International Research Journal of Applied and Basic Sciences
© 2013 Available online at www.irjabs.com
ISSN 2251-838X / Vol, 4 (3): 629-639
Science Explorer Publications
Topic-oriented Research on Illuminative Paintings of
Quran and Islamic Architectural Decorations of
Complex of Sheikh Safi-al-din-e- Ardebil Khanghah
Zahra Danesh Arani* 1 , Vahid Vaziri 2
1. M.A. in Architecture
2. Assistant professor of technical college of University of Mohaggeg – e – Ardebili
Corresponding author email:[email protected]
ABSTRACT: Islamic art, enjoying the foundations of religious thinking in different forms, expresses the
modes of its spiritual nature in Islamic societies. Appearance of Quranic concepts in layers and angles of
Muslims’ arts in different artistic periods and branches is an indicative of the position of this sacred art in
promotion of religious culture. Diversity in artistic approaches of Islamic-Iranian, that through its
outstanding element expresses the principles derived from the God’s words, leads the Iranian Muslim
artist to the creation of masterpieces of Islamic art, to the point that the most magnificent artistic
expression-that it has developed at a wide level – can be observed in book realignment, illumination,
decoration and architecture. From among these arts, Quranic illumination and decorations in Islamic
architecture that as two artistic branches have meditatively been at the service of religious art can be
elaborated. The present research attempts to offer 15 Quranic topics in expressing monotheistic
effectiveness of the holy Quran in decorative-artistic arrays. In doing so, and in order to have an access
to study some samples of arrays and decorative paintings, Quranic-illuminative works of complex of
Sheikh Safi-al-din – e- Ardebil Khaneghah have been investigated. This paper compares the above
mentioned artistic components and makes it clear that Quranic noble ideas are as the grounds for
forming the decorative and architecture arrays of Saffavid age and this means that Quranic approach in
artistic works of Saffavid age is worth of consideration.
Keywords: Architectural decorations; Complex of sheikh safi-al-din ardabili,s khanegah; Holy quran;
Islamic art; Quranic illumination.
INTRODUCTION
Islamic art having sparks of aesthetic forms a transcendental debate with divine and heavenly themes and in
the form of symbolic forms, and reveals the highest Islamic motifs. Designs and abstract forms that have been
formed in the realm of Islamic Art, have their origin in inherent truth and a geometric order, and an indicative of a
world full of mysteries behind its tangible form. Islamic art, while being abstract, transfers exalted spiritual sense
whose resources are The One God and HIS avlia (friends). An artist interweaves these meanings with his/her
special form (Shayestehfar, 2006). In transition of each period Islamic artist, deals with promoting monotheistic
spirituality in the context of a variety of techniques in proportion to personality features and cultural orientation and
identity.
From the perspective of Islamic Art, Safavid Era has been the most flourishing period of artists and promotion
of Islamic art to the extent that this trait is evident in different artistic forms of this period. Supreme genius of artists
of Safavid Era in expression of Islamic thoughts is an indicative of their higher religious trends, among which the
famous calligrapher of the period Alireza Abbasi can be pointed out. Access to the nature and semantic
relationship of Quranic illuminative works of Safavid Era and spiritualistic decorations of complex of Sheikh-Safi-AlDin-Ardebil-convent with truths within the Holy Quran, is a challenge that the present research has been formed
base on it.
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
METHOD OF STUDY
The present research attempts to offer 15 Quranic topics in expressing monotheistic effectiveness of the holy
Quran in decorative-artistic arrays. Methods of analysis in the study of historical, descriptive and comparative
approach has been used in some cases (Table 2).
