Hamedan’s Laljin Pottery Unique

Hamedan’s Laljin Pottery Unique

Hamedan’s handicrafts are as old as the city’s history. Among arts of Hamedan’s artists are carpet-weaving, pottery, leatherwork and woodwork.
By definition handicrafts cover such works, which are partially or fully produced by using natural materials and hands, the Persian daily ’Iran’ reported.

Behjat Abbasi, a handicraft expert at Iran’s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO) and an avid admirer of Hamedan handicraft artists, said handicrafts of each region emanate from ethnic, national and geographical characteristics. Every artist is inspired by the geography of his/her habitat. Design and colors that they use are taken from their surrounding environment.
The head of Hamedan Cultural Heritage, Handicrafts and Tourism Organization, Assadollah Bayat noted that according to the latest statistics, a total of 1,376 pottery workshops are operational in Assadabad, Razan, Touyserkan, Bahar and Hamedan. About 4,546 people are active in the province’s pottery sector. The highest number of people who are active in the industry pertains to the city of Bahar. This figure is 3,763 people in 265 production units. Laljin, viewed as the hub of provincial pottery and ceramics, has 700 workshops itself. Azure pottery is the hallmark of the province and is sold in other parts of the country too. The very first pottery of the province were turquoise in color, but gradually their color changed and they became azure.

Whenever anything is said of Hamedan, people unconsciously are reminded of Laljin pottery, but Bayat opined that inlaid works is the top handicraft industry of the province due to quantitative considerations.
“However, it must be noted that since wood gradually decays, endurance of woodworks cannot be determined anywhere in the world,“ Bayat commented.
Regarding facts and figures of the provincial wood industry, he observed, “There are 5,463 wood workshops in the province where 9,999 people are employed. From the said figure, 421 workshops and 884 employees pertains to the city of Hamedan and the rest to the cities of Nahavand, Kaboudarahang, Bahar and Razan.“
He added that traditional leather works is another handicraft of the province.
Bayat recalled that a total of 216 leather workshops operate in the country wherein 814 people work.
“Hamedan’s cow leather is of international prominence,“ he noted.
Bayat referred to the latest statistics compiled at the end of last year (March 19) and said that as a whole there are 12,848 handicrafts workshops in the province where 22,035 people are employed.
“From the said figures, the highest pertains to inlaid works and woodworks. Malayer is the top city of the province in terms of inlaid works and woodworks with 2,325 workshops and 2,495 employees,“ he noted.
Handicrafts of each region or city or country have been established due to everyday needs. Man learned to exploit nature and available tools to make objects needed in his life. Therefore, handicrafts actually came to the fore in people’s homes, which eventually transformed into workshops.
Since producing handicraft in the province, such as carpet weaving, leather industries and basket weaving, do not require a large capital or space, and since many artistic works can be produced by simple tools, many people are attracted to handicrafts.
Export of handicrafts is an important income earner in the province. The top export is carpets, worth over eight million dollars a year.
Bayat recalled that in 2007-8 handicraft exports amounted to $20 million.
“Deducing eight million dollars of carpet exports from the figure, the remaining portion pertains to other industries such as pottery and woodworks,“ he concluded.
Hamedan’s handicrafts are exported in two modes, one via the provincial customs administration, which is known as official exports and the other via the customs offices in other cities of the country known as unofficial exports.

