Journal articles on the topic 'Architecture ilkhanide'
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Юсефи, Х., М. Ализаде Сола, and С. Эсмаилзаде Киви. "ANALYSIS OF ILKHANIDS SILVER COINS DISCOVERED IN THE GREAT MOSQUE OF ARDABIL CITY IN NORTHWESTERN IRAN, BY PIXE METHOD." Краткие сообщения Института археологии (КСИА), no. 262 (November 15, 2021): 414–22. http://dx.doi.org/10.25681/iaras.0130-2620.262.414-422.
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Город Ардебиль - один из древних городов Ирана, где сохранилось более 10 исторических памятников доисламского и исламского периодов, в частности, остатки Большой мечети - одной из первых больших мечетей Ирана, некогда возвышавшейся на берегу реки Балыклы-Чай. В 2009-2012 гг. в ходе работ по восстановлению Большой мечети было обнаружено множество монет: золотых византийских, медных - эпохи Атабеков и серебряных - династии Илханидов XI-XIII вв. Этот факт указывает на использование данного религиозного памятника в течение длительного времени. В статье подробно описывается методика исследования серебряных монет, найденных в Большой мечети и связанных с началом истории Илханидов. Результаты анализа элементного состава металла пяти монет методом PIXE - высокое содержание серебра и наличие золота вместе со значительным снижением содержания меди -свидетельствуют о благоприятных экономических условиях и расцвете культуры в период правления Илханидов. Авторы предполагают, что и серебро, и медь добывались в месторождениях, находившихся в окрестностях Тебриза. Existence of more than 10 historical sites dating back to pre-Islamic and Islamic periods, especially, the architectural remains of the Great Mosque located on bank of the Balikhlli chai river running through Ardabil indicates the significance of the city of Ardabil. Numerous Byzantine golden coins, Atabegs copper and Ilkhanids silver coins belonging to 11th to 13th centuries AD were found during the extensive activities on reparation of the Great Mosque in 2009-2012. This fact evidences that this religious monument has been used for a long time. The article focuses on Ilkhanids silvers coins. The investigation of the silver coins from the Great Mosque shows that they are related with the beginnings of Ilkhanids' history. PIXE analysis of some of the silver coins shows high purity of silver and gold in metal composition of coins and points to good economic conditions, medicine improvement and cultural dehiscence during Ilkhanid period and the preceding periods. The authors suppose the extract of copper and presence of silver in Tabriz surroundings.
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Tavakkoli, Behrouz, and Raana Cinmarasl. "Geometry of the form and designs of Ilkhani tombs' tower of Azerbaijan (Case study: Qarabagh Bardaeh tomb' tower)." Historia Y MEMORIA, no. 20 (December 5, 2019): 251–72. http://dx.doi.org/10.19053/20275137.n20.2020.10295.
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The seventh and eighth centuries of the Hijri calender were the era when Azerbaijan's architecture flourished. During this period, a special style of funerary architecture was developed in the form of a tower-shaped tomb, the scope of its effects extending from Azerbaijan and reaching Khorasan and Turkestan in the east, and Asia Minor and Mamluk Egypt. Considering the centrality of Azerbaijan during the period of the Ilkhanite of this region, the architectural styles flourished in this temporal and spatial period, which later became known as Azeri-style architecture. Parallel to other religious monuments, the tower-shaped tombs found a privileged position in Islamic architecture. Its best examples are the mausoleum tower of Bardaeh in Qarabagh, Sheikh Safi, and Sheikh Heydar, Soltanieh, Ghaffarieh and Qara Baghlar. The purpose of the present study is to recognize the architectural and decorative structure, and to analyze the geometric patterns used in the Azerbaijan tombs, with emphasis on the Qarabagh Bardaeh tomb tower, as a persistent pattern. In order to achieve these goals, the tombs were studied with an interpretive and qualitative strategy, through historical and library studies and field analysis. The designs and decorations were documented, recognized and analyzed.
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Блессинг, П. "ARCHITECTURE, SCALE AND EMPIRE: MONUMENTS IN ANATOLIA BETWEEN MAMLUK AND ILKHANID ASPIRATIONS." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(11) (February 17, 2020): 114–31. http://dx.doi.org/10.25995/niitiag.2019.11.2.007.