Manifestation of God in the Quranic verses
In Islamic Insights phenomena of the universe are signs of the Lord and one way to achieve unity of thought
and understanding the Lord for thoughtful people are the way of horizons and intellectual move in divine revelations
(Javadi Aamoli, 2006).Mohieddin ibn-e- Arabi says “God has not made clear anything but Himself, i.e. the universe
is completely an indication of the right” (Bolkharighohi, 2005). The holy Quran is the origin of real understanding of
divine revelations and the reason for understanding God's attributes and actions. “A Book whereof the Verses are
explained in detail; A Qur'an in Arabic for people who know (Fussilat, 3). Many of the Suras of Holy Quran,
introduce Quranic verses as a means to achieve recognition and access to divine knowledge. Sohravardi says “It
is obligatory upon you to read the Quran with enthusiasm and subtle thought, and to read the Quran in a manner
that as if it has not been revealed but for your dignity” (Corbin, 2011). Accordingly, perception of manifesting the
traits of glory and beauty, appearance and essence, unity and oneness of God depends on reflection within the
verses of Holy Quran.
Islamic Art, Deliberating on the Holy Quran
The origin of Islamic art should be searched in Quran’s internal realities, that are the main realities of universe
and spiritual truth of prophetic essence and Mohammadieh Blessings come from it. Quran recounts the principle of
oneness and Prophet Muhammad (PBUH) also is this unity in diversity (Tajabadi et al., 2009). Islamic art, in
general, tries to create an environment where humans can gain their primary inherent dignity. Not any obstacle
should be placed, as a veil between man and God’s invisible presence (Shayestehfar, 2001). From the view points
of those like Titus Burkhart Islamic art, especially painting, is the reflexions of fixed grandee (scientific rise)
(BulKharighohi, 2009). Muslim artist perspective and worldview has a close relationship with the Qu’ranic thinking,
so that, in order to explain the dignified Quranic concepts it focuses on perceiving the conceptual values hidden in
Quranic verses and natural designs and then by creating an artistic platform, and then states other revelations in
the form of appearance. Discovery of any concept for human being is in the framework of the appearance through
which the concept reveals itself for human being (Sadri, 2008).
Quranic verses are not merely words to transfer ideas, but each one of them while bearing the same concept is
inventory, power related and majic. (Lings, 2008).
Decorative calligraphy, writing inscriptions, the tiling with its conceptual arrays and Quranic illumination are
among the arts that have been serving Islamic art. Muslim artists in this field with mediation on subtle Quranic hints
are still being continued. And the reason for lack of the abovementioned works even in nowadays modern art
period is their rich Quranic background.
Agricultural Ornaments
Agricultural ornaments in different periods of Islamic history have been a large part of art in Islamic lands
especially in Iran. These ornaments enjoy considerable richness so that the architecture without decorations,
perhaps couldn’t show itself up to this extent (Yousefi et al., 2005). Raising monument ornaments from the Islamic
and Quranic point of view in different periods of Iranian architecture history especially in Savavid era which was
considered as a cross eruption of religious excitements, seems necessary. (Helen brand, 2008). Complex of
Sheikh Safi-al-din-e-Ardabile convent with its most beautiful ornaments shows itself as one of the living and
illustrative documents of Safavid era. This show is quite clear when we retell this speech from Hellen brand :” The
wall associates in the mind a gallery covered by rare paintings … Viewer likes to look at them and go from one
frame to another and ponder in them and finally to be drown in them. This is the strange power of Safavid
architecture”. The doors, walls, ceilings, writings, domes and boxes of the graves all adorned with arabesque, plant
and geometric paintings and religious calligraphy. Decorations have been made using simple and monochrome,
golden shade, seven color, diaphoretic, combination of tile and brick tiles (Azad, 2009).
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
Table 1. Decorations of the main yard of complex of Sheikhsafi-al-din-e-Ardebili convent
Row
1
Place
Exterior wall of Daralhofaz Hall
Ornaments
Entrance:
- combination of tiling with medallion, pineal, rosette designs and imprinted mogharnas
- Lattice tile under mogharnases
- Calligraphic inscriptions
Exterior wall: Two rows of pentamerous windows at the bottom and top of view
- five lattice windows tiling on top of bottom row windows, foursome hard nodule and
decorative eight hexagonal in decoration of tiled grille
- Calligraphic inscriptions above each window with religious concepts.
