Orient & Occident: Ο Χρυσός Τρούλος της Μασάντ: Από Τόπος Μαρτυρίου, Τάφος του Ιμάμη Ρεζά και του Χαρούν αλ Ρασίντ, το Μεγαλύτερο Τζαμί στον Κόσμο

ΑΝΑΔΗΜΟΣΙΕΥΣΗ ΑΠΟ ΤΟ ΣΗΜΕΡΑ ΑΝΕΝΕΡΓΟ ΜΠΛΟΓΚ “ΟΙ ΡΩΜΙΟΙ ΤΗΣ ΑΝΑΤΟΛΗΣ”

Το κείμενο του κ. Νίκου Μπαϋρακτάρη είχε αρχικά δημοσιευθεί την 3η Αυγούστου 2019.

Στο κείμενό του αυτό, ο κ. Μπαϋρακτάρης αναπαράγει το περιεχόμενο συζητήσεών μας για την ιερότητα της Μασάντ και τις εκεί πνευματικές-καλλιτεχνικές ανταλλαγές Τουρανών και Ιρανών, οι οποίες καλύπτουν πάνω από έξι (6) αιώνες Ισλαμικής Ιστορίας (από τους Γαζνεβίδες έως τους Σαφεβίδες).

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Ο Χρυσός Τρούλος της Μασάντ: Από Τόπος Μαρτυρίου, Τάφος του Ιμάμη Ρεζά και του Χαρούν αλ Ρασίντ, το Μεγαλύτερο Τζαμί στον Κόσμο

https://greeksoftheorient.wordpress.com/2019/08/03/ο-χρυσός-τρούλος-της-μασάντ-από-τόπος-μ/

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Οι Ρωμιοί της Ανατολής – Greeks of the Orient

Ρωμιοσύνη, Ρωμανία, Ανατολική Ρωμαϊκή Αυτοκρατορία

Σημείο σύγκλισης Σιιτών και Σουνιτών, το τεράστιο σύμπλεγμα ιερών ήταν αρχικά ο χώρος του ταφικού μνημείου του μεγαλύτερου χαλίφη όλων των εποχών: του Χαρούν αλ Ρασίντ (786-809). Στην συνέχεια, εκεί δολοφονήθηκε το 818 από τον χαλίφη Μααμούν, γιο του Χαρούν αλ Ρασίντ, ο πέμπτος ιμάμης του Ισλάμ, ο Αλί αλ Ρέντα (περσ. Ρεζά).

Έτσι ο τόπος έγινε στην συνέχεια σημείο πολλών αρχιτεκτονικών επεκτάσεων και προσθηκών, βελτιώσεων και αφιερώσεων από ένα ατελείωτο αριθμό πιστών που συνέρρεαν κάθε χρόνο κι έκαναν τεράστιες δωρεές.

Οι Γαζνεβίδες (977–1186) που έλεγχαν όλη την περιοχή από την δυτική Κίνα και την βόρεια Ινδία μέχρι το Κεντρικό Ιράν, πρώτα κατέστρεψαν το ιερό κι έπειτα το αναστήλωσαν. Οι Σελτζούκοι του Χορασάν (ΒΑ Ιράν) κι ιδιαίτερα ο Άχμετ Σαντζάρ (εγγονός του Αλπ Αρσλάν – 1097–1118) συνέχισαν τις αναστηλώσεις και ξεκίνησαν την ανέγερση ενός τεράστιου θόλου.

Το έργο συνέχισαν οι σάχηδες της Χωρεσμίας (1077–1231), η οποία αντιστοιχεί γεωγραφικό στο σημερινό Τουρκμενιστάν, κι αργότερα οι Μογγόλοι.

Ο μεγάλος μουσουλμάνος περιηγητής Ιμπν Μπατούτα έφθασε το 1333 στην Μασάντ (που το όνομά της σημαίνει ‘τόπος μαρτυρίου’ στα αραβικά και έτσι θυμίζει τον σκοτωμό του ιμάμη Ρεζά: مشهد).

Με εντυπωσιακά λόγια περιέγραψε την πόλη, το τζαμί-μνημείο και τον θόλο.

Η μεγαλύτερη επέκταση και βελτίωση του μνημείου κι η ανάδειξη της Μασάντ σε σημαντική πολιτεία οφείλονται στον γιο του Ταμερλάνου Σαχρούχ (1405-1447 / شاهرخ) του οποίου η σύζυγος, αυτοκράτειρα Γκοχαρσάντ (گوهرشاد) ανέγειρε το ομώνυμο τζαμί.

Οι Σαφεβίδες έδωσαν ξεχωριστή μεγαλοπρέπεια στον τεράστιο τρούλο προσθέτοντας τα επίχρυσα τούβλα, κατά τον 17ο αι.