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В данной статье рассматривается вопрос размера и масштаба в архитектуре Анатолии конца XIII в. Конкуренция между мамлюками в Египте и Сирии и ильханидами в Иране сильно повлияла на политическую обстановку Анатолии начиная с 1270-х гг. Поэтому важно рассмотреть, повлияла ли тенденция к монументальной архитектуре в этих двух соседних империях на строительство во всем регионе. В статье будет описано, как идеи масштаба отражаются в письменных источниках, на примере средневековых исламских текстов, комментирующих понятия монументальности в архитектуре. Затем эти идеи будут рассмотрены в отношении памятников, построенных в Центральной и Восточной Анатолии во второй половине XIII в., где, как представляется, для создания визуально впечатляющих зданий использовалась архитектурная декорация, а не крупные размеры. This article examines the question of size and scale in the architecture of late thirteenth-century Anatolia. Competition between the Mamluks in Egypt and Syria and the Ilkhanids in Iran greatly affected the political environment of Anatolia starting from the 1270s. Therefore, it is relevant to examine whether the tendency towards monumental architecture in these two neighboring empires had an effect on building practices in the region. Examining medieval Islamic texts commenting on notions of monumentality in architecture, the article will describe how ideas of scale have been reflected in the written sources. These ideas will then be examined with regard to monuments built in central and eastern Anatolia in the second half of the thirteenth century, where it appears that architectural decoration, rather than large scale, was used in order to create visually impressing buildings.
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Grbanovic, Ana Marija. "The Ilkhanid Revetment Aesthetic in the Buqʿa Pir-i Bakran: Chaotic Exuberance or a Cunningly Planned Architectural Revetment Repertoire?" Muqarnas Online 34, no. 1 (October 9, 2017): 43–83. http://dx.doi.org/10.1163/22118993_03401p004.
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The Pir-i Bakran mausoleum (completed by 1312–13; Linjan, Isfahan) is considered to be a typical example of exuberant Ilkhanid architectural decoration. In the 1970s, the International Association of Mediterranean and Oriental Studies (IsMEO) undertook significant research and restoration work on the mausoleum. After their efforts were interrupted by the onset of the Iranian Revolution, restoration activities were continued by the Iranian Cultural Heritage Organization. Almost four decades later, questions concerning the mausoleum’s history, function, decorative program, patronage, and craftsmen—as well as the identity of the deceased—nonetheless remain unresolved. The mausoleum’s tile and original polychrome stucco decoration also require further scholarly attention. This article proposes a new view of the mausoleum’s decorative aesthetic and contributes to our understanding of the Ilkhanid architectural legacy. The article argues that, rather than being a haphazard application, the aesthetic characteristics of Pir-i Bakran’s revetments were determined by multiple undertakings executed according to specific decorative principles. Moreover, the mausoleum’s decorative program illustrates a rapid change in Ilkhanid decorative principles and aesthetics. I also propose a hypothetical timeline of mausoleum’s constructive and decorative undertakings, and reconsider its function and political significance.
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Prazniak, Roxann. "Ilkhanid Buddhism: Traces of a Passage in Eurasian History." Comparative Studies in Society and History 56, no. 3 (July 2014): 650–80. http://dx.doi.org/10.1017/s0010417514000280.
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AbstractBuddhism contributed to the culture and politics of thirteenth-century Eurasian intellectual exchange, depositing literary, artistic, and architectural traces subsequently eclipsed by layers of Islamic and Eurocentric history. Within extensive cross-continental networks of diplomatic and commercial activity, Ilkhanid Buddhism and the Buddhist revival of which it was a part drew serious attention among contemporary travelers, scholars, and statesmen including Ibn Taymiyah, Roger Bacon, and Rashid al-Din. This article argues that awareness of a Buddhist scholarly and political elite in the Muslim heartland, with its center at Tabriz, generated a historically significant Eurasian Buddhist discourse during a critical passage in the turn to modernity.
