Investigation of Sheikh Lotfollah Mosque in Isfahan and Sultan Ahmed Mosque in Istanbul with a body-centered approach
Alireza Haj vaziri
1
(
comparative and analytical history of Islamic art, Central Tehran Branch, Islamic Azad University, Tehran, Iran.
)
parnaz Godarzparvari
2
(
Assistant Professor of Comparative and Analytical History of Islamic Art, Islamic Azad University.
)
Esmaeil Baniardalan
3
(
Comparative and Analytical History of Islamic Art, Central Tehran Branch, Islamic Azad University, Tehran, Iran.
)
Keywords: Sheikh Lotfollah Mosque, Sultan Ahmed Mosque, body-centered approach,
Abstract :
According to the body-centered approach and relying on it, the present research tested the geometric motifs in mosques in terms of similarities and differences. In this research, the type of data was historical and mainly qualitative data, therefore, the upcoming research was placed in the field of non-judgmental qualitative research. In this research, qualitative content analysis based on comparative, analytical method was used. Based on the observation of documents and library sources, their bases were explained and studied and analyzed. The tools used in the different stages of the study are: a checklist for closed and, if necessary, open interviews with relevant researchers and professors in this case, and recording the desired images through reliable internet sources, drawing tables related to the discussed geometric patterns using Related software and snapshots of available documents and resources. Based on the researches, the use of Islami and Khatai and inscriptions are common features of the two mosques, which are implemented in different divisions, compositions and colors, but this difference does not create a different feeling in viewer, and both mosques instill peace in human existence. This issue is actually due to the mystery of painting that gives unity to whole building in Islamic buildings and despite the difference between the two buildings, there is a show of homogeneity and dominance of pattern and decoration over form in such a way that the form is behind the decoration and in line with the concepts and Islamic values are a message of unity and integration.
