Esfahan Jameh mosque2
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YOU CAN WATCH THIS PRESENTATION IN MUSIC HERE: http://www.authorstream.com/Presentation/michaelasanda-1168307-esfahan-jameh-mosque2/ Muqarnas is the term given to an architectural device unique to Islamic architecture. Its purpose is to provide a transition between, for example, a square base and a dome. Muqarnas is also frequently used to create a concave semi-vault above an entrance to a building or to provide a decorative cornice along the perimeters of a ceiling or beneath a balcony. It appeared in the early 12th century throughout the Islamic world; a frequent use was to overlay the transitional zone between domes and their supports. It reached its highest development in the 14th–15th century, when it became the usual decoration for door heads, niches, and the bracketing under cornices and minaret galleries. Different regions in the Islamic world have used different styles of construction techniques in their history.
Transcript of Esfahan Jameh mosque2
The Jameh Mosque is the grand, congregational mosque of Isfahan city. The mosque is the result of continual construction, reconstruction, additions and renovations on the site from around 771 to the end of the 20th century.
Moscheea de Vineri este moscheea congregaţională din Esfahan, rezultat al unei continue construcţii, modificări şi reconstrucţii, începând din anul 771 până la sfârşitul secolului XX
Muqarnas is the Arabic word for stalactite vault, an architectural ornament developed around the middle of the 10th century in northeastern Iran and almost simultaneously, but apparently independently, in central North Africa. It involves three-dimensional architectural decorations composed of niche-like elements arranged in tiers. The two-dimensional projection of muqarnas vaults consists of a small variety of simple geometrical elements.
Muqarnas – ornamente arhitectonice tipic islamice numite şi stalactite sau faguri datorită felului în care atârnă în straturi suprapuse şi sunt divizate în alveole geometrice.Aceste muqarnas fac trecerea de la arcul frânt la planul orizontal al solului. Într-o dimensiune simbolică aceste motive decorative reprezintă, după cum explică istoricul iranian modern Seyyed Hossein Nasr „coborârea lăcaşului ceresc spre pământ“.
Sound: Baba Taher Ensemble - Seyyed Khalil Ali Nejad
Text: Internet
Pictures: Sanda Foişoreanu
Nicoleta Leu
Arangement: Sanda Foişoreanu
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