جستجوی مقالات مرتبط با کلیدواژه « مسجد کبود » در نشریات گروه « هنر و معماری »

The Mozaffaria or Kaboud Mosque of Tabriz can be considered a milestone in the Islamic art of Iran in terms of tilework. At first view، the widespread use of mosaic tiles in this mosque is impressive، but with attention to the surfaces a variety of tiles, including Luster, underglaze blue and white, gilded tile, and glazed bricks can be seen, which are used skillfully and intelligently in the building. Its mosaic tiles are one of the most delicate examples in Iran, and it is the main type of decoration used in interior and exterior decorations. This article،, while investigating the application of different types of tiles in Kaboud Mosque, analyzes the application of these types in simultaneous and previous buildings and tries to address the previous efforts to achieve these techniques and the innovations in Kaboud Mosque. Therefore, this study aims to investigate the tilework types in the Kaboud Mosque based on the developments of tilework in the past and tries to answer the question of what types of tiles and how they have been used in the Kaboud Mosque? Accordingly, data were collected by documentary and field methods, and descriptive, analytical, and historical methods were used in this research. The results show that despite the use of traditional methods of tileworking in Mozafaria Mosque, creative methods have been applied in the design and making of tiles, which have less history in this technique.

One of the fields in which human thought, intellectual and philosophical concepts and customs have been manifested throughout history is the architecture and architectural structures of buildings, through which humans have been trying to show off their cultural differences with other nations. Remaining works of religious and historical buildings and places show that throughout history, religious mixtures have benefited from visual arts in order to establish their existence and make religious mixtures eternal, which is one of the clear examples of that architecture, which always has a close relationship between art and Architecture and religious rites have arisen and with the appearance of religious rites, these places have become a symbol of the rites, considering the importance of the subject, the present article seeks to answer the question of how Islam and Zoroastrianism in Have they influenced the design of religious places? In order to answer this question, the comparative-historical study method has been used, and the basis of collecting information and data in this article is based on the library and field method, the results of the comparative study of the studied samples showed that the Blue Mosque and the Atashgah of Adrian Qavam and They borrowed their beauty and artistic taste from the religious ideas and mixtures of Islam and Zoroastrianism. Finally, with a comparative comparison of the Blue Mosque and Adrian's cremation ground, it can be said that the concepts and mixtures of the Islamic religion have been manifested in all aspects of the ritual landscape, both in symbols and myths, and in the body, but in terms of activity and performance and the ceremonies held in the Blue Mosque in comparison with The fire pit is less visible and the Zoroastrian ritual landscape is depicted in this collection mostly because of the ceremonies and symbols that exist in the collection.

 Decoration is the most valuable part of Islamic Art. Decoration can reflect the religious beliefs and manifestations of culture and art of the Islamic period and with all the ups and downs it has had over the centuries, it has been able to expand significantly and leave lasting works through unique and unified expressions in different climates. Among all kinds of architectural decorations, tiling and painting are the most attractive among Muslim architects and are considered the most important and effective factors in the beauty and grandeur of Islamic buildings.

The main purpose of this study is to examine the decorative patterns of the two ‘Kabud’ (blue) mosques of ‘Mazar-e-Sharif’ and ‘Sultan Ahmed’. The unique decorations of the blue mosques are compared to clarify the similar and dissimilar items in the decorative designs used on the tiles, which are inspired by nature and ethnic and regional influences and are derived from the art of ancient Iran and Islamic Iran.

The results were obtained by comparing the decorative patterns of the two mentioned mosques using the descriptive and analytical methods with the help of the tables, written documents, and data analysis.

​​The origin of decorative patterns in the two buildings is rooted in Iran, but each region has used its own mechanism and creativity to localize the designs. The tiling decorations used in the two blue mosques of ‘Sultan Ahmed’ and ‘Mazar-e-Sharif’ are simple, with emphasis on the commands of Islam, and are abstracted from nature in a vegetal, geometric and symbolic manner. Along with beautification, they have meanings and show order, multiplicity, and unity, and add to the coherence of the spiritual atmosphere of the environment.