Persian Miniatures

Persian Miniature

It is difficult to trace the origin of Persian miniature, as it reached its peak mainly during the Mongol and Timurid rule (13th-16th century).
Mongolian rulers of Iran encouraged Chinese painting and brought with them a great number of Chinese artisans. Paper itself reached Persia from China in 753 AD. Hence, the Chinese influence is very strong.
According to Iranchamber website, the most important function of miniature was illustration. It gave a visual image to a literary plot, making it more enjoyable and easier to understand. Miniature developed into a marriage of artistic and poetic languages, and obtained a deep and sincere accordance with poetry.
During the last ten centuries, there have been many great literary works to inspire the great miniaturists of their day. At the end of the 10th century, Ferdowsi created his immortal epic poem ’Shahnameh’ (The Book of Kings), which at some 50,000 couplets, relates through fact and legend, the history of the country from the creation of the world to the Arab conquests in the 7th century.
In the 12th century, the poet Nezami created his romantic and popular ’Khamseh’ (five stories in verse), which was imitated several times by Indian poets writing in Persian.
The 13th century saw the creation of great works by Sa’di, the eminent author of the famous ’Boustan’ and ’Golestan’. The former is a didactic poem, lyrical in tone and anecdotal in composition. It is considered one of the masterpieces of Persian literature. The latter is a collection of moralizing and entertaining anecdotes and proverbs written in elegant rhymed prose and, at intervals, with fitting lines of verse.
In the 14th century, there were enlightening and romantic works by Amir Khosrow Dehlavi, Khajou Kermani, Hafez and Kamal Khojandi. But the 15th century saw the rise of the eminent poet Jami, who wrote the seven epic poems called “Haft Owrang“(The Seven Thrones or Ursa Major). His poetry embraced the different styles of preceding literature.
This great wealth of literature inspired the emergence of many important miniature schools, each with its own unique style. These schools helped miniature painting achieve its splendid status both in Iran and Central Asia. Three of the most influential schools were in Shiraz, Tabriz and Herat.
Development
In the 13th-14th centuries, Shiraz witnessed a new impetus in the development of its cultural life. This was the time of Sa’di, Khajou Kermani and Hafez. Poetry flourished and so did miniature.
One of the most important works for illustrators of the period was ’Shahnameh, and many painters in Shiraz were dedicated to it. In these miniatures, symmetry of construction was predominant and composition was largely frieze-like, straightforward and monotonous.
Nevertheless, the Shiraz school was to have great influence throughout Iran. By the end of 15th century, it was producing miniatures of the highest quality.
The illustrations for ’Khamseh’ (1491) serve as an example of the Shiraz art at its peak. It is complete and clear, both in composition and detailed work, and in the outline of silhouettes. The lines are firm and confident.
At the close of the 13th century, the Tabriz school of art was established. Its artistic development differed from that of Shiraz, as their illustrations tended to combine Far Eastern traits with the Armeno-Byzantine style of painting. This latter influence can be explained by the geographical situation of Tabriz, which borders the Armenian region.
Closer relations were formed between the artistic styles of Shiraz and Tabriz at the beginning of 15th century. This is connected with the migration of painters, which begun after Timur conquered Baghdad (in 1393) and Tabriz (1402). Many of them were brought to Samarkand, the capital of the conqueror, as well as to the court of his grandson, Eskandar Sultan, the ruler of Shiraz.
They adapted to the existing ideas and tastes, but at the same time introduced much of the traditions they had followed long before the migration.
In the 16th century, on the vast territories of Iran and Central Asia, Jami’s poetry was extremely popular and enriched the art of painting with new themes. This was the start of the great development throughout the various schools of art in Iran. In the Tabriz miniatures of the period, there appeared a magnificent ability to create, within a limited space, a full illusion of a particular scene or landscape. For example, a picture of a palace included part of its yard, inner garden and the palace’s interior.
Architecture and landscape were now included as fully as possible. The figures within the composition were no longer static and were painted in a more lively way.
In the first half of the 15th century, an art school was established in Herat. The very best of the artists in the Tabriz and Shiraz schools moved there. In the early Herat miniatures, figure painting became much more skilful and detailed.
As the skill of the painters increased, the figures were placed more confidently and the rhythmic structure of the composition became more sophisticated. The Herat artists were exceptional at portraying people, making the surrounding a mere accompaniment.

