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Khan Theological School (aka Imam Gholi Khan Madrasa or Madrasa-i-Khan) was built in 1627. I am not sure if there are additional buildings (I assume there are). We only saw an impressively muqarna*-covered entrance gate, a beautifully domed vestibule, and a lovely courtyard. The courtyard is a classic four-iwan** plan, apparently square, with shallow iwans covered in gorgeous tilework (apparently the same on each side). and was graced with palms, pines, roses, and citrus trees, and a reflecting pool in the center.
I loved that the plantings gave attention to all the senses... the sound of a breeze in pines and palms is a delight, even as their shade refreshes the skin; the scent of roses fills the air and the citrus trees made my mouth water.
To see what the courtyard looked like in 1933, visit ArchNet's pages on the school. Be sure to view the large photos - it's quite fascinating!
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*Muqarnas are used in many ways in Islamic architecutre... see this page on Archnet for a full description, history, and references.
**An iwan is a large arched opening in the wall of a courtyard. Usually there are four; sometimes one leads to an interior hall of a mosque. The architectural theme apparently dates from ancient Assyria but became common in Islaimc architecture. The four-iwan plan is commonly used in domestic, religious, and public architecture in Iran and the region.
Read more about iwans, and see examples across time and space, here on Archnet.
On the National Register #72000248.
Designed in 1914 by John R. Bakewell and Arthur Brown, Jr.; it was opened March 7, 1915 in time for the Panama-California International Exposition of 1915-16. It is now served by Amtrak, Coaster, and the Trolley.
Master calligrapher of the Royal court, Reza Abbasi, inscribed the date of the groundbreaking of the construction, and beside it, verses praising Muhammad and Ali
To know people,you may need to look to
what they create.İranian ,before and after accepting
islam showing that great culture through the art,and tilework is been a pleasant way to express the way of looking iranian people to the world.
Peace ,love and art through the last 7000 years been the main roots for persian and iranian culture.Any kind of manner denying these roots could not to be Iranian.
Royal Albert 1 v 3 Clydebank
Macron Scottish Junior Cup
4th Round
Tileworks Park
Stonehouse
Saturday 24th November 2018
The importance of tilework in Persian architecture arises from two important factors; first the need to weatherproof the simple clay bricks used in construction, and secondly the need to ornament the buildings.The colours used were blue, yellow, turquoise, pink, aubergine and green.
Tilework Laan van Meerdervoort corner of Waldeck Pyrmontkade, The Hague (Den Haag), The Netherlands.
This corner building from 1903 was designed by architect J. Olthuis, who also designed the tableaux. His name is mentioned on one of the tablets, as are the names of Thooft and Labouchere, both owners of the Porceleyne Fles.
H.M. Mauser, who was employed from 1891 and became co-director of de Porceleyne Fles, participated in the development of the sectile technique, among other things. The tile tableaux on the Laan van Meerdervoort are executed in this new technique.
The tilework outside the Harbour View Hotel, in Sydney's Rocks district, advertises Tooth's Lager. Tooth's is gone - caught up in the 1991 collapse of the Adsteam Group, after which the brands were sold to the CUB brewing monolith - but the tiles live on.
I remember taking this photo from a taxi window because of the beautiful blue tilework.
Glad to see that this 2-star guesthouse is still in existence.
The Imperial Guesthouse Lisbon, Praca Dos Restauradores 78 4 Andar, Lisbon.
Taken with my Olympus OM-2.
Our Lady & St Alphonsus at Blackmore Park, Hanley Swan, one of the first of many Catholic churches designed by Charles Hansom, built in 1846.
The church appears to be a fairly simple building externally, with a Decorated style chancel and an Early English style nave that seems to consist mostly of sloping roof from outside, concealing the fact that it has arcades and aisles within. The south porch is the first sign of exuberance, with arcading and foliate carving.