The growth of the Sufi group during the Timurid period led to the expansion of monasteries and their activities. At this time, the Timurid rulers respected Sufi sheikhs. From this time until the beginning of the Safavid rule, the monasteries were widely active and in all forms of people's lives, more than ever, there is the domination of religion, mysticism and Sufism, and it was not possible to separate one of them the dominance of religion, mysticism and Sufism can be seen, and it was not possible to separate one of them. When Sufism was perfecting and expanding, Scholars of this group in order to achieve their goals, they built monasteries and modernized Shiite and Sufi monasteries and customs in different parts of the country. Azerbaijan, especially Tabriz, also became the base of Sufism and one of its proliferated sects, like the alphabet. Undoubtedly, the study of religious buildings of this period will illuminate new angles of ideas and thoughts of sects. From this perspective, it seems that the Blue Mosque is one of the most important buildings in this regard. Therefore, by carefully analyzing the inscriptions of the building, we can understand the idea of artists in choosing their themes. The Blue Mosque was built during the Qaraqoyunlu Turkmen period, according to its endowment letter, on the orders and under the supervision of Jan Beighe Khatun (Jahanshah's wife). In the current situation, the plan of the building includes a central dome, a porch and a domed bedchamber. From a technical point of view, it contains the most delicate works of mosaic tiles and has a variety of tile designs. In perspective of artistic decorations, this building has a special place in Iranian architecture, so that it is called Firoozeh Islam in Islamic sources. Variety in design, figure, and types of lines, inscriptional themes and religious concepts are the hallmarks of the building. Accordingly, the main question of this research is posed as follows: what effect did the religious movement of the Hurufieh sect have on the writings and themes of the inscriptions in this building? Paying attention to some building inscriptions and the reason for using their themes has been one of the main objectives of this research. In order to achieve the desired goals and answer the main question of the research, first the decorations of the building were visited and pictures of different types of writings were prepared and then the meanings of the writings were studied using library studies. The way of advancing the discussion is that first, the movement of Hurufieh and their ideas are introduced, and further their influence on some of the decorations of the building by examining the sources, such as the doctrinal principles of this sect and the works that were written at that time e.g. poetry collection of Fazlullah Naeemi and Nasimi and the adaptation to the inscriptions of the building is described. The present study has been compiled by historical-analytical research method. Data and their analysis are qualitative and the method of collecting information is a combination of two methods field, library and documentary. (Identify, study, classify information, and analyzing them on the subject under study). The inscriptions used in connection with the ideas of the Hurufieh sect in the Blue Mosque are as follows: Cross letters, Ayat- Al-Kursi and Taha, Surah Al-Hamad, Surah Al-Kahf, Surah Al-Jumu'ah, Surah Al-Kawthar, the word Huwa (he is), verses including. The most generous throne. Say God is enough. God suffices - everything works in its own way, verse 18 of Surah Al-Omran, the names of God, the prohibition of denial, the word God, the names of the prophets, the name of Muhammad (PBUH), Ali (PBUH). According to the aims and questions of the research, it has been determined that the influence of this group's thoughts along with the spread of Sufism and mysticism in this period in selecting some of the contents of inscription writing for the building has been well prevented. Using Surahs (Hamad, Kawthar and Kahf completely), Quranic verses (Taha / 5, Esraa / 84, Raad, 43, Al-E-Omran / 18), Quranic words (Hi is, Say God is enough. God suffices), segment Verses , Surah Jumu'ah, Ayat-Al-Kursi and Taha and the names of God, Allah, Muhammad (PBUH) and Imam Ali (PBUH) and issues such as the importance of Friday prayers, the names of the prophets, shows the influence of this sect on the selection of some inscription themes in this building. According to the descriptions on the inscriptions and their content it should be said that the ideas of the Hurufieh sect have had a great impact on their main base, Tabriz, and the surrounding areas, as in some parts of the west of the country, the remnants of this idea as Ahle-Haqq (Ali Allahi) still exist.

Urban spatial organization is a subjective issue, reflecting the order resulted from the relationship between the city’s elements. Understanding the position and role of a city element in the city as a whole requires discovering its relationship with the spatial organization. In other words, the city’s order is like a system and a whole. Based on the theory of city’s spatial organization, the current study is an attempt to investigate the relationship between Mozafaria Complex and the city’s spatial organization indicators in Tabriz City. In other words, this study examined the role of this complex in the whole system of the city from the time of the Qara Qoyunlu to the Qajar. In this study, the systemic role of Mozafaria Complex is not limited to its function and its features. The impetus behind this study is to discover the features defined in relation to other elements of the city. The method of the study is descriptive-analytical and deductive-exploratory; the library-research method was also used for data collection. The results indicate the significant effect of Mozafaria Complex and the spatial organization of Tabriz City on each other. This study also shows this complex plays a fundamental role in citizens’ perception of the city as a whole and its identity formation.