Εκτός από το τζαμί-μαυσωλείο και το τζαμί Γκοχαρσάντ (Goharshad), τέσσερις θρησκευτικές, μια βιβλιοθήκη, ένα σύγχρονο μουσείο, ένα πανεπιστήμιο, αίθουσες προσευχής, παραδοσιακές τραπεζαρίες για πιστούς, και άλλα κτήρια, το σύμπλεγμα καλύπτει μια έκταση σχεδόν 270000 τμ και οι επτά αυλές που το περιβάλλουν έχουν έκταση σχεδόν 600000 τμ. Ο χώρος διοικείται από το ίδρυμα Astan Quds Razavi.

Να προσθέσω ότι το όνομα της πόλης Μασάντ κακώς αποδίδεται πολλές φορές στα ελληνικά ως Μασχάντ: η σύγχυση οφείλεται σε άγνοια περσικών και στην μπερδεμένη αγγλική απόδοση ως Mashhad. Μετά την Τεχεράνη, σήμερα η Μασάντ είναι η μεγαλύτερη πόλη του Ιράν.

Δείτε το βίντεο:

Золотой купол храма Мешхед: самая большая мечеть в мире

https://www.ok.ru/video/1459810339437

The Golden Dome of Mashhad’s Shrine – Золотой купол храма Мешхед

https://vk.com/video434648441_456240265

Ο Χρυσός Τρούλος της Μασάντ (Mashhad) στο Ιράν: το Μεγαλύτερο Τζαμί στον Κόσμο

Περισσότερα:

Āstān–e Qods–e Rażawī

The complex of buildings surrounding the tomb of the Imam ʿAlī al-Reżā at Mašhad (the “shrine complex”)

The pre-Mongol period

The city of Mašhad (Meshed), the present-day administrative capital of Khorasan, is a relatively recent foundation which grew up about the tomb with its important pilgrim traffic following the decline of the ancient nearby cities of Ṭūs and Nīšāpūr in the period of the Mongol conquest.

Before the interment of the imam the place was already the site of the tomb of the ʿAbbasid caliph, Hārūn al-Rašīd (r. 170/786-193/809) in the precincts of which the imam was himself buried close to its west wall on the upper side of the head (bālā-ye sar) of Hārūn’s tomb.

The mausoleum (boqʿa) of al-Hārūn stood in the grounds of the house of the governor of Ṭūs, Ḥomayd b. Qaḥṭaba al-Ṭāʾī, at the village of Sanābād just outside Nūqān, one of the two big towns in the Ṭūs district at that time (Ebn Ḥawqal, p. 434). Its erection is attributed to his son and second successor, al-Maʾmūn (r. 198/813-218/833), but no documentary evidence has yet appeared to support this.

This same structure which eventually became the imam’s mausoleum (rawża) also is an almost perfect square (see below), in the center of which was placed the caliph’s grave. The earth used in the construction of the walls is coarse (čīna) or layered (dāy) earth, consisting of clay that has been kneaded and then fired like the clay used in the construction of kilns and jars.

It is alleged that goat’s hair and molasses (šīra) were employed to strengthen the earthen compound. The walls are more than two meters thick and therefore unusually sturdy. It seems that at the beginning, in accordance with the architectural technique of the age, the compound was topped by a cloistered-vaulted ceiling, not a dome.

After Imam Reżā’s remains had been brought to the mausoleum, the building came to be known as the Mašhad, i.e., place of martyrdom (e.g., Moqaddasī, p. 352; Bayhaqī, 2nd. ed., pp. 531-32; Ebn al-Aṯīr, repr., X, pp. 210, 522; Jovaynī, I, pp. 200, 201, where it is referred to as Mašhad-e Moqaddas), because the imam was believed to have been poisoned and to have died a martyr; and the city that in subsequent centuries grew up about the shrine also acquired this name.

According to Moḥammad-Ḥasan Khan Ṣanīʿ-al-dawla, who does not mention his sources, efforts to adorn the mausoleum date from as early as the Daylamite period (Maṭlaʿ al-šams, Tehran, 1302/1884, repr., Tehran, 2535 = 1355 Š./ 1976, II, p. 50; ʿA. Moʾtaman, Tārīḵ-eĀstān-e Qods-e Rażawī, Tehran, 1348 Š./ 1969, p. 61 ). Later the Ghaznavid ruler Nāṣer-al-dawla Sübüktigin (r. 366/977-387/997) destroyed the mausoleum in an act of fanaticism leaving intact only just over two meters of walls from the building of al-Maʾmūm’s time.

People were forbidden to repair the place, and it remained in ruin until the reign of Sübüktigin’s son and successor Sultan Maḥmūd (387/997-421/1030) who, because of a dream that the had, had the mausoleum rebuilt (Ebn al-Aṯīr, IX, p. 401); the work was completed in 400/1009 through the efforts of Abū Bakr Šahmard, the kadḵodā (steward) of Faʾeq ḵādem-e kāṣṣa. Abu’l-Fażl Sūrī b. Moʿtazz, the contemporary governor of Nīšāpūr, donated a flourishing village as an endowment (waqf), ordered several additions, and built a minaret (Bayhaqī, pp. 531-32).