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Bakhoum, Diana Isaac. "The Foundation of a Tabrizi Workshop in Cairo: A Case Study of Its Influence on the Mosque of Emir Altunbugha Al-Maridani." Muqarnas Online 33, no. 1 (November 14, 2016): 17–32. http://dx.doi.org/10.1163/22118993_03301p003.
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This article discusses the introduction of new decorative techniques to Bahri Mamluk architecture in Cairo; the focus is primarily on the Mosque of Emir Altunbugha al-Maridani. The mosque was built during the third reign of al-Nasir Muhammad, which was marked by great growth and urban development. The exchange of artists from the Ilkhanid domain and the foundation of a court workshop in Cairo during the 1330s and 1340s were responsible for the increase in the use of tile decoration and stuccowork on Cairene architecture. Four tile panels above the entryways to the mosque and stucco decoration are analyzed technically and stylistically to learn more about the craftsmen’s inspiration and technique, as well as the extent of the workshop’s involvement in the mosque. The discussion further aims at contextualizing the mosque in light of contemporaneous historical events and at examining how these may have contributed or influenced the architecture of this period.
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Sokhanpardaz, Kamran. "Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey." Journal of The Near East University Faculty of Theology 7, no. 1 (June 22, 2021): 87–118. http://dx.doi.org/10.32955/neu.ilaf.2021.7.1.03.
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The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that the ornamental composition of the mihrab includes inscriptions, vegetal and geometric decorations. Also, these decorations were made in embossing and hollowly technique. There is no information about the artist of the stucco decorations of the altar. Although there is no date inscription on the mihrab, it is similar to the examples of the Great Seljuk period in terms of general shape and decoration features. Also according to the results of this research, the stucco decorations in this mihrab, It is very similar to the decoration of the first Islamic era of Iran, obtained from Neyshabur excavations, stucco decorations discovered from Samarra Exploration, architectural ornaments of the Qarakhanid period, stucco decorations from the Ghaznavid Period, Anatolian Seljuk Architectural decorations and stucco decorations of the Ilkhanid Period of Iran.
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Zohrehvand, Hamed. "Effects of Mystical Literature on Islamic Architecture of Iran in Ilkhanid and Timurid Era." International Journal of Science, Technology and Society 3, no. 2 (2015): 107. http://dx.doi.org/10.11648/j.ijsts.s.2015030201.31.
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Saremi Naeeni, Davoud, and Kobra Hasangholinejad Yasoori. "Studying the Effect of Continent on Three Important Mosque of Timurid Period (Blue Mosque of Tabriz, Goharshadjame Mosque, Jame Mosque of Yazd)." Modern Applied Science 10, no. 2 (January 15, 2016): 205. http://dx.doi.org/10.5539/mas.v10n2p205.
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<p class="zhengwen"><span lang="EN-GB">Mosques’ architecture is one of the monuments in the history of Iranian architecture that has alwaysbeen of interest andimportance and in the Timurid period was also welcomed by many architects and artists and e</span><span lang="EN-GB">xamples were built that were used as a perfect model for the architects of the next periods. The architecture of this period is known as a good example of harmony with the environment, which is a result of various climatic, historical, economic, cultural and political factors and have had the greatest impact and benefit fromthe continental and social and politicalconditions of Ilkhani and Seljuk periods. Timurid mosques of Iran are from the important elements of Islamic architecture in terms of architectural form and decorations that need to be reviewed in these two factors. Building mosques in Iran, as a public place and a political state for the spiritual guidance was started at the beginning of Islam and was completed in the Timurid era in the various buildings. Mosques were firstly build as Shabestani and then as one Iwan and two Iwans and four Iwans, as one of the important elements in the cities.