year 3, Issue 1 (Spring & Summer 2017)                   CIAUJ 2017, 3(1): 81-96 | Back to browse issues page

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Shahbazi Shiran H, Hosaini Niya S M, Kazempour M. The Analysis of the Effect of Mysticism and Sufi Beliefs on the Decorations and Textures of Kabud Masque in Tabriz. CIAUJ. 2017; 3 (1) :81-96
URL: http://firooze-islam.ir/article-1-178-en.html
1- Mohaghegh Ardabili University , hshahbazi35@gmail.com
2- Mohaghegh Ardabili University
3- Tabriz Islamic Art University
Abstract:   (389 Views)
Kabud masque belongs to Abul al – Mozaffar Shah Jahan from Turkaman Agh Quyunloo tribe. The build­ing was finished in 870 AH by Jan Beyg Khatoon (Ja­han shah’s wife). There are various plant and geomet­ric 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 collec­tion. The results indicate that azure blue has the most variety in the inscription basis and white in their con­text. 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 embed­ded in novel writing methods. According to the au­thors, the blue color in this building and other build­ings indicates that the Muslim architects want to as­cend 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.
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