Yasser Tabbaa

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digital graphic

IAA706167

Images of Islamic monuments in Iran, Afghanistan and Central Asia.

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Transcription of notes on 35 mm slide: "Isfahan, Armenian Church; I55/I73; Jul77F7."

color slide

Isfahan. Vank Cathedral. Bell Tower.

Iran

The All Saviour's Cathedral, locally known as the Vank Cathedral or the Church of the Saintly Sisters, is the most famous example of Isfahan's Christian religious architecture. An exemplary specimen of Armenian architectural achievement, the cathedral represents different stages of political, economic and social status of this minority community in Iran since the mid-seventeenth century. The Vank Cathedral was one of the first churches to be established in the city's Julfa quarter by Armenian immigrants settled by Shah Abbas I after the Ottoman War of 1603-05. The varying fortunes and independence of this suburb across the Zayandeh River and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in it's external and internal architectural treatment. Originally a modest centre of Gregorian Christanity in Persia, the church was rebuilt as a magnificent cathedral over the relics of St. Joseph of Arimathia with the patronage of the&nbsp;<a href="http://archnet.org/timelines/48/period/Safavid/year/1512" target="_blank">Safavid</a>&nbsp;emperors. Construction is believed to have begun in 1606, and completed with major alterations to design&nbsp;between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of domed sanctuary much alike a Persian mosque and eastern churches but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The courtyard contains a large freestanding belfry towering over the graves of both Orthodox Armenians and Protestant Christians. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its ornately decorated interior with wall paintings and gilded carvings beyond a wainscot of rich tile work, reaching up to its high ceiling and dome. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. The cathedral today houses a museum, a historic printing press, and a large library invaluable for research in Armenian and medieval European languages and arts. Prime amongst the other revered and historic churches (Holy Mary, Hakop, George and the Bethlehem) in Isfahan, the All Saviour's Cathedral has continued to be the focus of the Armenian Church in Iran. The cathedral has greatly influenced the architecture and decorative treatment of many subsequent and smaller Orthodox churches in the entire Persian-Mesopotamian region. Sources: Blake, Stephen. Half the World: The Social Architecture of Safavid Isfahan, 1590-1722. Costa Mesa: Mazda Publishers, 1999. 188, 189. Blunt, Wilfrid. Isfahan: Pearl of Persia. New York: Stein and Day, 1966. 104. Welch, Anthony. Shah Abbas &amp; the Arts of Isfahan. New York: Asia Society Inc., 1973. 18. "Esfahan." Website of the Embassy of The Islamic Republic of Iran, Ottawa-Canada. <a href="http://www.salamiran.org/CT/provinces/esfahan.html" target="_blank">http://www.salamiran.org/CT/provinces/esfahan.html</a>. [Accessed February 15, 2007; inaccessible August 24, 2012]

Surp Amenaprgich Vank

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IAA708470

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Transcription of notes on 35 mm slide: "Isfahan, Palace of 40 Pillars; IS5/I73/3C[?]4, Jul77F7."

Isfahan. Chihil Sutun. View from Across Reflecting Pool.