First Iranian Miniaturists
One of the best known and most influential painters from the Herat school was Kamaleddin Behzad, whose creative art was greatly influenced by the works of the poets Jami and Navai. In his works, there appeared a unique attention to portraying not just people but what surrounded them in their daily lives.
Behzad’s paintings brought miniature to its genuine bloom. He shared the fame of Herat painting with other outstanding miniature painters of the time: his teacher and head of the court studio, Mirak Nakkash, as well as Kasim Ali, Khwaja Muhammad Nakkash and Shah Muzaffar.
The theme of miniatures became more limited as time went by. In the 17th century, there were mainly love scenes, portraits and some even copied European pictures. In the 18th century, there appeared a new genre of flowers and birds. This later developed to a great Iranian art over time.

Isfahan’s Towering Minarets

Isfahan’s Towering Minarets

In the history of architecture, it is written that designs of minarets are different from other works of art.
Before the advent of the Islamic period, minarets inside urban areas were used as places where the Zoroastrian fires were lit. Caravans found their paths through the flames of the fire. Minarets were also used as watch towers to defend cities against enemy attacks.
In the Islamic period, minarets helped people to locate mosques. Based on some reports, Isfahan’s Hakim Mosque originally had a minaret which was more than 100 meters high. Some historians attribute the destruction of the minaret to Moguls and some to army of Tamerlane.
Although minarets look like slim structures that seem unbalanced, they are very endurable. The reason behind their endurance is that snow and rain do not penetrate into them. The conic and cylindrical shape of minarets also makes them resistant against earthquake.
An expert of Isfahan’s Cultural Heritage, Handicrafts and Tourism Department, Farshid Ebrahimnejad said that the highest number of minarets in the country is located in Isfahan, which hosts a total of 17.
“Since Isfahan was among the country’s biggest civilization centers in ancient times, it had many minarets during the reign of Seljuk and Safavid dynasties,“ he added.
He went on to note: “Minarets are typically located near mosque domes. Because of their height, architectural style and tile- and plaster-works minarets are structures that appeal a great deal to tourists.“
Ebrahimnejad noted that all 17 minarets of Isfahan have been registered as national heritage upon the collaboration of Iran Cultural Heritage, Handicrafts and Tourism organization (ICHHTO), which is doing its best for their registry at the United Nations Educational, Scientific and Cultural Organization (UNESCO) as world heritage.
He pointed out that the minaret of Imam Ali (AS) Mosque dating back to the fifth century AH, Sareban Minaret dating back to Seljuk era and the two minarets of Menarjonban dating back to the eight century AH have been renovated in contemporary times.
Minarets of Isfahan vary in design and architectural style depending on the era to which they belong.
“Minarets of Dar-ul-Ziyafeh are about 38 meters high while Baghooshkhaneh Minaret which belongs to Ilkhanid era is a unique edifice of the Islamic period with unmatched decorations. However, the minaret of Imam Ali (AS) Mosque of Harouniyeh dating back to Seljuk era is indeed the top minaret of all times,“ Ebrahimnejad commented.
Tallest Minaret
Sareban Minaret is 54 meters high and belongs to the Seljuk period.

Oldest Minaret
The minaret of Barsiyan Mosque is located some 42 kilometers to the east of Isfahan. It was built in 491 AH.

Menarjonban
The edifice consists of a mausoleum and two minarets. It dates back to the eighth century AH. The building’s veranda is an example of Mogul architectural style in Iran. Minarets were probably annexed to the structure during the reign of Safavids. When one minaret is moved not only the other minaret but also the whole building oscillates. Experts believe that there is dynamic equilibrium in all structures in symmetry with the minarets, what makes the equilibrium of the structure more detectable is attributed to slimness and lightness of the minaret. Tourists who come to Isfahan have always talked about similar structures in other parts of the world.
Menarjonban is located on Najafabad-Isfahan route and in a village called Karladan. Each of the minarets is about 17 meters high and the height of the edifice is 10 meters. Azure and turquoise tileworks decorate this building. In the lower section of the building there is the mausoleum of a clergyman, Amou Abdullah. A piece of marble lies on the grave, decorated with a verse from the holy Qur’an. There are also other inscriptions in the mausoleum describing Amou Abdullah as pious and virtuous.

