Effects of Varamin Jami Mosque s Ornamentations on the

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1 Effects of Varamin Jami Mosque s Ornamentations on Spatial Qualities 1 1 Mohammad Naghizadeh,2*Sheida Khansari Assistant Professor, Department of Art and Architecture, Science and Research Branch, Islamic Azad University, Tehran, Iran. 2 Ph.D. Candidate, Department of Art and Architecture, Science and Research Branch, Islamic Azad University, Tehran, Iran. Received ; Accepted ABSTRACT: Mosque as house of God has always been significant to rulers, people and Muslim artists. It is one of most ancient architectural subjects. Varamin 1Jami mosque from Ilkhanid 2 era is one of masterpieces of IranianIslamic architecture. It was one of first projects which started glorious era of renovation after dark times of Mongols 3 invasion. Perfect stucco ornaments in mihrab 4, inlaid mosaic in iwans5 and beautifully done inscriptions with Kufic 6 and Thuluth7 calligraphy in different parts of it, not only have created an admirable visual beauty but also have contributed to spatial quality of mosque. They deeply affect worshipers and make m concentrate and think of God only and ignore earthly matters. This research tries to investigate quantitative and qualitative aspects of se ornamentations and tries to find out how se ornaments affect qualitative beauty of space inside mosque. The research methodology is qualitative and correlational with field study. Well decided choices on ornaments of different parts of mosque, effects of Shia 8, noticing some of rules of beauty such as symmetry, repetition, massing and or areas are some of results of this research. Keywords: Varamin Jami Mosque, Ornaments, Stucco relief, Tile work. INTRODUCTION Having a tendency toward ornaments, or in or words toward beauty and increasing spatial qualities of built environment is of human s instinct. The holy book says: oh son of Adam, gar your beauty from any mosque around you (AlAraf 9:31). There are two main approaches regarding ornaments. One based on physical function and or based on semantic function. Those who have a formalist look toward ornaments believe that y are merely a physical cover and y do not have any cultural and religious significance which are used to cover underlying coarse strata of a surface. On or hand, people like Burckhardt10 believe that se ornaments have a nonhistorical sublime significance and are representations of unity in plurality and plurality in unity. From this point of view ornaments are not merely a physical cover, but are surfaces of symbolic and sublime significance (Maki nejad, 2007). Oleg Grabar has a different opinion though: he believes that ornament could convey religious and sublime meanings, but it depends on beholder. On or hand he believes that ornaments have not any meanings per se, y only remind beholder of meanings (Qayumi Bidhandi, 2011). Some think that emergence of ornaments in mosques has decreased spiritual quality of space. Pirnia (2010) thinks that in Seljuq11 era some changes developed in mosques. The quantity of ornaments increased and this diminished spiritual quality of space. In this research role of ornaments is investigated in Varamin Jami mosque. There are many ways in classifying ornaments: based on subject (flora and vegetal, geometric, calligraphic), based on technique (tile work, stucco relief, break work) and based on position (dome, iwans, and or areas) in this research since most of ornaments exist on norrnsourn axis and is concentrated on this area. MATERIALS AND METHODS Since most of research variables belong to ancient time, an interpretivehistorical approach has been implemented in investigation of results of research which are extracted from field and or methods of study. In study of documentation, historical, social and cultural context and in field studies documentation of project and techniques of ornaments has been highlighted. HistoricalSocial Context One of dark points in history of Iran is invasion of Mongols under command of Genghis Khan12 in 1219 A.D. it happened during glorious time in which Iranian art and literature was flourished and people like Mevlana 13, Saadi14, Hafiz15, Attar16, Nasir aldin Tusi17 and ors had done amazing works in ir fields. The Mongols not only destroyed cities and buildings but also y killed many artists, poets and craftsmen and made ors to immigrate. After Hulagu Khan18 period relations between Muslim countries and China increased. This resulted in infiltration of Islamic architecture of Seljuqs and Abbasids 19 in China and also Chinese architecture in Muslim countries. One of *Corresponding Author sheidakhansari@yahoo.com 27