This is the minaret which today stands on top of the golden ayvān of the Ṣaḥn-e Kohna (old court), not far from the great dome. As will be noted later, the minaret was later embellished with gold bricks and other ornamentation. The new building incorporated the remnants of the original structure, using bricks in the walls and in the new, barrel-vaulted roof, as in the contemporary tomb of Arslān Jāḏeb (a governor of Ṭūs under Sultan Maḥmūd) near the village of Sangbast (on the Mašhad-Farīmān road, some 40 km east of the city), locally known as the tomb of Ayāz.

The two buildings show close similarity in general architectural design, particularly in the placing of squinches over the corners, in the claddings, and in having four arches which formed four openings in the middle of the original four walls.

According to B. Saʿādat (Bārgāh-e Reżā, Shiraz, Asia Institute of the Pahlavi University, 2535 = 1355 Š./1976, the plan of the building), the direction of Mecca (qebla) in all the buildings of the complex is exactly southwest. In the present article, “south” is written for convenience instead of “direction of Mecca.”

Thus the real directions are all 45° different from the directions given here.

The dimensions of the Ḥaram are: length from north to south, 10.90 m; breadth from east to west, 10.40 m; height of the rim of the vault, 18.80 m; height of the apex of the dome above the floor of the Ḥaram, 31.20 m; external circumference of the dome, 42.10 m; height of the entire gold-clad part of the dome, 16.40 m; height of the gold-clad cupola of the dome, 3.50 m.

Formerly, inside this chamber, in the form of a frieze that ran along the drum of the dome just beneath the clearstory windows, the sura 62 of the Koran (al-Jomʿa) had been written in a raised inscription on plaster in a fine ṯolṯ script by the great calligrapher ʿAlī-Reżā ʿAbbāsī (q.v.), the letters of which were covered with inlaid mirror-work.

The doorway facing the Ḥaram and the eastern door of the sanctuary precinct are both of gold, while there are eleven doors made of silver opening onto the lateral porticoes (rewāqs).

The floor of the Ḥaram having recently been raised 4 cm, the figures for height of the vault and the apex of the dome must now be reduced accordingly.

The mausoleum suffered severe damage as a result of the incursion of the Ḡozz Turks in 548/1153 (Ḥ. Šāmlū, Tārīḵ-eĪrān az Mād tā Pahlavī, Tehran 1347 Š./1968, p. 387). A few years later it was repaired and resuscitated by Šaraf-al-dīn Abū Ṭāher b. Saʿd b. ʿAlī Qomī, either at his own expense or for the account of the Saljuq Sultan Sanǰar (r. 511/1118-552/1157) (Moʾtaman, op. cit., p. 61; Ṣanī–ʿal-dawla, op. cit., II, p. 51).

Also toward the end of the Saljuq period, Zomorrod Malek, a daughter of Sanǰar’s nephew (sister’s son), the Il-khanid prince Maḥmūd b. Moḥammad (T. Bīneš, “Sangāb-e Ḵᵛarazmšāhī,” Nāma-ye Āstān-e Qods-e Rażawī 38, N.S. 1, pp. 81, 99), caused the dadoes of the Ḥaram to be adorned with finely colored octagonal and hexagonal star-shaped tiles. Inscriptions on remains of the tiles show that this work was done after 557/1162 (Mawlawī, in Dāneš-nāma I, p. 89).

One tile bears the name Torkān Zomorrod Maleka (sic) bent-e solṭān-e šahīd Maḥmūd. These tiles were removed in later times, and in subsequent restorations they were refixed to the plinth of the Ḥaram in random order, the sequence of the inscriptions being ignored.

The inscriptions contain useful information and have been transcribed by Moḥammad-Ḥasan Khan Ṣanīʿ-al-dawla (op. cit., II, p. 63; see also ʿA. –Ḥ. Mawlawī, “Kāšīhā-ye ezāra-ye ḥaram-e moṭahhar,” Nāma-ye Āstān-e Qods-e Rażawī, special edition (šomāra-ye maḵṣūṣ) on the occasion of the celebration of the 2500th year of Iranian empire, Mašhad, n.d., pp. 197- 97).

One of the finest old art specimens preserved in the shrine museum is a large, circular stone drinking trough (sangāb) bearing inscriptions which show that it was made for the Ḵᵛārazmšāh Moḥammad and his vizier Neẓām-al-molk in 599/1203 and that its makers’ names were Moḥammad b. Aḥmad . . . , Moḥammad . . . ,and Masʿūd Naqqāš (S. Ḥ. Ṣamadī, Rāhnamā-ye Mūza-ye Āstān-e Qods-e Rażawī, n.d., pp. 21, 31; T. Bīneš, op. cit., p. 86).

