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The Content of Quranic Inscriptions Used in Ilkhanid Altars
Atefeh Shekofteh,
Volume 3, Issue 3 (12-2015)
Abstract

In Islamic architecture, especially in mosque, the main consideration is to the prayer spirit. For this reason, Quran inscriptions cover the most parts of the decorations of architecture. Altars are always one of the elements with full of motifs decoration because of dignity and its position. The decorations are including Quranic verses and themes. Mosque decorations inscriptions are a main source to investigation the views and religious thoughts. Identifying the Quranic Inscriptions of stucco Ilkhanid alters and understanding their contents are the aims of this paper. Totally, decorative inscriptions of Altars are divided to four groups date, signature (name of the architect and artist. Etc.), supplements and endowments, religious phrases (names of God, the Quran verses, Hadith, name of the prophet and Imams). The present study focuses on the themes of Quranic verses and the contents of them that used in Ilkhanid stucco altars. Altar Stucco decorations consist mainly of arabesque motifs, geometric and inscriptions. One of the visual characteristics of Ilkhanid stucco altars is “decorative inscriptions” that widely have been performed in different styles and forms at the altars, so far the inscriptions become the basic elements of altar decorations in the Ilkhanid Altars, the Oljayto altar and the Jame-bastam altar are perfect examples that their design have been formed on inscription style. Perhaps the importance of calligraphy in the seventh and eighth centuries AH, or a plurality of skillful calligraphers- such as Yaghout Mosta`sami- caused further manifestation of calligraphy and extension of Quranic inscriptions in decoration of buildings. Earlier Kufic script has been used in decorating architecture at fourth century, Moreover Kufi script, other inscription styles such as “Sols”, “Reqa`e” and “Solse-mos`als`al” as well as ‘B`anaiee’ and ‘M`agheli’ in content of religious phrases become popular in stucco decoration at Ilkhanid era.

 In this study, some investigations were done with using descriptive-analytical method, to achieve content of Quranic verses and their relations to the place application. The results of twenty-one altars indicate that one to four suras of Quran used in an altar, for example the Jame-Save mosque and the Jame-Bastam Mosque contain four different suras, meanwhile, just the Oljayto altar have no “Quranic” inscriptions! Ilkhanid altars consist of twenty-one different verse from suras that the first verses of “Mo`menoun”, 1 to 4 verses of “D`ahr”, 1 to 4 verses of “Fat`h”, 255 vers of “Baghare”, 18 to 19 verses of “Tobeh”, and sura “Fateha” completely, were the most used. Content of the altar inscriptions are grouped in few categories “Tohidi verses”, “prays”, “characteristic of the believers”, “describe the characteristics of mosque authors”, “Muslim victory over enemies”. Sometimes the inscriptions are used beside each other and referring to essence of Allah, worshiping, and Allah praying. The contents of some verses are the oneness of God and the worship of God, as well as the other verses reveal “characterization of believers” that specify the qualities of ways and the path of believers. Praying is also one of the first characteristics of the Muslims in Tohidi verses and also is specified rules of the pray conduct, in order to guide believers on a direction and builds up a unity of Muslims with the aim of achieving victory and pride.

In addition to the above, some features are stated to those build the mosques because the mosque is the sacred in Islam and everyone does not deserve to enter in this way. Generally, verses of the “Tohidi”, “prays”, and “authors of mosques” had the most usage. Hence, the content of altar Quranic inscriptions is related to the application place and their dignity in the mosque, to lead up the prayer spirit and richness up the people.


