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Abstract:
Mosque, as one of the most signicant buildings
of Islamic architecture, has passed its process
of formation, evolution or decline over the years
inuenced by static and dynamic spatial and temporal
sub-systems. Principles and criteria of aesthetics in
Islamic architecture include form and shape, light
and color, decoration, signs and symbols. These
principles are not xed and unchangeable, but are
different for each region, culture and tradition, architect
and building. Our knowledge about the subject of
mosque design and related issues will be enhanced
through considering the importance of studying these
works and having accurate knowledge about the
creators of these works intellectually and practically,
which can pave the way for a more accurate design
of the architecture of today’s mosques. The purpose
of this study is to investigate the elements used in the
architecture of Nasir-ol-Molk Mosque in Shiraz based
on Islamic aesthetics. Accordingly, the major raised
questions are: what are the fundamentals used by the
builders in the construction of Nasir-ol-Molk Mosque?
Did the builders use Islamic aesthetic principles in the
construction of this building?
The current study is a descriptive-analytical study in
terms of methodology. Subsequently, the information
was collected through the study of related documents
in the framework of the library. The results of this study
show that Iranian aesthetics and Islamic aesthetics
have had an impact on Nasir-ol-Molk Mosque. All the
necessary elements for a sense of spiritual peace
have been gathered in this mosque. The juxtaposition
of light, color, lancet arches, and other elements in
addition to the scientic support that is of particular
importance, have an aesthetic perspective and there is
a complementary connection between them.
Keywords: Aesthetics, Islamic Art, Islamic Architecture,
Nasir Al-Molk Mosque, Noor.
Resumen
La mezquita, como uno de los edicios más signicativos
de la arquitectura islámica, ha pasado su proceso de
formación, evolución o declive a lo largo de los años,
inuenciado por subsistemas espaciales y temporales
estáticos y dinámicos. Los criterios de la estética en
la arquitectura islámica incluyen gura y forma, luz y
color, decoración, signos y símbolos. Estos principios
no son jos e inmutables, sino que son diferentes para
cada región, cultura, tradición, arquitecto y edicación.
Nuestro conocimiento sobre el diseño de mezquitas, y
los temas relacionados a éste, mejorará al considerar la
importancia de estudiar una serie de trabajos, y contar
con un conocimiento más preciso intelectual y práctico
sobre sus creadores, lo que puede allanar el camino para
un diseño más exacto de la arquitectura de mezquitas
en la actualidad. El propósito de este estudio es
investigar los elementos utilizados en la arquitectura de la
Mezquita Nasir-ol-Molk en Shiraz basados en la estética
islámica. En consecuencia, las principales interrogantes
planteadas son: ¿cuáles son los fundamentos utilizados
por los constructores en la edicación de la Mezquita
Nasir-ol-Molk? ¿Usaron los constructores principios
estéticos islámicos en la construcción de este edicio?
En términos metodológicos, la presente investigación
es un estudio descriptivo-analítico. Posteriormente,
la información se recolecta a través del estudio de
documentos relacionados a este tema dentro del
marco teórico de la biblioteca. Los resultados de este
trabajo investigativo muestran que la estética iraní y la
estética islámica han tenido un impacto en la Mezquita
Nasir-ol-Molk. En esta mezquita se han reunido todos
los elementos necesarios para una sensación de paz
espiritual. La yuxtaposición de luz, color, arcos ojivales
y otros elementos de apoyo cientíco de particular
importancia, tienen una perspectiva estética y existe una
conexión complementaria entre ellos.
Palabras Clave: Estética, Arte Islámico, Arquitectura
Islámica, Mezquita Nasir Al-Molk, Noor.
1Samira Ashari, 2Amin Maleka
1Ph.D student in Industrial Design, Industrial Design Group, Faculty of Design, Tabriz Islamic Art University,
Tabriz, Iran, sa.ashari@tabriziau.ac.ir, ORCID: 0000-0002-5767-2110
2Ph.D student in Geotechnical engineering, Department of Civil Engineering, Faculty of Engineering, Roudehen
Branch, Islamic Azad University, Roudehen, Iran, amin.maleka@yahoo.com, ORCID: 0000-0002-7917-6775
ASHARI, S.,MALEKA, A. - A survey of Nasir Al-Molk Mosque in Shiraz based on the Aesthetics of Islamic Art. pp. 59-71 ISSN:1390-5007
A survey of Nasir Al-Molk Mosque in Shiraz based on the
Aesthetics of Islamic Art
Un estudio de la Mezquita Nasir Al-Molk en Shiraz basado en la
Estética del Arte Islámico
EÍDOS No21
Revista Cientíca de Arquitectura y Urbanismo
ISSN: 1390-5007
revistas.ute.edu.ec/index.php/eidos
Recepción: 30, 09, 2022 - Aceptación: 02, 01, 2023 - Publicado: 17, 01, 2023
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1. INTRODUCTION
Mosques and religious buildings
have long had a special position among
Iranian people. The decoration of Iranian
mosques was initially limited to brick and
plaster (Jahanbakhsh, 2016, p. 108).
