History and Theory of Architecture II

Safavids Era

Instructor: Dr. Naubada Ali

Safavids

• The Safavids were a dynastic family that ruled over modern-day Iran. They
sustained one of the longest running empires of Iranian history, lasting
from 1501 to 1736.

• They established Twelver Shiism (the largest branch of Shi’a Islam), as the
official religion of their dynasty. This distinguished the Safavids from their
neighboring and rival empires—the Ottomans (to their west in Turkey), and
the Mughals (to their east in India). The Ottomans and Mughals adhered to
Sunni Islam.
Safavid Era

• One of the brightest artistic periods of architecture in Iran is Safavid era, in

1502 AD.

• Shah Isma'il (I) established the Safavid Dynasty

• At the beginning of this dynasty, Tabriz was the capital. In the time of Shah
Abbas, the capital was transferred from Qazvin to Isfahan. With the choice
of the new capital, this city has become one of the brightest cities in the
Middle East
Safavid Era

• According to Iranian history, it appears that since the arrival of Islam,

although the Iranian population is a composition of different ethnic groups,
during the Safavid period (16th-18th), an Iranian dynasty could have
control over almost all the Iranian territory as it stands today. In fact, the
Safavid period is significantly important in defining Iranian religious belief,
language, and culture. Safavid architecture also has been one of the most
important types of Islamic architecture in Iran
The Saljuq Past
The Safavids did not introduce Islamic architecture to Iran. There were earlier
groups such as the Saljuqs and the Timurids that built extensively. The Saljuq
Turks ruled parts of Iran, Iraq, and Syria in the 11th and 12th centuries CE. They
built mosques in many towns; but the most famous today is the congregational
mosque at their capital at Isfahan, in the center of modern Iran.
Art of the Safavids

• The art of the Safavids is simply magnificent.

✓Brilliantly painted manuscripts

✓Exquisitely detailed miniatures
✓ Fine silks
✓Complex, ornate palaces.
Safavid Isfahan

Shah 'Abbas moved his capital to Isfahan and

initiated an extensive building program in that city.
'Abbas oversaw the development of a city plan, the
centerpiece of which was a grand 'maidan' or plaza
developed between 1590 and 1602.The maidan
was nearly 1700 feet long and over 500 feet wide.
Located around it were a multi-purpose royal
building called the 'Ali Qapu, the Shah Mosque, the
bazaar, the Lutfallah mosque, and other structures.
The maidan was originally developed for "state
ceremonies and sports. "In the second phase of
development, however, "it was redeveloped for
commercial purposes, with two stories of shops
around the perimeter. The long modular facades,
originally decorated with polychrome glazed tiles,
are broken only by the monumental entrances to
four buildings."
 • Isfahan is not only the mirror of the ancient civilization, but also the
Safavid Isfahan mirror of human creativity. Isfahan itself is the galactic that is not
possible to achieve the depth of its beauty and magnificence. In this
period, new streets and chains, chess and main axes were created
based on the Iranian garden pattern and very different from the well-
known patterns of Islamic urbanization. All urban elements emphasize
the continuity of the urban space body. The special buildings of Isfahan
during this period are the first important step towards a kind of urban
architecture in the Islamic era of Iran.
Safavid Rule:

• In the first half of the Safavid rule, a deep religious trust was established among the people towards
the Safavid kings.

• As Sanson described this belief and trust, he said a sentence from the individual's letter to the Shah
saying, "O Shah, you are my religion and faith". According to Shardin, the king and his court were
considered holy in the eyes of the people. Therefore, his behavior should show the manifestations of
this sacredness.

• One of the most important religious behaviors of the Safavid kings was pilgrimage trips aimed at
building or rebuilding Shiite religious sites and emphasizing religious festivals and mourning’s.
visual advertising

• The works of architecture and applied arts and decorations are among the tangible works that
culminated in economic prosperity and political stability during the Safavid era. These works provided
a very good ground for visual expression of religious ideas.
• Visual expression in the craft industry
• Safavid kings, with the awareness of the importance of visual and visual advertising, provided special
support to artists and craftsmen, and during this period, art workshops were formed in a centralized
manner
 The support of the kings played an important role in the
development of architecture, Supporting the construction of
mosques, monastic, the rebuilding of the repossession of
Imams and Imams, included such support as the direct order
Visual of Shaasmaeil
expression in
architecture Visual expression of the walls

Wall paintings are more flexible in displaying images than in

stucco, bricklaying and carving arrays
Visual expression of calligraphy and inscriptions

