Travel Reference
In-Depth Information
As Sassanian and Arab ingredients merged,
a distinctly Persian style of Islamic architecture
evolved. From the mid-9th century, under the
patronage of a succession of enlightened
rulers, there was a resurgence of Persian na-
tionalism and values. Architectural innovations
included the high, pointed arch, stalactites
(elaborate stepped mouldings used to decorate
recesses) and an emphasis on balance and
scale. Calligraphy became the principal form of architectural decoration. A good example
is the Masjed-e Jameh (Jameh Mosque; Click here ) in Na'in.
The period also marks the emergence of a series of remarkable towers, more secular
than religious in purpose. Built of brick and usually round, the towers show a develop-
ment of ornamentation starting with little more than a single garter of calligraphy and
graduating to elaborate basket-weave brickwork designed to deflect the harsh sunlight.
Today these are commonly referred to as tombs, but some, such as Radkan Tower ( Click
here ) , were important early astronomical observatories.
In desert cities, such as Yazd and Esfahan, minarets
are quite tall because they traditionally acted as a
landmark for caravans crossing the desert. In moun-
tainous areas or places surrounded by hills, such as
Shiraz, where this function was impossible, most
minarets are short.
The Seljuks, Mongols & Timurids
Many of the Seljuk rulers (1051-1220) took a great personal interest in patronage of the
arts. Architectural developments included the double dome, a widening of vaults, im-
provement of the squinch (see the boxed text, Click here ) and refinement of glazed tile-
work. A unity of structure and decoration was attempted for the first time, based on rigor-
ous mathematical principles. Stucco, incorporating arabesques and Persian styles of calli-
graphy, was increasingly used to enhance brick surfaces.
Although often seen as a dark age in Iranian history, the Mongol period (1220-1335)
saw new developments in Persian architecture. The conquest by Genghis Khan's rampa-
ging hordes was initially purely destructive, and many architects fled the country, but later
the Mongols, too, became patrons of the arts. The Mongol style, designed to overawe the
viewer, was marked by towering entrance portals, colossal domes, and vaults reaching up
into the skies. It also saw a refinement of tiling, and calligraphy, often in the formal angu-
lar Kufic script imported from Arabia. Increasing attention was paid to the interior decora-
tion of domes.
The Timurids (1380-1502) went on to refine the Seljuk and Mongol styles. Their archi-
tecture featured exuberant colour and great harmony of structure and decoration. Even in
buildings of colossal scale, they avoided the monotony of large empty surfaces by using
 
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