2 things taken from Chinese architecture was form of domes and also use of color light in tile work and covering outside surface of domes with dark tiles which resembles tents of nomads (Eqbal Ashtiani, 1986). Before Oljeitu20 tile work of dome was solely done for interior of it. But after this period outer surface was also covered in tiles. Some believe this resulted from Mongols customs in ornamenting ir tents. They used to put ornaments on eir sides of ir tents and after y started living in cities, y started to do that on domes as well (Ibid). It seems that enameled cover of Varamin Jami mosque (Dieulafay, 2011) is done with same strategy. It was built on command of Oljeitu. He was a Christian in beginning. But later converted to Islam and became a Hanafi21 Sunni22. Then again because of disputes between Sunnies of Hanafi and Shafi i 23, he became a Shia on recommendation of AlHilli24. Signs of this conversion could be found in inscriptions of mosque in sourn dome and portico with name Ali25 on m. building is constructed with adobe and dirt without any finishings, n a layer of finishing was done on surface of it in form of eir bricks with knot work and course or a layer of stucco with painting on it (Pirnia, 2010). On eastern wall of dome chamber between two entrances re is a layer of break work on beneath surface (Fig. 3). Also in comparison with previous stylekhorasani 31 mixed use of brick and mosaics and stamp break (mohri)32was replaced by mere use of breaks. On or hand use of faience mosaic in turquoise and azure color in form of knot work is of significance in main axis of mosque (Fig. 4). Without any doubt most significant ornament of mosque is stucco relief. These relieves could be classified into two categories: 1.The deep relieves (barhashte)33on a large scale in niche. 2. Shallow thin stripes of arabesque (shir shekari) 34 on a small scale. These stripes separate two surfaces or enclose inscriptions as a frame. The ornaments of mosque have always been appreciated by tourists as a high characteristic of Iranian architecture. Madam Dieulafay writes in her notes: entrance is covered with mosaics and is very interesting. The mihrab and stucco relieves are amazing and are clearly made by a master. The breaks are covered with white mortar and re are gaps as much as 4 centimeters broad on walls with ornaments carved on m in Arabian style (Dieulafay, 2011). Now we go through ornaments separately. Varamin Jami Mosque Varamin Jami mosque is of typology of fourparted plan with four iwans. The construction started in 1322 A.D. under Oljeitu and finished four years later in reign of Abu Sa id26. In course of time building has endured many incidents and has been renovated many times. The description of one of se renovations is inscribed in sourn iwan which was done by Shahrukh Mirza 27. After many damages among m destruction of two minarets and outer surface of dome, some parts of western arcade were also destroyed. In current situation, re are arcades around square central court of mosque. The main entrance on norrn side, high sourn iwan, and dome behind it have created a strong norrnsourn axis. The axis not only highlights direction of Kaaba28 but also most of building s ornaments exist here. The second entrance of building is eastern iwan and western iwan which is less in height has less ornaments (Fig. 1 and 2). The Entrance The main entrance is located on norrn side with arches on sides. Over entrance re is what remains of an inscription with white Thuluth calligraphy on mosaics with construction date of mosque (Etemad Saltane, 1989). There is a broad clay stripe of Kufic calligraphy over inscription with light arabesque ornaments in between calligraphy. The sides of outer arch and pedestals of iwan are covered in light mosaic with geometric (Fig. 5 and 6) (Table 1). The Ornaments of Mosque From point of view of ornaments Varamin Jami mosque follows Azari style29 guidelines. Pirnia states that in this style Sourn Iwan On contrary to main entrance which most of its ornaments were geometric with break work combined with light and dark mosaics, in this iwan Fig. 1: Plan of mosque (Source: Haji Qasemi, 2004) Fig. 2: Perspective (Source: Ibid) 28

3 Fig. 4: Knot work with combination of breaks and mosaic on main entrance Fig. 5: Norrn entrance (Source: Haji Qasemi, 2004) Fig. 6: Calligraphy and geometric on entrance arch Table 1: Ornaments of Norrn Gateway Tile work Flora and Flora and vegetal vegetal motifs motifs Light and d ark Light and dark Geometric Geometric Combination Combinationof break and and of break mosaic mosaic Calligraphy Calligraphy in cription over incription over entrance entrance with a frame with a frame with geometric with geometric Stucco relief Break work Subject Arabesque for Arabesque for emph asizing emphasizing inscription inscrip tion Combination Combination of of break breakand and mosaic mosaic in scription over arch inscription over enclosed with arch enclosed arabesque with arabesque 29 clear clear Repetition of Light and dark k not of Light and dark Repetition work as work knot large andsmall small large and scale medallion as medallion scale etc. etc. construction construction date date Scalecolorstyle Thluth calligraphy in largecalligraphy scale and Thluth in large scale and impossible impossibleto read because of Kufic calligraphy to read erosion becaus e of in large scale an d Kufic calligraphy erosion in large scale and Sample Fig30. 3: Break work cover on structure in dome chamber

