Seljuk Architecture - Arts and Architecture

 Seljuk Arts and Architecture in Persia, scarcely recognized as a distinct style before 1930, now comprises a repertoire of about fifty monuments and is increasingly regarded as one of the world's great architectural styles. A number of important monuments have been recorded within the last decade, still, many more come to light, Each discovery reveals new merits in structural inventiveness; double domes, ribs wider, vaults, taller minarets, and in decoration: stucco mihrabs, opulent and expressive overall arabesque networks, and in brick ornamentation patterns and bondings of infinite variety, vigor, and originality.

The power and nobility of Seljuk Arts and Architecture are doubtless best exemplified by the Masjid - i- Jami of Isfahan, one of the greatest buildings in the world. As a magnificent structure in a city chosen to be Persia's capital during widely separated epochs and under a variety of rulers, the Isfahan Jami is not purely Seljuk, but those portions which date from Seljuk times are yet is chief glories.

More than 900 years of Persian architecture revealed in this great mosque 20 distinct structures, varying in date from the 11th century. During its long history, it has been much fought over, repeatedly damaged, reconstructed, and all but ruined.

A four-iwan court is enclosed by arcades and two-story open galleries faced with mosaic faience on buff brick.  A deep iwan, embellished with especially strong faience revetments opens into a spacious domed sanctuary built, as the inscription state, by order of Nizam al Mulk at the beginning of MAli Shah's reign. Some of the earlier buildings are still visible, however, and it's probable that the lower section of this sanctuary itself dates from the late 10h century. The chamber supports a huge dome. The squinches are supported by huge cylindrical piers. The sanctuary is surrounded by arcades and corridors covered by an amazing variety of domical brick vaults. Frequently these vaults ret on columns that vary in date from pre-Seljuk to Safavid period. All of the iwans were rebuilt or redecorated on a Seljuk base, showing that the basic plan of the Jami existed during the Seljuk period.

Aesthetically, the most important unit in the Jami is the small but superlative north dome known as the Gunmbad - i - Kharka, dated 1088 and located at the opposite end of the central axis from the sanctuary. This is perhaps the most perfect dome known. In each corner, four small arched breaks form frames of Slender angle colonettes from the lower squinch extension. From Floor level, these colonettes lead the ee swiftly u to the typical tri-lobed squinch. The squinch itself is enclosed by a larger arch that, together with identical arches along the sidewalls, supports an octagonal ring of 16 shallow panels merged with the base of the dome.

All arch forms, including the dome, are of the same contour and constitute the key element of motif that, beginning in the corners, with successive comprehensive enclose one element within other until their multiplicity is resolved and merged in the dome. The dome is thus a culminating point in a vertically rising stream of force. 

There are some significant features of the building which are easily overlooked. The ceiling of the dome is ornamented by a huge cinquefoil in low relief which is assimilated to a five-pointed star. A section of these motifs penetrates at five spaced intervals from the periphery.

A beautiful little madrassa, the Hedariya is also in Qazvin, today incorporated into a large 19th-century mosque. Perhaps the finest Kufic inscription in relief in all Persia is in its stucco frieze. Its carved stucco mihrab is massively rich. The large Masjid I Jami at Qazvin is impressive by virtue of its serene sanctuary space, capped by a large dome. 

Several important Seljuk mosques, in the style of the Isfahan Jami, survive in relatively good condition: the Friday Mosques at Artisan, Zaware, and Gulpayagan and the shrine of Bayazid at Bistam, a brick minaret. The great Seljuk monuments of central Persia were rivaled by several structures built to the northeast, in Khurasan and the region of the Oxus. Of these, the gigantic RAbat-i-Malek Built before 1078  between Bukhara and Samarkand, is one of the most imposing ruins of the Islamic period. Only part of one wall of the Caravanserai remains. 

Sultan Sanger was buried at Merv mausoleum worthy of a noble and tragic figure. Constructed after his death in 1157 by devoted followers, this tomb is a solemn cubical chamber, about 90 feet high. The interlocking framework of the ribs seen on the interior seems to carry the weight of the dome but, in reality, it may be more decorative than structural. Brick latticework at the corners admitted light to the corridor around the base of the dome, further developing the tomb of Ismail Samanid. This mausoleum is the last, and one of the finest, examples of Seljuk Arts and Architecture.

The Seljuks - Arts And Architecture

 

Seljuk architecture, Nobel and powerful, structurally invented and sophisticated, was neither sudden nor accidental. Rather it was the culminating expressions of a Persian renaissance that had begun in the early tenth century with the Samanids. this renaissance reached its apex under the Seljuks.

Cultural Background :

''Seek ye Knowledge even unto china''  commanded the Prophet Muhammad S.A.W.W and next to prayer, learning was regarded as the most sacred, preferable even to unreasoned piety. The productive stimulation of different, snd often competing, society was steadily enlarging and energizing Islamic culture life and thought. Most significant was the appropriation and preservation of classical Greek culture. Through well-organized translations financed by Caliph Mamun, Greek Philosophy and science Became known in Persia. Galen, Plato, and Aristotle were assiduously studied in all leaders of Persian thoughts.

During the 10th century, however, Persia again produced its own constellation of poets, Philosophers, mathematicians, astronomers, physical scientists, historians, and geographers most of them are brilliant, many of unequaled eminence, all with a high degree of originally, boldness, and cultural breadth. In comparison, the same years in Europe were dark indeed.