Mosque is considered as one of the most
important Islamic architectural buildings.
Considering many xed and variable
principles, the thinking path of the creation
of the works of artists who made mosques is
hidden in their design since the emergence
of mosques. Architects, at different times
and places, tried to manifest the result
of their intellectual, verbal and practical
efforts in the soil and in the creation of
the holiest Islamic buildings. By referring
to these works and having an accurate
intellectual and practical knowledge of
these architects, our knowledge of the
subject of mosque design and related
issues will be improved. This could pave
the way for a more accurate design for
the architecture of today’s mosques but
this knowledge and recognition has wide
and complex dimensions in line with the
subject of architecture. One of the methods
of this recognition is direct observation of
the architecture of mosques and trying to
recognize the signicant overt or covert
similarities of the architecture of these
buildings which represents a kind of
accepted order and method of architecture
that in case of further analysis reveals many
constant spatial and temporal principles
(Tavakolian, 2016, p. 90).
The theoretical framework of this
study is based on Islamic art aesthetics.
Aesthetics in architecture is more
complex than other arts because human
experience in architecture is different
from that of other arts. The experience of
the architectural space is personal and
based on the psychology of perception.
This is because the observer is inside the
space and is affected by that place based
on his intellectual structures and the
degree of dependence on the structures
in the architectural space, such as used
materials or lighting conditions. However,
in the study of architectural space, man is
a part of the life of that space. Therefore,
it can be said that architectural spaces
provide the basis for aesthetic experiences
for human. The purpose of architectural
works, unlike works of other ne arts, rarely
happens to be just aesthetics. Therefore,
the architect has a special ability of paying
attention to the possibilities of making the
work beautiful in addition to performing the
practical purpose of art simultaneously.
For this purpose, he must try in various
ways to align aesthetic goals with practical
goals. A historical, descriptive-analytical
method was used in the present study.
Study of documents related to Nasir-ol-
Molk Mosque by library, observation and
eld methods was used for data collection.
Therefore, the research questions in
the present study are: what are the
fundamentals used by the builders in the
construction of Nasir-ol-Molk Mosque?
Did the builders use Islamic aesthetic
principles in the construction of this
building?
2. LITERATURE REVIEW
To answer the questions in the
introduction, all papers, books and thesis
in this eld have been reviewed. After
studying the researcher, she concluded
that the study of Nasir Al-Molk Mosque
based on examples of Islamic aesthetics
had not been done comprehensively in
the past. Avaznejad and Sheibani (2021)
in her article entitled “Study of Color the
Architecture of Nasir Al-Molk Mosquein
Shiraz” examines the color palette in the
architectural decorations of Nasir Al-
Molk Mosque. The article “Investigating
the sense of spirituality created by the
combination of light and color in Nasir
Al-Molk Mosque in Shiraz” seeks to nd
the roots of the concept of light and color
in Nasir Al-Molk Mosque in creating a
sense of spirituality (Zamanpour et al.,
2016). Ghochani and Mousavi (2022)
wrote an article entitled “Spiritual reading
inuenced by colors in the architecture of
mosques based on the movement path
of the worshiper (case study: Nasir Al-
Molk Mosque in Shiraz)” with the aim of
recognizing the components affecting the
mystical reading of colors used in Nasir
Al-Molk Mosque. The inuence of each of
them on the spiritual and mystical states
of the worshiper is considered. The article
entitled “Evaluation and Ranking of Factors
Affecting the Perception of Spirituality
Sense in the Interior of Mosques; Case
study: Nasir Al-Molk Mosque-Shiraz”
examines the impact of factors affecting
the perception of spirituality in the interior
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of Nasir Al-Molk Mosque in Shiraz (Maleki
et al., 2020). Also in the article entitled
“Architectural criticism of Nasir al-Molk
mosque in Shiraz based on religious
texts”, Akbarzadeh et al. (2019) consider
the purpose of their research to judge and
critique the distinguishing features in the
design of Nasir al-Molk Mosque in Shiraz
based on religious criteria. The article is
entitled “Studying elements of color and
light in Islamic architecture with emphasis
on Nasir-ol-Molk and Moshir mosques
in Shiraz” which is a practical study of
elements of color and light in Islamic
architecture of the mosques where Shiraz
Nasir-ol-Molk and Moshir mosques are
investigated as a case study (Alizadeh,
2015). In the present study, the Nasir al-
Molk Mosque in Shiraz has been analyzed
based on examples of Islamic aesthetics
in all dimensions, which has not been so
comprehensively studied in any of the
articles and books, and each time only a
part of it has been analyzed. Analysis is
located.
