The Structure of the Homes in Iranian Paintings: Investigating the Characteristics of the Representation of the Interior of Homes in Iranian Paintings from th 13th- 17th Centuries AD (the 7th – 11th Centuries AH)

In terms of the problem statement, the Azari style of painting stands out as a remarkable artistic expression in the rich tapestry of Iranian culture. Notably, the Herat and Tabriz schools have produced significant paintings contemporaneous with the Azari architectural style, providing insights into the depiction of residential spaces. The scarce remaining historical evidence and the vast territorial expansion of architectural structures in cultural Iran make it challenging to comprehend the architectural characteristics of residential buildings from this period. Consequently, research on the architectural features of Azari-style residential houses is limited. This study aims to address this gap by examining paintings from the Herat and Tabriz schools to unravel the representation of interior spaces. The article aims to investigate the representational structure of residential architectural spaces from the Ilkhanate to Safavid period; encompassing the 1st and the 2nd Herat schools, the 1st and the 2nd Tabriz schools, and the Jalairi School (located in Baghdad and Shiraz). The research poses two main questions: 1. What are the characteristics of the interior spaces depicted in the paintings of the first and the second schools of Herat and Tabriz? 2. How can an understanding of the principles of interior architecture of residential spaces from that era be derived through the examination of these paintings? Employing a descriptive-analytical research method, this study collects and analyzes pictures portraying residential interior spaces. Through a comparative analysis of historical documents gathered via the library method, the paintings are scrutinized. The research aims to unveil the structural features of the interior of residential architecture during this era. The results reveal the structural characteristics of residential spaces, the pivotal role of space organization, the influence of ornaments and inscriptions on spatial structure, the correlation of social hierarchy with spatial arrangement, and the impact of residential paintings on prevalent architectural styles in houses and other residential spaces during the study’s timespan. Islamic architecture in Iran boasts enduring role models, particularly in residential buildings that continue to inspire contemporary architectural practices. While a significant number of these buildings belong to the Safavid period, characterized by the distinctive Isfahani style, there are also notable remnants from the pre-Safavid era. The Ilkhanid period, in particular, stands out as a flourishing epoch in residential house construction, drawing influence from the architectural style of the preceding Seljuk period. During the Ilkhanate era, the construction of residential houses thrived, with architects adhering to foundational principles in design and construction. Despite the simplicity and cleanliness of the exterior facades, the interior spaces of these houses were adorned with intricate decorations. Unfortunately, many of these spatial embellishments have succumbed to erosion over time. Analyzing paintings from the first and the second Tabriz and Herat schools offers a unique opportunity to reconstruct the interiors of patriarchal period’s residential houses. This examination provides a comprehensive overview of the living spaces during that era, revealing distinct groups of residential buildings in the Azari style, categorized by quadrangular and hexagonal layouts. Noteworthy examples include the houses of the Al-Muzafar period in Yazd. Further insights are gleaned by combining information from these historical buildings with Iranian drawings, enabling the creation of 3D models. The findings suggest that symmetry and visual proportionality were prevalent in residential areas during the Ilkhanate period, aligning with the hierarchical emphasis in Iranian architecture. The hierarchical arrangement is evident in the interior spaces depicted in paintings, with servants often occupying lower platforms. The architectural spaces of the Azari School, as represented in drawings, demonstrate similarities with the interior spaces and paintings, affirming shared design principles and spatial decorations. The characteristic features include four-sided or six-octagonal plans, symmetry, and the prevalence of pavilions. Verandas, whether single or double, often accompany these pavilions, while internal platforms create hierarchies and delineate distinct sections for varied uses within the interior spaces. This comprehensive overview of Azari School interior spaces sheds light on the continuous evolution of Islamic architecture in Iran. The construction works of the Ilkhanate period represent a crucial chapter in this narrative; reflecting forms from previous periods and distinct design characteristics. The Ilkhanate architectural style is directly adapted from the Seljuk period, marking a seamless transition in the architectural history of Iran.
In conclusion, by examining the remaining paintings and buildings from the Ilkhanid period, one can gain a nuanced understanding of the living spaces of the people during that era. The adherence to certain principles in design and construction, the balance between simplicity and intricate interior decorations, and the hierarchical organization of spaces all contribute to the rich tapestry of Islamic architecture in Iran. The legacy of the Ilkhanate period continues to inspire and inform contemporary architectural practices, making these historical structures invaluable as both cultural artifacts and sources of architectural inspiration.