Oct 15 - Walking tour of Esfahan today, all on the northern side of the (dry) river. The most significant destination in this city is what was formerly called Shah Square, now Naqsh-e Jahan Square (since 1979). This enormous plaza, measuring 500 by 170 meters, was the massive building project of Shah Abbas when he moved the capital of the Safavid Dynasty here. The project was initiated in 1598.
Prior to Shah Abbas, there was a decentralized system of governance, with the military, royal, and merchant power centers operating separately and sometimes at odds to each other. The creation of Shah Square sought to bring all three together, as the military arm was housed nearby, and Abbas also initiated a long bazaar that connected the square to a much older city center to the north. Thus, commerce was also connected. He himself would live in a palace just west of the square.
It isn’t possible, at least with my camera, to capture the extent of Shah Square in a photo. Shown is a view north, with the Ali Qapu Palace in the middle.
Originally the plaza was all dirt and used for polo games. It was here that Europeans saw the game being played and took the idea home with them. This is one of the goal posts at the south end.
There are two mosques on the plaza, at the south end and on the east side. Shah Mosque, at the south end, was public.
The front evan of Shah Mosque. It towers above the plaza, endowed with strong dark blue colors and typical Safavid design.
We got there before it opened, so waited around to be the first ones in.
The main entrance. There is a set of massive doors with silver and gold inlay behind these, but they are kept behind these for security. Note that one side of the entrance has a carving of a vase and the other doesn’t. This is done to break symmetry and demonstrate that no man can achieve the perfection of Allah.
One of the evans in the central courtyard.
Looking north to the mosque entrance. The main entrance is at an angle to the courtyard and prayer hall (this is apparent by the odd angle of the minarets seen above). This is because the plaza was not aligned with the direction of Mecca, so the mosque is set at an angle to the grid of squares and streets of the city.
Odette demonstrates the ‘seven step echo’ of Jameh Mosque. You have to stand on the black tiles to produce it.
Underside of the dome.
Next go to Lutfullah Mosque on the eastern side of the square. This, unusually, was a private mosque, only for the use of Shah Abbas and his family. It was constructed in 1602 CE. It is slightly smaller than Shah Mosque, also angled so that it lines up with Mecca.
Inside the central prayer hall, which is square and without supporting columns. The lattice work windows at the top are doubled, such that light entering is softened considerably. This causes a reflection that brings out different colors depending on the time of day.
The tilework on the underside of the dome is unique to this mosque. Note the splay of light that radiates outward from the center. This is meant to simulate the tail of a peacock (a small metal statue of a peacock hangs from the center).
The King’s Gate, at the entrance to Ali Qapu Palace, was exclusively for the Shah, family, and whoever was important enough to invite there. It is on the western side of the plaza directly across from Lutfullah Mosque. It connects with another palace through a garden behind it. This structure is six stories tall.
Some of the artwork at Ali Qapu Palace. The figures commonly relate to characters in poems. The designs in red were originally coated with gold leaf, but this has since mostly fallen off.
There is a fountain on the third floor, floored with copper sheets. The water was supplied by a tank on the roof, which of course had to be filled by servants.
Following the streets west of Ali Qapu Palace, we arrived at Chetel Sotoun Palace, yet another place reserved exclusively for the Shah. The name literally means ‘forty columns’, for the number of wooden columns in the front patio. Except that there are only twenty columns. The reflection of those columns in the pool provides twenty more.
The patio ceiling in Chetel Sotoun Palace, with abundant mirror tile work. The story about this type of décor goes as follows: During Safavid times, mirrors were a very popular item to import from Europe, specifically places like Venice. However, due to the manner of shipping, the mirrors often broke. Not wanting to waste the material, the artisans found ways to use the fragments by cutting them further into usable shapes.
The main room of this palace, where Shah Abbas received foreign dignitaries and held various functions, is adorned with many murals. Some of them relate to famous poems, but the larger one recount historical events in which Iran played some role. Below are two:
This details the reception, in 1621, of Vali Muhammad Khan Uzbek (left, in red) by Shah Abbas (right, in yellow), when the former ruler was forced from his kingdom. In the meeting, Shah Abbas agreed to provide aid for Vali Muhammad to restore his rule. The event is notable as being the beginning of close relations between the two kingdoms.
Another reception assembly, this one of Homayoun, king of India (left), by Shah Tahmasb Safavid (right) in 1550 CE, when the former was exiled from his kingdom. As with the above, the meeting was Homayoun seeking aid to restore his rule. This he succeeded doing a few years later.
The principal mural of the Chaharshanbesuri Room. In short, it shows elements of the wedding ceremony between Reza Qoli Mirza, son of Nader Shah, and an Indian princess.
North and east of this part of Esfahan, there is a long and winding bazaar that connects Naqsh-e Jahan Square with another important district. This bazaar, as mentioned earlier, was constructed by Shah Abbas to bring the powerful merchants closer to his power center.
One must dodge a lot of motorbikes and hand-driven carts.
A short walk through part of the Esfahan bazaar.
At the end of the bazaar is the Jameh Mosque of Esfahan. It is one of the most important historical mosques of Iran. The initial structure here dates from 771 CE, during the reign of the Abbasid Caliph Al-Mansur. It has undergone many revisions since, during the Buyid, Seljuk, Ilkhanid, Safavid, and later dynasties. Each has its own style, superimposed or adding to the others. Numerous glass plates in the walls shows pieces of older structures and inscribed blocks that were uncovered during recent restoration.
The south evan and minarets. They are mostly Safavid style, though to dome behind is Seljuk. The geometric décor (corniche) inside the evan is especially dramatic.
The south even seen from inside the north evan. It was prayer time when we visited.
A mihrab in one of the side prayer halls.
A crowded little café where we ate lunch. I could probably never find this place again, as it is lodged in a tiny alley off the winding bazaar streets.
In the evening, I go walking south from the hotel, back to Khajoo Bridge. A few people are singing here again today or playing guitar. Walking west along the dry river, I return across Choobi Bridge, another pedestrian only passageway. There are tea houses underneath it.
Khajoo Bridge, seen from the south side.
After dark, walk up Ferdosi Street to Naqsh-e Jahan Square to see it lit up at night. This street is colorful at night, with various shades of blue, green, and red lighting up the trees along both sides.
Shah Mosque at night.
The entrance to the Lutfullah Mosque. I didn’t take a picture of the whole entrance in the morning, due to the poor lighting.