4 (Fig. 7) most of ornaments are monochrome break work done in different depths (hasht o gir) 35 with beautiful eight sided stars and cross shape (Fig. 8) with names Mohammad36, Ali and Allah repeated in simple calligraphy. The ceiling of iwan is covered in Muaqal 37 mosaic and half dome is covered in a stalactite (Fig. 9). The side of walls and beginning of iwan s arch is covered in a swirling pillar of light mosaic and breaks repeating name Ali. The inscription on outer arch of iwan is verses of holy book done in stucco relief. On eir sides of door, re are two inscriptions out of stucco (Fig. 10). The one on leftreads Shahrukh Mirza son of Timur 38 which during his time mosque was renovated and one on right reads Yusef Khan, renovator (Etemad Saltane, 1989). Over pendentive on door, re is a thin stripe of stucco which repeats names Ali, Mohammad and Allah in simple Kufic calligraphy (Table 2). Dome Chamber There are four entrances with ogee arches in four sided base area of dome around which re are stucco relieves with arabesque (Fig. 11). On pendentive name Allah reads in between knot work. Inside rectangular frame re is an inscription in Kufic calligraphy describing renovations of mosque which is done using breaks and light and dark mosaics. The walls are covered in organic in between simple stamp breaks (Fig. 12). On edge of dome chamber walls and before connecting to eight sided part, re is a broad stripe with Thuluth calligraphy and an arabesque frame which reads AlJumua39 verse from holy book. In eight sided part ornaments with geometric with combination of breaks and mosaics direct eye to central part of dome (Fig. 13 and 14). Around this area holy names Allah and Mohammad add to spirituality of space (Fig. 15) (Table 3). Fig. 7: Sourn iwan Fig. 8: Eight sided and cross shaped pattern with a Thulth inscription on sourn iwan Fig. 9: Moqarnas and geometric ornaments under outer arch of sourn iwan Fig. 10: Stucco thin stripes with organic and calligraphy 30

5 Tile work Stucco relief Flora and vegetal motifs thin stripe enclosing broad inscription of iwan and stucco inscriptions on eir sides of entrance to dome chamber Geometric Combination of breaks and mosaics under outer arch Thin stripes on walls of outer arch with simple geometric Calligraphy Break work Subject Scalecolorstyle arabesque small scale in light brown color Sample Knot work with elements Muaqal moasic in light and dark such as medallion etc. broad stripe AlJumua holy verse The name Ali in consisting two layers, Over swirling pillar one broad and clear iwan holy and or thin names (Allah with and small combination of and Ali) and break and light Salavat holy names Four inscriptions mosaic Prayar describing renovations Inscription in Thuluth calligraphy and rest in simple and Kufic calligraphy Fig. 11: Ogee arches with pendentive ornaments around m Fig. 12: Stamp seams on dome chamber wall Fig. 13: The broad stripe of inscription at intersection of four and eight sided parts (Source: Arch Net, 2013) Fig. 14: The central part of dome 31 Table 2: Ornaments of sourn iwan

6 Table 3: Ornaments of dome chamber Geometric The walls The eight sided part of dome and four sided base The central part of dome Organic Less geometric In form of stamp breaks with simple in comparison to arabesque iwan repeated on walls as a complimentary element for thin stripe with inscriptions (mosaic arabesque of work) stucco on margin stamp seams (stucco of inscription relief) Light and dark mosaic knot work on arches Calligraphy Sample Inscription in Thuluth calligraphy with AlJumua verses as relieves renovation descriptions in Kufic calligraphy on sides of gateway to nave Repetition of names Mohammad and Allah with break and brown and green mosaic around central pattern of dome repetition of stamp seams 16 sided pattern at center of dome enclosed by knot work Fig. 15: The geometric ornaments of central area of dome Mihrab Mihrab consists of an arch which is enclosed by two frames (Fig. 16). Inside arch flora and vegetal motifs with stucco fringe in Thulth calligraphy (in a very small scale which is difficult to read) repeat and separates itself from arabesque ornaments of pendentives. The first stripe enclosing arch is a broad inscription in Kufic calligraphy reading AlIsra40 verse from holy book (Fig. 17). The second stripe consists repeating arabesque. The flora and vegetal stucco (Fig. 18) relieves are deep and area devoted to geometric is really small in size. Also in mihrab niche and wall behind it re is not any color diversity as it is in iwans and main entrance. RESULTS AND DISCUSSION Compared with previous data table, transforming decoration of Varamin Jami mosque is expressible along North South axis. At entrance of mosque, at beginning of mentioned axis, often decorated with geometric with Muaqal tiles and use of turquoise and azure colors are more common than or parts. Content of mosque inscriptions is not Quran, but it is about introducing mosque, builder s name and date of construction. It seems that with using attraction of and colors inviting role of entrance is highlighted. After entering Fig. 16: The frame enclosing inscription in between Flora and vegetal motifs 32