Fixed to the wall on the outer margin of the surround of the Ḥaram doorway leading to the Pīšrow (approach) from the rewāq called the Dār al-Ḥoffāẓ, there is a very fine inscription on glazed bricks in embossed ṯolṯ script, in which the imam’s name and genealogy, the name of the donor (ʿAlī b. Moḥammad Moqrī, the name of the potter (Moḥammad b. Abī Ṭāher, see above, I, 385), and the date (1 Jomādā 612/28 September 1215) are mentioned.

Moqrī also donated the inscribed tiles over the plinth inside the chamber and the three very fine niches (ṭāqča) in the southern wall, all of which still remain in situ. The inscription on the inside of the sanctuary was repaired in 760/1358-59, which date can still be seen on the ṣoffa or dais running along the northern wall of the sanctuary, known as the “Šāh Ṭahmāsbī Ṣoffa.”

In the following century, the interior walls of the sanctuary were plastered and simply painted. In a later period a new coating of plaster was applied over the old and some finer drawings were traced on them. In the Safavid period it was once again decorated, with very delicate designs done in gold, lapis lazuli, vermilion, verdigris, and other colorants—in the same technique as can be observed in palaces of the Safavid period and the mausoleum of Ḵᵛāǰa Rabīʿ b. Ḵayṯam in Mašhad. (All of this decoration and redecoration came to view in 1344 Š./1965 when the western wall of the sanctuary was refurbished.)

In another part of the surround of the same doorway of the Ḥaram, there is an inscription comprising two verses by the Arabic poet Abū Nowās in praise of the imam and the name of ʿAbd-al-ʿAzīz b. Ādam b. Abī Naṣr Qomī, who apparently was responsible for the building of the doorway.

His name reappears on the meḥrāb on the southwest side of the Ḥaram in an inscription which also includes the name of the luster potter, Abū Zayd b. Abī Moḥammad Kāšānī, and bears the date Rabīʿ II, 612/August, 1215. The same date reappears in yet another inscription on the Ṣoffa-ye Šāh Ṭahmāsbī, which also consists of a Hadith of the Prophet as well as two Persian verses.

Βιβλιογραφικές παραπομπές βρίσκονται εδώ:

http://www.iranicaonline.org/articles/astan–e–qods–e–razawi

Gowhar-šād Mosque

Since its construction in the early 15th century, the Gowhar-šād Mosque has served as the Friday mosque for pilgrims to the tomb of Imam ʿAli al-Reżā (q.v.) in Mašhad, so named after this famous shrine. Over the centuries many new buildings were added to the shrine complex, but the Timurid mosque remained the dominant monument and the only place for congregational prayer.

Foundation

Gowhar-šād Āḡā, wife of the Timurid ruler Šāhroḵ (r. 811-50/1409-47), is named as the founder of the mosque in the inscription on the qebla ayvān, in the endowment document (waqf-nāma), and in several Timurid texts. The lengthy inscription which records the building of the masjed-e jāmeʿ “from her own funds” was written by her calligrapher son Ḡiāṯ-al-Din Bāysonḡor (q.v.) in 821/1418 (text in Ṣaniʿ-al-Dawla, II, p. 147; O’Kane, pp. 123-24).

The same date is given again in a shorter inscription (Ṣaniʿ-al-Dawla, II, p. 146). An early copy of the waqf-nāma in the shrine library, from which extracts have been published (Ṣaniʿ-al-Dawla, II, p. 153-57; O’Kane, pp. 126-27), gives the date Rajab 829/May-June 1426. References to the mosque’s foundation occur in ʿAbd-al-Razzāq Samarqandi (Maṭla-e saʿdayn, ed. Šafiʿ, II/1, p. 214, describing Šāhroḵ’s visit on the occasion of presenting a gold candelabra to the shrine in 821/1418.

Also noting that the mosque was nearly finished) and Ḥāfez-e Abru (I, p. 98; O’Kane, p. 120, noting that other structures were built beside it).

Beneath the qebla ayvān inscription is a panel of mosaic faience naming the architect Qewām-al-Din b. Zayn-al-Din Širāzi al-Ṭayyān, “the plasterer.” He was also the architect of Gowhar-šād’s mosque and madrasa in Herat, built over a twenty-year period from 820/1417 to 841/1437-38 (O’Kane, pp. 167-77), thus overlapping with construction of the Mašhad project. As almost nothing remains of the Herat buildings, the preservation of the Mašhad mosque is critical as an example of Qewām-al-Din’s commissions for the royal family.

Spatial organization

The mosque was designed to fit into the pre-existing structures at the shrine, as described in the waqf-nāma. On the northeast lay the mausoleum of the Eighth Imam. A small bāzār ran along the north-west, and the public thoroughfare ran along the other two sides with some additional buildings.

To connect the new mosque to the existing square mausoleum with its auxiliary structures (possibly the Bālā-sar Masjed, a minaret, and a madrasa, the architect built two elegant rectangular halls side by side, the Dār-al-Ḥoffāẓ and the Dār-al-Siāda.

