significant educational institutions of the Ilkhanid period in the city of Yazd, expanding its influence in subsequent eras. It appears that luster tiles were utilized in adorning certain sections of the building, though the exact purpose of their use remains unclear. In the explorations conducted in Yazd, few traces of luster tiles have been discovered, and the collected samples from the Kamaliyeh School are the most important luster artifacts found to date. A crucial point is the function of these tiles, as research suggests that they are generally associated with religious beliefs or identity burial practices and have been predominantly used in shrines or burial sites. In the Kamaliyeh Collection, it is probable that they were used in the burial chamber, similar to examples found in the Seyyed Shams al-Din and Seyyed Rokn al-Din shrines in Yazd. While the samples from Takht-e-Soleiman primarily depict a royal structure (palace), the presence of religious color throughout the entire collection justifies the usage of such ceramics. Moreover, considering the Kamaliyeh Collection’s diverse functions, including a khanqah, school, and dome, and its educational-religious approach, the use of these types of tiles was likely a common practice during its time. The results also indicate the use of three categories of patterns: floral, animal, and inscription motifs. The floral patterns mostly depict a blue lotus flower, which has a long history in Iranian culture and has been used in various arts, including carpet weaving, under different names like “Shah-Abbasi flower.” With regards to the better-preserved examples, at least three design patterns emphasizing the Shah Abbasid flower are conceivable. The bird pattern of a flying eagle, present in the midst of floral patterns and on the central area of octagonal tiles, is surrounded by inscriptions in though script on the outer margin. The inscriptions draw inspiration from two different sources, the Holy Quran and Persian literature. Quranic inscriptions are categorized into several groups based on content, and the presented concepts can be considered relevant to the building’s function. Persian verses are mostly related to the Shahnameh, with only one case influenced by the poetry of Shams Tabrizi. Through a comparison of form, design patterns of motifs and inscriptions, and even the colors used, with examples preserved in museums such as the British Museum, the Museum of Islamic Art in Istanbul, the Sackler Collection, the Victoria and Albert Museum, and the Cambi Auction House in Genoa, it can be asserted that the probable place of production for the luster tiles of the Kamaliyeh School was the city of Kashan.
Kamaliyeh Collection is one of the most significant remnants dating back to the first half of the 8th century AD in the city of Yazd. Despite its historical and archaeological importance, no studies have been conducted on this collection. Through systematic efforts carried out in the 1970s, 24 intact or broken tiles with luster patterns depicting plants, birds, and inscriptions in the form of star-shaped (kokabi) motifs were discovered. Since there have been no published studies or reports on these tiles, the present research aims to examine their visual, content, and probable origin characteristics based on historical and architectural evidence through a comparative analysis with existing samples. Therefore, the following research questions are addressed: 1. What information can be obtained from the patterns and inscriptions on luster tiles of Kamaliyeh School in Yazd? 2. Based on the visual features of the patterns, which centers of luster tile production do the identified tiles belong to? The current study employs a documentary and descriptive-historical approach, along with analytical and comparative methods, to logically address the research questions. The results indicate that the patterns on the tiles include floral designs (three pattern models with a lotus flower motif and Shah Abbasid buds around the center of the tile), birds (a flying eagle with spread wings among floral patterns), and inscriptions (Quranic verses with themes of victory, admonition, sustenance, and Persian literature derived from Ferdowsi’s Shahnameh and Shams Tabrizi). These designs on the tiles serve specific religious, belief, and burial functions within the collection. Moreover, considering the significant similarity in pattern models, designs, and inscriptions among the studied samples, it is likely that Kashan was the major center for tile production. This is plausible considering the strategic communication route from Rey to Kerman passing through Kashan to Yazd for the distribution of luster tiles.
Keywords: Kamaliyeh School, Yazd, luster tiles, floral patterns and inscriptions, Kashan.
Introduction
The Al-Muzaffar era is one of the significant historical periods in the city of Yazd, ruling over the southern and central regions of Iran in the 8th century AD. The flourishing construction and development in Yazd during this period were substantial enough to lead to the expansion of its citadel and wall in several stages, particularly the relocation of some city districts outside its fortifications (Kateb, 1966: 69).