- imprinted six and eight feather flowers around each window
- Mogharnases and overall inscription on rokhbaam of the facade
2
Exterior wall of Jannat Sara
3
Exterior wall of Dar-al-hadith
4
Allah Allah Dome
5
View of the entrance wall from middle
courtyard to the main apron
- Writing imprinted with Quranic verse” O you who believe! Remember Allah with much
remembrance.” on the rokhbaam of the view
- Rosette and geometric imprintings and bergamots and pines
- wooden network with geometric designs and nodes arranged into eight
- eight edge geometric designs and grille work window
- mogharnases
- Calligraphic inscriptions in rokhbam
- Botanical designs with designs of eight-edged flowers
- Hexagonal geometric shapes
- ten edged geometric design in side tilings of the view
Mogharnas (Embroidery like)
View of the door of Kibla: Calligraphic inscriptions with religious concepts.
- Pentagon geometric designs with combination of brick and tile, bergamots, five-side
flowers
- Tiled Grille
- shoot dome: term Allah Allah with brick and tile combination
- calligraphy inscriptions on Grive dome
- Eight arcades tiled with decorative tiles and window lattice
- Tiled medallion designs and designs of flowers and vines intertwined and center-oriented
designs
- five and eight side flowers and geometric designs
Source: Writers, field and library studies.
Quranic illumination
In this context “illumination” refers to the art of embellishing and decorating the handwritten books which has
begun since Sasanid era and after spread of Islam in Iran it is used in Islamic arts. This is used taking the
advantage of different designs and plans and gold and silver colors on margins of the books as well as their first
and last pages, head of Suras and writings in Quran and other places (Tajabadi et al.,2009).
Forming decorative arrays and Islamic designs in this holy Quranic art has come from consolidated ideas and
worldviews of artists of this field. So that, many calligraphists and a number of (not less) illuminators read Quran in
a memorized manner. But those less people who were not able to read Quran in a memorized manner, were so
familiar with its verses that it had become an integrated part of their nature. (Lings,1998). Manifestation of
spirituality in illumination of Quran is to the extent that it has made this art worthy of companion of the holy Quran
and in fact, manifestation of the divine realm is duty of the art evoked by the word of God. And it can be said that
Quran itself has opportunities that stimulates religion (Lings,1998). Some of the outstanding features of illumination
art in Safavid era are darker colors and over-dependence on the Arabesque and the importance of bergamot and
Shamses and nearness of arabesque to the edge of the beam-like Sharfes protruding from the medallion or the
edge of the frame.
Hierarchy of Quranik themes in Decorative arts of Safavid Era
According to the discussion and the deep dependence between arrays of architectural decorations and Quranic
illumination in Safavid era, reading the Holy Quran with objective meaning and finding out its outer meanings in the
noble sacred art is of importance in this research. Therefore, the original configuration of Table 2, has been formed
due to the studying the holy Quran and expressing 15 Quranic quotes and challenge in finding artistic examples in
Quranic illuminations and decorations of complex of Sheikhsafi-al-din-e-Ardebili convent and expressing the views
of Islamic scholars.
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
Row
Table 2. Phenomenological Themes of Quranic Topics in Illuminative Graphs of Quran and Islamic Architecture Decorations of
the Safavid Era
1
Quranic Topics
Quranic Verses
Views of Islamic
Scholars
Quranic
orientation
Al-Ma'ârij : The
Heights, verse:40
Ar-Rahmân : Most
Gracious, verse:17
An-Nûr : Light,
verse: 35
Az-Zumar : The
Throngs, Verse:
Life rises with wisdom
and self from east of day
of the God and sets in
the general nature and
general material in west
(Corbin, 2010).
Al-Baqarah : The
Cow, Verse: 115
2
Revolution to the
outside (the
prophet)
Ash-Shûra
Consultatio,Verse
51:
Al-Qasas : History,
Verse 7
An-Najm : The
Stars, Verse 4
Prophet is symbol of one
aspect of Mohammadian
light that focuses human
beings (prophetic
mission focuses on
suburban (Corbin,
2010).