The interior comes as something of a surprise, with it's vaulted ceilings (wood and plaster) over chancel and nave with rich stencilling on the former. The furnishings are also ornate and contemporary with the building, some designed by Pugin with much use of gilded or coloured accents all around (though on the gloomy day I called in on much was lost in the shadows). The floor tiles are by Minton and are elaborately patterned throughout.
This group of photos documents the faceted tile at the apex of the eivan on a mosque in Kerman, Iran.
This is the fourth and final photo in a series that capture the faceted tiling from its starting point to where it ends near the top of the eivan.
The eivan is the prominent arched structure that dominates the fronts of mosques, extending as it does from ground level to just a few feet from the roof.
While I find all Islamic tile fascinating in its complexity and its inspired use of form and color, it's the area beneath the apex of the eivan I admire most.
What appeals to me about it is the emergence of faceted tile that covers the surface starting at the point where the walls begin to curve inward, continuing almost to the very apex of the eivan.
This storefront mosaic exists on S. main St., Wilkes-Barré, PA. This looks appealing as it is, but how much greater would it appear if the owners would clean it up?
This looks like an Art-Deco piece to me….
This doorway at the Mausoleum of Khawje Rabie reflects the ornate geometric tilework that surrounds it.
Mashhad, Iran.
Rue Campagne-Première. Detail of the tilework by the ceramicist Paul Bigot. This 1911 building was recently renovated. Man Ray lived and had his studio here in the 1920s. It’s a wonderful building and one of my favorites.
Unlike the tile pattern just visible on the left, which is made up of a mosaic of cut and glazed tile, the pattern in the center is painted onto rectangular tiles. However, the overall pattern does not reveal itself until several tiles - in this case a block two wide by two high - have been put into place.
Mosque, Kerman, Iran.
Oof. Is this place indicative of the death of the classic Parisian bistro? The restaurant is gorgeous; classic Paris down to the iced carafe of Vouvray and the faded, but marvelous, tilework. The waitress after taking our order, asked if we wanted anything to drink with our meal. And just as I was about to open my mouth and answer to order the wine, she turned and walked out of the room.
Um, okay.
The first course (above) was good; a soft-cooked egg (€10), asparagus, and pesto with warm toasts. When they brought the main courses, my stuffed chicken breast (€19.90) with black trumpet mushrooms was rolled up like tekkamaki, sliced diagonally and upended, and the stuffing (and likely the chicken) was certainly made from all frozen or canned ingredients. It had zero flavor, and was served with what looked & tasted like canned tomato sauce that nothing had been done to, literally dumped out onto the plate, in a thin red pool. The peas served alongside were cooked to the point of resembling a wet copy of Le Monde.
My friend had bar (European bass), which came with the most unappetizing pile of long, long, long overcooked fennel that was army-gray. She pronounced it inedible after tasting one piece. I declined her offer for a taste. (How hard is it to toss fresh shaved fennel in lemon juice and salt, with perhaps a bit of anchovy and/or black pepper?) Her first course foie gras (€17.90) was very good (although hard to mess up), but couldn't redeem the mains.
As much as I want to ensure these kinds of places survive, they are shooting themselves in the foot by serving food marginally better than what is served on a coach-class flight. It really isn't that hard to make decent bistro food. Or am I missing something?
I'll eat almost anything if it's edible and when the waitress picked up the plates, she looked at them, and said nothing. Damage for 2: €80 (we skipped dessert...)
This tile panel is a mosaic of individual pieces of colored tile that have been painted and cut to make up the overall design.
Viewing this photograph in the "large" or "original" sizes will reveal the complexity of the mosaic.
Mosque, Kerman, Iran.
Motawi Tileworks exhibit at the Arab American National Museum in Dearborn, Michigan. On display until June 12, 2011.
This tilework is UNBELIEVABLE... each of those is a piece of glazed masonry, cut and fit together!!! We watched a master workman doing this and still couldn't believe it.
For more information about the mosque, see HORIZON's description - scroll down to "Jame Mosque."
I am so grateful to HORIZON for teaching me (through his example) how to photograph this stuff - always straight on - don't mess with the sacred geometry.