Images of monuments and landscapes in East Azerbaijan Province, Iran. Photographs taken by&nbsp;<a href="https://archnet.org/authorities/1910" target="_blank" data-bypass="true">Baroness Marie-Thérèse Ullens de Schooten</a>&nbsp;between 1951 and 1972.

Marie-Thérèse Ullens de Schooten

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Iran

Although today it is only partially extant, the Ali Shah Mosque is believed to have been the largest brick structure ever built. It was built in the Il-Khanid period by Ali Shah, the Iranian vizier during the reign of Oljeitu and Abu Sa'id. Ali Shah was not only its patron, but may also have been the designer of its plan. The Ali Shah Mosque can be considered a courtyard mosque and is believed to have had a traditional layout, organized around four iwans. Uniquely, rather than having an additional domed structure to serve as the mosque building, the mihrab is housed in a proportionately majestic iwan, removing the need for a separate mosque structure. Oriented towards qibla, the Ali Shah Mosque was organized around a marble paved rectangular courtyard that was 286 meters wide by 229 meters long. Entered through the pishtaq centered on the northern wall, it had an iwan at the centre of the west and east sides and the large iwan at the centre of the southernmost wall, towards the qibla. The mihrab, visible at the centre of the only extant qibla wall, is articulated by three relieving arches above it. On either side of the mihrab are two windows with sills located very high above ground level. At the centre of the courtyard was a square pool with a square raised platform at its centre containing an octagonal fountain with jets and four lions sprouting water from their mouths in each direction. The walls of the courtyard were articulated with a stone-vaulted arcade of alabaster columns. Trees were organized in plots at each of the four corners surrounding the square pool. In keeping with the grandiose scale of the few examples of Mongol architecture in Persia, the walls were massive brick structures. They were plain, articulated only by the curved corners of the qibla wall and the rounded bastion behind the mihrab recess which are partially still extant. The iwan vault was 30.5 meters wide and 48 meters deep with a total distance between the portal and the mihrab of 65.5 meters. The total height of the vault is said to have been over 45.7 meters and sprang from about 24 meters from the ground. Unfortunately, the vault of the huge iwan collapsed soon after it was built. Two minarets are also said to have risen from the same base of 24 meters up further 35.4 meters, for a total height above floor of approximately 61 meters. Attached to either side of the iwan walls were also a madrasa and a khanqa. These may have provided the funds necessary to sustain the mosque. Little is known about these two structures, as both have completely collapsed. The Masjid-i-Jami of Ali Shah was later used as a citadel, perhaps because of its massive walls, and is thus locally known as the Arg (fortress). Most recently, the Arg has been used as an open air cinema. Sources: Hillenbrand, Robert. Islamic Architecture: Form, Function, and Meaning, 107, 424, 491. Edinburgh: Edinburgh University Press, 2000. O'Kane, Bernard. Studies in Persian Art and Architecture, 125-126. Cairo: The American University of Cairo, 1995. Pope, Arthur Upham. Persian Architecture: The Triumph of Form and Color, 177-179, 231. New York: George Braziller, Inc., 1965. Wilber, Donald N. The Architecture of Islamic Iran: The Il Khanid Period, 146-149.&nbsp;New York: Greenwood Press, Publishers, 1955.