7 Fig. 18: The organic inside mihrab arch (Source: Arch Net, 2013) courtyard to surrounding iwans, a high iwan with diversity of decoration shows off on south side. Iwans and or bodies with simple geometrical with uniformly colored bricks do not attempt to attract viewers. At external sourn iwan arch, arabesques with calligraphy and geometric knot work are more abundant than entrance. Inscriptions contents are verses of AlJumua chapter, holy names and prayers. Colorful Tiles are used less than entrance and most of decorations are HashtGir style brickwork. After entering dome, undoubtedly one color of space is obvious because it uses least color here. Geometric designs are also used less than or places. The altar is covered with stucco plant designs and space spirituality with AlIsra and AlJumua verses and holy names have become greater. Since geometric motifs are oriented toward center and arabesques have not any specific direction and center and always keep spinning, this could be assumed that density of geometric in entrance and iwans was referring to a particular center or axis and dome and altar as last part of stretched and significant north south axis has been highlighted in this way. The principle of Symmetry in combination: at external arch of sourn iwan of Muaqal knot work; in which objective manifestation of balance as well. The principle of rhythmic repetition: in wall of dome visual elements such as stamp brick with repetitive rhythmic are scattered in whole space without causing any attention at all; this important principle can be compared with hint principal of religious teachings (Naghizadeh, 2012). The principle of reflection in mirror: in plaster frame around altar with plant motifs The principle of diversity and innovation: using different knots and different ways of calligraphy (style, way of construction, scale and size) The principle of density and composition: compactness of stamp seams and narrow strips plaster in changing level (dome) The Principle of separation: different colors are used in decorations for more attraction. For example, color of letters of entrance inscription is different from background; refore writing is quite distinct but plaster inscription on south portico and dome (verses of AlJumua ) is same as background color and perhaps because builder has not wanted to show off. Using inscriptions in largescale with broad strips with Quran content or description of repairing mosque and in smallscale repetition of holy name of Allah, Ali and Muhammad or in form of thin strips of plaster as well as a separator, and also element of unity. Creating visual effects by diagonal writing holy names on walls of sourn iwan. Induction of spiritual and secular nature and impact on audience through adding geometric designs and arabesques to inscription broad strips. Emphasize on common religion of time with repeating name Ali, who seems to dominate thinking of builders. Smart choice of decorations in parts of mosque: such as arabesque at altar ( most sourn part of axis) which whatever distance from most norrn part of axis (entrance) reduces, y are less important and y are replaced with geometric designs. CONCLUSION It can be noted that re are different attitudes to ornament; sometimes it is to identify origin of building, some consider it as a source of visual pleasure, anor look at practical function of ornament is considered for framing, filling and joining of elements and in a more general view ornament consists of a number of intermediaries between object on one side and observer on or side. Decorations are such filters that messages and symbols and perhaps even conscious or unconscious pleasures are transmitted through m in order to contact with audience in best way (Qayoumi Bidhandi, 2011). Application of decorative arts in Varamin Jami mosque at most magnificent altar plaster, Muaqal brickwork iwans with geometric content, arabesques and calligraphy, in addition to visual appeal for prayers, was created to draw attention, focus and more reflection. Also have a positive effect on quality of architectural space in order to optimize performance of mosque as a place of worship that is briefly mentioned in following: Considering estic principles ACKNOWLEDGEMENT This paper is extracted from a Ph.D. dissertation in Islamic Architectural research entitled The Exploration of Status 33 Fig. 17: Verses from AlIsra in Kufic calligraphy (Source: Arch Net, 2013)

