Analysis of the Decorations and Structure of the Kufic Inscriptions of the Tomb Tower of Chihil Dukhtaran (Forty Girls) of Damghan

To State the problem, it may well begin with the Kufic script as one of the oldest Islamic calligraphy styles, known for its notable structural diversity. Its distinctive ability to seamlessly conform to diverse design templates, rendering each piece uniquely captivating, has positioned it as a pinnacle of artistic expression. Particularly renowned for its applications in architectural embellishments and inscriptions, Kufic script has left an indelible mark on the aesthetic tapestry of various epochs. Chihil Dukhtaran tomb tower of Damghan is one of the unique instances that uses Kufic inscriptions. Situated in the north-western facade of the Imamzadeh Jafar complex in Damghan, along the Semnan route, it is an architectural marvel dating back to the 5th century AH whose builder is Asfar-e Ibn-e Kordooyeh, a Daylamite commander. Erected by this military commander from the late 4th century AH, this circular and conical brick structure stands as a testament to his leadership during the battles of Al-Ziyar and Al-Buwayh. He was one of the commanders of Manouchehr-e Zyari. Serving as the ruler of Damghan during that era, this Daylamite commander commissioned the construction of the Chihil Dukhtaran tomb tower in the city of Damghan. This brick building is a type of tower-shaped tomb and has a circular plan and a cone-shaped dome, and its body has decorative motifs and inscriptions in the style of plastering and brickwork. The body of the tower consists of two different parts up to the starting point of the cornice. The lower part is about two-thirds of the height of the entire body and is covered with simple and woven brickworks, and the second part has five decorative strips and an inscription. This tomb tower has two inscriptions in Kufic script. One of the inscriptions is above the door head of its entrance, written in Knotted-Kufic script with plaster. The other one is seen all around the tower in the upper part of its body, which is in simple Kufic script in the style of brickwork. The content of the inscriptions includes the introduction of the builder of the monument and the year of its construction.
The purpose of the research is to examine and analyze the visual characteristics of the decorative motifs and the structural nature of Kufic inscriptions present on the Chihil Dukhtaran tomb tower of Damghan. It seeks to unravel how these visual elements contribute to achieve visual unity within the architectural design. The key questions revolve around the visual features of the tower's motifs and the structural approach of its Kufic inscriptions towards achieving visual unity. Thus, it's attempted to answer these questions: what are the visual features of the motifs of Chihil Dukhtaran tomb tower and, what structure do its Kufic inscriptions follow to achieve visual unity? The research method is descriptive-analytical and field-based, utilizing library resources and documents. Data collection tools include field observations, photography, and archival research. The results obtained from analyzing the inscriptions and engravings on this tomb tower indicate unique visual characteristics, reflecting aesthetic elements such as resilience, delicacy, symmetry, and continuity. The decorative inscriptions on this brick structure include depictions of two wings, and grapevine motifs, stair-shaped, zigzag, and beehive patterns in brickwork; each symbolizing aspects of nature. The distinct feature of these decorative motifs is the independent identity of the design, which is in harmony with the form of the building. After reconstruction of individual parts, harmonizing characteristics were revealed: the use of decorative elements in the writing system in a connected and dependent manner that is one of the most important connecting factors. Observing uniformity in the form of writing and motifs makes the whole inscription uniform. It is noteworthy to mention that one of the most important ways to achieve visual unity is the use of pseudo-writing inscriptions, which in this building, the most common type of such inscriptions has been used. This type of pseudo-writing, which is not a special letter, serves to read the inscription and is used to achieve visual balance. In each of the two inscriptions, these types of pseudo-writings have been wisely used to create a connection and to make a coherent whole, as well as to maintain balance in the whole inscription that depends on the presence of these elements.