By far the most important element in the initiation of the native Persian revival was Firdawsi's poem Saha Nama, completed in 1010. One of the epics, it's entered immediately and permanently into the heart of the nation. In all of his 60,000 couplets he used no more than 984 Arabic expressions, the rest were purely Persian. He restored to the Persians the use of renovated magnificent language, created new confidence and patriotism.

The rulers, a number of the true scholars and even poets, rivaled each other in a patronizing poet, artists, and scholars. The honor of being a patron was regarded as the obligation of royalty and a valid claim to status and public esteem. The libraries of time tell the story of a widely shared culture, in which learning was revered. Sahib ibn Abba, vizir of the Buyids and successful ruler of most Persia before his death in 996, had a vast library of certainly more than 2000 volumes. Each mosque had a collection of books. The cadi of Nishapur designated a house with a library especially for the use of visiting scholars and even supplied them with living expenses. One famous library was complied by Abdul-ad dawla installed in a special building in Shiraz.

Both Buyid and Seljuk periods produced some of the most remarkable textiles ever achieved and the pottery, mostly from Nishapur and Samarkand, is among the finest ever made.

The second half of the 9th century saw the appearance of a number of encyclopedias and histories. The learned profession produced a number of great thinkers, components in many areas: Al Razi, physician, chemist, and physicist whose influence spread to make contained much valuable historical and even archeological material. He created a systematic star catalog, tables, and instruments. mathematics and astronomy were vigorously summarized in a Persian encyclopedia of 976, The key of the sciences, A group called the '' Brethren of sincerity'', published valuable commentaries.

Ibn Sina was a born mathematician, poet, and astronomers who made important contributions to physics and was one of the world's first great figures in medicine and his medical treatise were basic texts at Oxford as late as the 17th century.

Omar Khayyam was also an original philosopher and a great mathematician. He recognized 13 different forms of cubic equation in 1074. Al-Ghazali, a man of intellectual power, deep feeling, and utter dedications, was an outstanding poet and philosopher.

Into highly developed civilizations came the conquering Seljuks, an Iran- Turkish stock, Their leaders already familiar with the Persian culture established in Central Asia.

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Gok Madrasa - Sivas - Architecture in Turkey

Gok Madrasa - Seljuk Period

The Gok Madrasa One of the Madrasa Built-in Sivas in 1271. Gok Madrasa is 13th-century Madrasa. The Architect was Madrasa was Kaluytan under the order of, Seljuk Grand Vizir,  Vizir Sahip Ata. The actual name of the Madrasa is ''Sahabiye'' which is referring to Sahip Ata. But it Generally Known as Gok Madrasa. It is an Islamic Educational Institution. Gok Madrasa is One of the best Architecture in Turkey.

Gok Madrasa

History :

                      The Madrasa was Built facing a rival foundation of Mongols by Kay-Khusraw III. The madrasa has an excellent ceramic decoration. 

The facade of  Madrasa faces east and beautifully carved in marble. It is the example of the earliest Anatolian fountain. The Madrasa has several decorations of carving, by using different techniques. The ornament on the crown gate of the Building is a significant part of the structure.

The facade of Gok Madrasa

There are two minarets in the Madrasa, one on each side of the entrance. There was also Hamam and soap Kitchen in Madrasa. It is a Larger Building complex.

Plan of Gok Madrasa

In the plan, Decorations and proportions are the most developed. The Madrasa has two Stories that follow the Four- iwan plan. The iwan opposite the entrance has no longer existed. There are arcades in the north and south sides of the courtyard. Floral decoration is around the courtyard on the first and 2nd story. In addition, the 2nd floor no longer exists.

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Ince Minaret Madrasa - Seljuk Period-Architecture in Turkey

         Ince Minare Madrasa

Ince Minare Madrasa is the 13th-century Madrasa located in Konya. Ince Minare Madrasa is One of the famous Architecture in Turkey. Ince Madrasa is built between 1260 to 165 CE by Seljuk Sultan Sahib Ata Fahreddin Ali. The architect of Madrasa was the kelul ibn Abdallah. It is the most attractive architecture in Turkey. The Ince Minare Madrasa takes its name from the Its Tall Minare. The Minare of Madrasa is extremely much taller than the building.

The facade of the Building has highly ornamented with stone which includes geometric Patterns, Some relief work, and verticle lines. The entrance of the building is decorated with Thuluth, surah 36, and surah 110. The Minare of the Building has square-shaped from the lower part and round shape from the upper part. The lower part of the Minare was made up of Brick and the color was green. The minaret has two balconies and was built for the adjoining mosque, which preceded the Madrasa now ruined.

The Qibla side of the Mosque contains the prayer hall. Besides this, there is a huge hall covered with a huge decorative Dome. The dome of the madrasa is supported on the sets of four triangular pendentives but without tiles. The minaret was truncated by lighting in 1901.

The Ince madrasa has a T-shaped plan. The portal of the Mosque framed with broadband of calligraphy. The Madrasa was built in a rectangular area. The rooms of the Madrasa are arranged on the north, south, and west sides of a domed courtyard.

Ince Minaret is one of the dominant architecture in Turkey. The decorative work in the Madrasa takes place in the Entrance, the courtyard dome, and the walls of the rooms facing the courtyard. The portal and the foundations of the minaret are decorated with carved stone by using floral and geometric motifs. The decoration of the windows' tympana above the entrances to the students' chambers, the base of the dome, and the triangles making up the fan-shaped pendentives, consist of inscriptions and floral and geometric motifs executed in tile-mosaic. The geometric decoration on the body of the minaret and on the surface of the dome is achieved with both glazed and unglazed brickwork.

The Madrasa was converted into a Museum of Stonework in 1956.

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