Arg-i Alishah

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digital graphic

IAA706505

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IMG28271

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IMG28272

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IMG28353

The tomb, or gunbad, was built for Amir Shams ad-din Qarasunqur, a former Mamluk slave who served as the governor of Maragha until his death in 1328. It consists of a square brick chamber raised on a stone base containing a crypt. The inner and outer domes have not survived. The entry, which faces north, was originally accessed with a set of steps that are now missing. The entrance to the crypt is located on the east side. This tomb bears close resemblance to Gunbad-i Surkh, an earlier tomb also located in Maragha. The use of faience for exterior decoration, also seen at the Tomb of Mu'mina Khatun in Nakhchivan and at Gunbad-i Surkh, is a major decorative element at the Gunbad-i Ghaffariya. Four engaged columns woven with diagonal brick pattern and decorated with mosaic faience articulate the four corners of the monument. The exterior decoration is focused on the entry façade, which bears an inscriptive panel dating the monument to the reign of Sultan Abu Sa'id Bahadur Khan's reign. A wide decorative band composed of interlocking stars and pentagons, frames the recessed doorway and its muqarnas crown. Flanking the entryway are two narrow niches with pointed arches; their surfaces are carved with geometric patterns. Faience has been used extensively on the muqarnas crown and the inscription, and to highlight the geometric carvings of the entry façade. The two side and the back walls of the monument are identically divided into two halves with shallow arched niches. Above each niche is a rectangular panel that bears traces of the original plaster molding. The spandrels of the arches are decorated with faience. Placed at the center of each niche is a miniature panel, also composed of a shallow niche topped by a rectangle. It is within these miniature panels that the heraldic sign of Amir Shams ad-din Qarasunqur, in the form of two inverted Js, is inscribed. The cornice and faience decoration were partially restored by Mirath-i Farhangi, an organization in charge of cultural affairs in Iran. Inside, the monument is decorated with a series of arched panels. There is a mihrab niche at the center of the southern wall. The plastered walls bear traces of painted decoration. Sources: Uqabi, Muhammad Mahdi, ed. Dayirat al-ma arif-i binaha-yi tarikhi-i Iran dar dawrah-i Islami, 333-334. Tehran: Awzah i-i Hunari-i Sazmani-i Tablighat-i Islami, 1997. Wilber, Donald Newton. The Architecture of Islamic Iran: The Il Khanid Period. New York: Greenwood Press, 1969.

Gunbad-i Ghaffariyya

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IMG28354

One of the three tombs built in Maragheh, Gunbad-i Qabud has a decagonal brick chamber with a stone base and a crypt. The entrance to the chamber is on the west side of the structure, while the entry to the crypt is along the base, facing east. The monument was originally built with a double dome, of which only the base of the outer dome remains. The inner dome was probably spherical and the outer dome must have been a polyhedral cone; most tombs in northern Iran and in Azerbaijan have conical roofs. The tomb is often attributed to the Christian mother of Hulagu, the Mongol ruler who conquered Iran in the thirteenth century, though this has been questioned based on the Quranic verses used in the tomb's decoration. The corners of the decagon are articulated with ten engaged columns on the exterior. Ten pointed arches, one on each façade, spring from the columns at about two thirds of the way towards the cornice. Below the springing of the arches, the surfaces are covered entirely with a brick pattern of interlacing pentagons. Above, the tympanum of each arch is carved with a three-tier muqarnas. The surface of the muqarnas and the arch spandrels are filled with dense labyrinthine patterns rendered in brick and mosaic faience. Above the arches is a band of Quranic inscriptions - verse twenty-six from the second Sura - composed in Kufic style and topped by an intricate muqarnas cornice. Brick ribs are used to outline the arches and the corners of the exterior. Faience has been used to highlight the decorative elements above the spring of the arches, such as the inscriptions carved into the arch soffits. Faience had appeared earlier in Gunbad-i Surkh, another tomb built in Maragheh. The entrance to the chamber is set within a niche and crowned by an intricately carved muqarnas. The delicate features of the muqarnas have been largely damaged. Above the muqarnas is an inscription, also damaged, that contains the date of the building. Contained within a rectangular frame, the entrance is about 2 meters above ground level. The interior of the chamber is also decagonal, with deep niches carved into its sides. A pointed arch crowns each niche. The zone of transition to the dome consists of twenty small squinches and a band of inscription in Naskhi style, containing Quranic verses one to five from Sura al-Mulk; these are the major decorative elements of the plastered interior. The crypt has a Greek cross plan and a groin vault. A carved plaster panel on the wall, composed in Naskhi style, contains verse (26 and 27) from Sura ar-Rahman. The similarities between this tomb and the Tomb of Mu'mina Khatun located in Nakhchivan, two hundred kilometers to the north of Maragheh, are noteworthy. The two towers not only have identical plans, but their major decorative features are also similar. The Tomb of Mu'mina Khatun, built in 1186 A. D., is one of the earliest monuments where faience was used as an exterior decorative element. Gunbad-i Qabud represents a later and more developed stage in craftsmanship. In an old photograph a second entry is visible. However, since no decorative features are used to adorn it, this doorway could not have been part of the tomb's original conception. This entrance is seen blocked in later photographs. Sources: Daneshvari, Abbas. "A Stylistic and Iconographic Study of the Persian Tomb Towers of the Seljuk Period." Ph.D. Diss., The University of California, 1977. Hatim, Ghulam Ali. Mimari-i Islami-i Iran dar dawrah-i Saljuqian, 193-198. Tehran: Muassasah-i Intisharat-i Jihad-i Danishgahi, 2000. Hoag, John D. Islamic Architecture. New York: Rizzoli, 1987. Godard, Andre. The Art of Iran, 305. Translated by Michael Heron. New York: Frederick A. Praeger, 1965.