8 DolatAbad of Ornament Art in Qualification of Iranian Architectural Space is supervising by Dr. Mohammad naghizadeh; in Department of Art and Architecture, Science and Research Taj Mahal Branch, Islamic Azad University, Tehran, Iran 27 ( ), The Timurid ruler of eastern portion of empire established by his far, Central Asian warlord Timur DolatAbad 28 A cuboid building in Mecca, Saudi Arabia, It is one of most sacred sites in Islam 29 A style of architecture when categorizing Iranian ENDNOTES architecture development in Iranian Azerbaijan history. 1 A city in Tehran Province, Iran Landmarks of this style of architecture span from late 2 A breakaway state of Mongol Empire from 1256 to 13th century (Ilkhanate) to appearance of Safavid 1335, which was ruled by Mongol House of Hulagu 3 An Inner Asian ethnolinguistic group and Mongol dynasty in 16th century 30 All pictures are taken by authors, unless it says Empire was largest contiguous land empirein human orwise history from 1206 to A semicircular niche in wall of a mosque that indicates 31 The first style of architecture appearing after conquest Qibla; that is, direction of Kaaba in Mecca and of Persia, but is highly influenced by preislamic designs 32 A sort of precut breaks are called stamp breaks. Stamp hence direction that Muslims should face when praying breaks sometimes are put between simple breaks (with stamp 5 A rectangular hall or space, vaulted, walled on three sides, seams) or were used in combination to create with one end entirely open, usually decorated with calligraphy 33 A kind of stucco relief with deep bands, glazed tilework, and geometric designs 6 The oldest calligraphic form of various Arabic scripts 34 A kind of stucco relief with shallow 35 A sort of break work with different depths which creates and developed around end of 7th century in Kufa, Iraq, from which it takes its name 36 ( ), A religious, political, and military leader 7 A script variety of Islamic calligraphy which made its first from Mecca who unified Arabia into a single appearance in 11th century CE religious polity under Islam 8 The second largest sect of Islam after Sunni Islam 37 A kind of colorful tile 9 The seventh chapter of Quran, with 206 verses 38( ), known as Tamerlane, conquered West, South 10 ( ), A German Swiss, He devoted all his life to and Central Asia and founded Timurid dynasty study and exposition of different aspects of wisdom 39 The 62nd chapter of Quran with 11 verses and tradition 11 A Turkish Sunni Muslim dynasty that gradually 40 The 17th chapter of Quran, with 111 verses adopted Persian culture and contributed to TurkoPersian tradition in medieval West and Central Asia from 1016 REFERENCES to 1157 Dieulafay, J. (2011). Travels to Iran. Translation: Homayun 12 ( ), founder and Great Khan (emperor) of Farahvashi. Tehran: World of books publication. Mongol Empire Eqbal Ashtiani, A. (1986). The history of Mughal. Tehran: 13( ), Persian poet, jurist, ologian, Amir Kabir publication. and Sufi mystic Etemad Saltane, M.H. (1989). Merat Al Boldan. Edition: A.H. 14 ( ), Persian poet Navai& M.H Mohaddes. Tehran : Tehran University 15 ( ), Persian poet publication. 16 ( ), Persian poet, oretician of Sufism Haji Qasemi,K. (2004). Ganjnameh, no. eight: Iranian 17 ( ), Persian Muslim scholar mosques. Tehran: Beheshti University publication 18 ( ), first Ilkhanid dynasty ruler, from 1256 Makinejad, M. (2007).Architectural Decorations. Tehran: to 1265 Samt publication. 19 The third of Islamic caliphates from 750 to 1258 Qayumi Bidhandi, M. (2011). Discourses in History of 20 ( ), eighth Ilkhanid dynasty ruler, from 1304 Art and Architecture. Tehran:Elmi Farhangi publication. to 1316 Naqizadeh, M. (2012). City of Awakeness. Tehran: Azad 21 One of four Madhhabs (schools of law) University Research and Science Branch publication. in jurisprudence (Fiqh) within Sunni Islam Pirnia,M. K. (2010). The Methoda of Iranian Architecture. 22 is largest branch of Islam, word Sunni comes Edition: G.H. Memarian. Tehran: Sorush Danesh from term Sunnah, which refers to sayings and actions publication. of Islamic prophet Muhammad as recorded in Hadiths Arch Net. (2013). Masjidi Jami i Varamin, Varamin, Iran. 23 One of schools of jurisprudence within Retrieved from Sunni branch of Islam large.jsp?location_id=3804&image_id= & 24 ( ), One of well known Shia scholars of his archnet.org/library/images/oneimagetime large.jsp?location_id=3804&image_id= & 25 (600661), was cousin and soninlaw of Islamic archnet.org/library/images/oneprophet Muhammad, ruling over Islamic Caliphate from image.jsp?location_id=3804&image_id=188370) 06/18/ 656 to ( ), ninth Ilkhanid dynasty ruler from 1316 to