Semi-Annual
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1- Department of Handicrafts, Faculty of Applied Arts, University of Art, Tehran, Iran , a.sheikhi@art.ac.ir
2- Faculty of Art, Shahed University, Tehran, Iran
3- Faculty of Art, University of Birjand, Birjand, Iran
2- Faculty of Art, Shahed University, Tehran, Iran
3- Faculty of Art, University of Birjand, Birjand, Iran
Abstract: (19 Views)
Isfahan was selected by Shah Abbas as the capital of Iran, prompting a flourishing of public architectural projects, including mosques, palaces, bridges, streets, and gardens. This architectural development continued through the Qajar and Pahlavi periods. Throughout these eras, artists demonstrated remarkable skill and meticulous attention to detail in embellishing religious buildings—particularly mosques—with the mihrab emerging as a central focus of artistic expression. This study aims to examine the formal and visual elements of mihrabs from the Safavid, Qajar, and Pahlavi periods in Isfahan and to address the central research question: How did the form and decorative motifs of mihrabs evolve across these three historical periods in Isfahan?
This qualitative study is fundamental in nature and employs a descriptive-analytical methodology with a comparative approach. Data were collected through both library research and, primarily, field observation. Findings indicate that the overall structure of the mihrab remained predominantly rectangular with an arched top, while variations appeared in details such as motifs, colors, decorative elements, and volumetric features like base guldāns. In the Safavid period, designs were abstract, stylized, and non-naturalistic. During the Qajar era, a shift toward naturalism and watercolor-like shading became evident. Dominant colors transitioned from lapis lazuli and turquoise in the Safavid era to softer, shaded tones in the Qajar period.
In the Pahlavi era, a tendency toward simplification emerged, with many ornamental components—such as muqarnas, tile fillets, and guldāns—either minimized or used for functional purposes. Dominant colors during this period included earthy tones such as brown, jade green, and cream. Inscriptions also evolved: Safavid mihrabs featured Kufic and Thuluth scripts; Qajar examples adopted Nastaliq and Thuluth; and Pahlavi inscriptions often employed a combination of Kufic and Nastaliq within geometric frameworks. Across all periods, inscriptions included Quranic verses, divine names, dates, and the names of calligraphers or artisans.
This qualitative study is fundamental in nature and employs a descriptive-analytical methodology with a comparative approach. Data were collected through both library research and, primarily, field observation. Findings indicate that the overall structure of the mihrab remained predominantly rectangular with an arched top, while variations appeared in details such as motifs, colors, decorative elements, and volumetric features like base guldāns. In the Safavid period, designs were abstract, stylized, and non-naturalistic. During the Qajar era, a shift toward naturalism and watercolor-like shading became evident. Dominant colors transitioned from lapis lazuli and turquoise in the Safavid era to softer, shaded tones in the Qajar period.
In the Pahlavi era, a tendency toward simplification emerged, with many ornamental components—such as muqarnas, tile fillets, and guldāns—either minimized or used for functional purposes. Dominant colors during this period included earthy tones such as brown, jade green, and cream. Inscriptions also evolved: Safavid mihrabs featured Kufic and Thuluth scripts; Qajar examples adopted Nastaliq and Thuluth; and Pahlavi inscriptions often employed a combination of Kufic and Nastaliq within geometric frameworks. Across all periods, inscriptions included Quranic verses, divine names, dates, and the names of calligraphers or artisans.
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