</span></p><p class="zhengwen"><span lang="EN-GB">Given that the architectural design, construction and decorations of some of theTimurid mosques are from the architectural masterpieces of Iran, this article has considered three important mosques of the Timurid period in Iran, GoharshadJameMosque,Jame Mosque of Yazd, Blue Mosque of Tabriz, and has analyzed and compared the structural elements of the architecture of these mosques (dome, Iwan, courtyard,and use of geometry in buildings, etc.) as well as considering the climatic factors that impact on those building. The method of research is comparative study and case study and then with an analytical approach, we will compare three important mosquesin terms of political, social situations and also physics and structure and geometry and decorations of them. In addition to reviewing the related papers and books, we will have a comparative table for the physical elements and their decorations. Finally, in addition to achieving the objectives of constructing the mosques and their formal changes in this period and comparingthem, the status of each of them is reviewed in the main section of the paper and the analytical model for future studies for mosque’s architecture according to the continent, is recommended.</span></p><span lang="EN-US">In this research with the aim of considering the methodologies of building mosques’ architecture according to the continent, first we consider the physical features of architecture in Timurid period. Then we consider the architectural physical features of The Blue Mosque of Tabriz, GoharshadJame Mosque, and Jame Mosque of Yazd as some examples. After that, the general characteristics and structural form of mosques according to the continent and the domestic architecture of the regions was analyzed. At the end, comparing the features and similarities of mosques and the differences in mosques’ architecture in this period, we have found some strategies about building mosques according to the domestic and continental architectural features.</span>
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Rajabi, Fatemeh, and Molood Khosravi. "Formation of Geometric Patterns in the Architectural Decoration: An Investigation on the Ilkhanids’ Period." Journal of History Culture and Art Research 8, no. 3 (October 1, 2019): 330. http://dx.doi.org/10.7596/taksad.v8i3.2251.
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Blessıng, Patricia. "Women Patrons in Medieval Anatolia And a Discussion of Māhbarī Khātūn’s Mosque Complex in Kayseri." Belleten 78, no. 282 (August 1, 2014): 475–526. http://dx.doi.org/10.37879/belleten.2014.475.
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This article traces the role of female patrons of architecture in thirteenth- and early fourteenth-century Anatolia. At the center stands Māhbarī Khātūn, the mother of the Seljuk Sultan Ghiyāth al-Dīn Kaykhusraw II (R 1237-46). During the rule of her son, Māhbarī Khātūn was active as a patron of architecture, building most notably the Huand Hatun complex in Kayseri in 1238, and several caravanserais. The foundation inscriptions of these monuments, and the funerary inscription on Māhbarī Khātūn's cenotaph in the Huand Hatun mausoleum present the founder both as the mother of the sultan, and as a pious Muslim woman. The insistence on Māhbarī Khātūn's position as the sultan's mother points to her activity in a later stage of life, after the dead of her husband, 'Alā' al-Dīn Kayqubād (R 1220-37), when her status was akin to that of the valide sultan in later Ottoman practice. This article compares Māhbarī Khātūn to other known female patrons, active in Anatolia during Seljuk and Ilkhanid rule, who are mostly recorded in their foundation inscriptions. Thus, the importance of these inscriptions as sources to trace patrons who are marginal in the chronicles and hagiographies of the time, as is the case for female members of the Seljuk court, clearly emerges.
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Röhrs, Stefan, Alexandra Dumazet, Katharina Kuntz, and Ute Franke. "Bodies and Glazes of Architectural Ceramics from the Ilkhanid Period at Takht-e Soleyman (North-Western Iran)." Minerals 12, no. 2 (January 27, 2022): 158. http://dx.doi.org/10.3390/min12020158.
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Bodies and glazes of tiles from the Ilkhanid period found at the UNESCO World Heritage site of Takht-e Soleyman were studied to identify materials and certain technical characteristics of the architectural ceramics as part of a larger project to establish different productions. In addition, ceramic vessels and technical ceramics excavated at the site were analysed for comparison. µXRF, SEM/EDX, and Raman spectroscopy were used for the material investigations. Qualitative non-invasive µXRF results allowed for categorisation of the glazes and ceramic bodies based on their overall composition. Quantitative analysis by SEM/EDX on a subset of the samples delivered detailed results on the bodies and glazes. Tiles, made from clay or stonepaste, were almost exclusively decorated with a mixed alkaline lead glaze. The PbO content of this type of glaze ranged from 8 wt% to 25 wt%. The clay bodies of some tiles corresponded to the material of the locally used kiln furniture. Moreover, glaze residues preserved on the kiln furniture proved to be from a mixed lead alkaline glaze with a PbO content of 15 wt% to 25 wt%, a composition that is comparable to the tiles’ glazes. For more insights into the local or regional production of the tiles, supplementary in-depth studies including petrographic analysis would be needed to confirm and further specify the results.