Gunbad-i Qabud

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IMG28355

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IMG28356

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IMG28357

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IMG28358

Built in 1147-8/542 AH, this monument's architect is believed to be Bakr Muhammad. Gunbad-i Surkh is the oldest of the five tomb towers in the city of Maragha. A free-standing structure, this monument has a square chamber covered with what is thought to have been an eight-sided pyramidal dome atop an octagonal drum. The chamber of the monument sits on a stone base that includes a low-ceilinged basement space. The main façade of the chamber, which includes the entrance, is located on the north side, while the entrance to the sub-level basement space is on the east side of the monument. Seven steps devise the transition from the ground level to the main level of the tomb. On the exterior, Four engaged pilasters, capped by plain stone capitals, articulate the corners of the monument. The side and rear walls are decorated with two decorative niches flanked by protruding pilasters. Between the engaged pilasters, each niche has been decorated with a pointed arch, bordered by a narrow band of Arabic inscriptions in Kufic. Above each niche on all three walls are decorative panels containing a line of Arabic inscriptions topped by geometric patterns in brick. The decoration at the entrance façade has received a more elaborate treatment. Above the door, framed by an arch, is a geometric panel. The central part of the panel has been filled by an interlaced geometric brick pattern bordered by Arabic writing, also in Kufic characters. There is a second line of inscriptions at the top of a rectangular frame that incorporates both the framing arch and the main door of the chamber. The interior chamber is a simple square whose dome is placed on top of stalactite squinches. As in all the tomb towers belonging to the later period of the Saljuq's reign in Iran, the main material used is brick. The use of stone has been limited to minor decorative details such as the embedded capitals. Brick has been applied in its raw red colour with only a few spots highlighted with turquoise blue glaze. As at the earlier towers of the Kharraqan, the brick pattern has been emphasized by recessed mortar joints. In this manner the role of the individual brick unit, as the main constructive constituent of the surface pattern, is highlighted. In the Gundad-i Surkh, brick has been used to create a rich variety of brick weaves, applied in patches to highlight and differentiate between the architectural elements and details in the monument. The appearance of mosaic faience in details, such as the tympanum of the door, marks an important point of transition in the development of decorative styles in Iran and central Asia. Faience is seen as narrow strips, in a field where other terracotta member are inserted in hard plaster. Gunbad-i Surkh is one of the earliest monuments in which mosaic faience is employed in the decorative theme. Sources: 	 Hoag, John D.&nbsp; Islamic Architecture. New York: Rizzoli. 1987. Godard, Andre. The Art of Iran, 301-3. Translated by Michael Heron. New York: Frederick A. Praeger, 1965. Hatim, Ghulam Ali. Mimari-i Islami-i Iran dar dawrah-i Saljuqian, 193-198. Tehran: Muassasah-i Intisharat-i Jihad-i Danishgahi,&nbsp; 2000.

Gunbad-i Surkh

East Azerbaijan Province (Ullens Collection)

<a data-bypass="true" target="_blank" href="http://archnet.org/authorities/1910">Baroness Marie-Thérèse Ullens de Schooten</a> (1905-1989, Belgium)&nbsp;traveled widely over the course of her husband's diplomatic career, visiting&nbsp;Egypt in the 1920s and Iran in 1948, among other destinations. It was her&nbsp;second trip to Iran in 1951 that marked the start of Ullens' documentary work.&nbsp;She continued to work in Iran into the 1970s. In her audio recordings and her&nbsp;film work, Ullens focused on the Iranian nomadic tribes, notably the Qashqai&nbsp;(Kashkai), to whom she gained privileged access.&nbsp;The Harvard Fine Arts Library made the video files available to&nbsp;Archnet in 2010. Archnet researchers have edited the videos, adding titles,&nbsp;translations, and information on themes and locations that appear in the films.&nbsp;A selection of still images from the Ullens Collection at the Harvard&nbsp;Semitic Museum Photographic Archives is also made available on Archnet. In this online collection, images are grouped in sub-collections by geographic location (province or city), and all videos can be found in the sub-collection titled "Videos (Ullens Collection)." The online collection is a work in progress, and more material will be added over time.

