Iran - Andrew Burke [191]
Some of the time-saving techniques were quite innovative: rather than covering the entire complex with millions of individual mosaic tiles, larger prefabricated patterned tiles called haft rangi were created – they’ve been standard ever since.
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Sheikh Lotfollah Mosque
A study in harmonious understatement, this mosque is the perfect complement to the overwhelming richness of the larger Imam Mosque, and is arguably the most fabulous mosque in Iran. Built between 1602 and 1619, during the reign of Shah Abbas I, the Sheikh Lotfollah Mosque (Masjed-e Sheikh Lotfollah; Map; admission IR4000; 8am-sunset, 8am-11.30am & 12.30pm-sunset summer) is dedicated to the ruler’s father-in-law, Sheikh Lotfollah, a revered Lebanese scholar of Islam who was invited to Esfahan to oversee the king’s mosque (now the Imam Mosque) and theological school.
The pale dome makes extensive use of delicate cream-coloured tiles that change colour throughout the day from cream to pink (sunset is usually best). The signature blue-and-turquoise tiles of Esfahan are evident only around the dome’s summit.
The pale tones of the cupola stand in contrast to those around the portal, where you’ll find some of the best surviving Safavid-era mosaics. The exterior panels contain wonderful arabesques and other intricate floral designs; those displaying a vase framed by the tails of two peacocks are superb. The portal itself contains some particularly fine stalactite work with rich concentrations of blue and yellow motifs.
The mosque is unusual because it has neither a minaret nor a courtyard, and because steps lead up to the entrance. This was probably because the mosque was never intended for public use, but rather served as the worship place for the women of the shah’s harem. The sanctuary or prayer hall is reached via a twisting hallway where the eyes become accustomed to the darkness as subtle shifts of light play across deep blue tilework. This hallway is integral to both the design and function of the mosque because it takes the worshipper from the grand square outside into a prayer hall facing Mecca, and thus on a completely different axis.
Inside the sanctuary you can marvel at the complexity of the mosaics that adorn the walls and ceiling, which is extraordinarily beautiful with its shrinking, yellow motifs drawing the visitor’s eye into the exquisite centre. The shafts of sunlight that filter in through the few high, latticed windows produce a constantly changing interplay of light and shadow.
The mihrab is one of the finest in Iran and has an unusually high niche; look for the calligraphic montage that names the architect and the date 1028 AH.
Photography is allowed but flashes are not.
Ali Qapu Palace
Built at the very end of the 16th century as a residence for Shah Abbas I, the majestic six-storey Ali Qapu Palace (Map; admission IR4000; 8am-sunset) also served as a monumental gateway (Ali Qapu means the ‘Gate of Ali’) to the royal palaces that lay in the parklands beyond. Named for Abbas’ hero, the Imam Ali, it was built to make an impression and at six storeys and 48m tall it did. French traveller Sir John Chardin described it as ‘the largest palace ever built in any capital’.
The highlight of the palace is arguably the elevated terrace with its 18 slender columns. The terrace affords a wonderful perspective over the square and one of the best views of the Imam Mosque. If you look up, you’ll see an attractive wooden ceiling with intricate inlay work and exposed beams, reminiscent of the nearby Chehel Sotun Palace.
Many of the valuable paintings and mosaics that once decorated the small rooms, corridors and stairways were destroyed