Because the mausoleum doorways have undergone so many alterations it is not clear how these halls functioned, whether as rooms for gathering or as passageways between the mausoleum and the mosque. As the mosque is not provided with a monumental portal, it is possible that the Dār-al-Siāda originally had such an entry point. Today it is surrounded by later buildings.

The mosque itself is a traditional four-ayvān type with a much larger qebla ayvān, followed by a very large domed sanctuary (the dome was rebuilt in concrete in the 1960s). Pillared prayer halls flank the sanctuary and connect the axial ayvāns. Secondary entrances are located in the exterior walls that border on the bāzār. The sanctuary dome with its huge ayvān compensates for the lack of a monumental entrance portal so typical of Timurid architecture.

The qebla ayvān towers over the courtyard façade, which rises as a two-story arcade. It is framed by a pair of cylindrical minarets with gol-dastas reaching the height of the dome. Inside the sanctuary there is an unusually clear view from the ayvān to the prayer niche (meḥrāb), nestled within a cloud of plaster moqarnas. The architect has all but eliminated the wall of the domed sanctuary that normally intervenes between the domed hall and the ayvān. Instead, as he does elsewhere, Qewām-al-Din uses transverse arches to bear the dome. He has done the same in the Dār-al-Siāda on a much smaller scale.

Decoration

While the exterior of the mosque except for the dome and its drum was undecorated, the courtyard façade and the ayvāns were completely covered with tile revetments. How much of this is original is difficult to determine, as numerous dates of repair are recorded. More recently, the lateral ayvāns and the dome were rebuilt in concrete. Much of the tile work of the qebla ayvān is original and demonstrates the predominance of mosaic-faience technique.

The use of plaques of mosaic-faience set into a ground of unglazed brick-like tiles to cover the minarets is a hallmark of Qewām-al-Din and is found on his buildings at Herat and Ḵargerd. Less common in the mosque are haft-rangi (cuerda seca) tiles and underglazed-painted tiles. Large expanses of wall such as found in the ayvāns are ornamented with glazed brick-like tiles (bannāʾi technique).

Βιβλιογραφικές παραπομπές βρίσκονται εδώ:

http://www.iranicaonline.org/articles/gowhar–sad–mosque

Φωτογραφία του Luigi Pesce γύρω στο 1850-1860

Imam Reza Holy Complex – whc.unesco.org

Ali ibn Moosa (Ali the son of Moosa) known as Reza is of descendants of Muhammad, the holy prophet of Islam, cherished by the Muslims of the whole world for his high spiritual levels and importance whom born in Medina and moved to Thus in Iran after the order of Ma’mūn, the seventh Abbasid caliph, when the most significance part of Imam Reza’s life regarding his political and religious role initiates and conclude by his martyrization.

The role of Imam Reza in the guidance of the public in his lifetime and his prominent status as a religious figure lead to the transformation of his holy shrine as one of the religious hubs for Muslims and especially Shias which has had large architectural developments during the history.

The complex was so respected by the Shia believers and various governments, whether Shia or Sunni, that has benefited from constant restoration, maintenance and new extensions during different eras.

Plenty of tourists visit the Holy shrine each year and know it as the largest and most significant religious places for Iranians and other Muslims all around the world. Kumpfer, a German tourism who visited Iran during (1096-1105 AH/ 1685-1694 AD) has some words on the holy shrine complex. “The most outstanding, extensive and engaging holy shrine in Iran, undoubtedly, are as follows: first, Imam Reza’s Holy Shrine in Mashhad.

Second, his sister’s Holy shrine in Qom and, third, Sheikh Safi al-din Khānegāh and Shrine Ensemble in Ardabil”, Kumpfer stated. This historic architectural complex accompanies unique and distinctive ethics and rituals to be known as an inseparable heritage of the complex and the complicated culture of its wider setting.

In fact, the genuine values of the heritage associates not only with its magnificent architecture and structural system but also with all the rituals, all together implicating the unique spiritual spirit of Imam Reza.

Dusting is one of the oldest rituals of Astane-e Qods with 500 years of constant continuation which on the event of specific occasions performs with particular formalities. As well as playing Naqareh (a specific wind instrument) in various events and times. Of other rituals, the sweeping, Waqf, granting free food and services to assist others and the mankind, various types of citing, etc. can be mentioned.

In a general perspective, the function, structure, decorative elements, facades and surfaces of the buildings all in all symbolize the ideology, the through religious unification and the evolution of the complex.

This holy shrine is not just a shrine but, in a larger scale, is an institution and an identity formed and developed based on the religious ideology and believes.

The holy complex comprises of tens of valuable architectural heritages around the central holy shrine which are all with political and social importance.

Formation of Mashahd, as a city and its development is indebted to creation of the holy shrine.

Thus the complex becomes the religious, political, social and also artistic center for Mashhad. It also, immensely, influence the economic status of the city.