• The first reason for the sacredness of the art of calligraphy in the eyes of the
Muslims was its connection with the divine revelation and the second
reason, its relation to mystical literature and poetry. Third, the Muslims
believe in the invention of calligraphy in the hands of Imam Ali
The Role of Architectural Archetype in Promoting
Religious Beliefs and The Legitimacy of The Safavid Rulers

• It seems that one of the reasons for the large use of calligraphy inscriptions
in Safavid era architecture was the prevalence of tiled or adobe tile, and it
was easy to design and layout on this type of tile, because during the Safavid
period, the use of tile in architecture, more than a variety of other
decorations, while in the preceding years, the arches of plastering, brickwork
and mosaic tiles were more common in architecture. In other words, the
boundary restrictions on the mosaic tile were less than other decorative
types, and on the basis of this, a variety of lines with special effects of art
were used in Safavid periodic inscription
• In addition to their ornamental function, as messenger's media, these
inscriptions influenced the beliefs of a wide range of audiences and played an
important role in promoting the principles of secularism and legitimacy for the
Safavid rulers. Accordingly, sometimes the "form and face of the inscriptions,"
sometimes "the content and theme of the inscriptions", and sometimes "the
place and place of installing inscriptions" contained important messages and
helped promote and promote the Shiite views of the kings
 • Selection of place of inscriptions containing religious and religious
The Place of messages played an important role in inducing concepts in Safavid
Inscriptions era architecture. Some places and spaces, such as the main entrance
hall, entrance hall or main porch, were more exposed to the public,
and some other places, such as around the altar, under the main
dome or on the stone graves, were accepted into the minds of the
people as a sacred and clerical space, and any The symbol in these
spaces was attributed to their connection with spiritual realms;
therefore, in the buildings of the Safavid period, in addition to the
form and contents of the inscriptions, their position also had a
profound effect on the type of people's attitude towards the
sovereignty as supporters of these buildings.
Nizam al-Mulk dome
• For example, the inscription "Shah tahmasaeb" in
the mosque of Isfahan is installed on the inside of
the Nizam al-Mulk dome. Considering that at the
time of his time the collection of the works of the
field was not yet formed and the mosque of
Abbasi (the mosque of Imam) was not built, the
mosque of the old field was of great importance in
urban texture and any information in the mosque
attracted a large number of people. In particular,
the messages that were transmitted to Nizam
alMulk's dome as the most important part of the
mosque were due to the fact that the Nizam
alMalk monastery was raised above the main
sanctuary in the southern shrine of the mosque
and the mosque side of the mosque and was
considered the main dome of the mosque.
Therefore, the installation of the titles of Shah
tahmaseb's tomb of this place provided a great
deal of feedback from a wide range of people.
Isfahan during King • After Isfahan was chosen by Shah Abbas Kabir as the
capital, during the 42 years of his rule, he continued
Abbas period to develop the country, especially Isfahan. The great
square of the role of the world, the great Qapu, the
Sheikh Lotfollah Mosque, and the Sayed Qaisriya
Mosque, the Shah Mosque, the Shahi Market, Chahar
Bagh Street, Jolfa Township, and the historic churches
in this city are the result of the efforts and efforts of
King Abbas.
Safavid Architecture
• Abbas - "initiated a new period in Persian
architecture in which the rich, sensationally
colored and imaginative details developed by
his predecessors became unified into serene
and meaningful ensembles of immense scale
and grandeur."
• The large colorful domes and wall designs
created during 'Abbas'
Safavid art and architecture

• Safavid art and architecture reflected this adoption of a Shi’a identity. They
invested a great deal of their capital into the building and decoration of
shrines of Shi’a saints. This encouraged pilgrimages across the great stretch
of the Safavid empire, in places such as Karbala and Najaf, two cities in
central Iraq. Shi’a Islam is still the official state religion of the Islamic
Republic of Iran.
Safavid art and architecture

• The Safavids are therefore widely known for bringing this historic change
to the region. However, the original ancestral line of the Safavids was a
religious order of Sufi mystics that lived in Ardabil, a city now in Azerbaijan
(Sufism is the mystical branch of Islam that originated during the Umayyad
caliphate).
Characteristic features

Like the architecture of the Ottomans and the Mughals, the work of the Safavids is immediately
recognizable. Certain features, although by no means universal, are typical. Among these are the
following:

Courtyards with four iwans, each with a rectangular frame with elaborate designs
Intricate geometric and organic designs, often completely covering a dome or spread in columns or
rows over large wall areas
Deep colors (especially blues, greens, yellows) and white

Tiers of muqarnas or stalactite vaulting

Slightly pointed rather than hemispherical domes.