Sareban
This minaret dates back to the Seljuk era. It is not very far from Chehel Dokhtaran Minaret, north of Jobareh. It seems that in the past there was a mosque near the minaret, but no remains of the mosque have been found in contemporary times. The building comprises of seven distinct sections. The first section includes rows of brickworks, the second and third sections are masterfully decorated with bricks, the fourth section includes crown of the minaret which has brick arches along with turquoise tiles, the fifth section has brick decorations, the sixth section includes the second crown of the minaret and the seventh section is the minaret’s peak. At the base of the two crowns of the minaret are two magnificent inscriptions decorated with exquisite turquoise tile-works.
The building is currently tilted toward the west. Experts do not know the exact date of the minaret’s construction. However, they believe that it belongs to between 650-680 AH.

Dar-ul-Ziyafeh
In the old neighborhood of Jobareh and on Avicenna Street there is an exquisite gate on top of which the two minarets of Dar-ul-Ziyafeh are situated. Experts maintain that the gate most probably belonged to a guesthouse used by local rulers or kings, but no traces of the guesthouse have been found as yet.

Chehel Dokhtaran
This is another famous minaret of Isfahan which is located in Jobareh neighborhood. The identity of this minaret is the most known among all minarets of Isfahan. The date on which the building was completed (501 AH) and the name of the person who endowed it (Abi-ul-Fath Nahouji) are inscribed in Kufi script.

Louvre Reviews Persian Painting

Louvre Reviews Persian Painting

The French Louvre Museum has published the results of its latest research on Persian painting during the 16th and 17th centuries AD.
According to ISNA, the extensive study includes a preface, a detailed description of different classical painting styles as well as the physiognomy of the artworks.

Samples of classical Persian painting Shah Abbas with a Cupbearer (Bacha Bazi)

A section of the research reads: “One of the specific characteristics of classical Persian painting is the accrual of picturesque details.
Viewers can thus admire a scene as a whole, or allow their gaze to wander inside it, from one detail to another. Moreover, this wealth of detail--stemming from the meticulous observation of nature--is often rich in literary allusions.“
Anyone observing Persian painting should bear in mind that such works were most often intended to illustrate manuscripts--usually literary texts. The illustrations of literary or historical manuscripts invite viewers to a world of elegance. Many scenes are set in gardens which often are palace courtyards.

Mashrabiyya in Yeman

Copyright © 2003 Yemen Times:
Yemen's most widely read English newspaper | yementimes.com

The Ottoman influence in Yemen
Hamed Thabet

Mashrabiyya in Yeman

Sana�a is the beating heart of Yemen, full of elemental force and vitality and considered a veritable paradise on Earth by its people. The city, whose name means �fortified place,� is also one of the oldest inhabited Arab cities, purportedly founded by Shem, one of Noah�s three sons.

The Old City of Sana�a has been inhabited continuously for more than 2,500 years and contains a wealth of intact architectural gems, for which reason the United Nations declared it a World Heritage Site in 1984. Efforts are underway to preserve some of its oldest buildings � some more than 400 years old � and many other buildings, as well as the area�s surrounding ancient clay wall, which stands six to nine meters (20 to 30 feet) high and dates back to pre-Islamic times.

The Ottomans ruled Yemen for two periods, first in 1538 to 1638, and again from 1828 to 1918. Many changes occurred in both the Yemeni lifestyle and architecture during these two periods, especially in Sana�a.

Yemenis took jobs in the army alongside the Ottomans, thereby gaining military experience through them. Yemenis were good citizens, which made the Ottomans trust them enough to provide them with extra benefits like allowing them to become officers, advising Ottoman rulers and assisting judges and generals.

Besides gaining Turkish military knowledge, Yemen also adopted Turkish aesthetics. Buildings in the Old City of Sana�a were influenced by the Ottomans, as evidenced by the decorations added to them. Some Old City homes more than 400 years old are built of dark basalt stone and decorated with intricate frieze work. Additionally, the area�s surrounding wall is extremely well-preserved due to Ottoman fortification.