Baroness Ullens de Schooten: Iran, Iraq & Egypt

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Archnet is a community-powered resource that provides ready access to visual and textual material to facilitate teaching, scholarship, and professional work of high quality.&nbsp;This unparalleled resource continues to grow with both the addition of historic archives and documentation on contemporary trends shaping the built environment today.&nbsp;To better serve you, our user, in the study of art and architecture of Muslim societies, we continue to build our vast collection of sites, publications, images, and videos. To ensure a high level of scholarly content and accuracy in the information provided, we appreciate your expert feedback and, more importantly, your contributions..&nbsp;&nbsp;<ul><li>Please send comments, corrections, commendations, and other feedback to <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;</li><li>If you find sites on Archnet to which you can contribute in compelling and meaningful ways, your generosity is most welcome. If you would be interested in contributing research, publications or other media to Archnet, please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite contributions of relevant, previously published, Open Access or copyrighted material for which you are able to grant Archnet a non-exclusive license. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite the contribution of syllabi, lesson plans, recorded lectures, or other material for our pedagogy project. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We welcome the donation of select archives based on our current editorial policies and priorities.&nbsp;If you have a collection you would like to bring to the attention of Archnet's editors, please send an email to: <a href="http://mailto: archnet-submission@mit.edu/" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.</li><li>Occasionally, Archnet editors issue calls for contributions on specific themes or of particular types of material. Follow those on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">website of AKDC@MIT </a>or <a href="https://mailchi.mp/17fc345bbd94/archnetakdc-updates" rel="noopener noreferrer" target="_blank">subscribe to our mailing list</a>.</li></ul> The breadth, depth, and quality of Archnet is oachieved through the generosity of numerous institutions and individuals listed on the respective pages throughout the site.&nbsp;We thank you for your generosity!

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Archnet is an Open Access resource, provided to the public to facilitate cultural understanding and excellence in both scholarship and practice. Content from Archnet.org may not be published, displayed, or appropriated for commercial use without the expressed written permission of the copyright holder. Unless otherwise noted, Archnet material is available for instructional, nonprofit use, and personal use on the terms of a <a href="https://creativecommons.org/licenses/by-nc/4.0/" rel="noopener noreferrer" target="_blank">Creative Commons Attribution-NonCommercial 4.0 International</a> (CC BY-NC 4.0) license. Please contact Archnet to request permission to use the Archnet.org website and its contents beyond the scope outlined above. High-resolution images may be available by contacting us using <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>. The content available on Archnet, including but not limited to information, text, graphics, logos, and multimedia related to the the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture’</a>s programmes, such as the <a href="https://www.archnet.org/collections/54" rel="noopener noreferrer" target="_blank">Historic Cities Programme</a>, the <a href="https://www.archnet.org/collections/848" rel="noopener noreferrer" target="_blank">Aga Khan Award for Architecture</a> and the <a href="https://www.archnet.org/collections/132" rel="noopener noreferrer" target="_blank">Aga Khan Music Programme</a>, may be protected by copyright, trademark, or other intellectual property rights and laws, whether owned by the Aga Khan Trust for Culture, its affiliates, or third parties. Unauthorized use, reproduction, distribution, modification, or display of this content is strictly prohibited without the express written permission of the respective copyright or trademark holder. Violation of this prohibition may result in legal penalties.