 During the Safavids, networks of caravansaries were constructed
throughout the country to facilitate transportation and promote
trade. The Safavid architecture effectively influenced other
countries’ constructional activities.

Safavid The emphasis on the greatness of buildings, started during the

Timurids, continued to be a principle in many works.
Architecture
Radial symmetry was implemented in an official and splendid way.

There was a prevalent tendency among architects to build recessed

structures like niches or even entrances. The unexpected
contradiction in scale or lighting created the mutual reactions
between small and large or open and closed spaces.
 Undoubtedly, color had a central role in the Safavid architecture.

Tiles, in comparison to the previous eras, covered vaster surfaces.

Safavid Colors and decorations were the main concern of architects, not
the structure.
Architecture
Safavid architecture was actually the climax of skill and experience
of Iranian architects where traditional forms were easily used in
awesome scales.

Plenty of functional structures were also built like bridges, bazaars,

bathhouses, water reservoirs, dams, pigeon towers and
caravansaries.
The Facade in The Safavid Architecture

• The facade in the Safavid

architecture is like theater scene.
The facade is often masked on the
building's face and conceals the
main elements of the building.
Safavid period view is precise,
prolific and related to the
geometric structure that is
designed in proportion to the
horizontal dimensions of the
building. One of the important
features of this period's
architecture style is the brilliance
of expression, in addition to the
strength and beauty of the form
Structural Composition

• The Safavids commissioned and built hundreds of monuments during

their reign, making them some of the most productive builders in all
of Iranian history. The main types of buildings constructed during this
time were mosques, palaces, markets, shrines and caravansaries.
While the decoration of each of these buildings varied, the structural
composition remained much the same, consisting of domes
surrounded by four iwans (or ivans)—rooms that open on one side to
a courtyard often framed by pointed arches. This modular layout
could be expanded or contracted, creating both monumental and
intimate spaces.
Great buildings
in Isfahan
• Considering the security of Iran
in this period, great and great
buildings were constructed such
as the majestic Qapu palaces,
forty columns, eight paradises
and Ashraf Hall in Isfahan and
the monument of Prince
Hussein, the head of the great
Qapu door and the forty
columns in Qazvin.
The palaces of the Safavid era
• The palaces of the Safavid era, such as the Ali Qapu (Royal Gate) and Chehel
Sotoun (Forty Columns) palaces in Isfahan, are remarkable for their decorative
figural frescoes. Murals of women decorate the lower level of the Ali Qapu,
hinting at the uppermost level of the palace, the harem, a space reserved for the
shah and his female attendants. The murals of the Chehel Sotoun, on the other
hand, were painted with group scenes of diplomatic receptions and notable
battles. These figural murals are one of the defining and unique features of
Safavid architectural decor, and are not found as often in Ottoman or Mughal
palaces
• It must be admitted that during the Safavid period, a new and bright new era rose in Iranian art. In
each era, art that has been beautiful and perfect in its kind has emerged. In the tenth century,
Iranian artists gained new benefits and new results. The palace of the sun and the observational
towers of the city of Kalat are the architectural arts of this period. In many of the buildings built
especially at the peak of the Safavid empowerment, the importance of decorative coatings grows
so much that they have to pass through the architectural foundation to understand beyond the
decorative coatings to the foundation of the building.
 Safavid architecture is best known from the urban
program completed in Isfahan

• The Safavid era is the era of perfection and flourishing of the ingenuity of
architecture and urbanism in Iran. The most beautiful and magnificent
works of Iranian architecture during this period were created by creative
architects and artists such as Mohammad Reza and Ali Akbar Esfahani.
The architecture of the Safavid period complements and modifies the
space concept of the Timurid period; though the dramatic expression
and legendary architecture of period is more powerful than the Safavid
architecture.
• The urban program initiated at this time consisted of an axial arrangement of new
royal markets that linked the old city center to a new arrangement of markets,
mosques, and the royal palace that opened onto a monumental and
multifunctional rectangular space known as the maidan.
• This new arrangement, and the aristocratic quarter of palaces and gardens that
was developed west of the maidan behind the royal palace became Isfahan's new
political and commercial center.
• Safavid mosque architecture illustrates the Safavid continuation of earlier Timurid
and Persian traditions of brick construction combined with glazed tile revetment
and the use of formal elements like the pishtaq (monumental arched portal) and
the four-iwan plan.
Shah Mosque
complex
One of the finest structures in Isfahan is
the Masjid-i-shah or Shah Mosque
complex, built between 1612 and
1638."This monument represents the
culmination of a thousand years of mosque
building in Persia." The entrance to the
complex consists of a large arch and two
minarets. Inside the arch are tiers of
muqarnas. Around the outside are bands
of intricate decoration and sacred
inscriptions. The entrance leads from the
maidan to the courtyard of the mosque
itself - reoriented by about 45 degrees in
order that the direction of prayer be
toward Mecca
 Shah Mosque complex