Kabud masque belongs to Abul al – Mozaffar Shah Jahan from Turkaman Agh Quyunloo tribe. The build ing was finished in 870 AH by Jan Beyg Khatoon (Ja han shah’s wife). There are various plant and geomet ric features and inscriptions in the masque. The masque inscriptions are mostly created by two Kufi and Tholth writing and are related to the surrounding illustrations and give them harmony. In this research, we have tried to study the impact of mysticism and Sufism among Hurufiye religion (faith) on selecting contents of inscriptions and writings. The research method is descriptive _ analytic. The library method and on-site visiting have been used for data collec tion. The results indicate that azure blue has the most variety in the inscription basis and white in their con text. These two colors are symbolic in mysticism and Sufism. Choosing the kind of Shamseh features and mentioning mystic apothems show the impact of mysticism and Sufism on the form of ornamentations of the important buildings in Qara Qoyunloo era. At last, we have concluded that the religious changes in the 9th century like Horufiye beliefs within mysticism and Sufism have had the main compact on the form and contexts of inscriptions and features of the building. The Blue Mosque, as the most important work of Qaraqouyunlu dynasty, has a special place in the art of tile and inscription of Iran, which technically contains the most delicate works of mosaic tiles and includes a wide variety of tile designs. Also, in terms of design, it has interesting religious concepts, and in terms of inscription, it has a variety of lines embed ded in novel writing methods. According to the au thors, the blue color in this building and other build ings indicates that the Muslim architects want to as cend from the earth science and to get to the superior space. The blue color recalls the breadth of the clear sky. The white color that was used most for the Quranic inscriptions was among the colors that were recommended to be used by the Prophet. This color is in the references and symbols of Sufism and mystic features. In summary, the two colors of azure blue and white in Islamic art are symbolic and have been considered a lot. With regard to the cadre for the inscriptions, it should be noted that in this collection of designs, shades are used more than other designs. It should be said that the selection of the role of the candle in this collection is not a coincidence. This role is rooted in the deep mystical concepts of Sufism such as the pre-eminence of God, the light and the sky.

Traditional mosques in Islamic architecture are designed in a way that due to their characteristics of fluidity, gradually, get spectator to experience movement from lower levels to higher ones. So that levels of human evolution in Sadra’s wisdom are applicable to stages of motion in architecture. The purpose of this paper is to identify how motion in architectural space has impacts on the completion of its observer. The selected research method is interpretation which explores the relationship between drives of the fluid space with the Substantial Movement of human’s soul in the context of a perceptual experience by space observer. The findings point to the fact that the success of a work of architecture is when space is not neutral and affects its supervisor. When such a space encourages observer to move while gets the eyes, feet and mind of him out of his hand and this is clearly visible in Tabriz Blue Mosque

During the recent years and following several decades of modern experiences in valuable urban texture conservation, Integrated Conservation approach has been considered as a more favorable solution by urban restoration experts. This viewpoint which covers extensive material and spiritual dimensions takes into account the commitment to supply current needs of the city and citizens along with the commitment to support the historical values. But having full knowledge of historical and site structure evolutions is one of the requirements for adopting this approach. The purpose of having such knowledge is to provide a background for a knowledge-based action in line with promoting the quality of the proposed plans; an issue that has unfortunately gained little attention in most of the contemporary interventions in the historical textures of Iranian cities. Historical texture of Iranian ancient cities is one of the main fields affected by the thoughtless and tactless developments. The measures that have been taken in these valuable regions, have often affected the historical and even functional identity of them. An obvious example of this claim is the inadvertent interventions in Tabriz Blue Mosque historical site, resulted in irreparable consequences for the historical prestige of the Two decades ago, i.e. in the early 70s (Hijri Shamsi), simultaneous to civil actions after war, the city governors with the consultation, cooperation and investment of a cultural institute in Tehran tried to destruct interwoven texture around the Blue Mosque. The purpose of this group in destructing the historical structures, was to bare, or in other words, clarify the physical appearance of the
Blue Mosque in urban landscape; in addition, another goal was designing and constructing trading complexes around it in order to return the capital and interest. This project that had a high process speed at first and it was expected to end soon, suddenly faced with a crisis and got stop for several years. The situation was another manifestation of “development and conflict” discussion in the third world societies. Although project managers insisted on work continuation and completion, resistance and opposition of public opinions especially the cultural sympathetic strata of the city became a barrier to it. Generally, it should be mentioned that although this non-expertise actions did not merely focus on destruction of architectural buildings and heritage around the Blue Mosque, but it totally destructed a
wide section of subsurface works hidden in lower layers. The present research has an environmental consideration and reflection while “Integrated Conservation” approach has become the basis of discussion in this. By understanding the mentioned issues we try to find an answer to the question: what is the role of layer study analysis in remaining traces from the excavation at surrounding site of Tabriz Blue Mosque in promoting the quality of the proposed plans for this site. This study has used a descriptive-analytical method of research and the findings indicate that more attentions should be paid by the programmers to this site which has a considerable antiquity dating back to Iron Age as a place in which human societies were settled during several millennia. The findings of this study further reveal that haphazard decisions in different districts of urban designing management have been harmful and evil for the fate of this site. If Integrated Conservation approach had been adopted to save and organize it from the beginning, the aforesaid site could now be an active and attractive cultural pole while preserving its true dignity. Now, for saving this historical site, it is necessary to provide a reasonable and long-lasting protection opportunity, from the viewpoint of Integrated Conservation approach.