3
Monotheism
Al-Baqarah : The
Cow, Verse 255
An-Nûr : Light,
Verse 34
All = 1 and one = All
(Jafari, 2008).
An-Nahl : The Bee
Verily, He
(Allah) is (the) only One
Ilah (God).
4
Objectively
Sâd : Sad, verse
27
Al-Qasas : History,
Verse 3
Al-Infitâr : The
Shattering, Verse
7
Al-Baiyinah : The
Proof, Verse 36
-which word Louder
than "return to God"
expresses purposeful
meaning of human
beings creation? … “ We
are for God and we
return to Him” we
shouldn’t consider the
death as the end point
Appearance in
Quranic illumination of
Safavid Era
- exposure of sharfehs
in the east of the page
and the frame line in
its west.
- painting of Sharfeh
which is a symbol of
the sun’s ligh, a
symbol of eastern rise
and the frame line in
the west is the sign of
setting in material.
- four corner
rectangular frame with
verses and
decorations within the
ventricle is a sign of
presence of God in
four sides of the
universe.
Presence of Sharfehs
around the decorative
frame of illumination
which is a symbol of
revelation to out and
radiation of
Mohammadian light by
the prophet and the
Imams
- considerable
decorations in opening
of the first Sura and
opening of the whole
Book (Lings, 1998).
- Embroidery directly
refers to the sun which
is the essence of life
and a symbol of God
(Khalaj Amirhoseini,
2010).
- Allah is the Light of
the heavens and the
earth (An-Nûr : Light,
Verse 34)
Examples of Decorations of
Sheikhsafi-al-din-e- Ardebili
Complex
- script of the upper
inscription of Kandikhaneh,
beginning of the Al-Fath Sura:
Victory: from eastern wall.
- inscription of Jannat Sara
porch with verse 41 through
43 of Al-Ahzâb Sura : The
Parties: “He may bring you
out from darkness (of
disbelief and polytheism)
into light (of Belief and Islamic
Monotheism).”
-Verse 9, Al-Muzzammil ,
Clocked on the tomb of Shah
Ismaeel-e-safavi:” (He Alone
is) the Lord of the east and
the west”.
- margin in which the
medallion is placed
and its vertices refer to
its sides shows return
to the origin (Lings,
1998).
- being targeted by the verses
written on the inscriptions of
the building according to the
spaces
-being targeted in the number
of 114 medallions of silver
door inside the monument
- the end of an ivy and
decorative twist and bend a
Exposure of twelve-wing
Embroidery figure in the
ceiling of chineekhaneh and
mogarnases of chineekhaneh
and kandilkhaneh
-unity of the arrays although
they are different and
multiple.
-center-orientation feature of
decorative scrolls.
- figure of eight wing star
named Iranian Embroidery
which is and indicative of
center –orientation and unity
- Al-An'âm : Livestock, Verse
102 on the stem of Allah Allah
Dome tower “La ilaha illa
Huwa (none has the right to
be worshipped but He),”.
- Al-An'âm : Livestock, Verse
163 at the margin of Kibleh
Gapposi:
"He has no partner. And of
this I have been commanded
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
5
Order and
regulation
6
Perfection and
adhering to God
7
Ascend - climb
Al-Anbiyâ : The
Prophets, Verse
16
Al-Mu'minûn : The
Believers, Verse
115
Ar-Rûm : The
Romans, Verse 8
At-Taghâbun :
Mutual Blaming,
Verse 16
Al-Baqarah : The
Cow, Verse 156
Al-Ghâshiyah :
The
Overwhelming,
Verse 21
Al-Mulk : Kingship,
Verses 3 and 4
Al-A'lâ : The Most
High, Verse 2
Ar-Rahmân : Most
Gracious, Verse 5
An-Nazi'ât : The
Snatchers, Verses
27 and 29
Al-Fajr : The
Dawn, Verse 15
Saba : Sheba,
Verse 11
Al-An'âm :
Livestock, Verse
34
Fussilat : Detailed,
Verse 12
As-Sajdah : The
Prostration, verse
10
Ar-Rûm : The
Romans, Verse 8
Al-Mutaffifîn : The
Cheaters, Verse
15
Yûnus : Jonah,
Verse 45
Al-Kahf : The
Cave, Verse 110
Al-'Ankabût : The
Spider, Verse 5
but a beginning for more
evolution and stability in
figure is not death
(Mohaddesi, 1997).
