Editing Hussainiya-ye Moshir

'''Hussainiya-ye Moshir,''' a Hussainiya(q.v.) building located near the Baharband-e Moshir in the Sang-e Siah quarter of Shiraz, which is famous in particular for its exquisite tile paintings. It was built as an act of piety by Haji Mirza Abu’l-Hasan Khan Moshir-al-Molk-e Thani (1226-1307/1811 or 1812-89), a wealthy Qajar dignitary, who served as the vizier of Fars for thirty years. He financed the building of a number of religious institutions in Shiraz, including, in addition to this hussainiya(1290-93/1873-76), a magnificent mosque (1264-74/1848-57) named after him. <ref>Bamdad, Rejal I, pp. 39 ff.</ref> The hussainiya building was originally attached to Moshir-al-Molk-e Thani’s house and garden, but they have not survived. His sole heir, his daughter Soltan Hajia, had his hussainiya transformed into a school (dabirestan) in 1306 Sh./1927.<ref>see Homayuni, p. 14</ref>
==Architectural and Artistic Features==
[[File:Hussainiya-ye Moshir.jpg|thumb|right|Hussainiya-ye Moshir, Shiraz, Iran]]
Hussainiya-ye Moshir, which boasts some of the finest examples of Qajar tile paintings (kashi-kari), stonework (hajjari), and building with stone, eventually attracted the attention of the Fine Arts Department and became listed as a national monument in 1972, after which it underwent restoration. Passion plays were performed there during the international symposium on [[taʿziya]] held at Shiraz in August 1976.<ref>see photographs of the event in Chelkowski, pp. 103, 105, 109</ref>
The most famous painting in the Ḥosayniya-ye Moshir is the panel of kashi-kari on the pediment built on the north side, above the shah-neshin (seat of honor) overlooking the courtyard where taʿziyas and other related rituals were performed. This masterpiece by the artist Aqa Mirza Bozorg represents scenes from the drama at [[Karbala]] on eight cartouches in two registers. These latter are separated by a frieze, containing a poem about [[Hussain ibn Ali|Imam Hussain]] and Karbala in fine nastaʿliq calligraphy by Wesal-e Shirazi (1193-1262/1779-1846). The centerpiece of the upper register depicts the Day of Judgement. Color photographs of this panel, together with other paintings, architectural details, and inscriptions at the Hussainiya-ye Moshir have been reproduced by Homayuni.<ref>1355 Sh. [2535]/1976; see also Masʿud-Ansari, p. 254; Chelkowski, p. 107 ff.; Fontana, p. 53 and fig. 58</ref> The tile paintings compare favorably in quality with those found in the [[Imamzade]] Shah Zayd at Isfahan <ref>late Qajar period, as identified by Chelkowski, p. 104, photos, pp. 100 ff.</ref> as well as those in the Takia Moʿawen-al-Molk in Kermanshah (see Peterson).

==References==
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==Bibliography==

*[[Peter J. Chelkowski|P. J. Chelkowski]], “Narrative Painting and Painting Recitation in Qajar Iran,” Muqarnas 6, 1989, pp. 99-111.

*M. V. Fontana, Iconografia dell Ahl al-Bayt. Immagini di arte persiana dal XII al XX secolo, Supp. no. 78 to AIUON 54/1, 1994.

*Ṣ. Homāyuni, Ḥosayniya-ye Mošir, Tehran, 1976.

*F. Masʿud-Anṣāri, “Die Malerei zur Zeit der Qadjaren-Dynastie (1706-1925) im Iran,” unpublished Ph.D. diss., Universität Tübingen, 1986.

*S. P. Peterson, “Painted Tiles at the Takieh Muʿavin al-Mulk (Kermanshah),” Supp. no. 6, AMI 1979, pp. 618-28.

*Idem, “The Taʿziyeh and Related Arts,” in P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama inIran, New York, 1979, pp. 64-87, pp. 76 ff. (Jean Calmard) Originally Published: December 15, 2004. Last Updated: March 23, 2012.

==Source==

*[http://www.iranicaonline.org/articles/hosayniya-ye-mosir Encyclopaedia Iranica]

[[Category: Places]]
[[Category: Islamic Architecture]]
[[Category: Shi’a Islam]]
[[fa:حسینیه‌ مشیر]]