Located on axis to the west of the&nbsp;<a href="http://archnet.org/sites/2717" rel="noopener noreferrer" target="_blank">Maydan</a>&nbsp;within what was once the palace gardens, the Chihil Sutun is one of the two remaining pavilions built as part&nbsp;of the palace complex or dawlat-khana. The second is the&nbsp;<a href="http://archnet.org/sites/136" rel="noopener noreferrer" target="_blank">Hasht Behesht</a>. Originally constructed in 1647,&nbsp;the pavilion was largely rebuilt in 1706, at which time its most prominent architectural feature, a talar porch with 20 wooden columns, was added. The palace consists of a rectangular masonry building with a large wooden talar porch attached to its east side. The masonry building's plan is symmetrical and centered on a large rectangular audience hall divided into three domed bays separated by arched vaults. This central hall is entered on its long sides (the east and west) through recessed iwans, while its short sides give onto verandas (north and south). Four smaller corner rooms flank the east and west iwans and are accessible through them. While this audience hall can be entered from all four sides, its main entrance is through the east iwan, which communicates with the talar porch through an elaborately mirrored niche.&nbsp; The primary form of architectural decoration in the palace are wall paintings. In addition to the painted vegetal and geometric ornaments that decorate arches, ceilings and other framing elements, large figural scenes fill panels in both the interior spaces and the two verandas on the north and south sides of the masonry building. In the central hall, figural scenes occupy the large arched spaces beneath each bay on the east and west walls, giving six main scenes. A battle scene between Safavid Shah Isma'il I and the Uzbeks occupies the space under the southernmost bay of the east wall. Directly across from this, the west elevation of the southern bay is adorned with a reception scene where Safavid Shah Tahmasp welcomes Mughal Emperor Humayun. Moving to the central bay, battle scenes again adorn the east and west walls: a battle between Nadir Shah and the Mughals is featured on the western wall and a battle between Shah Ismai'l I and the Ottomans is featured on the east. On the walls of the north bay, reception scenes fill the spaces: on the west wall, Shah Abbas I receives the Uzbek ruler Vali Muhammad Khan and on the east, Shah Abbas II receives another ruler, either Indian or Uzbek, whose identity is debated. Smaller figural compositions featuring feasting and hunting scenes enliven the dado zones of the walls below. In the smaller and more private corner rooms, the wall paintings depict both feasting and literary themes. In the southeast corner room, the images are taken from literary classics, including an image of a bride preparing to immolate herself. In the northeast corner room, paintings depict Shah Abbas I hosting a garden party. The north and south verandas include panel paintings featuring various personas, including men and women in European dress. Unlike the scenes that adorn the interior walls, these paintings suggest type studies rather than depictions of specific literary characters or historical persons. The style of the veranda paintings also differs from that of the interior paintings. While the paintings on the interior are rendered in a style associated with the miniature painting traditions of Iran and India, the veranda paintings are executed in a "Europeanizing" style defined by the use of shading and perspective as painterly techniques. Along with the&nbsp;<a href="http://archnet.org/sites/2712" rel="noopener noreferrer" target="_blank">Ali Qapu</a>&nbsp;and Hasht Behesht, the Chihil Sutun was restored by IsMEO - Istituto Italiano per il Medio ed Estremo Oriente for NOCHMI - National Organization for Conservation of Historic Monuments of Iran. The project, completed in 1977, received an Aga Khan Award for Architecture in 1980. Sources: Babaie, Sussan. "Shah 'Abbas II, The Conquest of Qandahar, The Chihil Sutun, and its Wall Paintings." Muqarnas&nbsp;11 (1994): 125-142. Blair, Sheila S. and Jonathan M. Bloom. 1994. The Art and Architecture of Islam. New Haven: Yale University Press, 192-193. Hillenbrand, Robert. 1994. Islamic Architecture: Form, Function and Meaning. Edinburgh: Edinburgh University Press, 428-433. Michell, George. 1978. Architecture of the Islamic World. London: Thames and Hudson, 73, 254. Additional information:<a href="http://iranshahrpedia.ir/view/13711" rel="noopener noreferrer" target="_blank">http://iranshahrpedia.ir/view/13711</a> Record updates: <ul><li>September 4, 2018 (AKDC staff): added images.</li></ul>

Chihil Sutun

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Transcription of notes on 35 mm slide: "Isfahan, Palace of 40 Pillars."

Isfahan. Chihil Sutun. Talar. Column Base.

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Transcription of notes on 35 mm slide: "Isfahan, Mosque of the Shaking Minarets; I55/I73 JUL77F7."

Isfahan. Gunbad-i 'Amu Abdullah. Exterior view.

