Masjid Shah: Perbedaan antara revisi
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'''Masjid Shah''' dikenal pula sebagai masjid Imam (setelah revolusi Islami tahun 1979 di [[Iran]]) dan Masjid Jameh Abbasi yang merupakan sebuah masjid di Isfahan, Iran, berlokasi di sisi selatan Taman Naghsh-i Jahan. Masjid ini dibangun pada periode Safavi, dibawah perintah [[Abbas I dari Persia|Shah Abbas dari Persia]]. [[Berkas:Naghshe Jahan Square Isfahan modified.jpg|thumb|300px|Pemandangan Masjid dari [[Taman Naqsh-e Jahan]]]]
Masjid ini merupakan contoh sempurna dari [[arsitektur Islami]] Iran, dan dipandang sebagai mahakarya [[arsitektur Iran|Arsitektur Persia]]. Masjid Shah merupakan mahakarya abadi dari arsitektur di Iran. Masjid ini terdaftar, bersama dengan Taman Naghsh-i Jahan, sebagai [[Situs Warisan Dunia]] [[UNESCO]]. Pembangunannya dimulai pada tahun 1611,
The [[mosque]] is one of the treasures featured on ''[[Around the World in 80 Treasures]]'' presented by the architecture historian [[Dan Cruickshank]].▼
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The mosque is depicted on the [[Obverse and reverse|reverse]] of the Iranian 20,000 [[Iranian rial|rials]] banknote.<ref>[http://www.cbi.ir/default_en.aspx Central Bank of Iran]. Banknotes & Coins: [http://www.cbi.ir/page/1983.aspx 20000 Rials]. – Retrieved on 24 March 2009.</ref>▼
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== Sejarah ==
[[Image:Shah Abbas I engraving by Dominicus Custos - Antwerp artist printer and engraver.jpg|thumb|left|[[Abbas I of Persia|Shah Abbas]]Copper engraving by [[Dominicus Custos]], from his ''Atrium heroicum Caesarum'' pub. 1600–1602.]]
In 1598, when [[Abbas I of Persia|Shah Abbas]] decided to move the capital of his Persian empire from the northwestern city of [[Qazvin]] to the central city of Isfahan, he initiated what would become one of the greatest programmes in Persian history; the complete remaking of this ancient city. By choosing the central city of Isfahan, fertilized by the [[Zayanderud|Zāyandeh River]] ("The ''life-giving river''"), lying as an oasis of intense cultivation in the midst of a vast area of arid landscape, he both distanced his capital from any future assaults by the [[Ottomans]] and the [[Uzbeks]], and at the same time gained more control over the [[Persian Gulf]], which had recently become an important trading route for the Dutch and British [[East India Company|East India Companies]].<ref>Savory, Roger; ''Iran under the Safavids'', p. 155.</ref>
The chief architect of this colossal task of urban planning was [[Shaykh Bahai]] (Baha' ad-Din al-`Amili), who focused the programme on two key features of Shah Abbas's master plan: the [[Charbagh, Isfahan|Chahar Bagh]] avenue, flanked at either side by all the prominent institutions of the city, such as the residences of all foreign dignitaries, and the Naqsh-e Jahan Square ("''Examplar of the World''").<ref>Sir Roger Stevens; ''The Land of the Great Sophy'', p. 172.</ref> Prior to the Shah's ascent to power, Persia had a decentralized power structure, in which different institutions battled for power, including both the military (the [[Qizilbash]]) and governors of the different provinces making up the empire. Shah Abbas wanted to undermine this political structure, and the recreation of Isfahan, as a Grand capital of Persia, was an important step in centralizing the power.<ref>Savory; chpt: ''The Safavid empire at the height of its power under Shāh Abbas the Great (1588–1629)''</ref> The ingenuity of the square, or ''Maidān'', was that, by building it, Shah Abbas would gather the three main components of power in Persia in his own backyard; the power of the clergy, represented by the Masjed-e Shah, the power of the merchants, represented by the [[Naqsh-e Jahan Square#The Imperial Bazaar|The Imperial Bazaar]], and of course, the power of the Shah himself, residing in the [[Ālī Qāpū|Ali Qapu]] Palace.
The crown jewel in this project was the Masjed-e Shah, which would replace the much older [[Jameh Mosque of Isfahan|Jameh Mosque]] in conducting the Friday prayers. To achieve this, the Shah Mosque was constructed not only with vision of grandeur, having the largest dome in the city, but Shaykh Bahai also planned the construction of two religious schools and a winter mosque clamped at either side of it.<ref>Blake, Stephen P.; ''Half the World, The Social Architecture of Safavid Isfahan, 1590–1722'', p. 143–144.</ref>
Because of the Shah's desire to have the building completed during his lifetime, shortcuts were taken in the construction; for example, the Shah ignored warnings by one of the architects Abu'l Qāsim regarding the danger of subsidence in the foundations of the mosque, and he pressed ahead with the construction.<ref>Savory, p. 162</ref> The architect proved to have been justified, as in 1662 the building had to undergo major repairs.<ref name="Blake144">Blake; p. 144</ref> Also, the Persians invented a new style of tile mosaic (the Seven-colour) that was both cheaper and quicker, and that eventually speed up the construction. This job was masterly done by some of the best craftsmen in the country, and the whole work was supervised by Master calligrapher, [[Reza Abbasi]]. In the end, the final touches on the mosque were made in late 1629, few months after the death of the Shah.
Also, many historians have wondered about the peculiar orientation of [[Naqsh-e Jahan Square#Maidan - The Royal Square|The Royal square]] (The Maidān). Unlike most buildings of importance, this square did not lie in alignment with [[Mecca]], so that when entering the entrance-portal of the mosque, one makes, almost without realising it, the half-right turn, which enables the main court within to face Mecca. [[Donald Wilber]] gives the most plausible explanation to this; the vision of Shaykh Bahai was for the mosque to be visible wherever in the maydān a person was situated. Had the axis of the maydān coincided with the axis of Mecca, the dome of the mosque would have been concealed from view by the towering entrance portal leading to it. By creating an angle between them, the two parts of the building, the entrance portal and the dome, are in perfect view for everyone within the square to admire.<ref>Wilber, Donald; ''Aspects of the Safavid Ensemble at Isfahan'', in ''Iranian Studies'' VII: ''Studies on Isfahan Part II'', p 407–408.</ref>
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