Luster tiles were crucial architectural elements used in both religious and non-religious structures during this period, adorning interior or exterior facades and mihrabs. In the Ilkhanid era, some religious buildings in cities, including the mausoleums of Shiites, were adorned with luster artworks. It seems that Yazd was one such city, gaining increased significance during the Middle Islamic centuries with the rise of the Al-Muzaffar dynasty. The Al-Muzaffar rule in Yazd, due to their support for the arts and culture of the Yazdi people, contributed significantly to the prosperity and development of the city. This support was to such an extent that one of the shining cultural periods in Yazd’s history is attributed to the reign of the Al-Muzaffar dynasty (Kateb, 1966: 89).
One notable feature of this era was the establishment of numerous Dar al-’Ilms (houses of knowledge), with Yazd earning the title of Dar al-’Ilm. Various sciences were taught in schools, mosques, Dar al-Siyadehs, and Khanqahs (Mirhosseini, 1993: 58). Another characteristic of this period was the flourishing of Sufism and the creation of various khaneqahs in Yazd and its surrounding regions, including the Rastaq Khanqah (Ibid: 265). These institutions made utmost efforts to create robust architecture and embellish it with the finest elements. One of the historical buildings of great value, adorned with remarkable luster tiles, is the Kamaliyeh Collection or Shah Kamal in Yazd. This structure was constructed in the year 720 AH by Khwaja Kamal al-Din Abu al-Ma’ali.
In the early 1970s, during organizational efforts, a number of luster tiles were discovered installed above a wall and are currently preserved in the secure storage of the Cultural Heritage, Handicrafts, and Tourism Organization of Yazd Province (Afshar, Vol. 2, 1996: 613). Although these objects have been organized and cataloged in recent years, a comprehensive scientific study on these tiles and their origin has not been conducted so far. Therefore, the present research aims to provide logical answers to existing ambiguities regarding the origin and nature of these tiles by studying their patterns and inscriptions and comparing them with contemporary and similar samples.
Discussion and Analysis
Tile Shape: The identified luster tiles in this structure are octagonal, a model commonly used in combination with cross-shaped (Chelipa) tiles with turquoise single-glaze enamel in the decoration of religious Shia buildings, such as the shrines of Imam Reza (AS) and Hazrat Masoumeh (SA) or Takht-e-Soleiman, dating back to the 7th century AD. In their decoration, plant, animal, and inscription motifs have been employed.
Patterns: The bird pattern of a flying eagle is one of the common motifs in the decoration of these tiles, appearing in the midst of floral patterns with outspread wings. Comparable examples can be identified among luster vessels produced in the city of Kashan. Among the comparable examples, luster star-shaped tiles in the Museum of Islamic Art in Istanbul, a sample from Takht-e-Soleiman in the British Museum, samples from the Sackler collection, the Victoria and Albert Museum, and the Freer Gallery of Art, all date back to the Ilkhanid period and were produced in the city of Kashan.
Floral Patterns
Most of the studied tiles depict a blue lotus flower with dense branches and leaves covering the entire central area of the tile. The spaces between the branches and leaves are filled with small circular motifs arranged in a band. While the floral patterns show overall similarity, careful examination reveals at least three design patterns among them: 1) a floral design with a Shah Abbasid flower at the top with branches and leaves on both sides (examples 16-1), 2) a Shah Abbasid flower in the center with dense branches and leaves around it (example 17), and 3) a small hexagonal flower at the top with two Shah Abbasid flowers on either side (example 20). Among these three patterns, the similarities between patterns 1 and 2 with samples from the Cambi Auction House in Genoa, Italy, a specimen from Sultanabad, and a sample preserved in the Victoria and Albert Museum are noteworthy.
Inscriptions
All the studied tiles include outer margins adorned with inscriptions. Among the 24 studied tiles, 18 are adorned with Quranic verses, 6 with Persian verses, 5 with verses from the Shahnameh, and one of the samples features verses from Shams Tabrizi.
The detailed analysis of the identified luster tiles in the Kamaliyeh Collection provides valuable insights into the patterns, shapes, and inscriptions used during the Al-Muzaffar era in Yazd. Comparisons with contemporary examples from Kashan and other regions contribute to a better understanding of the cultural and artistic context of this historical period.
