Academic literature on the topic 'Timurid Architecture'

The article is devoted to the study of the most valuable source at the culture and architecture of Persia and Central Asia during the reign of Timur (late 14th — early 15th centuries) — the diary of the Spanish ambassador to the court of Timur. At this stage in the development of researching on the Persian and Central Asian architecture of the Timurid period, along with the problem of “analysis” of monuments and artistic style, the problem of “synthesis” of image of these architecture is urgent. The authors of this article propose a methodology for restoring the general impression of this architecture, which can serve as a basis for the process of “synthesis”, based on the study of the contemporary written source of the early 15th century — the diary of the Spanish grandee Ruy Gonzalez de Clavijo, who was part of the Spanish embassy, sent by the Castilian king Enrice III to the court of Timur at 1403–1406. Being an educated man and receptive to the new, Clavijo was able to isolate the characteristic features of the worldview of a man of the East, primarily an oriental despot, and the associated features of the art of the East. He and his colleagues in the embassy drew attention to the cunning, treachery, ingenuity, secrecy of the eastern rulers. The Spaniards were struck by the luxury, power and wealth of Timur’s state, which at that time was at the zenith of glory. The Spaniards, accustomed to the stability of architectural images in their native Spain, were amazed at the variability of the artistic images of the East. They drew attention to the love of the representatives of the peoples of the East for free draperies, giving themselves to the will of the wind, in the temporary architecture and in festive women’s clothes, that by their nature were well consistent with the decoration of architectural buildings. The Spanish envoys revealed that subservient to the first and most faithful fresh impression, tenaciously grasping the main difference between the architecture of Timur’s state and contemporary European architecture. This difference consisted in the desire to create an image that is changing, diverse, fluid, mobile, not instantly solved and full of mystery, but at the same time striking the imagination with its luxury and wealth and according to the understanding of their masters, customers and spectators. The conclusion about the specifics of Timurid architecture, made on the basis of a study of the diary of the Spanish ambassador, is supported by the authors of the article turning to the analysis of written and pictorial sources created by representatives of the studied culture itself.

<p class="zhengwen"><span lang="EN-GB">Mosques’ architecture is one of the monuments in the history of Iranian architecture that has alwaysbeen of interest andimportance and in the Timurid period was also welcomed by many architects and artists and e</span><span lang="EN-GB">xamples were built that were used as a perfect model for the architects of the next periods. The architecture of this period is known as a good example of harmony with the environment, which is a result of various climatic, historical, economic, cultural and political factors and have had the greatest impact and benefit fromthe continental and social and politicalconditions of Ilkhani and Seljuk periods. Timurid mosques of Iran are from the important elements of Islamic architecture in terms of architectural form and decorations that need to be reviewed in these two factors. Building mosques in Iran, as a public place and a political state for the spiritual guidance was started at the beginning of Islam and was completed in the Timurid era in the various buildings. Mosques were firstly build as Shabestani and then as one Iwan and two Iwans and four Iwans, as one of the important elements in the cities.</span></p><p class="zhengwen"><span lang="EN-GB">Given that the architectural design, construction and decorations of some of theTimurid mosques are from the architectural masterpieces of Iran, this article has considered three important mosques of the Timurid period in Iran, GoharshadJameMosque,Jame Mosque of Yazd, Blue Mosque of Tabriz, and has analyzed and compared the structural elements of the architecture of these mosques (dome, Iwan, courtyard,and use of geometry in buildings, etc.) as well as considering the climatic factors that impact on those building. The method of research is comparative study and case study and then with an analytical approach, we will compare three important mosquesin terms of political, social situations and also physics and structure and geometry and decorations of them. In addition to reviewing the related papers and books, we will have a comparative table for the physical elements and their decorations. Finally, in addition to achieving the objectives of constructing the mosques and their formal changes in this period and comparingthem, the status of each of them is reviewed in the main section of the paper and the analytical model for future studies for mosque’s architecture according to the continent, is recommended.</span></p><span lang="EN-US">In this research with the aim of considering the methodologies of building mosques’ architecture according to the continent, first we consider the physical features of architecture in Timurid period. Then we consider the architectural physical features of The Blue Mosque of Tabriz, GoharshadJame Mosque, and Jame Mosque of Yazd as some examples. After that, the general characteristics and structural form of mosques according to the continent and the domestic architecture of the regions was analyzed. At the end, comparing the features and similarities of mosques and the differences in mosques’ architecture in this period, we have found some strategies about building mosques according to the domestic and continental architectural features.</span>

Research objectives: The objective of this research is to analyze the culture and monumental architecture of Samarkand during the reign of the Shibanids, and to identify the origins of cultural traditions in architectural construction in Samarkand between 1512–1578. Research materials: The study mainly uses historical works by Central Asian, Persian, and Turkic authors from the sixteenth to eighteenth centuries, such as Khwandamir, Zayn ad-din Vasifi, Abdallah Nasrallahi, Mirza Muhammad Haydar, Nisari, Hafiz Tanysh Bukhari, Raqimi, as well as archive materials of L. Mankovskaya and M. Masson from the Central State Archive of the Republic of Uzbekistan. Additionally, publications of Russian, Soviet, and post-Soviet specialists on the history of Central Asia, including V. Bartold, A. Semenov, R. Mukminova, B. Akhmedov, R. McChesney, T. Sultanov, K. Baypakov, E. Smagulov, D. DeWeese, F. Schwartz, A. Muminov, K. Kattaev, B. Babajanov, V. Norik, etc. are also analyzed in detail. Results and novelty of the research: The Shibanids Kuchkunji Khan, Suyunchkhoja Khan, and their descendants combined Jochid and Timurid roots in their genealogy and used this to legitimize their rule. The political system of the state, characterized by strong regionalism in which Samarkand stood out, influenced the formation of local cultural identity, which was reflected in the monumental architecture in Samarkand. This architecture shows a synthesis of cultural traditions from the Syr Darya regions of Ulus Jochi and Khorezm and the Timurid heritage of Maverannahr. During the 16th century in Samarkand, three memorial places with different architectural styles and geographical locations were built, where representatives of the Shibanid dynasty were buried. Each of them reflected different ideological lines, followed by certain representatives of the Shibanids. According to the author, the Shibanids-Kuchkunjids built a madrasah in Samarkand that continued certain Timurid traditions, while simultaneously incorporating elements of Golden Horde architecture. The construction of the madrasah of Abu Said Khan in the historical centre of Samarkand, near the madrasah of Mirzo Ulugbek, had symbolic meaning. The first Shibanids supported the use of the Turkic language in Maverannahr due to both Timurid traditions and the Golden Horde heritage, in which the Turkic literary language occupied a significant place.