3. AESTHETICS
Although the discussion of
aesthetics in philosophy dates back to
the time of Socrates and Plato; aesthetics
as an independent branch of philosophy
was rst used by Alexander Bomgarten in
the eighteenth century (Hashemnezhad,
2012, p. 138). In a book of the same
name, Bomgarten rst used Aesthetic in
the meaning of sensory cognition. Then,
he used it to perceive sensory beauty
especially the perceptible beauty of art
(Goldman, 2008, p. 255). Immanuel Kant
used this word in the rules of aesthetics
and made the use of this word more
common. Gradually, this term became a
branch of philosophy dealing with beauty
and art. Philosophers and thinkers in the
eld of aesthetics have different denitions
for this term. For example, “it is a branch
of philosophy discussing the nature of
beauty” (Budd, 2007, p. 34), “Aesthetics
is the philosophy of art” (Langfeld, 1920,
p. 28) or “Aesthetics is any kind of general
art research, whether it is philosophical
or scientic” (Beardsley, 1981, p. 85).
This term is generally used to refer to the
concepts of beauty and art. Aesthetics used
to be considered a branch of philosophy,
but today it is a combination of philosophy,
psychology and sociology of art. Therefore,
the new aesthetics is not limited to what
is “beautiful” in art, but is an attempt to
discover the sources of human sensitivity
to artistic forms and the relationship of art
with other areas of culture (Pakbaz, 2014,
p. 287). In aesthetic theory, the main issue
is whether objects have aesthetic features
in nature or whether they look beautiful as
a result of perception based on a particular
aesthetic method. In other words, are
observable aesthetic features inherent in
objects or these features exist only in the
human mind (Reyhani, 2015, p. 3).
4. ISLAMIC ART
Some believe that any art with a
religious theme is a religious art but it is
not necessarily sacred while any sacred
art is necessarily religious. According to
this denition, art can have no religious
theme but be religious due to its spiritual
inuence, and it is considered an art with a
religious but anti-religion theme. Religious
and sacred art is art with the presence of
God (Fahimifar, 2009, p. 78). People like
Bookhart believe that art is basically a
face (Burkhart, 2014, p. 7). She believed
“Renaissance and Baroque art, mainly
concerned with religious subjects, is not
religious. Form and meaning must be
similar and in harmony with each other and
be expressed through a formal language.
Sacred art is an inner vision”. Islamic art
is a type of art similar to religious art in its
foundations such as the spirit of symbolism
which is commonly found in religious
arts. But this art has its own aesthetic
differences as a result of differences
that basically separate Islam from other
religions (Fahimifar, 2009, p. 78).
Islamic art is one of the glorious
periods in the history of art and one of the
most valuable human achievements in the
eld of art including various types of art
such as architecture, calligraphy, painting
and the like. Islamic art is not a kind of art
dealing only with the religious issues of
Islam. The term “Islamic” refers not only
to religion, but also to the rich and diverse
culture of the peoples of the lands in which
Islam is practiced. Also, those concepts
and artistic cases in the Islamic societies
that have been created under the inuence
of regional factors and indigenous culture
are also called Islamic art (Balkhari, 2016,
p. 12). In general, in the sacred art, in which
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the art of Islam is also a subset of it, patterns
and images show a state of thinking and
enlightenment that are not in search of
apparent harmony and presentation of an
image like reality (Adibnia, 2016, p. 2). In
Islamic art, beauty is a reection of God’s
beauty. In addition, beauty is an integral
part of truth and its manifestation, so it is
an essential component of any authentic
work of art. Islam never separates beauty
from productivity or art from making
and production. The change that has
taken place as a result of the process of
modernization in the tastes and talents of
Muslims has caused many of them to lose
this inner sense of beauty, dignity, harmony
and honor that is a hallmark of Islamic art,
as it is with all genuine manifestations, so
is the spirit of Islam (Nasr, 2007, pp. 111-
113).