Al-Malâ'ikah :
Initiator, Verse 10
Al-Imrân : The
Imramites,Verse
55
An-Nisâ : Women,
Verse 158
- Prayer is a means of
ascent or ascension to
heaven and that takes
you to direct presence of
God (SchimmeL,1995).
symbol of another beginning
(start of life after death and
being purposeful in creating
the human being).
Proportion and order,
has manifested the
Unity
in the wide diversity of
multiplicity
(Bolkharighohi, 2009).
- rows of regular and
lawful illumination
elements beside each
other like some
Botehjeggehs (Khalaj
Amirhosseini, 2010).
- each five or ten
verses an opportunity
for regular repetition of
ornamental signs in
the margin (Lings,
1998).
- regular ordering of the
ceiling of the hall of
Chineekhaneh
- exposure to the
attraction of absolute
perfection,
- exposure to His
attractiveness radius
(Jafari, 2008).
- Botehjegehs,
indicatives of a man
who tries to reach the
perfection like the
chashe and arcs of
arabesque lines
In illumination arts,
Botehjegeh with
flowers and leaves
inside it shows the
pure heart of a man
seeking for the reality
and prosperity (Khalaj
Amirhoseini, 2010).
- Shah Abbasi flower (
split rose) a symbol of
perfec human has
come to the light
(Khalj Amirhoseini,
2010).
- perfection in
medallions beside the
central frame by its
symmetries and
perfection in half
lechakees in the
middle of the outer
frame.
-Trees generally
remind faithful people
who have their feet on
the ground and their
hands opened towards
the heaven. The man
who calls his creator
- Using the medallion figures
in the form of tiled images
and the form of this figure on
top and low part shows the
perfection and descent of the
mercy, respectively
(Kianmehr, 2009).
- Arabesquue designs and
Shahabbasi on the radius of
Shamses of Mogarnase of
Chieekhaneh and Daralhefaz.
Ibrahîm : Abraham, verse 24
on the inscription of the
threshold of Daralhefaz. A
goodly word as a goodly tree,
whose root
is firmly fixed, and its
branches (reach) to the sky
(i.e. very high). And the
presence of vase and tree
designs are of this very origin.
-1 to 5 proportion of entrance
threshold, from the main yard
into the building which is a
kind of and upward
visualization
- soaring earrings of either
side of the entrance threshold
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
Al-Ma'ârij : The
Heights, Verses 3
and 4
Al-Kahf : The
Cave, Verse 14
Az-Zumar : The
Throngs, Verse 68
Nûh : Noah, Verse
17
through prayer and is
inclined to him (Khalaj
Amirhoseini, 2010).
- upward bergamot
and upward ascent of
the lines and designs
and stretches of the
letters in calligraphy
works.
8
Privacy-limit
Al-Ma'ârij : The
Heights,Verse 40
Al-Kahf : The
Cave, Verse 86
Al-Kâfirûn : The
Disbelievers,
Verses 2 and 5
- verses 26 and 27 of
Sura Al-Imrân : The
Imramites: “You make
the night to enter into
the day, and You make
the day to enter into the
night. You bring the
living out of the dead,
and You bring the dead
out of the living.
- The second dimension
is mystical procedures
(SchimmeL, 1995).
- feeling defined and
extreme continuity is
within the limitation of
decorated area.
Geometrical lines
have the role of area
limiter (Mohaddesi,
1997).
- the frame around
the illumination is the
border between
internal and external,
Origin and
Resurrection
9
The first and the
last
Al-Hadîd : Iron,
Verse 3
In verse 115 of Sura AlBaqarah : The Cow it is
referred to the presence
of God in every
direction.
- whoever begins on the
way of God, also ends to
Him (SchimmeL, 1995).