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Mohtasham, Adele, and Kouros Samanian. "Identifying the Blue Pigments Used in Painted Architectural Decorations of Ilkhanid Buildings (1251–1335 AD) in Yazd, Central Iran." Journal of Islamic Archaeology 4, no. 1 (June 30, 2017): 113–35. http://dx.doi.org/10.1558/jia.30710.
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Landa, Ishayahu. "Türaqai Güregen (d. 1296–7) and His Lineage: History of a Cross-Asia Journey." Asiatische Studien - Études Asiatiques 71, no. 4 (February 23, 2018): 1189–211. http://dx.doi.org/10.1515/asia-2017-0011.
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AbstractThe history of the Mongol conquests in Eurasia was not least the history of the numerous migrations of masses of people across the continent. This essay discusses one specific case study, namely that of the Mongol commander and Chinggisid imperial son-in-law Türaqai of the Oyirad tribe and his lineage throughout the thirteenth century. He himself was probably born in Iran or Iraq. His family, however, came from Mongolia to Iran during the Mongol conquests. The article discusses Türaqai’s life, in particular his (and his army’s) flight from the Ilkhanate to the Mamlūk Sultanate in 1296. He also made an unsuccessful attempt to become part of the Mamlūk military, which costed him and his close supporters their lives. Looking through the lenses of this biographical narrative, the essay presents a broader picture of the military nomadic migrations in Chinggisid Eurasia and their mechanisms. The essay also pays special attention to the position of the Chinggisid sons-in-law, who held a highly respected status in the Mongol political architecture. Additionally, it highlights some main issues related to the migration of the nomadic tribes and their resettlement in the newly conquered areas under the Mongol rule, such as assimilation, conversion to Islam and the different dimensions of their relations with the local populations.
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Moradi, Amin. "A rock-cut tomb of the Mongol period in the Ilkhanid capital of Maraghe." Asian Archaeology, June 15, 2022. http://dx.doi.org/10.1007/s41826-022-00049-x.
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AbstractBy the time of Kublai’s death, the Mongol Empire had fractured into four separate khanates or empires including the Golden Horde [Kipchak] in the northwest, the Chagatai Khanate in Central Asia, the Ilkhanate, based in modern-day Iran, and the Yuan Dynasty in the east. Although the burial architecture of the Yuan Dynasty and their funeral ritual have been the foci of the archaeologist, there have been no convincing conclusions about the other branches of the Mongol Empire. According to historical literature, all of the Ilkhanid Khans before Ghazan (1271–1304 CE) were buried in unknown places after their death. Archaeologically, not only we have no clue to trace the royal tombs of the pre-Ghazan period, even the identifiable tombs of the royal family members of the Ilkhanid Iran and high-ranking Mongol nobles have not discovered. Taking Maraghe, in Northwest Iran, as the first Ilkhanid capital (1256–1265 CE), the aim of this paper is to study the archaeological remains of the enigmatic rock-cut complex in the village of Varōy [Varjavy] to provide a more detailed description of the current remains. The results show that, while reassessment of the possible functions regarding this site suggest and outright contradict to the traditional views of scholars as a mithraeum, the architectural layout of this building is deeply intertwined with Mongol funeral sites and has much to tell about the relationship between rock-cut complexes and Ilkhanid cemeteries.
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Shavand, Kazem, Seyed Ali Asghar Mir Fattah, and Mohammad Bahramzadeh. "The Development trend of castles in Andimeshk Zone during historical and Islamic periods." Bulletin de la Société Royale des Sciences de Liège, 2017, 281–93. http://dx.doi.org/10.25518/0037-9565.6716.