5. ISLAMIC ARCHITECTURE
Most elements of Islamic
architecture are inspired by two ancient
traditions namely Iranian architecture on
the one hand and Byzantine architecture
on the other. From the time of the conquest
of the Sassanid and Byzantine lands by
the Muslims, all the experiences and
technical knowledge of these two ancient
civilizations were at the service of the new
religion. However, as we know, the house
of the Prophet — Medina Mosque— was
built with wooden pillars. Such architecture,
as the most prominent architecture of
Medina, could not offer anything new
in terms of architecture to the lands that
became the realm of Islam. Mosques
started with a simple design but the
cultural and artistic traditions of different
nations inuenced the original designs
over time and magnicent buildings
emerged. Although these buildings had
similarities in location and principles; each
of them represented the architectural
traditions of their region. Generally, the
architecture of Iran, Byzantium and a little
North Africa has been the architectural
model of Islamic mosques (Javadi, 2014,
p. 173) (Figure 1). Islamic architecture
is derived from the language of the
Qur’an and shows the richness of Islamic
civilization using the spirit of spirituality.
This is how the belief in monotheism
and faith in the teachings of Islam as the
aesthetic idea of Islam is manifested in
Islamic architecture. Architecture was
considered as an art representing identity
and culture in addition to color variations.
This was done in such a way that the
manifestation of architecture was clearly
visible in the Figures or carvings. But the
art of architecture emphasizes the use
of artistic masterpieces and decorative
achievements on walls, ceilings, columns,
windows and doors. And even gardens
and ponds are combined with architecture
in a way that increases the impact on
the viewer. Perhaps unity and diversity
in Islamic architecture is one of its most
prominent features. This unity is the main
factor in the development and formation
of the identity of Islamic architecture and
religious institutions. Thus, the methods of
Islamic architecture have been different in
each of the Islamic countries but the unity
between them is well observed (Kiani,
2016, p. 124).
The relationship between Aesthetics
and Islamic Architecture Art
Aesthetics in architecture is
more complex than other arts because
the human experience in architecture is
different from the experience of other arts.
In the study of artistic objects and works,
man is an observer and thinker but in the
study of architectural space, man is a part
of the life of that space. Therefore, it can be
said that architectural spaces provide the
basis for aesthetic experiences for humans.
Architectural works, contrary to works of
other ne arts, rarely have a purely aesthetic
purpose. They depend on other conditions
that are completely outside the category
of art and are concerned with practical
usage. Therefore, the special ability of the
artist in architecture is that pays attention
also to the possibilities of beautifying the
work while performing the work with the
artistic practical purpose (Groter, 1378,
Figure 1. Exterior of Nasir Al-Molk Mosque with a play of
light and color
Source: www. intoday.ir
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p. 457). Art and beauty have always been
related. It is difcult to fully understand the
concept of aesthetics, and its complexity
is doubled when we are dealing with built
architecture and buildings. To make it
possible to understand the concept of
beauty in architectural spaces, theorists
such as George Santayana offer a concept
called a pleasant or enjoyable environment
alongside a beautiful environment. They
believe that a beautiful environment is
an environment that is enjoyable to the
viewer. Based on the ndings of perception
psychology and environmental psychology,
it is possible to identify the factors affecting
the perception of the pleasant environment.
As a result, by recognizing and compiling
these factors, various types of aesthetic
experiences related to architectural spaces
can be classied. In this approach, different
types of aesthetic features of architectural
spaces are identied by examining the
features of a enjoyable and pleasant
environment according to the psychological
characteristics of humans. In other words, a
beautiful environment is an environment that
provides pleasurable sensory experiences,
has a pleasant perceptual structure and
evokes symbols of pleasure. This means
that three categories are enjoyable and
pleasant for the user and observer of the
architectural space:
- Inspirational energies such as
light intensity, color, sound, smell, etc.
- Form-based features that shape
the environment via the structure of
surfaces, textures, brightness, and color.
- Associations created by patterns
(Turner & Penne, 2002, p. 145).
Principles and criteria of
architectural aesthetics are not constant
and unchangeable principles (according
to Gestalt theory) but these principles are
different for each region, each culture and
tradition, each architect, and each building.
In general, important aesthetic criteria in
architecture include the following:
• Form and shape: Form is one of
the main criteria of beauty divided into two
groups: regular and irregular.
• Color: The effects of color on
observers depend on three factors: the
place where the color is used, culture, and
social and psychological factors.
• Signs and symbols: The spiritual
content of a symbol can be expressed in
architecture in different ways: attention to
colors, attention to the type of materials in
the structure of the building, lighting.
• Decoration: An important element
in architecture that pays more attention to
form than meaning. Perhaps it can be said
that it has no meaning dimension at all and
the emphasis is on form (Warberton, 2016,
p. 187).