The present paper intends to answer the ambiguities which are proposed about the form originality of Tabriz Blue Mosque. The reasons for uncertainties about the form originality and the architectural method of this building are related to its planning method and special volumetric composition that have led it to be distinguished from other architectural types of mosques in Iran، in a way that، from the viewpoint of form pedigree no similar building can be found before or after it that indicates the logical sequence of a special architectural experience. So، in the architectural background of Iranian mosque، the idea used in architectural creation of Tabriz Blue Mosque is such a single star that shone only once and disappeared. Based on what is mentioned، the present paper intends to answer the following questions: A) In which country’s architectural culture the architectural identity of Tabriz Blue Mosque is rooted? B) If the volumetric composition of this building is retrieved from the imported architectural patterns، why does its image manifest Iranian architectural elements? C) How and to what extent the final development of this architectural monument is influenced by cultural atmosphere of the Tabriz of ninth century? From the viewpoint of nature and content of discussion، this paper has been written in a descriptive-analytical method and in the stage of comparative study with other architectural models، the deductive method of investigation is also utilized. It can be inferred that although the Blue Mosque building belongs to some Ottoman architectural monuments from the form point of view، the Iranian architects constructing it who were artists from the territory using Azeri method of Iranian architecture، by applying their indigenous thought and traditional techniques، intermingle the imported architectural form of this mosque with Iranian architectural culture in a way that the final product becomes a part of Iranian architectural discourse.

The Blue Mosque, one of the valuable architectural elements of Tabriz city, known as the Turquoise of Islamic world, has high status among the people of the city, also among domestic and foreign historians and travelers, ever since its establishment. The Blue Mosque has always played a dynamic role in Tabriz’s continuum of urban life and provides a proper setting for social interactions. Up to early in this century, the Blue Mosque, despite numerous damages and demolitions, had its privileged place in the city, until the large-scale interventions, which took place during the First Pahlavi’s era and changed the face of the city forever. These changes created the phenomenon problems associated with the ancient city structure, which unstable the role of many historic elements.The emergence of new urban relations contrasts with the spatial structure of the old city. These new elements, in Iran’s cities, appear different from their true nature, and remain this way until today. This modernization of the cities happened at a time that they did not have the actual conditions of an industrial city or even took the transition phase to modernism or had and understanding of the first principles of this evolution. These changes only imitate the underlying principles of modernization and in practice reject the old continuum of the city. The purpose of this study is to obtain a solution to recover the lost dignity of the Blue Mosque in Tabriz’s urban life and restore its rightful place among the few monuments that have remained; because during the earthquakes and wars, many of the monuments in city have been destroyed which make it necessary to protect the remaining historic elements. Therefore, to achieve this goal, the historic maps and documents of Tabriz city have been analyze, by historic –interpretive methods and by interviewing knowledgeable and expert people. On the other hand, field studies and information gathered from local residents helped to analyze the current situation. This paper, at first provides a comprehensive understanding of the origins of the formation of the Blue Mosque and the reports of the domestic and foreign historians and travelers. Then the position of the Blue Mosque in the continuum of urban life, in different historical periods, based on historical documents and maps will be analyze. Continuing with the analysis of the current situation of the Blue Mosque in its context, the damages and their reasons will be express. Also, by providing the detailed map of the approved plan for the area, the strengths and weaknesses of the project will be discuss in relation to the Blue Mosque. Finally, by analyzing the historical status of the Blue Mosque in the continuum of the old city of Tabriz and the factors which affecting them, it offers the ideal solution for restoring the Blue Mosque with the quality associated with cultural-historical axis where once was the path of the Silk Road. This is an effort in order to recover the historical identity of the mosque, the fabric and the city of Tabriz.