Comparative comparison of the designs of the Blue Mosque in Tabriz and Sheikh Lotfollah Mosque in Isfahan (Pattern Circle)

Dissertation for Master's Degree in Visual Communication

Abstract

In this research, which was carried out by a descriptive-analytical method and its information was collected in a library and field method and was observed and collected by being in the desired place, which aims to identify, expand, adapt and analyze the motifs of the two buildings of the Blue Mosque in Tabriz and the Sheikh Lotfollah Mosque in Isfahan. For the decoration used, among others, we can mention motifs, which are considered the most and most important factor of decoration in the building, and visually, they have rich and original visual values.

One of the most important features of Iran's Safavid era architecture is very strong decorations, these decorations are rooted in the culture, beliefs and national thoughts of the people of this land. One of the most important architectural works of the Isfahan school is the Sheikh Lotfollah Mosque, which has the highest messages in terms of form, color, and patterns, and until today, no research has been done on the origin of the motifs of this important building. According to the research that was done, the roots of many of the motifs of this historical work were seen in the Blue Mosque of Tabriz. In the upcoming research, while examining the motifs of the Sheikh Lotfollah Mosque, an attempt was made to find the roots and investigate and compare the effects of the motifs of the Blue Mosque of Tabriz and the Sheikh Lotfollah Mosque, or in other words, the school of Isfahan.

Indicative decorative elements tell about the different visual quality of two buildings, but they express the closeness and similarity of the impact of the two buildings, and at the same time, they also have differences. The motifs in the Blue Mosque are simple and at the same time more abstract than the motifs of the Sheikh Lotfullah Mosque, but the basis of the motifs of the Sheikh Lotfullah Mosque is the same simple and abstract motifs of the Blue Mosque, which is rooted in the continuity of decorations and ancient traditions that are based on religious and national beliefs, and the differences can be considered the time and geographical distance between these two buildings.

Key words: comparative comparison, motifs of the Blue Mosque of Tabriz, motifs of the Sheikhullah Mosque Isfahan, Nishan. Chapter 1: Overview and Research Background: 1-1 Problem Definition: Continuity in Iranian architectural motifs was a process of thousands of years, which underwent changes in each period according to religion and the type of building materials. But in general, ancient and ancient Iranian symbols were repeated.

With the emergence of the Timurid school and the spread of tiling in architecture, this trend reached its peak in the Safavid period. But the Safavid period, like other periods in Iran, was a continuation of the previous period in terms of art and architecture. In the meantime, the architecture of the Qara Quyunlu period (Azeri school) had the greatest impact on Safavid architecture in the field of decorations. Meanwhile, many similarities can be seen in the tiling of the Blue Mosque and the Sheikh Lotfollah Mosque.

Sheikh Lotfollah Mosque, as a treasure of architectural decorations in various fields of calligraphy, plant and geometric motifs, as well as the framing that was done in the motifs, has been influenced by the Blue Mosque. According to the Azerbaijani roots of the Safavid dynasty, it can be said that the Safavid dynasty's rise to power began in Azerbaijan and reached its peak in Isfahan. In the field of architecture, Azari school (Blue Mosque) was brought to its peak in Isfahan in the form of Sheikh Lotfollah.

1-2 Necessity and importance of research

Regarding the continuity of motifs in architectural decorations, the need to pay attention to the architectural decorations in Qara Quyunlu period as a bridge between Timurid architecture and Safavid architecture seems to be important, which is always ignored. The elements and role of the original and rich decorative elements of the Kaboud Mosque and the Sheikh Lotfollah Mosque have become a factor in each of these buildings becoming an artistic masterpiece of their historical period. For this reason, attention and visual study of the designs of these two places, which are designed based on geometry and proportions, makes this possible. By examining and using motifs, he created works that have traditional and religious characteristics. By creating such works, it is possible to establish the greatest relationship with the people, which includes the artistic industries and the Islamic era of Iran.