The first built structure in the complex, is the holy shrine under which the tomb of Imam Reza is located.

This architectural heritage, due to its long lifespan, glorious decorative elements such as tiles, mirror decorations, gilded dome, stone-works, plaster-works, etc. incorporate sublime tangible and intangible values.

The gilded dome, known as Qubba, regarding its height and structure is of exceptional qualities.

A double-shelled dome with Muqarnas underneath.

The space between the two shells of the dome is almost 13.60 m high, while the height of the walls is 18.80 m. In total, the height of the structure from the ground level to the top of the dome is 31.20 m. on the plinths, exquisite octagonal tiles known as “Sanjari tiles”, from seljuq era (557 AH) are used.

Gowharshad mosque, of other significant historic architectures within the complex, due to its fine decorative arts and tiles is considered as masterpieces of Iranian Architectures from Teimurid era.

The structure is built by the distinguished architect of Teimurid time, Qavam al- din ibn Zein al- din Shirazi by use of brick and gypsum in Islamic architectural style.

Allah verdikhan dome, Hatam khani dome, Do Dar School, Parizad School and various monumental buildings such as minarets, Saqqa khanehs (water houses), Neqareh Khanehs, etc., as well as the museum objects and manuscripts in the Astane-e Qods collections are of other valuable elements of the complex.

Justification of Outstanding Universal Value

Imam Reza’s holy shrine is the most significant element giving identity to the urban area of Mashhad. The city is of exceptional examples formed based on the shia’s and pilgrimage culture. From spiritual point of view, the complex has significances regarding the traditions, view rites to the holy shrine, approaching circumstances, saluting, Tawaf, consecration, etc.

The rituals and ceremonies merged together with the pilgrimage rites are generated based on the social and religious needs and requirements rooted in the public believes, the consistency and persistence of which exhibit their significance and values. In fact, Mashhad and the buffer zone of the complex present a unique approach and exercise towards the development of pilgrimage areas during the history in relation to a city and its religious core, in a way that the expression of the pilgrimage concept can be vividly seen in the architectural and urban planning of Mashhad.

Imam Reza’s holy shrine is a complex of buildings formed progressively during almost a thousand year, around which the city of Mashhad created according to the needs of this outstanding pilgrimage center. The relation of city and the holy shrine during different periods of time lead to a unique experience in the urban planning of the area, a practice which later transferred to the other pilgrimage cities by visitors especially Shias.

In such way that the remarkable indications of other Shia cities are thoroughly retrieved from semiotic system of Mashhad and this historic complex in case of the spatial systems, landscape relation to their surrounding and the city, etc.

Criterion (i): Imam Reza complex, a continuous artistic architectural style whose progress spreads over centuries, represents a unique masterpiece of creating a sacred space.

This complex is a prototype especially in Saljuq, Ilkhanid, Timurid, safavid, Qajar and contemporary period.

A great number of important structures of the region, including schools, mosques, the memorials of the mystics, especially in great Khorasan, have been inspired by this complex.

Criterion (ii): During more than millennia, some sections have been added to this complex in Different periods. We are witnessing a high level of creativity and high improvement in creating architectural, artistic structures in any period. Though each period is technologically and architecturally unique, the general complex is in special harmony as it is evident.

Artistic values of each period have been respected and transferred to the next period. Therefore it is a collection of diverse architectural, artistic, technological and cultural values. Imam Reza’s holy shrine is a complex of buildings formed progressively during almost a thousand year, around which the city of Mashhad created according to the needs of this outstanding pilgrimage center.

The relation of city and the holy shrine during different periods of time lead to a unique experience in the urban planning of the area, a practice which later transferred to the other pilgrimage cities by visitors especially Shias. In such way that the remarkable indications of other Shia cities are thoroughly retrieved from semiotic system of Mashhad and this historic complex in case of the spatial systems, landscape relation to their surrounding and the city, etc.

Criterion (iii): The Imam Reza complex, in general also in details enjoys unique creativity and genius, altogether has formed a unique cultural, artistic masterpiece all over the world. The architectural design of the complex has also complied with these traditions and rituals to address the needs of people and the urban landscape.

Every year 20 million pilgrims visit the holy shrine and perform a set of traditions, one of which is the upper mentioned salutation rituals.

Criterion (iv): The first built structure in the complex, is the holy shrine under which the tomb of Imam Reza is located. This architectural heritage, due to its long lifespan, glorious decorative elements such as tiles, mirror decorations, gilded dome, stone-works, plaster-works, etc. incorporate sublime tangible and intangible values.

Gowharshad mosque, of other significant historic architectures within the complex, due to its fine decorative arts and tiles is considered as masterpieces of Iranian Architectures from Teimurid era. The architectural complex of Astane-e Qods, due to its gradual formation during history from the 3rdcentury AH, can be considered as the treasure of historic architectures of the entire eras.

