lslamic architecture touched a new peak during the rule of the Safavids, (16th Century) in which a synthesis of Shi’ ite, Arabic and Central Asian influences took place to produce the paradisal city of Isfahan. Here decorated turquoise blue domes float above many tiered facades of equally strong colours. This brilliant facade architecture continued well into the 18th and 19th centuries under Zand and Qajar dynasties.
The
ascendance of the Safavid dynasty (1587) in Persia ushered in an era of
cultural revival, which pinnacled during the reign of Shah Abbas I, who in
his four decades of rule beginning in 598 not only made Isfahan his
capital but a jewel in his crown. Therefore when he relocated his capital
from Khasvin to Isfahan, he had a fairly good idea of his nascent plans. A
committed Twelver Shi’ite he
wished to construct his city in the image of the city of Paradise which
features in the Quran as well as in the writing of the mystics.
In
the 16th century, Shiite religion took refuge in an esoteric doctrine
which earned the name “Islamic Gnostics”. The Shi’ife
message is borne by a succession of mystics and theologians among whom
one of the most brilliant was Sohravardi (1155-1191) who was extremely
active in Isfahan in his efforts to reawaken pre-Islamic Mazdian
spiritually, and thus to fashion an Iranian spanning the gap caused by the
Moslem conquest.
The
most striking element about Isfahan architecture is the contrast between
the endless expanse of rock and sand behind, and the huge oasis that lies
ahead, with its big trees, and heavy lush verdant foliage. Only the
bulbous domes of the cupolas show above the canopy of vegetation. As in
renaissance Europe much of Iran’s finest architecture and artistic
expression-from ceramic tiles, in miniature paintings, carpets and poetry
has been inspired by religion and dedicated to religious institutions. On
the other hand, all the art forms also have a specifically human character
and genius. The centrepiece of Isfahan, the Maidan-i-Shah is an immense
square for holding of festivals, markets and games of polo. Alongside this
royal square there is a first mosque-the Mosque of Sheikh Lutfullah, the
sovereign’s personal oratory. To the south of the maidan stands the
admirable imperial mosque or the mosque of the Shah, dedicated to the
twelfth Shi’ife Imam, the
Mahadi, or the saviour.
It
is therefore surprising that one of the major works of the Safavid period
marked
As
the centre of the Islam is Kabba, every mihrab of every mosque is aligned
with it. Thus the whole of Islam can be seen as a wheel with spokes
radiating from Kaaba.. The city
of Isfahan was created around the great right angled axes carved through
the fabric of the ancient town. Its strictly controlled geometric layout
contrasted with the labyrinth of winding passages in old Seljuk city.
At
the opposite end of this enormous central square, which is more than 500m
in length, Shah Abbas built a bazaar which a monumental gateway and which
adjoins the old bazaar of the Seljuk period. This in turn leads by a
winding path to the old Friday Mosque.
Carpet with motif of Garden of Paradise
Masjit-i-Shah, Isfahan
A Courtyard plan with garden
CHAHAR
BAGH (GARDEN OF PARADISE)
This
is how the garden shall be, that awaits those who fear God: a garden
refreshed with flowing water. The food of its fruits is never ending and
its shade is permanent.
Quran
XII.3
The
image and symbol of the garden--bagh--is a manifestation of the
centrifugally oriented form of the macrocosm; and a cipher for the unity,
harmony, order and plentitude of Being. The architectural conception of
garden reflects the essence of place (Makan), the garden being viewed as a
defined space encompassing within itself a reflection of the cosmos. Here,
mutually complementing aspects of place foster order and harmony. These
features can be quite clearly seen in the arrangement of the Chahar Bagk
(Four Gardens), with either an octagonal pool placed in it, or a tomb or a
pavilion at its centre, providing a series of beautiful perspectives.
Isfahan,
quite literally recreates this vision of Ckahar Bagh, with magnificent
design of pools creating a watery mirror of fountains and evergreen trees.
SACRED
GEOMETRY
Sacred
architecture captures space through geometry. By symbolically repeating
the forms in serial or circular order, a moving architecture is created
that reads like a musical composition. Sphere is the most universal symbol
of Unity, the One, the first principle that precedes manifestation. Its
division by inscribed regular polygones permits infinite number of
permutations. The sacred geometry is traced to the primal symbol of the
square, which represents the earth, and the circle, as heaven. The most
significant expression of the interaction between the square and circle is
the mandala or cosmogram, which mirrors the unity and multiplicity of
creation.
These geometric patterns reflect the interior structures of matter, and are a key, for unravelling the structure of the cosmos.
Heaven
and Earth meet here (Forbidden City), and there is the integration of four
seasons; winds and rains come in harmony with human needs, while Yin and
yang interact to create prosperity and peace.
Chau Li III. 14