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Andimeshk is one of the cities with several archeological buildings and monuments and it represents quantitatively and qualitatively a type of local and regional architecture belonging to historical and Islamic period. The castles are some of these monuments so that it has been tried in this essay to define the position of their architectural structure with study on the castle during historic and Islamic periods. According to objectives in this investigation, initially some issues have been examined and studied including geographic and historic position, typology, and their architectural importance and features and the buildings in terms of architectural structure and porcelains and materials and eventually it has been concluded that there are 9 castles in Andimeshk geographic zone. Construction of Lour, Gasem, Chalat, and Mongareh castles belongs to Sassanid (historic) period. Two Chalat and Mongareh castles have been employed as two very important security citadels in Islamic periods during Seljuk Dynasty and repeatedly during Ilkhanate Era. But two zones of Lour and Gasem castles have been inhabited again during Ilkhanate Dynasty while Sarqala or Amir Seif castle, which its building was formed primarily during Ilkhanate period, would be probably concurrent with aforesaid castles. Early formation of Hosseini, Chehar Borji (four towers), Bardel, and Couran (Kooru) castles belongs to Safavid period, which has been built by Luristan rulers and repaired during Qajar Dynasty.
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MACİT, Ensar, and Yunus Emre AYDIN. "The struggles in and around Erzurum from the Fall of Ilkhanids to Qara Qoyunids Dominion." Yüzüncü Yıl Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, August 31, 2022. http://dx.doi.org/10.53568/yyusbed.1145470.
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This study focuses on the political and military activities of the state or smaller political organizations that gained their independence in certain geographies as a result of the disintegration of the Ilkhanate State in Erzurum and its environs. It is known that Sutays, Jalayirids, Chobanids and Eretnids were dominant in Erzurum and its surroundings from the collapse of the Ilkhanid State to the domination of the Qara Qoyunlu Turkmans. The Sutays, who were the first rulers of the region, acted together with the Celayirs in the struggles between the Celayirs and the Chobanids who wanted to seize the Ilkhanid heritage. However, as a result of the conflict within the Sutays dynasty, the Sutays lands were administered by two separate administrations. This situation caused the weakening of the Sutays. The destruction and plunder of the Chobanids in Erzurum and its environs had a major blow to the political, social and economic life of the mentioned places, and caused radical changes in the demographic structure. After the Sutays domination, Erzurum remained under the rule of Jalayirids for a short time. It has been revealed that the city was under the rule of the Chobanids until 1358 and the Eretnids from 1360. Today, there are architectural structures belonging to Sutays and Chobanids in Erzurum and its vicinity. The city of Erzurum is among the mints where coins were minted in the name of the sultans of Jalayirs. It is also known that coins were minted in Erzurum on behalf of the Eretnids rulers. All these material elements are the remnants that confirm the dominance of the aforementioned political organizations in Erzurum and its environs. In the study, besides the main sources, research works related to the subject were also used.
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De Nicola, Bruno. "The “Kāmūsī Corpus”: A Case Study in Manuscript Production and Knowledge Transmission in Ilkhanid Iran." Iranian Studies, January 19, 2022, 1–23. http://dx.doi.org/10.1017/irn.2021.9.
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Abstract The arrival of the Mongols in Iran in the thirteenth century made a deep impact on the political, economic, and religious life of the region. With the establishment of the Ilkhanate (1250–1335), the cultural life of Iran was also transformed. The territories under Mongol control saw the appearance of new architectural styles, a renaissance of Persian literature, and a burst in the production of Islamic manuscripts. Regarding this literary production, scholars have concentrated their efforts on studying important works composed in Mongol Iran either for their scientific, literary, or artistic value. However, most of this research focuses on individual manuscripts or specific works belonging to a concrete literary genre; these do not provide a holistic picture of the production, distribution, and consumption of the huge number of manuscripts surviving from the period. In an attempt to contribute to a more comprehensive understanding of this phenomenon, this study looks at six different manuscripts, jointly referred to as the “Kāmūsī corpus,” that share the rare characteristic of having all been copied by the same hand in fourteenth-century Iran. This article investigates the individuals involved in the production of these manuscripts, identifies the different works included in this corpus, and connects the production of these texts and the dissemination of knowledge in Ilkhanid Iran.