The Amu Abdullah Mausoleum is located in the village of Garladan (Isfahan), and is composed of a large iwan flanked by the famous "shaking minarets." See: Wilber, Donald N. 1955. The Architecture of Islamic Iran: The Il-Khanid Period. New York: Greenwood Press, 152-154.<div> </div><div>ADDITIONAL INFORMATION:</div><div> </div><div><a href="http://iranshahrpedia.ir/view/14088" target="_blank" data-bypass="true">http://iranshahrpedia.ir/view/14088</a> </div>

Gunbad-i 'Amu 'Abdullah

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Transcription of notes on 35 mm slide: "Isfahan, Masjid-i-Jami Court; East Iwan; I55/I73/2Je11; JUL77F7."

Isfahan. Great Mosque. Southwestern (qibla) iwan.

Bam's Friday mosque, one of Iran's oldest mosques, exemplifies the Shabestani style, which dates back to the early years of Islam in Iran, ca. 652. The Friday mosque is located along one of old Bam's major E-W axes, in its working-class neighborhood (rabaz), opposite the Mirza Naim complex in the southeast quadrant of the city. Conjecturally dated to the Saffarid period (874-900), the Friday Mosque of Bam was built from unbaked mud brick (khesht) and poured mud walls (chineh), and was likely built atop the ruins of an older structure. Archaeological research has confirmed the presence of an ablution pool on the north side of the mosque, indicating the existence of an older, previous mosque. Additional dating evidence is provided by architectural historian Arthur Upham Pope, who qualified the early Iranian mosques according to the heights of their iwans. According to Pope, the higher the iwan, the earlier the mosque, as early mosques tended to imitate the monuments of their Sassanid and Ashkanid predecessors. Prior to the 2003 earthquake, this mosque was an 1881-square-meter structure composed of 4 iwans centered on a 583-square-meter courtyard. The western iwan, which holds the qibla wall, is the oldest part of the structure, dating back to the fourth and fifth centuries CE. The northern and southern iwans date from the tenth and eleventh centuries CE, a period of wartime prosperity. During the construction of these two iwans, some changes were also made to the original prayer hall (shahbestan). The northwestern prayer hall contains a stucco-decorated mihrab with an inscription dated to 1751 CE (1164 AH), the Afsharid period. The southwestern prayer hall dates from the Qajar period in the early nineteenth century. Originally, this Friday mosque was entered from the north, but after the old city of Bam was abandoned in the 19th century, a new entrance was opened in its south for the occasional ceremonial use of the building. A minaret was later added to its southeast side, which contained the well of the 12th imam, a feature of Shiite mosques. The earthquake of 2003 destroyed the Friday mosque of Bam; no elements of the building remain. Sources: Nourbakhsh, Hamid. N.d. Arg-e Bam: Hamrah ba tarikh-e mokhtasari az tahavvol-e shahrneshini va shahr sazi Iran. N.p. Shirazi, Bagher Ayatollah Zadeh (ed.). 1999. Majmoue maghalate dovvomin kongereye tarikh-e memari va shahsazi-e Iran, vol. 2. Tehran: Sazman-e miras-e farhangi. Gaube, Heinz. 1979. Iranian Cities. New York: New York University Press, 104-132. "Bam." Iranian Cultural Heritage Organization website. <a href="http://iranmiras.ir/" target="_blank">http://iranmiras.ir/</a> [accessed April 1, 2007] "Bam." Kerman Province Cultural Heritage Organization website. <a href="”" http:="" kermanmiras.org="" ”target="”_blank”"> http://kermanmiras.org/ </a> [accessed April 1, 2007]

Masjid-i Jami'

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Transcription of notes on 35 mm slide: "Isfahan, Masjid-i-Jami; Court Iwan; I55/I73/2Je11; JUL77F7."

Isfahan. Great Mosque. Southwestern Iwan. Top Half.

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<div>Area 191 on <a href="https://archnet.org/media_contents/62965"><span style="font-size: 10.5pt; line-height: 107%; font-family: Verdana, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">1931 ground plan by Eric Schroeder</a><span style="font-size: 10.5pt; line-height: 107%; font-family: Verdana, sans-serif; color: rgb(1, 1, 1); background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">.<o:p></o:p></div>Transcription of notes on 35 mm slide: "Isfahan, Masjdi-i [Jami'] Detail. Jul77F7."