Moreover, a total of 12 hammams or bath houses in the Turkish style were constructed during the Ottoman periods in Sana�a.

Many homes in Old Sana�a look like ancient skyscrapers, reaching several stories high, topped with flat roofs and decorated with elaborate friezes, stained glass windows and intricately carved window and door frames representing an accumulation of effort and offering a pleasing sight to those entering the area.

Sana�a has approximately 100 mosques, most dating back to the two Ottoman periods and incorporating sculpted and ornamented wood designs. Upon entering mosques in Old Sana�a, one notices Qur�anic verses carved into the walls and wooden doors. Ottoman craftsmanship such as this gradually fused into local Yemeni culture.

Windowmaking

The Turkish influence upon buildings was especially prevalent in the style of windows, including mashrabiyya or latticed windows each with their own meaning and use in Yemeni architecture.

Mashrabiyya, or latticed windows, have numerous holes that are necessary for ventilation. Such windows don�t completely face the sun, but rather allow air to enter, in order to maintain a constantly cool room temperature.

Because women in those days weren�t able to go outside as much as men, this type of window provided a way to stay in contact with the world outside their homes. Women could observe the goings-on outside without being seen and check who was at the door. Windows like these are still in use today.

Shubbak windows are often made of brick or stone, whereas wooden shubbaks are small, cage-like mashrabiyyas affixed to the outside wall. Shubbak windows were used for both ventilation and for preventing the cold from entering.

Dubbed with the Turkish word for kiosk, kushk windows are decorated very artistically with patterns much more complicated than the other types of Turkish windows.

One such kushk is in the palace of Imam Ahmed�s daughter, who was married to one of the sons of Shami, who is one of the famous families in Sana�a.

Made for Imam Yahya's son Ahmed in 1938 in Bir Al-Azab � where most kushks are found in Yemen � Khushk Al-Khair is one of the largest kushks in Sana'a, able to seat three to six people. The imam's wives used this kushk to peer outside without being seen, since kushks were used much like enclosed balconies.

During the 18th century, Yemen prospered economically mainly due to its trade in coffee and incense, which afforded it contact with the outside world. Because of this, Yemenis learned more about the uses for glass, one of the best window-making materials, but also a rare and very expensive commodity.

Stained glass windows enjoyed popularity because when the sun shone through them, it refracted beautiful colors into a building�s interior; however, due to its rarity and high cost, such glass was used almost exclusively by the wealthy.



Ottoman development of Yemen

Under Ottoman rule, Yemen developed an extensive coffee trade, with the coastal town of Mokha becoming an internationally important coffee-producing hub. Despite this, the Yemeni highlands, which also were under Ottoman rule, remained economically and culturally isolated from the outside world from the mid-17th century until nearly the mid-19th century, during which time modern thought and technology greatly influenced Western Europe.

Originally belonging to Ottoman residents of Sana�a, Souq Al-Milh is one of Yemen�s oldest existing markets. Although its name means "Salt Market," a wide variety of goods were and continue to be sold there today, including vegetables, spices, qat, pottery, woodwork and clothing.

The Ottomans experienced significant opposition from Yemenis in the early 1900s under the leadership of Zaidi imam Yahya Al-Din. Yemenis staged numerous uprisings and after years of rebellion, the Ottomans finally granted Imam Yahya autonomy over much of Northern Yemen in 1911. Defeat in World War I (1914-1918) forced the Ottomans to evacuate Yemen in 1918.

With the passage of time and their country modernizing, Yemenis have made a shift from the old to the new. However, the Ottoman influence on Yemeni architecture remains apparent not only in the old homes of historic Sana�a, but also in the newer ones, as such traditional influence continues in modern Yemeni building. Yemenis still can feel the spirit of Ottoman influence in their lives, something that fascinates the rest of the world.