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Kanbarova, Gulnara. "FEATURES (XIII-XIV CENTURIES) ILKHANATE PERIOD ARCHITECTURE STYLE." InterConf, March 4, 2021, 1031–48. http://dx.doi.org/10.51582/interconf.19-20.02.2021.105.
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From the 13th century, a large part of Asia was ruled by descendants from the great Mongol conqueror Genghis Khan. The European continent was considered the territory of this great empire, starting from Rome to China. During this period, along with the expansion of trade relations between East and West, artists and ideas about art began to flow to the West. Many of Genghis Khan’s successors in West Asia converted to Islam. These were the Golden Horde in Southern Russia, the Chagatai in Khwarazm, and the İlkhanats (Hulagus) in Azerbaijan. The territories of the İlkhanate state stretched from the Iranian bridge to Derbent and from the Amur River to Egypt. The most important country was Azerbaijan. As a result of the relocation of the capital of the İlkhanats state to Tabriz and the implementation of a number of reforms by Kazan khan, the planning of cities was expanded. Monumental buildings were erected to show the grandeur of the İlkhanats period. New architectural types and constructions were created in the monumental buildings, continuing the local traditions of the past. Juicy bricks and colored tiles were preferred as facing materials in the construction. Writing patterns began to dominate the decorations of the buildings.
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Moradi, Amin, Marco Giovanni Brambilla, and Fereshteh Pashaei Kamali. "Thermoluminescence Analysis of Bricks from the so-called Arch of Ali Shah." Journal of Islamic Archaeology 7, no. 2 (April 27, 2021). http://dx.doi.org/10.1558/jia.19031.
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The application of Thermally (TL) and Optically (OSL) Stimulated Luminescence on bricks used as building material can answer questions regarding the chronology of historical buildings. The remarkable historical reports of the “largest ever made brick vault” known as the Arch of Ali Shah (14th century) invoke the image of a gigantic structure adjoining the u-shaped brick monument in Tabriz. However, there is new scientific data that has led us to consider an alternate hypothesis regarding this monument that contradicts the traditional views of scholars. The attribution of this controversial building to Ali Shah, the great vizier of the Ilkhanid court, has long been considered an historical fact by scholars. To better understand the evolution of this unique structure, thermoluminescence (TL) was used to propose a relative dating for its construction. Surprisingly, the results yielded dates of 512±20, 514±27 and 517±21 AD (TL age, equaling 17th century), indicating that the u-shaped structure was built some 200 years after the Ilkhanid era. These dates, supplemented with historical context and architectural evidence, leads to the conclusion that it was used as a separate building before being integrated into the older building, thereby converting the entire complex into a formidable fortification. The remains of the so called Arch of Ali Shah are clearly of a later date, characterizing a completely different architectural style than those of the Ilkhanid period.
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Berger, Simon. "Bruno De Nicola, “Pādshāh Khatun: An Example of Architectural, Religious, and Literary Patronage in Ilkhanid Iran”." Abstracta Iranica, Volume 42-43 (January 18, 2021). http://dx.doi.org/10.4000/abstractairanica.53819.
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McCLARY, RICHARD, and ANA MARIJA GRBANOVIC. "On the Origins of the Shrine of ‘Abd al-Samad in Natanz: The Case for a Revised Chronology." Journal of the Royal Asiatic Society, September 6, 2021, 1–34. http://dx.doi.org/10.1017/s1356186321000730.
Full textAbstract:
Abstract This article proposes a re-examination of the phases of construction and decoration at the shrine of ‘Abd al-Samad in Natanz and demonstrates that the core fabric and elements of architectural revetments of the shrine are datable to the Seljuq period (431-590/1040-1194), or slightly later. The structure was repurposed and redecorated, including the addition of extensive lustre tiles and stucco, for ‘Abd al-Samad by Zayn al-Din al-Mastari in the early years of the fourteenth century in a series of separate phases. Particular attention is focused on the nature of the original decoration of the shrine, revealed beneath the mortar which held the, now largely removed, Ilkhanid tilework in place. Scrutiny of the decorative interventions illustrates that the application of lustre revetments in the shrine also determined a major change of the function of the monument, from a simple burial structure into a pilgrimage centre in its own right.