Papers by Iman Aghajani
Proceedings of the 12th International Congress on the Archaeology of the Ancient Near East, 2023
The mausoleum of Imāmzāda ʿAbdallāh (Markazī province, Iran) has been attributed to the period be... more The mausoleum of Imāmzāda ʿAbdallāh (Markazī province, Iran) has been attributed to the period between the 10th to 12th century AD. Its interior surfaces have been understood to be decorated in gypsum-based stuccos, but this research reveals the existence of hitherto unexpected compositions. Despite its significance for the history of Iranian architecture, this monument still lacks thorough scrutiny of its architecture and decoration. This study presents new insights into the monument’s history and unique artistic production of its architectural
decoration. It includes a full documentation of inscriptions, a detailed plan, and sections. Furthermore, it proposes a technological and stylistic comparison of the mausoleum’s revetments with Seljuk stuccos. Finally, the results of decorative materials’ analytical study reveal the nature of its decorative materials.
Conference Presentations by Iman Aghajani
Through the Lens of Henry Viollet: Islamic monuments through an undisclosed archival material (1904-1913), Paris, CNRS and BULAC, 23 June 2022
The present study deals with the so-called Madrasa-i Nizamiya Khargird, located in the eastern of... more The present study deals with the so-called Madrasa-i Nizamiya Khargird, located in the eastern of Iran. This building has been considered in historical research from two aspects; firstly, its role in the emergence of four-ayvan Madrasa. Secondly, its monumental inscription in a magnificent Kufic style bears the name of the well-known Seljuq vizier Nizam al-Mulk.
This building was investigated by A. Godard and E. Herzfeld, however, it was Henry Violet who took the first images of this related monument.
According to this research, the Madressa Nizamiyya Khagird includes at least two construction phases. The previous result has been imported with the aid of observations applied to Henry Violet’s images.
In conclusion, it can be claimed that Khajeh Nizam al-Mulk was the instructor of the building reconstruction. Also, the monumental inscription mentioned in the beginning is also related to this phase
Stucco in the Architecture of Iran and Neighbouring Lands: New Research – New Horizons, Otto-Friedrich-Universität Bamberg, 4-7 May 2022
The storage of NMI (National Museum of Iran) has numerous cultural materials which were almost fo... more The storage of NMI (National Museum of Iran) has numerous cultural materials which were almost found during archaeological fieldwork in various regions of Iran prior to the Islamic Revolution in 1979, such as Ray and Nayšāpūr. These archaeological finds include small fragments and a full-sized panels of carved stucco as well as wall paintings. Despite the significance of these materials for the history of Iranian architecture, till now no studies have been carried out on them.
The proposed study aims to fill this gap in our knowledge about these unique findings. The first goal of this research is particularly focused on comprehensive documentation of the archaeological finds in this storage. Following the documentation, extensive research has been performed on the motifs of these stucco finds. This investigation helps us to categorize different types of these cultural materials. Such classification has been chosen according to its place of origin, place of decoration (dado, vaulting, squinch, etc.), motifs (floral, geometric, figural, and epigraphy), and technical peculiarity. Furthermore, a stylistic comparison is also executed on stucco finds in the storage of NMI and other defined stucco decorations from different parts of Iran. In conclusion, the results of this analytical study not only enable us to date some of these fragments but also lead us to achieve a greater level of knowledge of buildings decoration in the early Islamic period.
Stucco in the Architecture of Iran and Neighbouring Lands: New Research – New Horizons, Otto-Friedrich-Universität Bamberg, 4-7 May 2022
Stucco used to be the most popular material of ornamentation in the early Islamic world due to it... more Stucco used to be the most popular material of ornamentation in the early Islamic world due to its availability, flexibility, and affordability. By looking at a range of early Islamic stucco decorations from Samarra to Balkh, commonalities in motifs and techniques can be identified.
In the 11th to 12th centuries, some features of this earlier trend can also be found in monuments of the subsequent Seljuk period, such as the so-called Madrassa of Ray and the mausoleums of Davazdah Imam of Yazd and Pir Hamza Sabzpush of Abarkuh.
Despite of the existence of this established tradition of decoration, however, new forms and techniques of stucco revetment were also developed in Seljuq Iran. A distinctive feature of this period is the uniqueness of some of the stucco works, as in the case of the Mihrab of Heydariyya in Qazwin.
In light of these findings, this paper aims to identify innovations in the field of stucco decoration during the 11th and early 12th century in Iran. Based on a discussion of monuments in central Iran, it seeks to trace the possible contexts in the development of the stucco decoration of this period.