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<h2>ARCHNET FAQ</h2>1. Will ARCHNET work on my device?Archnet works well on the most recent version of any major browser (Chrome, Firefox, Safari, Edge), either on a mobile device or computer. It may work on older or less common browsers as well. If Archnet fails to work properly on your machine, please let us know about your experience by clicking the blue feedback button at bottom right!2. Will my URLs from earlier versions of Archnet still work?Yes, if they are from the version launched in January 2013. As of October 12, 2021, all URLs from the old Archnet have been redirected to ARCHNET.&nbsp;&nbsp;3. How do I download a/n:&nbsp;<ul><li>image - Select the image you want to download from search results, a site or an authority. The image will open in your browser.&nbsp;Right click to download.&nbsp;For larger, high-resolution copies, see contact us using archnet@mit.edu.&nbsp;</li><li>publication - Open the page for the publication in your browser and click the download button. Reprinting Archnet publications is permissible only for personal use.&nbsp;Please contact us for any other requests.&nbsp;</li><li>site descriptions and metadata - Site descriptions and metadata can be used for any nonprofit or educational organization with appropriate attribution to the authors and Archnet.&nbsp;</li><li>video - Currently video downloads are not possible. If you'd like to use an Archnet video, please contact <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</li></ul>See our <a href="https://www.archnet.org/pages/terms" rel="noopener noreferrer" target="_blank">Terms of Use</a> for information on how you can use Archnnet material.4. Can I contribute material to Archnet?&nbsp;Yes!&nbsp;See our <a href="https://www.archnet.org/pages/contribute" rel="noopener noreferrer" target="_blank">Contribute</a> page for more information.&nbsp;Calls for specific contributions are also also shared in our social media and on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">web site of the Aga Khan Documentation Center at MIT</a>.&nbsp;&nbsp;5. What happened to the Archnet Timeline?&nbsp;Timeline has migrated into the ARCHNET NEXT Collections page&nbsp;<a href="https://www.archnet.org/collections/collection_type/3/1" rel="noopener noreferrer" target="_blank">as a category</a>. These collections provide short introductions for each period, often offering lists of additional resources at the end of the entry. Only the timeline graphic listing the periods along a chronological axis has not migrated.6. My question isn't here.&nbsp;How can I get help?&nbsp;If your issue is with using Archnet, use the blue Feedback button to alert us to your issue. This will allow you to include a screenshot or recording. Please, also, feel free to contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>We are currently developing the help section of ARCHNET NEXT. In the meantime, please use the blue Feedback button in ARCHNET NEXT to send us feedback or other questions. Contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;

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Welcome to ARCHNET, an open access, interdisciplinary, intellectual resource focused on the built environment of Muslim societies.Focused on the built environment of Islamic civilizations past and present, we seek to:<ul><li>Facilitate excellence in scholarship and professional work by&nbsp;providing reliable information and ready access&nbsp;to vetted, high-quality textual and multimedia resources&nbsp;focused on architecture, urbanism, environmental and landscape design,&nbsp;heritage&nbsp;conservation, economic and environmental sustainability, community development and resilience in the face of rapid change, and related topics.</li><li>Enable teaching and learning in these domains by providing educators with reliable, effective pedagogical material and teaching aids.&nbsp;</li><li>Serve as a platform through which scholars, practitioners, and institutions can bring their work to new global audiences.&nbsp;</li><li>Promote intercultural understanding and dialogue through reliable, high-quality, peer-reviewed material on the diversity of and pluralism within Muslim societies and the interaction between Islamic and other religious, cultural, and philosophical traditions as it relates to architecture and urbanism.</li><li>Enable easy access to a wide variety of resources via a custom-built, web-based, mobile-friendly platform optimized to minimize financial, infrastructural, linguistic, and other barriers to access.&nbsp;&nbsp;</li></ul>Launched in 2002 after several years of development, ARCHNET is a pioneering digital resource that has proven a reliable authority on the built environment of Muslim societies, past and present.&nbsp;ARCHNET is a partnership between the <a href="https://www.archnet.org/collections/1342" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center, MIT Libraries</a> (AKDC@MIT) and the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture</a> (AKTC), with support from the <a href="https://www.archnet.org/collections/50" rel="noopener noreferrer" target="_blank">Aga Khan Program for Islamic Architecture</a> at Harvard and MIT.&nbsp;ARCHNET is developed and maintained by <a href="https://www.performantsoftware.com/" rel="noopener noreferrer" target="_blank">Performant Software Solutions</a>.

East Azerbaijan Province (Ullens Collection)

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East Azerbaijan Province (Ullens Collection)

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