Overall, it can be stated that a high level of artistic, technical and technological skills are used to create the complex which focus mostly on the setting of the complex and its surrounding texture.

Criterion (vi):This historic architectural complex accompanies abundant of rituals and rites which highlight it more as a cultural heritage. Specific pilgrimage rites in shape of spiritual and traditional performances indicate the importance and sanctity of the deceased and associate a pattern and symbol of spiritual and worship grace.

This value dissipates not according to the place, nor to the time since the value originates from the believes of the people. Dusting, playing Naqareh, sweeping ethics, changing working shifts, Waqf, granting free food and services to assist others are among these religious rituals.

The architectural complex, exquisite movable objects such as pulpits, the shrine, manuscripts, candlesticks and other museum collections with all their unique qualities stresses not only the tangible architectural complex but also depicts the historic track of the heritage as well as its backgrounds and local and global believes.

Statements of authenticity and/or integrity

Going through the authentic literatures on the initial status of the holy shrine elucidates that the shrine has also had dome and court composition for the complex at its early stages. During the history of Iran all the governments has had the concern to preserve and maintain the holy shrine as a value for all the generations and people and as an origin to retain the concepts constantly throughout centuries.

Historical data reports that the complex has been developed in different stages of time according to the needs of the people and rituals associated with the holy shrine, yet the structure, design concepts, forms, material, tangible and intangible aspects, morphology, entering circumstances, praying rites and the spirit of the complex retained its authenticity and integrity the whole time and with legal and religious support of authorities and people.

Comparison with other similar properties

Imam Reza’s holy shrine is a complex of urban structures and infrastructures, buildings and museum collections created and developed in different stages throughout the history; it is a witness of the continuity of traditions within the history and culture of Iran and the Islamic World.

Regarding the cultural, historic and architectural structure aspects, the complex is comparable with several other religious complexes such as “Saint Peter’s Tomb” in Vatican, “Mahabodhi Temple” in India, “Mount Emei” in China and “Lumbini” in Nepal.

Saint Peter’s Tomb in Vatican

These two complexes are comparable according to their principles, construction history, as well as iconic values within their urban context, Vatican and Mashhad. The two complex has similarities and differences regarding their formation backgrounds, dimensions and entering circumstances.

Mashhad is one of the numerable cities constructed based on Shia’s belief systems. The holy shrine, as the main factor for construction of Mashhad as a city, now has a major role in the urban landscape of the area. The significances of the complex and its influence to the city has created one of the most strategic urban areas in Iran as the spiritual center of Iran and one of the most important religious hubs for Shia’s World. Alike Vatican, which is considered as one of the major centers for Christianity as History witnesses!

Mahabodhi Temple in India
Both the complexes are known as a center for development of religious philosophy for Mankind. These two holy areas are still a destination for prayers and pilgrims depicting the constant tradition of people and consistency of spiritual philosophies, believes and values.

Mount Emei in China
Unlike Imam Reza’s holy shrine which was initially formed based on the pilgrimage concepts and rites, the formation history of Emei Mount in China represents a more residential purpose area. It can be clearly stated that Mashhad was basically a pilgrimage area with some commercial functions.

The holy shrine is located in the very core of the city where several schools, mosques and other constructions joined to its setting. Whereas the Emei Mount becomes a pilgrimage area when the representor of the emperor Zhao Kuangyin comes back from India and initiates the construction of a Buddhist temple.

The temples in Emei Mount are outspread within its landscape while Mashhad as a city which embrace the holy shrine is constructed geometrically in two main axes joining in the center and extending to reach the four main gates of the city.

Lumbini in Nepal

Comparing Lumibini and Imam Reza’s holy shrine, the most bolded difference is that, Lumbini has a history of abandonment in the 20th century while Imam Reza’s complex has a constant tradition of pilgrimage. Imam Reza’s holy shrine has abundant of delicate fine decorations as tile-works and mirrors, etc. whereas in Lumbini the temples are of the lowest architectural delicacy.

Imam Ali’s Holy Shrine in Najaf-e Ashraf, Iraq

The holy shrine of Imam Ali, the first Imam of Shia is located in Najaf-e Ashraf, Iraq. Alike Imam Reza’s shrine, this holy shrine is surrounded by other complexes such as mosques, schools, etc. Imam Ali’s holy shrine and Shah-e Cheragh, another significant holy shrine complex in Shiraz, are also comparable to Imam Reza’s complex regarding their delicate decorations. There are also several artists and masters who have worked in Imam Reza’s holy shrine and transferred their knowledge and understanding considering the technical, technological and spiritual aspects to Imam Ali and Shah-e Cheragh complexes.

https://whc.unesco.org/en/tentativelists/6194/

Мешхед

Мешхед располагается на северо-востоке Ирана на территории горных местностей Хезер-Дарре и Гаре-Даг, близ границы с Туркменистаном и Афганистаном, является административным центром провинции Хорасан-Резави.

