The Iranian people have demonstrated an amazing ability to preserve their cultural identity over the centuries, organically combining loyalty to tradition with aspirations for the future. This is clearly evident in architecture, where centuries-old heritage not only coexists with modern technologies, but also enters into a dialogue with them - sometimes harmonious, sometimes polemical. Mosques in Iran, from classical masterpieces to avant-garde projects, become not only the embodiment of spiritual values, but also a symbol of the creative power of the nation, overcoming external challenges.
Modern Iran is the heir to the great Persian Empire, having gone through many transformations. After the Arab conquest of the 7th century, Zoroastrianism gave way to Islam, and in the Middle Ages, power passed to the Iranian-Turkic dynasties. The changes were reflected in architecture: if Arab mosques gravitated towards columned halls, then Iranian architects retained the dome-kiosk design, dating back to Zoroastrian temples. Thus, Islamic architecture in Iran became a unique fusion of local traditions and imported canons.
The Seljuk era brought new forms – iwans (semi-open vaulted rooms) and courtyards, which later, during the Timurid period, reached perfection in the form of four-iwan mosques. Their strict symmetry and harmony emphasized the sacredness of the space. Over time, the open courtyards were replaced by a central-domed scheme, where dominated a covered hall, surrounded by auxiliary room.
The 20th century was a time of searching for a new architectural language in Iran. After the fall of the Qajar dynasty and the rise of the Pahlavis, the country embarked on a path of modernization, and mosques were not left out of these changes.
A striking example is the Al-Jawad Mosque in Tehran, built in 1922. Inspired by the Seljuk mausoleums of Khorasan, it is, however, built of glass and concrete, and its shape resembles a symmetrical polygonal tower - a bold step towards modernity, but with an eye to the past.
An even more radical approach is demonstrated by the Imam Ali Mosque in Tehran (1931). The architect consciously rejects traditional decor, replacing it with strict lines and rational construction. The portal is flanked by an ascetic minaret with an external staircase - no excess, only functionality. But this is not a rejection of heritage, its recoding in the spirit of the new era.
The second half of the 20th century brought new experiments. The mosque on the campus of Tehran University reinterprets classical courtyards and iwans: the dome rests on slanted supports, and the minarets are reduced to simple cylinders. At the same time, the Al-Ghadir Mosque opposes modernism, returning to baked brick and the forms of Khorasan mausoleums - as if to counter the growing Western influence.
Modern Iranian mosques are becoming even more diverse. The Mosque of Muhammad Rasul Allah in Shiraz, despite its unusual triangular layout, retains a connection with tradition. But the Vali-e-Asr Mosque in Tehran is a pure architectural experiment: bionic lines and sculptural volume make it more of an object of contemporary art than a religious building.
The evolution of Iranian mosques takes place in a continuous dialogue between canon and innovation. From the strict schemes of the past to the bold experiments of the present, from the search for national identity to global trends. The history of sacred architecture in Iran shows how religion, politics and technological progress shape the image of a country that remains faithful to tradition, but does not become its prisoner.
GSV "Russia - Islamic World"
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