Document Type : Research Paper
Authors
1
Associate Professor, Department of Iranian Architecture Studies, Faculty of Architecture and Restoration, Shiraz University of Arts
2
Assistant Professor, Department of Restoration of Historical Buildings, Faculty of Architecture and Restoration, Shiraz University of Arts
3
Lecturer, Department of Restoration of Historical Buildings, Faculty of Architecture and Restoration, Shiraz University of Arts
10.22059/jfava.2025.392973.667451
Abstract
The Baqdādi Mosque in the Sar-e-duzak neighborhood of Shīrāz is a structure that underwent significant transformations during the Qājār era. Its stone' mihrābs represent exceptional examples of Al-Muzaffar and Timurid artistry. Studying these elements can provide a deeper understanding of the historical and artistic value of this mosque, yet they have so far remained largely overlooked. There is no specific study that, in addition to reading the inscriptions and describing them, analyzes their relationship to the historical and artistic context. There are two important challenges regarding the identification of the Baqdādi Mosque; the first challenge is related to the age, and the second about its name. The aim of this research is to identify the themes, artistic aspects, and decorative motifs of its mihrābs and inscriptions. The research method is interpretive-historical, and the necessary documentation, in addition to historical sources, is based on field surveys using short-range photogrammetry. Initially, the mihrāb and its inscriptions were documented using a Canon EOS700D camera and Agisoft Metashape Professional version 1.8.5 software to prepare 3D models and ortho-images. Then, detailed drawings of each of the inscriptions and their motifs were made, which were used for reading the inscriptions and analyzing the motifs. Then, historical data and the text of the inscriptions and the analysis of the motifs were put together to provide a picture of what they were and their relationship to each other and to the mosque. The main research questions are: 1. what is the geometric structure and aesthetics governing the stone mihrābs? 2. What are the types of motifs found in them? And 3. How do the themes and content of each inscription relate to each other? The content of the inscriptions in all cases indicates that they all belong to a religious building. Thus, there is a kind of connection between the content of all three stone inscriptions of the mihrāb or each other. The use of verses from Surahs al-Isra, al-Nur, and al-Tawbah in these inscriptions is consistent with the usual practice in other examples of mosques; what is distinctive and interesting is the use of prophetic hadiths as inscriptions, which indicates a kind of local taste in Shīrāz during the time of the Ilkhāns (Al-Muzaffar). In addition, The findings indicate that in the three stone mihrābs of the mosque (1366-67, 1437-38, and 1897), "naturalistic" floral motifs, "leafy arabesques," "Khatayi" motifs, and "medallions" are dominant, and geometric motifs are not used. The stylized cypress motif in a vase, seen in the middle stone, is a unique example from the late Timurid period. The use of hadiths alongside Quranic verses creates a significant distinction from other examples. The "dominance of Thuluth script over Kufic," the "lack of integration and balance between inscriptions and motifs," and the "replacement of Ilkhānid chandeliers with vase motifs" reflect some of the local tastes of the Fārs governors. This research has also revealed part of local taste for parallel dynasties in the history of Iranian art in Shīrāz. Further studies can address other stylistic-artistic distinctions.
Keywords
Main Subjects
)