Conclusion
The Kamaliyeh School is one of the significant educational institutions of the Ilkhanid period in the city of Yazd, expanding its influence in subsequent eras. It appears that luster tiles were utilized in adorning certain sections of the building, though the exact purpose of their use remains unclear. In the explorations conducted in Yazd, few traces of luster tiles have been discovered, and the collected samples from the Kamaliyeh School are the most important luster artifacts found to date. A crucial point is the function of these tiles, as research suggests that they are generally associated with religious beliefs or identity burial practices and have been predominantly used in shrines or burial sites. In the Kamaliyeh Collection, it is probable that they were used in the burial chamber, similar to examples found in the Seyyed Shams al-Din and Seyyed Rokn al-Din shrines in Yazd. While the samples from Takht-e-Soleiman primarily depict a royal structure (palace), the presence of religious color throughout the entire collection justifies the usage of such ceramics. Moreover, considering the Kamaliyeh Collection’s diverse functions, including a khanqah, school, and dome, and its educational-religious approach, the use of these types of tiles was likely a common practice during its time. The results also indicate the use of three categories of patterns: floral, animal, and inscription motifs. The floral patterns mostly depict a blue lotus flower, which has a long history in Iranian culture and has been used in various arts, including carpet weaving, under different names like “Shah-Abbasi flower.” With regards to the better-preserved examples, at least three design patterns emphasizing the Shah Abbasid flower are conceivable. The bird pattern of a flying eagle, present in the midst of floral patterns and on the central area of octagonal tiles, is surrounded by inscriptions in though script on the outer margin. The inscriptions draw inspiration from two different sources, the Holy Quran and Persian literature. Quranic inscriptions are categorized into several groups based on content, and the presented concepts can be considered relevant to the building’s function. Persian verses are mostly related to the Shahnameh, with only one case influenced by the poetry of Shams Tabrizi. Through a comparison of form, design patterns of motifs and inscriptions, and even the colors used, with examples preserved in museums such as the British Museum, the Museum of Islamic Art in Istanbul, the Sackler Collection, the Victoria and Albert Museum, and the Cambi Auction House in Genoa, it can be asserted that the probable place of production for the luster tiles of the Kamaliyeh School was the city of Kashan.
Mozhgan Esmaili,
year 9, Issue 34 (3-2026)
year 9, Issue 34 (3-2026)
Abstract
Abstract
India, with its very cultural and religious diversity, underwent changes and transformations with the domination of the Mamluk government. The minaret as one of the elements of Islamic architecture, apart from playing the role of the minaret, was a symbol of Islamic rule. The minaret is a lasting symbol of the rich history of India, architectural skills and cultural exchange. The purpose of this research is the analysis of decorative elements and re-reading the inscriptions of “Minaret Qutub”, by answering these questions, what effect did the decorative elements of Islamic architecture have on this building? And what are the themes of the inscriptions? The research method of this research is based on library studies, study of first-hand sources, field studies and objective observations of the author and has been done by describing, analyzing and using historical sources. The results of this study show that the minaret is decorated under the influence of aesthetics and elements of Islamic architecture, and the decorative elements of the Qutub minaret are a combination of Islamic and Indian elements. Although the minaret follows the general form of Islamic minarets, it contains elements of Indian architecture such as precise and complex carvings, the use of sand, red stone and marble, the use of lotus flowers and bell-shaped decorations, various inscriptions, geometric and plant motifs that It reflects the combined nature of Indian and Islamic architecture, and the title “Indo-Islamic” architecture can be used for the art of the Mamluk period.
Keywords: Decorative Elements, Inscriptions, Islamic Architecture, Indian Architecture, Mamluk, Qutub Minaret.
Introduction
The Qutub in Delhi is a notable example of Islamic architecture, but it also incorporates elements of Indian design. The use of intricate stone carving techniques, geometric patterns, and calligraphic inscriptions is prominent in this period. This assimilation of diverse influences and the development of a unique artistic style continued to flourish in the following centuries.