-manifested outside
occurrence of the
word of God in
illuminative forms
- achieving unity from
diversity.
- oneness of the
beginning and the end
in arabesques
- existence of small
Embroidery in the
beginning and the end
of every verse that is
expression of God’s
presence.
of the main yard into the
building.
- using octagonal shapes at
the base of domes from
inward which is an indicative
of carrying the throne of God
upwards on the shoulders of
eight angels of God (Azad,
2009).
- this circular octagonal is the
escalation towards upper
dome which is visualization of
holy and divine essence of
God ( elongation of Allah
Allah dome).
- upward elongation of
calligraphies, which is a
symbol of escalation of the
words.
- inscription inside Daralhefaz
and Shahneshin bearing the
27 and 29 verses of the Sura
Al-Fath : Victory which is an
expression of growth and
perfection.
- medallions on the inside part
of Allah Allah dom, pointing to
the middle Shamse are
symbols of desire for
perfection.
- verse 103 of Al-An'âm :
Livestock sura at the stem of
Allah Allah Dome tower:
No vision can grasp Him, but
His Grasp is over all vision.
He is the Most Subtle and
Courteous, Well Acquainted
with all things.
- verses 1 through 4 of Sura
Al-Insân : The Human on the
box of tome of Shah Ismaeel:
“limit of the right and wrong”.
-Verses 125 and 126 of Sura
Al-Baqarah : The Cow and
Verse 35 of Sura Ibrahîm :
Abraham on inscriptions of
façade of Daralhefaz in
introducing secure and
privacy place of God for
worship.
- frame workings of
decorations for expressing
the privacy.
- beginning of an arabesque
design is the end of the next
design.
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
10
1
12
Shape - geometry
Greatness and
beautifulness
coordination
Ar-Rahmân : Most
Gracious, Verse
19
Saba : Sheba,
Verse 12
At-Talâq : Divorce,
Verse 3
Al-Qamar : The
Moon, Verse 49
Al-Mu'minûn : The
Believers, Verse
18
Al-Hijr : Al Hijr
Valley, Verse 21
Al-Malâ'ikah :
Initiator, Verse 13
Ar-Rahmân : Most
Gracious, Verse
78
An-Nisâ : Women,
Verse 82
Al-Mulk : Kingship,
Verse 3
- Geometry that because
of its semi abstractness
is like an imaginary
frame, is the only tool for
Muslim artist in giving
form to the beauty of
being and also creating
forms and symbols of
the upper worlds in the
form of architecture in
arabesques (Bolkhari
ghohi, 2009).
- The world with Cosmic
Light of Grace that acts
according to the
geometrical rules, is
always in creation
- in such a world
geometry is the base of
all natural phenomena
and recognition of
nature without geometry
is impossible. Geometric
rules ever where in the
world and in each part of
it is of complete value
(Najib Oghloo, 2000).
-creation has two
features: value (fitness)
and Hosn (beauty) and
one of them refers to
beautifulness of the
right (Hosn) and the
other to the greatness of
the right (value)
(Bolkhari ghohi, 2009).
Coordination of the
constituent elements are
beauty. Wonderful and
exquisite harmony that
we see in our solar
system, night and day,
seasons of the year, sea
tides, cold and heat,
sunrise and sunset, birth
and death, growth and
decay, and ...
(Mohaddesi, 1997).
- half circles in Islamic
art are symbols of
human being and
when these half circles
are in the form of
embellished
arabesque lines and
take the shape of
Botehjeggeh for
themselves. Half
circles are seeking for
becoming circles
(Khalaj Amirhoseini,
2010).
- Shah Abbasi flowers
( a cutting from
Mohammadian flower
or lily) as a mirror like
flower (symmetrical
from each side) is
place in circle like
environment (Khalaj
Amirhoseini, 2010).
- drawing Embroidery
with geometrical
divisions, rectangular
of hearts and
symmetrical shapes
are symbols of
presence of geometry
in illumination.
