3,488
edits
Hussainiya-ye Moshir: Difference between revisions
→Architectural and Artistic Features
m (Text replacement - "Husayn" to "Hussain") |
|||
| Line 2: | Line 2: | ||
==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 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). | 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 (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. | ||
* | *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. | ||
* S. P. Peterson, “Painted Tiles at the Takieh Muʿavin al-Mulk (Kermanshah),” Supp. no. 6, AMI 1979, pp. 618-28. | *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== | ==Source== | ||
* [http://www.iranicaonline.org/articles/hosayniya-ye-mosir Encyclopaedia Iranica] | |||
*[http://www.iranicaonline.org/articles/hosayniya-ye-mosir Encyclopaedia Iranica] | |||
[[Category: Places]] | [[Category: Places]] | ||
[[Category: Islamic Architecture]] | [[Category: Islamic Architecture]] | ||
[[Category: Shi’a Islam]] | [[Category: Shi’a Islam]] | ||