A Study of the Function of a Decorative Form in the Inscriptions of the Stuccoed Mihrabs Created during the 12th and 14th centuries
Ahmad Salehi Kakhki, Bahareh Taghavi Nejad,
Volume 5, Issue 2 (9-2017)
Abstract
Introduction: Inscriptions are considered as one of the most significant form of decorations that have been used mostly in the mihrabs and involve Quranic verses, prophet’s sayings, religious expressions as well as the date and the name of their creators. The stuccoed mihrabs of the Seljuk and Ilkhanid periods were no exception in which the inscriptions have many visual features including using a letter/ word or a decorative form at 45° angles of the inscriptions all around the mihrabs. The aim of this research, therefore, is to identify different kinds of these letters/ words or decorative forms in the inscriptions carved around the mihrabs created during the 12th and 14th centuries and compare them with each other. Thus, the following question has been put to be answered: what are different kinds of decorative forms used in the inscriptions of the stuccoed mihrabs created during the Seljuk and Ilkhanid periods and what are their similarities and differences in terms of their functions?
Methodology: This research is carried out using a historical-comparative method. Regarding the innovative theme of the article, first the attempt has been made to identify how decorative form in the inscription of the mihrab is used. Then, the researcher has tried to find this decorative form in the stuccoed mihrabs of the 12th and 14th centuries. Then, the letters/ words or the decorative forms of these mihrabs are compared and their significant features are described.
  The data was collected mostly from the selected samples through field researches, i.e. photography and linear designs of the images and the provided pictures are drawn using Photoshop and Matrix. The library resources are also used to introduce the historical records and describe the stuccoed mihrabs.
Conclusion:The results, obtained from studying 22 stuccoed mihrabs assigned to Seljuk and Ilkhanid periods, show that, in each period, it was common to use a word similar to لا »  «or decorative forms at 45° angles of the inscriptions around the mihrabs and they can be seen in different forms: using a single letter of the inscription (separately) that are diagonal (symmetrical) at angles; using a form like the word لا that is sometimes simple and sometimes elaborate and with detailed decorations. According to studies and the samples obtained from the above decorative form, the لا-like decorative forms can be classified into different groups that involve various types in terms of: 1) vaiation in node-like forms of the letters ل and ا and 2) the relation between the decorative form and the margin box, decoration or inscription. The node-shaped variation is such that the letters ل and ا are tied together in the middle and this tied part can be classified as triangle, square or rectangle and circle. The complexity of knitting these two letters is different and in some samples, it is so elaborate. The way these letters/ words or the decorative form are used in angles can also be considered because sometimes it is related to the margins and walls of the frame and is located such a way that its relation with the upper or lower lines of the border frame is definite and sometimes it is independently located at 45° without having to be attached to the margin box. According to the distinction of this decoration form, which varies from the sixth century to the 12th century, we can point out that at the angles of the stuccoed mihrabs of Ilkhanid period, more elaborate and detailed لا-like decorative forms were used compared with the Seljuk period and also, during the Ilkhanid period, this form has been changed to a pine fruit/ tear with various decorations this decorative form has been widely used in the inscription of the stuccoed mihrab.
 