6. THE EFFECT OF IRANIAN CULTURE
ON ARCHITECTURE
Architecture in Iranian culture
contains many intrinsic meanings and
concepts. Behind every architectural form
lies an inner concept and content. Man
uses external forms and objects to express
his inner content and to depict what is
inside him. These meanings and concepts
do not undergo transient changes. But
every human culture, at any time and
place, offers a new policy in line with the
fundamental goals of society to reform and
develop its views (Khosrojerdi, 2016, p. 3).
Original Islamic-Iranian architecture,
relying on components such as culture and
climate, has predicted the human needs of
residents for many years and has artistically
used them as a basis for the formation of
their spaces. For example, we can refer
to the formation of external and internal
space in the original architecture of Iranian
houses. It seems that such spaces have
been formed to meet some cultural needs.
Customs, religious ceremonies, morale,
ethics, thought and belief of generations
are clearly reected in Iranian architecture
Figure 2. Yard of Nasir Al-Molk Mosque
Source: www. In today. ir
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(Goodarzi Soroush, 2015, p. 5). Man is
composed of three inseparable stages of
thought and imagination, psyche, and soul;
so, in Iranian culture, every human body
has an outside and an inside part that are
different but not separate and distinct from
each other. The journey from the outside to
the inside is manifested both in the action
and in the artistic work of the artist. While
working with the object and its material
deformation, the artist tries to bring it closer
to his inner part. This quality also affects his
audience.
Culture is the interface between
the goal (perfectionism) and the plan (art,
science, religion). In loyalty to the culture
and art of a land, the issue is not the
preservation and repetition of past forms
but a dynamic and creative look is one of
the basic necessities. Architecture conveys
meaning not form. Form is one of the most
prominent architecturally inuential features
of culture. Preserving the fundamental,
cultural and artistic factors in the building
makes the soulless architectural work
move towards a complete and signicant
architecture. The architectural building must
meet the spiritual needs of human beings
in terms of spirituality and the afterlife in
addition to meeting the worldly needs and
material life of man. Iranian architecture
makes building with the material in such a
way that it distances itself from its material
form and approaches its inner and ideal
form. For example, arches, in addition to
the role of covering, approached the higher
level of their existence that is the arch of the
universe or the heavens and the dome of sky.
For this purpose, the arches were always
created with bricks, tiles and plaster, using
Rasmibandi, Yazidibandi and Mogharnas,
representing as hedge breakers, and starry
buildings. The light shone into the building
with its delicate holes. Sometimes it even
passed through engraved colorful glass
which was reminiscent of imaginary forms.
The stone, characterized by opacity and
roughness, appears so clear and delicate
when light passes through it so that its
materiality is forgotten and spirituality is
revealed. Mirror and glass also make the
building look light, soft and transparent due
to their inherent transparency. Therefore,
the duty of the Iranian architect is to create
a place for human life in accordance with
the denition that Iranian culture has of
human beings, which is not limited only to
its form. The Iranian architect considers
the human habitat to have several levels,
each of which satises one of the needs
of human existence. In the construction
of the building, the complexities of human
beings and their need to live in a place
that is compatible with their existential
characteristics, including their material
and spiritual dimension, are considered
(Khosrojerdi, 2016, p. 4) (Figure 3).
7. NASIR-OL-MOLK MOSQUE
The word mosque literally means the
place of prostration and worship. In Islamic
ideology, mosque has been established
as a common religious-political center.
The best mosque in big cities located
in the center of the city is called Jame
Mosque. Jame mosques are usually the
most important architectural works of the
city. This is so important that some Islamic
cities are famous for their Jame Mosque.
Despite the changes in the construction of
mosques, the common point of all mosques
was that they conveyed messages to the
believers as non-verbal symbols. Mosque
is not the only one-dimensional means
of mass communication that merely
conveys the divine message. In addition
to conveying its message, mosque is the
center of determining the message, its
form and its effects. This feature of the
mosque distinguishes it from any other
places (Shayestehfar, 2008, p. 66).
Nasir-ol-Molk Mosque is one
of Shiraz historical mosques located in
Goodarban neighborhood and Lotfali
Khanzand Street. This mosque dates back
to Qajar era and is slightly inuenced by
Ottoman architecture; it was built from
1293 to 1305 by Hassan Ali Nasir-ol-Molk.
The foundation of this mosque equals to
2212 square meters and its area equals
Figure 3. Light in the nave of Nasir Al-Molk Mosque
Source: www.asriran.com
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to 2980 square meters. The direction of
the entrance door is to the north of the
mosque and it is located in a large arch.