Signaturentragende Artefakte. Schriften, Materialien, Praktiken im transkulturellen Vergleich, Universität Heidelberg, März 11–12, 2022
With the beginning of the Seljuq Dynasty (1040-1194 A.D.), the architectural development of Great... more With the beginning of the Seljuq Dynasty (1040-1194 A.D.), the architectural development of Greater Iran experienced a turning point. In addition to the extensive construction activities and the development of new building types, new forms and techniques of revetment (in various media such as brick and stucco) were stablished. From the Seljuq era onwards, the use of inscription together with vegetal and geometric motifs was well developed. This development can be observed in a considerable number of surviving historical monuments of Iran.
This paper aims to provide an overview of the use of signature in Seljuq architecture of the Greater Iran. These signatures are mostly inscribed in stucco and brick (terracotta), but some examples are also preserved in other media like tiles and wall paintings. The signatures are found in both religious and secular monuments in the Seljuq period, although only a few secular buildings have been preserved.
In this paper, the signatures are studied in comparison with other inscriptions of monument’s epigraphic corpus in order to highlight their possible differences and peculiarities. Furthermore, we will discuss the social aspects of these inscriptions based on the content of their text.
This study will allow us to deepen our knowledge on the evolution’s role of the signature in the medieval period of Islam
Workshop Colour in Islam: Understanding Textual and Visual Historiographies of Colour in Inter-Disciplinary Perspective, Ludwig Maximilian University of Munich, October 22-23, 2021
The period of Seljuq rule, the eleventh and twelfth centuries, makes a turning point in the archi... more The period of Seljuq rule, the eleventh and twelfth centuries, makes a turning point in the architectural development of Greater Iran and neighboring regions. New forms and decorative techniques, among them brick patterns and wall paintings, can be observed in a considerable number of surviving historical monuments. During this period, stucco was by far the most preferred material for architectural decoration, which makes these decorative surfaces a testimony to the prevalent taste of time and the technical skills of the artisans that executed them. Today, general overviews and specialized publications alike display and discuss stucco decoration without consideration of the used color schemes. However, the colors, among them white, blue, red, green, yellow, and black, considerably altered the desired effect of the decoration.
The proposed paper aims at obtaining a general picture of the usage of color in stucco decorations from Seljuq Iran. Based on a discussion of contemporary monuments from Tabriz to Kerman and from Zuzan to Hamadan, an effort will be made to trace the stylistic developments in a trans-regional perspective. A discussion of historiographical sources will address the question if also symbolic meanings were ascribed to the usage of colors. Finally, the question will be posed if philosophical ideas from the pre-Mongol period left a traceable imprint on the decorative surfaces and the architecture of Greater Iran during the investigated period.
Paper presented at the 16th Colloquium of the Ernst Herzfeld Society, University La Sapienza, Rome, July 1-3, 2021, 2021
The Friday mosque of Faryūmad is located in eastern Iran (the Khurasan region); it belonged to th... more The Friday mosque of Faryūmad is located in eastern Iran (the Khurasan region); it belonged to the historic district of Ǧuwayn, one of the most significant provinces of Greater Khurasan. Ilkhanid written sources, such as Nuzhat al-Qulūb by Ḥamdullāh Mustawfī (1281-1344), recount, that Faryūmad was known as the centre of Ǧuwayn. Earlier Seljuq sources (e.g. Tārīḫ-i Bayhaq) however, illustrate, that Faryūmad was a large district and had its own governor in the period prior to reaching its significance in the Ilkhanid period. The uniqueness of the Faryūmad Friday mosque stems from its two-iwan ground floor plan and from its exceptionally rich stucco revetment repertoire, which embellishes its architectural surfaces. The scholarly attention of the mosque was triggered by early works of, and visits to the site by André Godard in 1940. Different scholars have dated several constructive and decorative phases of the monument to either Seljuq or Ilkhanid periods. Donald Wilber proposed to date the mosque to the early 14th century, based on its decorations and comparative examples, such as the Friday mosque of Basṭām, Bāyazīd Basṭāmī complex, and the Öljaitü mausoleum in Sulṭānīya. Despite the monument’s significance for the understanding of the evolution of construction technology from Seljuq to the Ilkhanid period, it nevertheless lacks consistent research. This paper accordingly proposes the first systematic analysis of the monument’s epigraphic corpus and it includes its full documentation. It suggests new information regarding history and patronage of the Faryūmad Friday mosque. The examination of historic inscriptions of the monument also allows to discern new information regarding the identity of the patron of the mosque. Furthermore, examination of inscriptions and stucco revetments provides for a revised chronology of constructive and decorative phases of the monument.