Isfahan. Great Mosque. Southwest Iwan. View of Vault.

Masjid-i Jami' (Isfahan)

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<div>Area 60 on&nbsp;<a href="https://archnet.org/media_contents/62965"><span style="font-size: 10.5pt; line-height: 14.98px; font-family: Verdana, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">1931 ground plan by Eric Schroeder</a><span style="font-size: 10.5pt; line-height: 14.98px; font-family: Verdana, sans-serif; color: rgb(1, 1, 1); background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">.</div><div><span style="font-size: 10.5pt; line-height: 14.98px; font-family: Verdana, sans-serif; color: rgb(1, 1, 1); background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"> </div>Transcription of notes on 35 mm slide: "IRN_ARC_12C. ISFAHAN - GM LIBRARY VAULT; Oct81D4."

Isfahan. Great Mosque. Southern Hypostyle Area. Ribbed Vault.

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Transcription of notes on 35 mm slide: "Isfahan, Masjid-i-Jami Court N.W. Iwan; I55/I73/2Je11; Jul77F1."

Isfahan. Great Mosque. View of decorations on facade of NW Iwan.

Iran and Central Asia (Tabbaa Archive)

<div style="text-align: justify;">Dr.&nbsp;<a href="https://archnet.org/authorities/9259" target="_blank" data-bypass="true">Yasser Tabbaa</a>, a prominent scholar in Islamic art and architecture, donated his teaching collection of 35mm slides to the Aga Khan Documentation Center at MIT in the summer of 2015. The collection also included two&nbsp;<a href="https://archnet.org/collections/1305/details " target="_blank" data-bypass="true">original notebooks</a>&nbsp;documenting some of Dr. Tabbaa's travels. In addition, the online collection includes a select number of his&nbsp;<a href="https://archnet.org/collections/1304/details " target="_blank" data-bypass="true">publications</a>.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">The collection spans the majority of the Islamic world but is particularly strong in its documentation of the medieval Islamic architectural heritage of Syria, eastern Turkey, and Iraq. Together, this core group of original photographs records many of the most significant monuments in the historical regions of the Jazira (or Jazirat Aqur, the term medieval geographers used to denote the lands between the northern parts of the Tigris and Euphrates, including Mosul, Raqqa, Diyarbakir and Mardin) and Bilad al-Sham (a medieval toponym denoting greater Syria-Palestine with its major cities of Aleppo, Homs, Hama, Damascus, Jerusalem, and their hinterlands). Pertinent to the events of today, Dr. Tabbaa’s collection documents many of the monuments damaged or destroyed in recent conflicts in Iraq and Syria. His images and notes will be used in the continuing effort of AKDC to substantiate and record the loss of cultural heritage throughout the region.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">The digital collection is divided into groups to reflect the general system of geographic and chronological organization of sites in Dr. Tabbaa's slide cabinets. These groups appear as thumbnails on the main collection page and the images within them can be accessed by clicking on the thumbnail and then clicking "view collection."</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Please note: This collection is under development and digitization of Dr. Tabbaa's slides is ongoing.&nbsp; Images will be made available as soon as possible. &nbsp;A <a href="https://www.archnet.org/publications/10400" target="_blank" data-bypass="true">preliminary inventory</a> is available to offer an idea of the scope and contents of the collection. If you need specific images from this collection, please contact <a data-bypass="true" target="_blank" href="mailto:akdc@mit.edu">AKDC</a> directly.</div> (<a data-bypass="true" target="_blank" href="http://archnet.org/authorities/2684">Sharon C. Smith</a>, 8 October 2015)

Yasser Tabbaa Archive

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Iran and Central Asia (Tabbaa Archive)

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Iran and Central Asia (Tabbaa Archive)

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