In the large courtyard of this mosque, two
nights pray halls can be seen. Its western
night pray hall with a brick cover is more
artistically signicant. This night pray hall
is a summer night pray hall (Tavakolian &
Bahmani Kazeruni, 2016, p. 99) (Figure 4).
Considering Nasir-ol-Molk Mosque
and the clear and intense effects of the
Zandieh period on it, in fact, we see the re-
manifestation of mosque decorations such
as Vakil Mosque in the facade of Nasir-ol-
Molk Mosque (Jamali, 2013, p. 88). The
colorful glass used in the beautiful doors
and windows of this mosque has created
a play of light and joyful color inside the
mosque, and these colors of colorful
glass can be seen only in the morning.
Watching the morning sunlight passing
through colorful glass and then falling on
the design of Iranian carpets is so magical
that it seems as if it belongs to another
world. Be a kind of person with the least
religious beliefs in this world, you may feel
that your hands are approaching each
other for worship by seeing the genius
in the lighting of this mosque (Shaterian,
2012, p. 132) (Figure 2).
8. INVESTIGATING NASIR ALMOLK
MOSQUE BASED ON ISLAMIC
AESTHETICS REALIZATIONS
Islamic Aesthetics: Since
monotheism (Towhid) is considered as the
rst pilar of Islamic beliefs, then the reection
of this belief in Islamic art has caused unity
to become the main pillar of Islamic art.
The aesthetics of Islamic art is based on
plurality in unity and unity in plurality. This
implies monotheism and circle shape is a
symbol of universe, the center of which is
the creator of the world creating the main
shape of decorations (in Islamic tiling,
rosettes reect this feature aesthetically).
The shape of the circle is such that it directs
the viewer’s look from the scattering points
to a main point which is the center of the
circle. The aesthetic rules of religious art
are formed on the basis of religious beliefs.
Artistic expression through symbol is a
way to get closer to spirituality and peace.
By doing so, which may be translated as
“resorting,” the soul nds peace (Nezhdat
Arzan, 2009, p. 331).
Tiling: This art, which has been
used in decorating the architecture of
Iranian mosques and other historical
monuments such as pottery since ancient
time, shows the fervor, skill and taste of
Iranian artists. Simple geometric designs,
curved lines, semicircles, triangles, parallel
lines with a perpendicular line drawn on
them, various patterns of owers, plants,
leaves and animals that are inspired by
nature as well as various Persian scripts
written on tiles has been built and installed
for mosques, has given a special balance,
color and manifestation to mosque
buildings (Mehrpooya, 1997, p. 564).
Nasir-ol-Molk Mosque is made
of Moqelli tiles, a combination of simple
tiles with bricks and plaster. Also, the
painted colors on the tiles induce a
Figure 5. Tiling of Nasir Al-Molk Mosque
Source: www.akharinkhabar.ir
Figure 4: Plan of Nasir Al-Molk Mosque
Source: www.aftabtravel.com
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heavenly atmosphere and create peace
of mind. Positive and negative atmosphere
observed in tile work of Islamic buildings
represents the correlated concept of soul
and body. Geometric patterns and plants
are also used in tiles because the basis
of these designs is a circle shape and the
circle in Islamic art is associated with a
symbol of “perfection”. Circle also draws
the viewer’s attention to the “center”, the
point that is everywhere and nowhere
(Figure 5).
Windows: Windows usually
have beautiful patterns in which the play
between light and shadow creates lively
images. But simultaneously the world is
shown as if we are looking at it behind the
scenes. Windows like many of the patterns
used for decoration reect Islamic beliefs
about people’s perception of the world.
They create visual effects in which reality
and fantasy are intertwined, as if the faces
are seen behind the scenes and breaks
down the boundaries of the real world by
repeatedly repetition of one thing (Nezhdat
Arzan, 2008, pp. 332-333). Lattice windows
create a balance between outside and
inside light. Looking from the inside out,
this balance prevents intense sunlight
and prevents the eyes from getting tired
due to the light. The designs used in the
construction of lattice windows often can
regulate the light inside the room. Lattice
windows diffuse and modulate intense
outside light and these windows pass all
the light into the room when the light is not
intense (Bamat, 2015, p. 45) (Figure 6).
Light: Lighting is one of the most
important features in the physical realm
in all environments (Kenz & Kers cited,
2012, p. 9, in Ahmadpoor Samani). The
role of light in Islamic architecture is a
comprehensive emphasis on the principle
of manifestation. Light is responsible for
clarifying the material and reducing the
difculty and coldness of the building.
