The most beautiful religious buildings Ispahan

Architectural masterpiece, commissioned at the beginning of the seventeenth century by the Shah Abbas, this wonder of safavide art covered with blue ceramic tiles (kächi) similar to turquoises in the Khorassan region, is the most sumptuous monument left by the founder of the Abbasian dynasty. sides. The Cheik Lotfollâh mosque seemed to be too small! Built in 1611, it will only be completed after the death of its founder, despite the eagerness of the founder to work the architects night and day. It is in particular to save time that the decorations of the decorations are not, as in the other buildings of the same time, mosaics of terracotta terracotta, but colored tiles assembled to create the final drawing. And the aesthetics of Muslim art can detect many defects due to the haste of craftsmen.

Mosque of courtyard and apparel, the Shah mosque fits perfectly into the splendid imperial ensemble of the square although, beliefs oblige, it could not be built on the north-south axis but slightly oblique, which explains the uniqueness of the plan developed with a portal of bias over the rest. of the southwest-oriented building towards Mecca. But, once returned, the plan remains the same as in other Iranian mosques.

The huge entrance portico (27 m high) is framed with two very narrow minarets (42 m high). Magnificent illustration of the monumental architecture, it combines the decorative elements mixing with glazed and stalactite fade, in the image of the interior of the arc of its half-dome. Raise your head to the sky to appreciate ornamental wealth. See in particular the wonderful white arabesques and gold on the blue background on the outer wall of the portal. The large fry of silligraphy calligraphed on cobalt blue background is equally remarkable.

Once in the large inner courtyard, beyond the portico, note the four huge iwan, top vaulted rooms, open on one side. Overlooking the large prayer hall and the whole, rises the huge dome (52 m high) to the majestic bulb with turquoise varnished earthenware. Have fun under the dome to check the exceptional acoustics of the places (you must be able to hear 7 times the echo of your voice!) and admire the hypnotic arch. One of the arcades of the East iwan opens on a madrasa (Koranic school) located behind the central courtyard of the mosque. Like Iranian madrasas, it is centered around a rectangular courtyard surrounded by cells for students. The southwest wall, cobalt blue and saffron yellow, is also remarkable. In recent years, Madrasa has been home to a courageous photographic exhibition dedicated to the Muslim victims of terrorism worldwide. Throughout the day, Imams are also present to discuss and answer theological (not political) questions of visitors to inform their knowledge of Islam. With a steep door, after a tip left to the guard, the spiral staircase leads you to the base of the big dome. Ispahan then extends to your feet. Beyond the Place de l 'Imam, the ostracized ochre city of turquoise coughing deploys its charms on a backdrop of mountains… Nevertheless, to enjoy the view of the Imam mosque, go to the upper floor of the Ali Qâpu pavilion also located on the square.

Southeast of the square, facing the Ali Qâpu Palace. This small jewel, completed in 1619 by Mohammad Reza Isfahani (son of the architect of the bridge to the Thirty-Three arches), owes his name to a prestigious theologian and required just over fifteen years of work. Of smaller proportions than the large mosque, it is coated, both inside and inside, of ceramics with rare tons, the mosque presents very beautiful arabesques. The glazed dome dome is decorated with blue flowers and white arabesques on a cream or pink background depending on the time of day. A unique vision that radically changes the turquoise tones that one is accustomed to seeing on the cupoles of Muslim medieval monuments. Even if the aesthetics will be happy to say that the rose perfectly enhances the turquoise and arabesque arabesques in the extraordinarily complex route that decorates the dome finely. Do not hesitate to offer some time of contemplation and return to different times of the day because the ensemble changes radically from the angle of the sun. Sit on the portal and its rich mosaic of geometric patterns, complemented by a stalactite vault with a particularly fine purpose. Note the absence of an inner courtyard and minarets. We move very quickly from light to darkness through a narrow corridor, designed to protect the faithful from indiscreet eyes and symbolizing a path towards the heavenly vault. Then you access the sanctuary, composed of a unique and vast prayer room. The darkness contrasts sharply with the clear colors that could have been observed outside, on the dome or on the portal.