- using geometrical printings –
geometrical symmetry and
proportions in decaoration
- designs and colors
that due to the
proximity to the word
of God that emit from
themselves sacred
meanings and
mysteries (Khalaj
Amirhoseini, 2010).
- harmony between
Quranic notions and
meanings with used
designs and colors in
Quranic illumination, is
a symbolic expression
of form and meaning.
- coordination between
meanings of inscriptions and
situation of their installation
such as:
- Daralhefaz: in southern part
of the yard of the tome and
the gathering place for Quran
readers and reciters (Yousefi
et al., 2005).
1. Threshod: Az-Zumar : The
Throngs, Verse 73 describing
getting into the heaven and
welcome those who get into
paradise - Ar-Ra'd : The
Thunder, Verses 22 through
24:a promise to those who
remain patient, Ibrahîm :
Abraham, Verse 24
expressing a goodly word Ibrahîm : Abraham, verse 35
and Al-Baqarah : The Cow,
verses 125 and 126 refers to
(Makkah) a
place of security for
worshiping - Al-An'âm :
Livestock in margin of the
threshold expresses God’s
attributes.
2. Daralhefaz view: Al-An'âm
: Livestock , verse 127
describing the friendship of
God with those who get into
paradise, verse 128, man’s
chanting and his surrendering
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
13
Sun-lack of
finiteness
Yûnus : Jonah,
Verse 5
Ar-Ra'd : The
Thunder, Verse 16
Al-Baqarah : The
Cow, Verse 257
Ibrahîm :
Abraham, Verse 1
An-Nûr : Light,
Verse 35
As-Saff : Column,
Verse 8
Al-Hadîd : Iron,
Verse 28
Al-An'âm :
Livestock, Verse
122
- the light that is emitted
from Divine and due to it
some people become
superior to others. In
illustration, geometricabstrct designs were
manifested as
Embroidery. Embroidery
is the focus of the light
that many Taasehs of
star –like Mogarnases
have been made of its
radiation (Bolkharighohi,
2009).
-Embroidery directly
points out to the sun.
Embroidery associates
God (the Sobhan)
WHO exists in
everything but is not of
its nature, these
attributes can be
considered for light.
One of God’s name
has been expressed
as Light (Khalaj
Amirhoseini, 2010).
- Color often plays the
role of light and dark
colors are also used
instead of shadows
(Mohaddesi, 1997).
- Embroidery
against God.
3. inside of Daralhefaz Hall
and Shah Neshin: Az-Zumar :
The Throngs, verse 75
describing the features of
angels in paradise - Al-Fath :
Victory, verses 1 through 25
reminding heavenly blessings
and victory - Al-Fath :
Victory,verses 27 and 29
spiritual growth and perfection
and brightness of prostrates.
1. Jannat Sara: in east part of
the main yard and known as
Mosque and cemetery
(Yousefi et al., 2010).
1- Al-Ahzâb : The Parties,
verses 41 through 43 and 70
and 71 worship God and
reach the realm of light from
darkness and to reach
prosperity due to obey , fear
of God and right words.
- Allah Allah Dome:
Al-Fath (Victory), verses 1
through 5 promise of victory –
Al-Anam, verses 102 and 103
expressing oneness and
invisibility of God – Al-Vagea
(occurrence) Verses 10, 11
and 12 describing Elysian –
Younis, Verse 25 Guidance
by God.
Kiblah Ghapoosi:
Al-Anam, verses 79, 162 and
163 expression to God, and
believe in God and His
Oneness and surrendering
agains God and expressing
the fact that all things are for
God - Al-Isrâ : Children of
Isreal, verse 80 prophet’s
being cared by God in all
entries and coming out places
– describing those who are
residents of paradise.
- Inscription of tome of Shah
Ismaeel –e –safavi: a
narration including Nadolya
Pray and some words from
Imam Ali (AS).
- Embroiderys of arch and
eight-wing star are known as
Iranian Embroidery, the star
flower.
- Embroidery has the twelvewing geometrical shape.
- using the light and dark
colors.