Light is scattered as a manifestation
of existence in the mosque space to
be one of the constituent elements of
the perceptual space. The element of
illuminating the mosque and strengthening
the light system of mosques, in addition
to being a mystical and spiritual
symbol, is also a part of the mosque’s
decorations. This illumination performs
the task of transmitting information well
and sometimes raises the human mind
beyond material limitations (Zamanpour et
al., 2020, p. 9). Light is present in Islamic
architecture both externally and internally
(mystically) and it is necessary to to be
considered. Light is a sign of moving
towards the truth and has no physical state
(Von Meiss, 2014, p. 258). “Light is the
most effective part of Iranian architecture,
not only as a physical component but also
as a symbol of divine wisdom as well as
existence”. Light is a spiritual presence
that penetrates the weight of matter,
transforming it into a new form that is
worthy of being the abode of the human
soul. The essence of this soul is rooted in
the world of light which is nothing but the
spiritual world (Ardalan, 2012. Foreword).
Architecture welcomes light in two
ways: in the rst state, it offers its outside to
light, and in the second state, it invites light
into itself. In the rst state, the light reveals
its beauties and ugliness with architectural
breakers in the game of shadow and semi-
shadow. And in the second state, it is the
architecture that allows light to enter the
building in a special way with a selective
quality. The light sometimes opens
the door completely to the building’s
presence, sometimes makes sacred gods
and sometimes, by taking it out of its
monotheistic state, calls for a multitude of
Figure 6. Windows of Nasir Al-Molk Mosque
Source: www.asriran.com
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colors (Khalantari Khandani, 2016, p. 6). In
Iranian architectural spaces, the hierarchy
of light and darkness has been carefully
used to move and direct from one space to
another. In this hierarchy, it is the intensity
of light and darkness in the spaces that
determines their importance (Von Meiss,
2014, p. 259). In Iranian tradition, the
source and origin of light (sunlight) always
enters indirectly with reection. in case of
direct entry, which usually shines through
roof light window in a narrow radius and
does not lose its valuable basis (Nadimi,
2007, pp. 103-97) (Figure 3).
Color: Color is visible to the human
eye only when there is light on the color
(Nurelawati et al., 2012, p. 2). Color, like
light and its effects, is another important
element that directly affects people’s
emotions and can create a feeling of health,
happiness, sadness, passivity or activity.
This effect can increase or decrease the
performance of individuals (Ahmadpoor
Samani & Ahmadpoor Samani, 2012, p. 7).
“Color is a part of our conscious, semi-
conscious and unconscious self. We react
in our behavior by receiving color. “These
reactions are not only psychological or
perceptual, but may also be physiological”
(Memarian et al., 2014, p. 3). Different
colors such as warm colors (such as red
and orange) and cold colors (such as blue
and green) have different psychological
meanings for people’s feelings (Ahmadpoor
Samani & Ahmadpoor Samani, 2012, p. 7).
Color, along with light, texture, form
and shape, is one of the elements that
affect people’s visual perception of the
environment. Using color, you can integrate
and unify the space or make it distinct and
recognizable. All these factors regardless
of other environmental factors and spatial
characteristics, cause two identical spaces
with different color combinations to have
different effects on human perception
(Akhshik, 1390, pp. 7-8). All these
factors, regardless of other environmental
factors and spatial FEATURES, cause
two identical spaces with different color
combinations have different effects on
human perception (Akhshik, 2012, pp.
7-8). Iranian architecture has been ranked
among the most colorful architectures
globally by architectural experts such
as Arthur Pope and color specialists in
architecture such as Tom Porter and Louis
Sveirnev (Avaznejad & Sheibani, 2019,
p. 45). In The Architecture of Iran, Arthur
Pope describes the triumph of the shape
and color of Iranian architecture as follows:
Most of the architecture of Iran is simple in
terms of volume and design and inspires
a spirit of calm and condence from afar.
This is especially the case when using
color. “Various designs and intricate
decorations are created. In most periods
of Iranian architecture, vivid and varied
colors have reached a level that has never
been seen before. (Pope, 1986, p. 54)
Color selection in internal space
architecture can affect a person’s
feelings more than any other independent
factor, and it can turn the boring and
monotonous atmosphere of the internal
space into a pleasant and living place.
In interior design, the emphasis of color
is on form (Cheshmeh Sohrabi et al.,
2012, p. 16). Color represents a plurality
that is inherently related to unity. Color is
considered as an important spiritual factor
in Islamic architecture painting. In Islamic
architecture, the importance and place of
color has been completely considered.
According to Henry Carbone in “Iranian
Mysticism”, colors become an indicator for
the mystic to judge her light-mystical status.
