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Hussainiya-ye Moshir: Difference between revisions
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==Architectural and Artistic Features== | ==Architectural and Artistic Features== | ||
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 (see photographs of the event in Chelkowski, pp. 103, 105, 109). | 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 (see photographs of the event in Chelkowski, pp. 103, 105, 109). | ||
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 [[Imam | 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 [[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 (1355 Sh. [2535]/1976; see also Masʿud-Ansari, p. 254; Chelkowski, p. 107 ff.; Fontana, p. 53 and fig. 58). The tile paintings compare favorably in quality with those found in the [[Imamzade]] Shah Zayd at Isfahan (late Qajar period, as identified by Chelkowski, p. 104, photos, pp. 100 ff.) as well as those in the Takia Moʿawen-al-Molk in Kermanshah (see Peterson). | ||
==Bibliography== | ==Bibliography== | ||
* P. J. Chelkowski, “Narrative Painting and Painting Recitation in Qajar Iran,” Muqarnas 6, 1989, pp. 99-111. | * P. J. Chelkowski, “Narrative Painting and Painting Recitation in Qajar Iran,” Muqarnas 6, 1989, pp. 99-111. | ||