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
14
Clean speech
Ibrahîm :
Abraham, Verses
24 and 25
- Tree, is the infinite
nature of the Quran. The
Quran has made use of
the symbol of the tree so
that make itself free from
the illusion in conscious
and unconscious mind
of the believer that this
is also a book like other
books (Lings, 1998)
15
Color
Al-Baqarah : The
Cow, Verse 71
An-Nahl : The
Bee, Verse 13
Ar-Rûm : The
Romans, Verse 22
Al-Malâ'ikah :
Initiator, Verses 27
and 28
- color narrated another
beyond world
(Bolkharighohi, 2009).
sometimes is put
instead of small
medallions located in
between the verses
and is glittered with
gold (Lings, 1998).
- Sharfehs are lights
emitted from
Embroidery around
the medallions and are
indicatives of the
Sun’s light, and lack of
finiteness appears
with leaving imperfect
geometrical shapes.
- it shouldn’t be
surprising for us that
one of the most noble
ornaments of
illumination of the
Quran is tree-like
decoration, which is
called Shajeereh
(small tree –
Bergamot) and the
purpose is to show the
divine word (Lings,
1998).
- blue is His infinite
and mercy color, the
divine name has been
translated appropriate
to this authority i.e. AlRahman which mean
absolute goodness.
The name which has
much affinity with
environment is the
name of environment
,i.e. acquirer of
everything. Sea gets
the color of sky to
itself and is face to
face with sky (Lings,
1998).
- tree plans in decoration of
the buildings.
-
- clever use of colors to
express meaning; writing
verses with white lines
(gospel) in a blue field
(associated with mystical
space),using buff color at
downstream a symbol of soil
and earth (verses are sent on
the earth). Difference
between the colors is
because of beauty and the
God’s power and separation
with black color Al-Malâ'ikah
: Initiator, verse 27) – Green
is a symbol of growth and
beauty and perfection(Al-Hajj
: The Pilgrimage, verse 22) –
yellow joyful color (39. AzZumar : The Throngs, verse
21)
Reference: writers, field and library studies.
CONCLUSION
In this paper, the text of the Quran was studies and artistic topics in Quran were offered. Due to surveying
done in case of Iranian art arrays and paintings, such as Quranic illumination and architectural decorations of
writings and tile works of complex of Sheikhsafi-al-din-e-Ardebili-convent, a cohesive harmony was revealed
between Quranic concepts and elements of artistic paintings. The most important and expected result is review of
Islamic arts and familiarity with the ideas of Iranian Muslim artists. Thus, in the process of research conclusion, we
achieved a close relationship between artistic concepts of the Quran and decorative arrays of Islamic art. In
addition to read-outing the decorative layers of the Quran and Islamic architecture of Safavid era, the most
important target is classifying the subjective examples and using it in contemporary architecture and art for the
purpose of reviving the aspects of Islamic understanding. And this is the topic that following the transfer of research
results and achievements to scientific and practical domain of contemporary Islamic art and architecture, tries to
use a kind of identity and religious cooperation and solidarity and offer rational strategies in spiritual influences of
religious attitudes in social art.
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
Figure 1. Quranic illumination of Safavid era with Reihani handwriting, painting with epistle handwriting as the frontispiece of
Sura, (Dublin, Chisterbity Library (Lings, 1998).
Figure 2. Quranic illumination of Safavid era with Naskh handwriting, painting with epistle handwriting as the frontispiece of
Sura, (Manchester, Library of University of Janrailands)
(Lings, 1998).
Figure 3. Embroidery (Khalj Amirhoseini, 2010).
Figure 4. Shah Abbasi flower (Amirhoseini, 2010).
Figure 5. Door of Kibla (Danesharani, 2012).
Figure 6. Vase design (Danesharani, 2012).
Intl. Res. J. Appl. Basic. Sci. Vol., 4 (3), 629-639, 2013
Figure 7. Tiling arrays (Danesharani, 2012).
Figure 8. Chinee Khaneh (Danesharani, 2012).
Figure 9. Tiling inscription (Danesharani, 2012).
Figure 10. Daralhefaz (Danesharani, 2012).
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