1-3 research questions

The questions that this research seeks to answer with a general view are:

- What is the influence of Iranian traditions in the formation and similarity of the motifs of the Blue Mosque and Sheikh Lotfollah? 

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1-4 Research Hypotheses

_ The architecture and motifs of the Safavid period were under the influence of the Qara Quyunluha period, and considering that the Safavid period was in some cases also influenced by the Turks, including the Shia conversion, it can be mentioned. ability to see In particular, the peak of similarity can be seen in the motifs of the base of the courtyard of the Blue Mosque and the motifs of the arch of the dome of the Sheikh Lotfollah Mosque, which has a pea-colored background. The motifs of the dome of the dome of the house are taken from the motifs of the base of the courtyard of the Blue Mosque. But these two buildings also have differences.

_ The differences in these two buildings can be explained with the assumption that there is a time gap of nearly 150 years between the construction of these two mosques. Also note that the two buildings were built in two different climate zones. Also, the art schools in these cities were not without influence, the remarkable thing is that the art of Isfahan has its roots in the Seljuk school, and the art of Tabriz goes back to the art of the Ilkhanids. 1-5 research objectives The main objectives of this research are:

- Examining and matching the motifs of two historical buildings, the Blue Mosque of Tabriz and Sheikh Lotfollah Mosque of Isfahan.

_ Knowing the graphic capabilities of the motifs and reaching Cultural emblems that are from the roots and national and religious culture of the society itself.

_ Collecting motifs of Blue Mosque in Tabriz and Sheikh Lotfollah Mosque in Isfahan, and carrying out and analyzing them. The overall goal is to visually examine and collect the motifs of the Blue Mosque in Tabriz and Sheikh Lotfollah Mosque in Isfahan. This adaptation and analysis of the role of motifs is to take advantage of the visual capabilities of motifs in the creation of works of art. 1-6 The method of research and the method of gathering information and its tools Considering the age, importance and historicity of the Blue Mosque of Tabriz and Sheikh Lotfollah Mosque of Isfahan, this research is of a descriptive historical type and the resulting information has been collected through library and field and by being in the desired place and observing and personal experience. Image information and motifs and figures of the statistical population were prepared using the photography technique by being present at the place. All images, except those whose sources are mentioned, have been prepared by the author. In the next step, the photos and motifs have been analyzed using graphic programs.

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1-7 Research background

In no treatise or book, these two buildings that were built in two different historical periods have not been independently or indirectly compared in this way. are Some of the sources used are:

Torabi Tabatabai, Jamal, The Blue Mosque of Tabriz, Journal of East Azarbaijan Museum, No. 4, Mehr 1348.

Kiani, Mohammad Youssef, The History of Iranian Architectural Art in the Islamic Period, Second Edition, Organization for the Study and Compilation of Humanities Books in Universities (Semet), Tehran, 1377.

Upham Pope, Arthur and Ackerman, Phyllis and Schroeder, Eric, adapted and written by Parviz Natal Khanleri, masterpieces of Iranian art, third edition, Scientific and Cultural Publishing Company, Tehran, 1383.

Soltanzadeh, Hossein, Tabriz Kashti Steward in Iranian Architecture, first edition, Sohba Press, Tabriz, 1376.

Najmabadi, Mohammad Hossein, Sheikh Lotfollah Mosque and its features, second edition, Farzan Rooz publishing house, Tehran, 1381.

Pirnia, Mohammad Karim, edited by Gholamhossein Memarian, architectural stylistics, 4th edition, Soroush Danesh and Memar publishing house, Tehran, 1384.

and . . .

1-8 How to carry out the practical project

In this research, the photos taken from the motifs were analyzed linearly by graphic software and used in the design of the sign. The process of the practical project can be briefly described as follows: after photographing the motifs of both buildings, the motifs have been executed and analyzed. With the changes made on the analyzed motifs, he turned them into logos that are needed and useful in today's society. Next to each logo, there is a picture of the pattern and a linear analysis that shows this process in a visual way.