Online round table and conference, Institute of Iranian Studies, Austrian Academy of Sciences, January 15th & 22th, 2021, 2021
Stucco (a common term for gypsum plaster) has been extensively used in the architectural decorati... more Stucco (a common term for gypsum plaster) has been extensively used in the architectural decoration of religious and secular monuments in Iran from ancient times, and this tradition has continued after the Islamic conquest, with progressive changes in techniques and imagery. Nevertheless, several stucco corpora retrieved from key historical and archaeological sites across the medieval Persianate world remain understudied. It is only in recent years that some research projects have been launched to investigate these materials with the support of new technologies and cross-disciplinary collaborations. The online round table and conference will provide an opportunity to discuss the methods, outcomes and perspectives of some recent studies, with the objective of enhancing the network of young and experienced scholars currently working on Iranian stuccoes.
Presented at the Symposia Iranica 2017, University of Cambridge, April 11-12, 2017
The mausoleum of Harun Vilayat (1512, Isfahan) and the adjacent Ali Mosque (1522) have been attri... more The mausoleum of Harun Vilayat (1512, Isfahan) and the adjacent Ali Mosque (1522) have been attributed to the early Safavid period. The majestic entrance of Harun Vilayat and the alleged Seljuq background of adjacent structures have received much scholarly attention. Despite their significance for the understanding of Safavid building activity, these structures have not received any critical examination to-date. Harun Vilayat is believed to have been an imamzade; but the identity of the focal point of the shrine – the venerated individual’s tomb – and the meaning of the shrine’s name, however, still lack an explanation. This paper examines the historical building process and the architectural styles and forms of these monuments. Furthermore, this research proposes a novel account of the venerated tomb in Harun Vilayat by re-examining the construction sequence of the complex. Further comparison of this architectural ensemble with its Timurid, Safavid, and Qajar counterparts deepens our understanding of the importance of early Safavid architecture.
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Papers by Iman Aghajani
decoration. It includes a full documentation of inscriptions, a detailed plan, and sections. Furthermore, it proposes a technological and stylistic comparison of the mausoleum’s revetments with Seljuk stuccos. Finally, the results of decorative materials’ analytical study reveal the nature of its decorative materials.
Conference Presentations by Iman Aghajani
This building was investigated by A. Godard and E. Herzfeld, however, it was Henry Violet who took the first images of this related monument.
According to this research, the Madressa Nizamiyya Khagird includes at least two construction phases. The previous result has been imported with the aid of observations applied to Henry Violet’s images.
In conclusion, it can be claimed that Khajeh Nizam al-Mulk was the instructor of the building reconstruction. Also, the monumental inscription mentioned in the beginning is also related to this phase
The proposed study aims to fill this gap in our knowledge about these unique findings. The first goal of this research is particularly focused on comprehensive documentation of the archaeological finds in this storage. Following the documentation, extensive research has been performed on the motifs of these stucco finds. This investigation helps us to categorize different types of these cultural materials. Such classification has been chosen according to its place of origin, place of decoration (dado, vaulting, squinch, etc.), motifs (floral, geometric, figural, and epigraphy), and technical peculiarity. Furthermore, a stylistic comparison is also executed on stucco finds in the storage of NMI and other defined stucco decorations from different parts of Iran. In conclusion, the results of this analytical study not only enable us to date some of these fragments but also lead us to achieve a greater level of knowledge of buildings decoration in the early Islamic period.
In the 11th to 12th centuries, some features of this earlier trend can also be found in monuments of the subsequent Seljuk period, such as the so-called Madrassa of Ray and the mausoleums of Davazdah Imam of Yazd and Pir Hamza Sabzpush of Abarkuh.
Despite of the existence of this established tradition of decoration, however, new forms and techniques of stucco revetment were also developed in Seljuq Iran. A distinctive feature of this period is the uniqueness of some of the stucco works, as in the case of the Mihrab of Heydariyya in Qazwin.
In light of these findings, this paper aims to identify innovations in the field of stucco decoration during the 11th and early 12th century in Iran. Based on a discussion of monuments in central Iran, it seeks to trace the possible contexts in the development of the stucco decoration of this period.