In 588 AH, Mu’izzuddin Muhammad Ghori succeeded in capturing the city of Delhi and, while there was no heir to Muhammad Ghori, appointed Qutbuddin Aybak as the successor to the Ghorid government there. He established the Mamluk rule in Delhi and established the first Islamic state called the “Delhi Sultanate”. The Mamluk sultans, who were originally from Central Asia and Iran, brought with them a rich architectural tradition that combined elements of Iranian, Islamic and Indian styles. This fusion led to the development of unique architectural features such as the use of arches, domes, minarets and intricate decorative motifs.
The Qutub Minaret in Delhi is a notable example of Islamic architecture but also incorporates elements of Indian design. The use of intricate stone carving techniques, geometric patterns and calligraphic inscriptions were prominent during this period.
The purpose of this research is to analyze the decorative elements and reinterpret the inscriptions of the “Minaret of Qutub”, in order to answer the questions, what effects did the decorative elements of Islamic architectural art have on this building? And what topics do the themes of the inscriptions express?
This research seeks to understand the themes of the inscriptions by rereading the inscriptions, the inscriptions of this building have been objectively observed and rewritten, while explaining the concepts of symbols and decorative elements, it aims to clarify the effects of Islamic art on the aforementioned building.
Discussion
The Qutub Minar is the tallest brick building in the world with a height of 72.5 meters and a diameter of about 14 at the base and about 3 meters at the highest balcony. The Qutub Minar has five floors and a spiral staircase with 379 steps. The entrance to the minaret is through a door facing north. Between each floor, a circular porch surrounds the building. This porch plays an effective role in maintaining and supporting the weight of the upper floors. Materials such as red and light brown sandstone and gray quartzite were used in the construction of this building, and its two rows are made of white marble.. Indo-Islamic structures often incorporate elements inspired by Hindu and Jain temple architecture. This approach results in a unique combination of forms, motifs and techniques.
Geometric shapes in Islamic architecture often represent the concept of unity, harmony, and precise mathematical proportions and symmetrical arrangements of patterns, the idea of balance and order in the universe, and reflect the belief in the harmonious interaction of various elements in creation.The repetition of geometric shapes with no discernible beginning or end was seen as indicative of the infinite and eternal nature of God.
The Qutub Minaret features intricate carvings, geometric patterns, and ornamental designs that are indicative of the art of its time. Its five floors are separated by carved balconies and fluted columns with Muqarnas decorations. The decorative elements used in Mamluk architecture reflect the sophisticated artistry, aesthetic appeal, and symbolic meanings associated with Islamic art and architecture. They represent a combination of mathematical precision, decorative beauty, and spiritual symbolism. The repetition of geometric shapes without a discernible beginning or end indicated the boundless and eternal nature of God.
Geometric shapes in Islamic architecture often represent the concept of unity, harmony, and precise mathematical proportions and symmetrical arrangements of patterns, the idea of balance and order in the universe, and reflect the belief in the harmonious interaction of various elements in creation.
The inscriptions on the minaret provide valuable historical information about its construction. On each floor, there are two relief inscriptions containing the names of rulers and sultans. The inscriptions on the Qutub Minaret include verses from the Holy Quran, the names and titles of rulers associated with the building, and historical information about its construction.
These inscriptions are skillfully and beautifully executed in calligraphy.
Various styles of Arabic calligraphy such as Kufic, Naskh and Thuluth can be seen on the minaret.
Conclusion
The influence of Islamic culture and civilization in the 6th century AH with the establishment of the Delhi Sultanate had a profound impact on the Indian subcontinent. This state, which was the beginning of Muslim rule in India, served as a political and cultural center for the spread of Islamic civilization. The influence of Islamic culture and civilization in India can be seen in various fields, and Islamic architecture in India in particular flourished from the period of the Delhi Sultanates.The architectural elements, decorations, symbols and signs common to Islamic architecture were incorporated into almost all the buildings of the Delhi Sultanate period and later became a common practice in Indian architecture. Several architectural innovations were introduced during the Delhi Sultanate period. These innovations included the construction of minarets, the use of complex stone carving techniques, geometric designs and calligraphic inscriptions, which were prominent during this period.The inscriptions on the building, which are mainly in Arabic, contain verses from the Holy Quran as well as information about the construction of the building. The oldest inscription at the base of the Qutub Minar is attributed to Qutubuddin Aibak, the founder of the Delhi Sultanate. As you ascend the minaret, the text of the inscriptions reflects later additions and renovations made by the rulers of subsequent periods.The inscriptions also display linguistic diversity, with the diversity of Arabic, Persian, Turkish and Hindi languages reflecting the multicultural nature of the Delhi Sultanate. This building is also noteworthy in terms of calligraphy styles and technical techniques of carving and decorative elements and layout, while the symbols and motifs of each one convey a specific meaning to the viewer.Another prominent feature of Indian and Islamic architecture is the use of red sandstone and marble. The use of red sandstone along with decorative elements made of marble creates a significant contrast and adds to the attractiveness of the structures.
