Comparative Study of Colored Stained Glass in Gothic Art with Sash-window making (Orosi Sazi) in Qajar Era; Case study of Charter Church and Salaar Saeid Mansion
DOI:
https://doi.org/10.29019/eidos.v14i19.998Keywords:
Gothic art, colored stained glass, Qajar art, Orosi (sash)Abstract
In Europe, the use of colored stained glass in the
construction of church windows was common,
reaching their peak during the Gothic period. On the
other hand, the tendency to use colored glass, called
Orosi (Sash), in Iranian architecture began in the
Safavid era and, under the influence of Iranian culture and art, became a genuine art called Girih tiles; this art flourished unprecedentedly during the Qajar era. The present study aimed to identify intercultural links in Qajar era art with elements borrowed from Western culture and by comparing structural techniques, color, patterns, gender, and the impact of conceptual factors such as light tries to identify the possible similarities between the two methods based on matching the study samples of their two outstanding structures (Charter Church and Salaar Saeid Mansion). Since Iran, as a territory that is always at the center of cultural exchanges, asking about the relationship between this trend in Iranian architecture and its roots can be helpful in a better understanding of Iranian art. The present study is a practical-case study and methodologically is a descriptive-analytical study. The data were collected
using a documentary study (library). Findings have
shown that the tradition of colored stained glass has
existed more in European lands, and its formation in Iran is more influenced by imported cultural components. It can be claimed that the sash-window making (Orosi Sazi) during the Qajar era is the continuation of the same colored stained glass of Gothic art, although it is natural that cultural...
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