The colors obtained from the radiation of
light symbolize the manifestation of unity
in plurality and the dependence of plurality
on unity. Each color is a symbol of the
state and light itself, without being limited
to that particular color (Bamat, 2015, p. 53)
(Figure 7).
Spiral columns and arches:
One of the most important structural and
compositional symbolic forms is “spiral”
form. It includes both introverted and
extroverted movement, it is a manifestation
Figure 7. Color in the nave of Nasir Al-Molk Mosque
Source: www. mizboon.com
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of the inner being and the outer world, and
it means having both features of continuous
change and stability at the same time. In
paintings, the spiral form is an important
compositional principle for arrangement of
major visual movements. This is also used
in buildings. Another decorative feature of
architecture is “expansion of structures”.
It is believed that the “expansion of
structures” is the basis of the whole
world and the whole universe. It includes
patterns that are derived from some basic
geometric shapes and are a symbol of the
relationship between man and God, or a
symbol of some basic movements that
are thought to form the basis of temporal
processes and spatial structures (Nezhdat
Arzan, 2009, p. 331) (Figure 3).
9. CONCLUSION
The arrival of Islam in any land has
been accompanied by the use of art in
its service in that place. Islam has been
combined with that art and its theme has
been directed towards Islam in that land.
As when Islam came to Iran, the Sassanid
arches, as a decoration of the holy place,
used for dome chambers. In ancient
architecture, various building components
and materials were often used not only for
their beauty but also for their properties.
Arch and minaret are supports for vertical
and lateral forces as well as a beautiful
sign to see mosques in the city. The
arch gives a feeling of depth and width.
There is a unique rhythm of mystical light
and many colors have a unique rhythm.
Transparency and the division of large
surfaces into small components with good
proportions eliminate the weight of the
building mass and the light merges with
the building and makes it integrated.
Mosques and their components
have both symbolic and functional
aspects. There are two types of beliefs
about Islamic aesthetics:
1. Traditionalists also called
esotericists or hermeneutics. They
considered Islamic art as a sacred art.
They considered Islamic art as the result of
understanding mysticism, tradition and the
Qur’an while a real artist was considered
as a great mystic and Su. However, the
change that took place in art as a result of
Islam was in terms of content, not structure.
2. Historians, those who did not
have a sacred view of art, they considered
art as a normal thing and art products
as a necessity for a better life, they did
not have a supernatural view of art, and
this group did not accept the opinion of
the traditionalists. Perhaps sometimes a
masterpiece of art was formed by a person
who was skilled but not very religious
and mystical. Many principles used in
mosques and Islamic architecture were
scientic such as light and arches but the
paintings used in them have been greatly
inuenced by Islam. It is better to look at
many elements of Islamic aesthetics from
a different perspective and they should be
considered as effects of Islamic beliefs on
the aesthetic understanding of people not
as if aesthetics were born and established
in Islam. Many of these elements existed
before Islam and religion of Islam has
changed them like architecture and its
elements. Arches, light, paint, windows,
tiles and geometric shapes were also
used in Nasir-ol-Molk Mosque, and these
elements were used before Islam too.
But in Islamic buildings, they were used
frequently due to the positive effect of
these elements.
Islam has collected and used some
of the best aesthetic elements so that the
audience feels serenity when sees them. It
also gives a detailed and scientic look at
many elements and issues, considering a
background for each of them, and collected
the best factors introduced to the Muslim
artist in various ways. In all cases, Islam has
tried to give the best and most aesthetic
advice to its artists, whether on the subject of
building a mosque or preparing a miniature,
so that the obtained result is worthy of
Islamic art. The present study completely
conrms the views of traditionalists, not
historians. According to the author, Islam
has an aesthetic background. The issue of
aesthetics is strongly related to culture and
geography and is inuenced by them. As a
result, both Iranian and Islamic aesthetics are
effective in Nasir-ol-Molk Mosque. Perhaps it
can be said that the word Islamic aesthetics
does not belong to any of the Islamic
countries. This word is too general. Every
case of aesthetic is inuenced by its region
with Islamic principles that are manifested
in their theme. The arch, which is used in
most Islamic mosques and is considered
as a symbol of Throne of Heaven, has
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been used in a special way in each Islamic
region and has created its own aesthetics.
All the necessary elements for a sense of
spiritual peace have been gathered in this
mosque. The juxtaposition of light, color,
lancet arches and other elements in addition
to the scientic support that is of particular
importance, have an aesthetic perspective
and there is a complementary connection
between them. This aesthetic view has been
expressed in various forms in different parts
of the world with an almost constant scientic
content to represent a safe and quiet place
for their audience.
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