The creation and attractiveness of the structures has added to the charm.Indian decorative motifs are often inspired by nature and the local environment. By incorporating these motifs, Indo-Islamic architecture was able to adapt itself to the local context. During the period of the Delhi Sultans, the fusion of Islamic and Indian culture led to Indo-Islamic art, which was characterized by the fusion of Persian, Turkish and Arabic elements with indigenous Indian traditions, resulting in a unique architectural style. The intricate carvings on the minaret, including lotus flower motifs and bell-shaped motifs, indicate a cultural fusion that occurred during the Delhi Sultans and highlighted the inclusive nature of Islamic art.
India, with its very cultural and religious diversity, underwent changes and transformations with the domination of the Mamluk government. The minaret as one of the elements of Islamic architecture, apart from playing the role of the minaret, was a symbol of Islamic rule. The minaret is a lasting symbol of the rich history of India, architectural skills and cultural exchange. The purpose of this research is the analysis of decorative elements and re-reading the inscriptions of “Minaret Qutub”, by answering these questions, what effect did the decorative elements of Islamic architecture have on this building? And what are the themes of the inscriptions? The research method of this research is based on library studies, study of first-hand sources, field studies and objective observations of the author and has been done by describing, analyzing and using historical sources. The results of this study show that the minaret is decorated under the influence of aesthetics and elements of Islamic architecture, and the decorative elements of the Qutub minaret are a combination of Islamic and Indian elements. Although the minaret follows the general form of Islamic minarets, it contains elements of Indian architecture such as precise and complex carvings, the use of sand, red stone and marble, the use of lotus flowers and bell-shaped decorations, various inscriptions, geometric and plant motifs that It reflects the combined nature of Indian and Islamic architecture, and the title “Indo-Islamic” architecture can be used for the art of the Mamluk period.
Keywords: Decorative Elements, Inscriptions, Islamic Architecture, Indian Architecture, Mamluk, Qutub Minaret.
Introduction
The Qutub in Delhi is a notable example of Islamic architecture, but it also incorporates elements of Indian design. The use of intricate stone carving techniques, geometric patterns, and calligraphic inscriptions is prominent in this period. This assimilation of diverse influences and the development of a unique artistic style continued to flourish in the following centuries.
In 588 AH, Mu’izzuddin Muhammad Ghori succeeded in capturing the city of Delhi and, while there was no heir to Muhammad Ghori, appointed Qutbuddin Aybak as the successor to the Ghorid government there. He established the Mamluk rule in Delhi and established the first Islamic state called the “Delhi Sultanate”. The Mamluk sultans, who were originally from Central Asia and Iran, brought with them a rich architectural tradition that combined elements of Iranian, Islamic and Indian styles. This fusion led to the development of unique architectural features such as the use of arches, domes, minarets and intricate decorative motifs.
The Qutub Minaret in Delhi is a notable example of Islamic architecture but also incorporates elements of Indian design. The use of intricate stone carving techniques, geometric patterns and calligraphic inscriptions were prominent during this period.
The purpose of this research is to analyze the decorative elements and reinterpret the inscriptions of the “Minaret of Qutub”, in order to answer the questions, what effects did the decorative elements of Islamic architectural art have on this building? And what topics do the themes of the inscriptions express?
This research seeks to understand the themes of the inscriptions by rereading the inscriptions, the inscriptions of this building have been objectively observed and rewritten, while explaining the concepts of symbols and decorative elements, it aims to clarify the effects of Islamic art on the aforementioned building.
