Shah Mosque

 

Known as the artistic capital of Iran, the city of Isfahan owes much to its post-Islamic heritage under the Abbasid caliphate. Shah Mosque, or the Royal Mosque, or what is quite popularly known as Jame Abbasi Mosque, is the manifest indication of the Abbasids’ cultural contribution to Iran’s history of civilization. It is at the beating heart of Isfahan, adjoining Naqsh-e-Jahan Square. Shah Mosque is considered one of the most prominent historical sites in Isfahan and throughout Iran.

 

 

It was built during the Safavid period, by direct decree of the Safavid king, Shah Abbas. Regarding the dazzling architectural style, it is not hyperbolic if one claims that it is the crown example of artistic modus operandi during the Islamic epoch. This elegant monument truly shines as a brilliant gem of Islamic carpentry, embellishments, and tile work.  Shah Mosque was recorded as one of the significant historical and artistic monuments of Iran in 1931. UNESCO also added it to its heritage list, in addition to its neighboring cultural heritage Naqsh-e-Jahan Square.

Its construction started in 1611, when Shah Abbas of the Safavids ordered the building of an Islamic masterpiece. It was finished in 1630 when Shah Safi, King Abbas’s heir, took the throne and was the king of the dynasty from 1629 to 1642. The motivation behind King Abbas’s plan was to build a magnificent mosque so that the holy spirit of King Tahmasb of the Safavid dynasty would lie in everlasting heavenly peace. In 1638, the external façade of the mosque underwent some renovations, the most important of which was adding marble layers to the foundational base.

As the architectural trend of the Islamic and Safavid method was concerned, even the specific information about the famous artists of the era who did the artistic job of construction and decorations is quite available through the stylish inscriptions attached to the walls or the pillars’ bases.  Among them, we can refer to the pompous name of the great Safavid artist, Badi Al- Zaman Tuni, who was actually the master planner of the project and its manager. Other prominent names are also included in the precious historical document of the inscription, such as the lofty name of its engineer, Ali Akbar Isfahani, and Muhib Ali Beg as the famous contractor of Isfahan’s artistic monuments.

There are major divisions in the Shah Mosque. The first one is the majestic entrance port with two prayer towers or minarets, and the second one is the main part of the mosque, including the elevated dome and its own minarets. The yard space is actually between these two sections. The form of the entrance section appears in the shape of a leapfrogged structure that is the symbolic feature of Islamic structures during the Safavid and the Seljuk eras.

 

 

What sounds unusual in Shah Mosque is its structural direction. While it was common among all the Islamic architectural styles for monuments to be built towards Mecca, the front side of Shah Mosque was directed another way. Surprisingly, when one enters the mosque and turns right, it gets in line with the right Islamic direction. It means that when the performers come out in the yard, they are automatically facing Mecca. The magic of this architectural trick lies in the fact that both the main entrance and the central dome of the mosque are quite visible from the grand square. Another architectural wonder of the mosque lies in its sound reflection, which is specifically about the echoing characteristics of the building. Practically, if everyone speaks under the dome, anybody in the mosque can hear. Last but not least, concerning the outstanding features of the mosque is the multifariousness of the blue colors used in the tiling and the heavenly ambience they create in their juxtaposition with the pale madder color of the base stones applied in the walls.

The acoustic characteristic of the dome is due to the core stone that is used in the center of the dome. This peculiar stone is basically different from the other ones used elsewhere all around the dome. This way, the preaching Imam is clearly audible even if he speaks in a low tone.  It has been one of the entertaining tests for the visitors over the years, and they are usually seen standing under the dome tapping on the books at hand with a piece of stone and listening to the way it echoes.  

 

 

Aesthetically speaking, the minarets appear in turquoise blue colors encircled by vaulted verandas. Beautifully, on this azure background, there are shining white calligraphies all in geometric forms of the names of the holy prophet Muhammad and Imam Ali. Each side of the haven, from east to west, is the courtyard of the schools that provides a spectacular view of the dome area with its heavenly blue reflections of the light on the polished tiles. In addition to this amazing architectural structure, the mosaic artworks are indeed sumptuous.

Towards the center of the dome, the density of the navy and turquoise blue gets less and less apparent, and the yellowish golden colors become prominent. To add to the visual wonder of the architectural structure, the reticulated parts of the ceilings are visibly divided into two categories. The first section concerns the deep netted parts where the used tiles are dark blue, and those that are protruding and projected are sky-light blue ones. The twisted bands that are to separate different layers appear in yellowish gold to create an eye-catching contrast.

All in all, the outstanding look of Nagh-e-Jahan Square owes a lot to the peculiar position of Shah Mosque that is clearly visible from everywhere in the square. The spectacular view of the mosque also owes a lot to the particular calligraphy of Master Reza Abbasi, who preferred the usage of seven-color tiles that were also cheaper and look more Persian. Floral patterns help the spiritual delicacy of the tile figures. Four major Islamic and Persian colors madder red, azure, turquoise blue, gold, and white are masterfully arranged together, which are not only thematically remarkable but also harmoniously symbolic.  

Welcome to the heaven of art and architecture in the Shah Mosque.