Here we discover the science of the mural mosaic art, true jewel of the Persian fade. See in particular the large ceramic tiles to the flowered arabesques of artistic calligraphy. The blue and yellow dominate the walls as well as the ceiling while calligrapher Ali Reza gives the drums the full measurement of his art. In this regard, the Sheik Loftollah mosque is considered an outcome. Clou of the show, this aura of light filtered by high musharrabiehs placed in the drum supporting the dome and letting appear on the walls the "tail of the peacock". Take the time to walk in this square room of 19 m aside to vary the colors, colors, shadows on decorations according to the angle of entry of sunlight by the windows. The use of light weighs as much in decorations as all the mosaics or mosaics, making the prayer room a masterpiece.

As in the Shah mosque, architects had to face a problem of alignment of the building and, so that the mirhab could look at Mecca, it was necessary to abandon it parallel to the plot. The entrance corridor to the prayer room also serves to conceal the 45 degree angle change.

The mosque, once completed, was reserved for the private use of Sheik and his relatives, hence his nickname of the king's oratory. You will notice the total absence of minaret, strange for a mosque, but the muezzin appeal was useless because only Sheik came to pray under the dome.

The mosque's double minaret forms the entrance of the streets of the bazaar. The very sober mosque on Friday, the only Persian to keep intact the buildings and sets of the seldjoukide periods (1051-1220), Ilkhanide (1220-1380), timouride (1370-1506), safavide (1570) 02-1736) and the most baroque turcoman, is a true museum of Islamic architecture of xie in the eighteenth century. Despite invasions, destruction, reconstructions, the ensemble retains a harmony and a wealth of styles that make it one of the most interesting monuments of the city. It is often called the old mosque by the inhabitants, in opposition to the Shah mosque, but the visit will convince you quickly that it has nothing to envy him!

To start your visit, focus on the exhibition of 3 D diagrams at the entrance, once passed the portal. They make it possible to fully realize the evolution of the building during successive dynasties and the construction or disappearance of its various parts.

The Friday mosque of Ispahan remains the largest mosque in Iran, with 474 original individual vaults, and enjoys complex architecture mixing ages and styles. The remains of a first mosque with climate orientation dates back to the viiith century (773) and were erected under the Reign of the Abbassides. It was in the selfjoukide era that, on order of Vizir Nizâm al-Molk, in 1080, an exceptional dome in one vault was added according to the architectural principle of the fire temples. It must be said that Nizam al-Molk, Vizir of Malek Chah, had sworn to take his place and that the mosque had been completely destroyed by his supporters. The vizir for him ordered the construction of the north pole, prodiging architecture for the time. The two buildings from the conflict were the only ones surviving the great fire of the mosque in 1121.

It is in the southern part of the mosque that the main mirhab is found, but one of the most notable iwan is certainly that of the western flank, with its sefecal earthquakes. Also note the sobriety of the many vaulted brick rooms, surrounded by the central courtyard of four iwan dating back to the xiith century. The vault of the south iwan, the most impressive, is covered with large alveoli and superb ceramics of fatherhood of xvie, xviie and eighteenth centuries. On the north iwan side, the dervish iwan, the stars are made of the precise provision of bricks. The little tower of the West Iwan serves to call for prayer. On the right of this one, the small room of the Mongolian sultan Oldjaitou (whose mausoleum is in Soltaniyé) houses a very beautiful mihrab in 1310. Also admire the beautiful calligraphy and the finesse of carved flower motifs. Located in the basement, the Shabestan (summer and winter room), completed in 1447, stretches over 50 m long and 20 m wide. The low light filtered by the translucent algae algae ensured that all night was in prayer. Finally, you can close the visit of the Friday mosque through a tower of the annexes. The mosque actually housed madrasas (Koranic schools) and water rooms for the ablutions of the faithful.

After the visit, you will have embraced what successive Iranian architectural schools have produced more beautiful and more successful over the centuries!