На протяжении всей своей истории Мешхед имел значение важного политического, культурного и религиозного центра. В 818 году в деревне Санабад, возле Туса, внезапно скончался шиитский имам Али бен Муса ар-Рида (персидское имя — Имам Реза), зять халифа ал-Мамуна. Место мученической гибели (по-арабски — машхад) Резы у мусульман весьма почитаемо, особенно у шиитов.

На месте гробницы был позднее сооружён Мавзолей Имама Резы. Позднее деревушка Синабад, в период разрушения города Тус, стала расти и развиваться, превращаясь в город Мешхед. Впервые слово «машхад» как название города было употреблено в X веке географом ал-Мукаддаси. А арабский путешественник Ибн Баттута в XIV веке писал о «городе Машхад ар-Рида».

В XIV веке при Тимуре Мешхед стал столицей Хорасана. Город достиг зенита своего влияния в XVIII веке, когда Хорасаном правил Надир-Шах.

Мечеть Гохаршад была построена в 1418 году придворным архитектором Гавамеддином Ширази, по приказу Гохаршад, жены старшего сына Амира Тимура. Во времена Сефевидов и Каджаров мечеть подверглась некоторым реконструкциям.

Сооружение включает в себя 4 айвана, имеет бирюзовый купол и два минарета высотой 43 метра каждый, внутренний двор, и несколько шабестанов (подземные галереи).

В XVI веке к власти пришла династия Сефевидов, Шах Тахмасп (1514-1576), а позже Шах Аббас Великий (1587-1629) обустроили священный Мешхед, возвели мечети, величественные здания и построили много дорог, караван-сараев и базаров.

Мешхед – культурный центр имеет как светское, так и религиозное значение. Здесь расположена одна из старейших библиотек Ближнего Востока – среди других ценных и редких манускриптов в ней хранится старейший из рукописных вариантов Корана.

Мешхед это- родина и место захоронения великого персидского поэта XI века Омара Хайяма. В период своего расцвета этот город был родным домом таких великих средневековых деятелей культуры, науки и искусства, как поэтов Фирдоуси и Асади Туси, ученых Насираддина Туси, Джабира ибн Хайяна и Низама аль-Мулька и мыслителя Абу Хамида Аль-Газали.

В этом городе до настоящего времени сохранилась могила знаменитого восточного поэта Фирдоуси, жившего в XI веке.

Торговля с древних времен была основой экономики Мешхеда, крупнейшим базаром в Иране является Базар-е Реза, на котором и сегодня, как и в древние времена торгуют восточными товарами.

https://ru.unesco.org/silkroad/content/meshhed

Мазар имама Резы – паломнический Мешхед

На северо-востоке Ирана расположился священный город шиитов Мешхед. Выросший из маленькой деревушки во второй по территории и населению город страны, Мешхед на протяжении практически всего своего существовения являлся важнейшим культурным, политическим и религиозным центром Ирана. Именно здесь был отравлен восьмой шиитский имам Али бен Муса ар-Рида (Имам Реза), который пользволся невероятной популярностью у населения.

В его честь и был воздвигнут Мазар (Мавзолей) Имама Резы (“Место мученичества Резы”), которые год от года привлекает миллионы мусульманским паломников и туристов со всего мира.

Архитектурный комплекс в Мешхеде, известный, в первую очередь благодаря легендарному мавзолею и мечети, включает в себя также гробницы других имамов, музей, баблиотеку и другие постройки. На “Месте мученичества Резы” веками строились и разрушались храмы и другие религиозные постройки.

Согласно историческим данным, изначально на могиле имама был установлен небольшой надгробный камень из мрамора, на котором были выведены аяты из Корана и имена великих мусульманских деятелей. Позже, было принято решение о сооружении гробницы на месте захоронения Резы. Современные очертания на этом месте появились в начале XIV века, тогда же было принято решение о строительство мечети, носящяй имя Гохаршад бегим. Эта мечеть является крупнейшей в стране и третьей по велечине в Иране.

Большая часть комплекса, включая гробницу имама, была построена в эпоху правления Тимуридов и Сефевидов (1370-1773). Согласно различным источникам, купол над мавзолеем Имама был возведён в XIII веке и покрыт кусками меди позолотой. В нижней его части изображены строчки их стихотворений, написанные мисьмом насталик. Купол и по сей день возвышается над крышей мавзолея на шестнадцать метров.

Сама гробница покрыта декоративными элементами иранской архитектуры: зеркальной облицовкой, кафельной плиткой, каллиграфическими надписями, работами на металле. Зал, где расположена усыпальница Резы, украшен кафельной плиткой лазурного, белого, золотого и бирюзового цветов.

Общая площадь комплекса составляет 331 тысячу квадратных метров, что позволяет одновременно вместить свыше ста тысяч человек. Мавзолей и другие постройки на его территории олицетворяют собой уникальный иранский стиль и красоту переплетённую с историческим прошлым страны.

https://sanaei.livejournal.com/203287.html