The Typology of Plant Compositions in the Stucco Decorations from the Islamic Period of Iran to the Fourteenth Century
, ,
Volume 6, Issue 2 (9-2018)
Abstract
Introduction: The plant decorations are considered as the most obvious designs that are used elaborately in different works of art. They are also used frequently in architectural decoration, particularly the ones made of stucco. The way these plant ornaments are composed characterizes the period in which they were created though many of these compositions have been repeated frequently over centuries. The goal of this research is to study the typology and classify the significant plant compositions in the stucco decorations from the Islamic period to the fourteenth century. In order to achieve this goal, the following questions should be answered:
  • What are the most popular plant compositions in the stucco decorations from the Islamic period to the fourteenth century?
  • Which compositions can be considered as the significant features of plant ornaments in a certain period?
Conclusion: The data was collected based upon written sources and field research (photography, linear print of the images) and analyzed through comparative-historical method. The results of this study suggest that the compositions existing in the samples can be classified into 9 groups some of which have been repeated in all historical periods, like the two and three-arabesque compositions in the margins and delicate joint/ stems with snail-shaped arches. But some of these compositions, including multi-layered plant compositions, delicate plant stems in the backgrounds, snail-shaped arches, etc., were evolved in some centuries, i.e. 13th and 14th centuries, or used more frequently. 
Investigating the effect of Sassanid decorative motifs on the altar decorations of Jameh Mosque of Urmia
Behzad Ahangari, Phd Seyyed Reza Hoseini,
Volume 9, Issue 3 (9-2021)
Abstract
Sassanid art and especially its architecture which was influenced by the art of other ethnic groups and civilizations of its time showed many innovations in various fields, including the proper use of gypsum in the decoration of buildings. The Sassanid style of architecture provided a suitable platform for the expansion of arrays. The decorative motifs used in various buildings of the Sassanid period include plant, geometric, animal-human, and script motifs that were influenced and expanded during the Islamic period and influenced many other arts as well. The Jameh Mosque of Urmia, known as the jumʿah Mosque, was formed in different periods so that each part of it belongs to a specific period. The altar of the mosque is located in the dome chamber and has many decorative designs of various geometric and arabesque types; In addition to showing the characteristics of the stucco art of the Ilkhanate era, influences of its antecedent period, that is, Seljuk and the pre-Islamic period, especially the Sassanid period are observable. In addition to multiple decorative motifs and elegance used in this altar, the use of various scripts such as Kufic, Thuluth, and Reqa is also very important in influencing the audience. The purpose of this study is to identify the decorative arrays influenced by the decorative motifs related to Sassanid architecture in the altar of the Jameh Mosque of Urmia. Based on this, the following two questions have been raised: A- Are the motifs and arrays used in the decoration of the altar of the Jameh Mosque of Urmia are affected by the motifs of the Sassanid period? B- Which elements from the Sassanid period are included in the motifs adapted in the altar of the Jameh Mosque of Urmia? This research uses a descriptive-comparative method. A combined method (library and field) has been used to collect data. Data collection tools also include identity graph (ID Graph), photography and observation. To provide the possibility of comparison and matching, first, the information related to each of the decorative motifs of the altar of Jameh Mosque of Urmia and the motifs related to Sassanid architecture were classified separately, and then to analyze the existing motifs, tables were designed and the mentioned motifs were comparatively examined. The results of this study indicate that in the Islamic era, decorative motifs using the pre-Islamic heritage of Iranian art have been used. The results of this study indicate that the arrays used are influenced by the Sassanid period and the plant motifs in the stucco of the Sassanid period such as dragon's mouth-like and elephant's trunk-like in altar are in arabesque and khitan form and in the form of various arabesques such as dragon's mouth and elephant's trunk have evolved with many details. Similarly, Kufic and Thuluth scripts have also been used in the context of these motifs. Geometric motifs also show a more complex shape of geometric motifs of the Sassanid era. Circles and triangles have been frequently used. There are also motifs such as multi-petal flowers or florets with varying number of petal, hexagonal, octagonal and sixteen-petal that have been used in the decorative arrays of Ctesiphon Palace and Chal Tarkhan Rey stucco and kish's Elit Palace stucco belonging to the Sassanid period; In many cases, with modifications, they have been used in a way similar to the previous shapes and forms. In addition, the use of palm leaf motifs, spoon-like motifs, multi-petal flowers, and some motifs such as pomegranate flower motifs that have existed for a long time in Sassanid palaces, have been executed very easily in the columns of the altar. In addition, many plant motifs of the Sassanid period, such as grapevines, pomegranates, palms and acanthus leaves can be seen in combination with arabesque motifs in the altar of the mosque. Also, the leaves of multi-leafed palms, which cover the cornices in various shapes in the form of three, five or seven leaves in the Sassanid period, are used in the decoration of the altar inscriptions, in combination with the script, so that in some parts the three-leafed palm leaves appear in full shape. Elsewhere, a three-leafed palm leaf is halved and used as a two-leaf. Palm leaves, which are sometimes implemented in some cases as singular with smaller palm leaves; in the embossed stucco of kish's Elit Palace, it is shown that various decorations have been done on the leaves. This use of singular palm leaves can be seen in the altar stucco of the Jameh Mosque of Urmia on which geometric decorations have also been worked on them. Another point is that among the decorative motifs of the altar, the basic and the simple motif of Shah Abbasi flowers can be seen in the rib half-vault of the altar of the Jameh Mosque of Urmia, which is interesting in its kind.

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