Perhaps the most striking aspects of the entire

complex are its symmetry and color.Multi-
colored mosaics, inscriptions, and both
organic and geometric designs are used
throughout. The great dome itself consists of a
double shell (the outer shell being about 45
feet higher then the inner).It rises
approximately 170 feet above the sanctuary,
displaying gold ornamentation set in a deep
blue background. "The ornamentation is
wholly traditional, repeating the ancient
Iranian motif of symbolic appeal for fertility
and abundance. Almost the entire surface of
the building is covered with enamel tile,
depicting a vast display of floral wealth that is
abstract and imaginative."
Kufic
• It is the oldest calligraphic form of the various Arabic scripts.
• Its name is derived from the city of Kufa.
• It was in this script that the first copies of the Qur'an were written.
• Kufic is a form of script consisting of straight lines and angles, often with
elongated verticals and horizontals.
• It originally did not have consonant pointing distinguishing, for example, b, t, and
th. It is still employed in Islamic countries though it has undergone a number of
alterations over the years and also displays regional differences.
Haft-rangi
• Another singular characteristic of Safavid
architecture are the colorful tiles that
covered exterior faced and interior domes
of mosques. Known as haft-rangi, or
“seven-colors,” the Safavids developed a
new glazing technology that allowed them
to produce polychromatic tiles. A beautiful
example of these can be found on the
exterior façade of the Shah Mosque (or
Royal Mosque) in the main square of
Isfahan. Turquoise, lapis, white, and hints
of green are all harmoniously blended into
the tiled façade. This replaced the old
method of cutting single-color tiles and
rearranging them into the desired
geometric pattern.
Haft-rangi
• In the works of this period, the irradiation of
color and light, and the charm of the levels and
their magnificent appearance, creates a stunning
sensation in the viewer, and the resonance of
the colors and frequent surfaces of the tiles
turns into a transparent, single and spiritual
view. The buildings of this period also have a
four-footed design, but great attention has been
paid to the construction of huge porches with
large dimensions. In the religious building,
glazed tiles, mosaic and seven colors are used to
decorate the walls and walls of the building,
arches, minarets, domes and altars. The
inscriptions and white and shiny copies are used
in niches, and the light through the windows
embedded in the dome stems in a clerical
fashion. In wooden monuments, the wooden
decorations have played a major role, and on it
work paintings and lacquer paintings have been
used
Haft-rangi

• Haft-rangi tiles produced the effect of façades that glittered in the sunlight of
the Iranian plateau, a light noted by visitors far and wide for its clear and
iridescent brightness. In addition to multi-colored tiles, Safavids also
decorated the surfaces of their walls with “aineh-kari,” or “mirror work,”
which consisted of small fragments of mirrors configured into mosaic and
geometric patterns. The reflective light of the sun refracted rays of light from
the mirrored walls, a brilliant effect heightened by the placement of
reflecting pools of water at the courtyard entrances to palaces.
Shah Mosque (Royal Mosque), Isfahan, Iran, begun 1611
(photo: Diego Delso, CC BY-SA 4.0)
Mirror mosaics
• Mirror mosaics were used in religious
spaces as well, especially in Shi’a
mosques and shrines to important
Shi’a saints. The reflective light
symbolized the presence and light of
God, who was conceived as a mirror
of the divine realm. Started in the
Safavid period, mirror mosaics
became an enduring Persian
decorative motif that was used by the
subsequent dynasties. While used
primarily in mosques and shrines,
fragments of these mirror mosaics
can still be seen in the outdoor
portals of the Chehel Sotoun palace,
as well as on the columns of the Ali
Qapu palace
Muqarnas and mirror mosaics, outdoor portal, Chehel Sotoun
(photo: Amir Pahaei, CC BY-SA 4.0)
Conclusion
The architecture of this period is very diverse in terms of scope and
efficiency. And in all aspects of the cultural, social and economic life of the
people there is a living and dynamic presence. The most magnificent
mosques, the most magnificent squares, the most beautiful bridges and
streets, the largest markets, schools, caravansaries were built in this era. And
all of its kind at the height of artistic perfection, strength and efficiency, and
some so magnificent and beautiful, that sometimes it cannot be believed
that it produced a negligible humanity, and indeed can be nothing but love
and heaven and a deep understanding of beauty.