Discussion
The Qutub Minar is the tallest brick building in the world with a height of 72.5 meters and a diameter of about 14 at the base and about 3 meters at the highest balcony. The Qutub Minar has five floors and a spiral staircase with 379 steps. The entrance to the minaret is through a door facing north. Between each floor, a circular porch surrounds the building. This porch plays an effective role in maintaining and supporting the weight of the upper floors. Materials such as red and light brown sandstone and gray quartzite were used in the construction of this building, and its two rows are made of white marble.. Indo-Islamic structures often incorporate elements inspired by Hindu and Jain temple architecture. This approach results in a unique combination of forms, motifs and techniques.
Geometric shapes in Islamic architecture often represent the concept of unity, harmony, and precise mathematical proportions and symmetrical arrangements of patterns, the idea of balance and order in the universe, and reflect the belief in the harmonious interaction of various elements in creation.The repetition of geometric shapes with no discernible beginning or end was seen as indicative of the infinite and eternal nature of God.
The Qutub Minaret features intricate carvings, geometric patterns, and ornamental designs that are indicative of the art of its time. Its five floors are separated by carved balconies and fluted columns with Muqarnas decorations. The decorative elements used in Mamluk architecture reflect the sophisticated artistry, aesthetic appeal, and symbolic meanings associated with Islamic art and architecture. They represent a combination of mathematical precision, decorative beauty, and spiritual symbolism. The repetition of geometric shapes without a discernible beginning or end indicated the boundless and eternal nature of God.
Geometric shapes in Islamic architecture often represent the concept of unity, harmony, and precise mathematical proportions and symmetrical arrangements of patterns, the idea of balance and order in the universe, and reflect the belief in the harmonious interaction of various elements in creation.
The inscriptions on the minaret provide valuable historical information about its construction. On each floor, there are two relief inscriptions containing the names of rulers and sultans. The inscriptions on the Qutub Minaret include verses from the Holy Quran, the names and titles of rulers associated with the building, and historical information about its construction.
These inscriptions are skillfully and beautifully executed in calligraphy.
Various styles of Arabic calligraphy such as Kufic, Naskh and Thuluth can be seen on the minaret.
Conclusion
The influence of Islamic culture and civilization in the 6th century AH with the establishment of the Delhi Sultanate had a profound impact on the Indian subcontinent. This state, which was the beginning of Muslim rule in India, served as a political and cultural center for the spread of Islamic civilization. The influence of Islamic culture and civilization in India can be seen in various fields, and Islamic architecture in India in particular flourished from the period of the Delhi Sultanates.The architectural elements, decorations, symbols and signs common to Islamic architecture were incorporated into almost all the buildings of the Delhi Sultanate period and later became a common practice in Indian architecture. Several architectural innovations were introduced during the Delhi Sultanate period. These innovations included the construction of minarets, the use of complex stone carving techniques, geometric designs and calligraphic inscriptions, which were prominent during this period.The inscriptions on the building, which are mainly in Arabic, contain verses from the Holy Quran as well as information about the construction of the building. The oldest inscription at the base of the Qutub Minar is attributed to Qutubuddin Aibak, the founder of the Delhi Sultanate. As you ascend the minaret, the text of the inscriptions reflects later additions and renovations made by the rulers of subsequent periods.The inscriptions also display linguistic diversity, with the diversity of Arabic, Persian, Turkish and Hindi languages reflecting the multicultural nature of the Delhi Sultanate. This building is also noteworthy in terms of calligraphy styles and technical techniques of carving and decorative elements and layout, while the symbols and motifs of each one convey a specific meaning to the viewer.Another prominent feature of Indian and Islamic architecture is the use of red sandstone and marble. The use of red sandstone along with decorative elements made of marble creates a significant contrast and adds to the attractiveness of the structures.
The creation and attractiveness of the structures has added to the charm.Indian decorative motifs are often inspired by nature and the local environment. By incorporating these motifs, Indo-Islamic architecture was able to adapt itself to the local context. During the period of the Delhi Sultans, the fusion of Islamic and Indian culture led to Indo-Islamic art, which was characterized by the fusion of Persian, Turkish and Arabic elements with indigenous Indian traditions, resulting in a unique architectural style. The intricate carvings on the minaret, including lotus flower motifs and bell-shaped motifs, indicate a cultural fusion that occurred during the Delhi Sultans and highlighted the inclusive nature of Islamic art.
| Page 1 from 1 |