This paper aims to provide an overview of the use of signature in Seljuq architecture of the Greater Iran. These signatures are mostly inscribed in stucco and brick (terracotta), but some examples are also preserved in other media like tiles and wall paintings. The signatures are found in both religious and secular monuments in the Seljuq period, although only a few secular buildings have been preserved.
In this paper, the signatures are studied in comparison with other inscriptions of monument’s epigraphic corpus in order to highlight their possible differences and peculiarities. Furthermore, we will discuss the social aspects of these inscriptions based on the content of their text.
This study will allow us to deepen our knowledge on the evolution’s role of the signature in the medieval period of Islam
The proposed paper aims at obtaining a general picture of the usage of color in stucco decorations from Seljuq Iran. Based on a discussion of contemporary monuments from Tabriz to Kerman and from Zuzan to Hamadan, an effort will be made to trace the stylistic developments in a trans-regional perspective. A discussion of historiographical sources will address the question if also symbolic meanings were ascribed to the usage of colors. Finally, the question will be posed if philosophical ideas from the pre-Mongol period left a traceable imprint on the decorative surfaces and the architecture of Greater Iran during the investigated period.
decoration. It includes a full documentation of inscriptions, a detailed plan, and sections. Furthermore, it proposes a technological and stylistic comparison of the mausoleum’s revetments with Seljuk stuccos. Finally, the results of decorative materials’ analytical study reveal the nature of its decorative materials.
This building was investigated by A. Godard and E. Herzfeld, however, it was Henry Violet who took the first images of this related monument.
According to this research, the Madressa Nizamiyya Khagird includes at least two construction phases. The previous result has been imported with the aid of observations applied to Henry Violet’s images.
In conclusion, it can be claimed that Khajeh Nizam al-Mulk was the instructor of the building reconstruction. Also, the monumental inscription mentioned in the beginning is also related to this phase
The proposed study aims to fill this gap in our knowledge about these unique findings. The first goal of this research is particularly focused on comprehensive documentation of the archaeological finds in this storage. Following the documentation, extensive research has been performed on the motifs of these stucco finds. This investigation helps us to categorize different types of these cultural materials. Such classification has been chosen according to its place of origin, place of decoration (dado, vaulting, squinch, etc.), motifs (floral, geometric, figural, and epigraphy), and technical peculiarity. Furthermore, a stylistic comparison is also executed on stucco finds in the storage of NMI and other defined stucco decorations from different parts of Iran. In conclusion, the results of this analytical study not only enable us to date some of these fragments but also lead us to achieve a greater level of knowledge of buildings decoration in the early Islamic period.
In the 11th to 12th centuries, some features of this earlier trend can also be found in monuments of the subsequent Seljuk period, such as the so-called Madrassa of Ray and the mausoleums of Davazdah Imam of Yazd and Pir Hamza Sabzpush of Abarkuh.
Despite of the existence of this established tradition of decoration, however, new forms and techniques of stucco revetment were also developed in Seljuq Iran. A distinctive feature of this period is the uniqueness of some of the stucco works, as in the case of the Mihrab of Heydariyya in Qazwin.
In light of these findings, this paper aims to identify innovations in the field of stucco decoration during the 11th and early 12th century in Iran. Based on a discussion of monuments in central Iran, it seeks to trace the possible contexts in the development of the stucco decoration of this period.
This paper aims to provide an overview of the use of signature in Seljuq architecture of the Greater Iran. These signatures are mostly inscribed in stucco and brick (terracotta), but some examples are also preserved in other media like tiles and wall paintings. The signatures are found in both religious and secular monuments in the Seljuq period, although only a few secular buildings have been preserved.
In this paper, the signatures are studied in comparison with other inscriptions of monument’s epigraphic corpus in order to highlight their possible differences and peculiarities. Furthermore, we will discuss the social aspects of these inscriptions based on the content of their text.
This study will allow us to deepen our knowledge on the evolution’s role of the signature in the medieval period of Islam
The proposed paper aims at obtaining a general picture of the usage of color in stucco decorations from Seljuq Iran. Based on a discussion of contemporary monuments from Tabriz to Kerman and from Zuzan to Hamadan, an effort will be made to trace the stylistic developments in a trans-regional perspective. A discussion of historiographical sources will address the question if also symbolic meanings were ascribed to the usage of colors. Finally, the question will be posed if philosophical ideas from the pre-Mongol period left a traceable imprint on the decorative surfaces and the architecture of Greater Iran during the investigated period.