Document Type : Original Article
Authors
1
Asistance Professor, Department of Archaeology, Faculty of Cultural Materials Conservation, Tabriz Islamic Art University, Tabriz, Iran
2
Master’s Degree Graduate Faculty of Cultural Materials Conservation, Tabriz Islamic Art University, Tabriz, Iran
Abstract
Introduction
During the Qajar period, historical contexts were considered inseparable parts of major cities. Despite the influence of Western art on architecture and related ornaments, a distinctive Qajar artistic style emerged, setting it apart from previous periods.Moreover, during this period, the components of urban contexts — including houses and mansions — did not continue the Safavid tradition. Although they were influenced by the Safavid period, they introduced their own distinctive patterns in physical elements and architectural ornaments. Few studies have been conducted on Qajar urban contexts, and major cities in western Iran — including Sanandaj — still require further research and investigation. The administration of Sanandaj, as the capital of the Kurdistan province, was under the control of local governors (valis). The construction of public buildings, valuable historical mansions, and the city’s Jame mosque indicates the governors’ significant role in the city’s prosperity. In other words, the flourishing of Sanandaj during the Qajar period was largely due to the governors’ support in developing and expanding the city in harmony with the climate and culture of Kurdistan. With the selection of Sanandaj as the capital of the Kurdistan province—particularly during the time of Amanollah Khan Ardalan—the construction of aristocratic residences reached its peak. One of the most significant Qajar-period mansions in Sanandaj is the Moshir Divan Mansion, which includes private, public, ceremonial, service, and sanitary spaces. This mansion was built by Mirza Moshir Divan, the advisor and deputy of the Sanandaj governor (Mirza Reza Vazir-e Kurdestani). It features seven courtyards, each with its own fountain and distinct design, yet harmoniously interconnected. Therefore, the present study aims to examine the physical and decorative components of the building, including its architectural spaces and the ornamental elements of its exterior and interior facades. Moreover, the necessity of this research lies in clarifying the historical significance, structural features, and architectural ornaments of the Moshir Divan Mansion and its role in shaping the surrounding historical context and elements, considering the historical and political context of its construction—an aspect that has not yet been specifically explored and thus requires an independent study.
Research Methodology
The present study employed a descriptive-analytical approach, complemented by documentary and library-based research. In the library studies, historical and archaeological texts, archival documents and images, registration files, articles, and prior research in the field were consulted. In the fieldwork phase, archaeological surveys were conducted to map the mansion’s architectural structure, its various sections, and decorative elements. Moreover, the historical significance and spatial context of the building within the urban fabric were carefully analyzed.
Discussion
The governors played a pivotal role in the development of Sanandaj, to the extent that the city’s initial nucleus seems to have formed around the construction of mansions for officials and their close associates (Aghalatifi & Koliaei, 2018: 121), with other residences and important buildings subsequently established around these estates. These governors, guided by a coherent vision of Sanandaj’s art and architecture, sought not only to ensure the comfort of themselves and their families but also to meet the everyday needs of the populace in accordance with prevailing societal norms. Public acknowledgment of their status was instrumental in the implementation of their urban projects, and their aristocratic mansions served as exemplary models for the design of contemporary and later ordinary residences. In these homes, key architectural elements included the entrance hall, vestibule (Hashti), columned veranda (Iwan), courtyard, and rooms with openings and stained-glass windows (Orsi). The city’s notable expertise in woodcraft and limework provided the governors with opportunities to assert their authority in line with Qajar royal ideals, demonstrating their power through the promotion and support of these arts. Aristocratic mansions in Sanandaj followed a distinct architectural pattern, including the entrance portal, vestibule (Hashti), corridor (Dalan), main hall (Shahneshin), bath, and various rooms, all embellished with high-quality materials and elaborate decorative elements. The dimensions and grandeur of these residences varied according to the owner’s social status and the frequency of visitors. A prominent feature of the Moshir Divan Mansion is its inward-oriented (introverted) layout, reflecting the interplay between rural and urban cultural influences in Kurdistan, particularly in the integration of interior and exterior spaces. The organization of internal spaces, often connected to the exterior through carefully positioned openings, exemplifies this relationship. Security considerations also played a significant role: the entrance was meticulously designed, tall and robust walls were erected, apertures (tir-kesh) were incorporated for stationing guards’ firearms, and parapets and lookout positions were provided above the main portal.
Another notable structural feature of the Moshir Divan Mansion is its integration with the surrounding natural landscape. The mansion’s main hall (shahneshin) is oriented to provide a distinctive view of the Abidar slopes, reflecting the cultural significance of Mount Abidar for the people of Sanandaj. The mansion’s numerous spacious courtyards serve a dual purpose: they reduce the sense of enclosure within the complex, creating openness and expansive sightlines, while also fostering strong visual and spatial connections with the surrounding urban context. The function of each courtyard, however, is not identical. The main ceremonial courtyard and the garden courtyard are more public in nature, designed for interactions with the general populace or larger gatherings. In contrast, the primary and secondary inner courtyards, the guest courtyard, and the bath courtyard are reserved for the private use of Mirza Yousef, his family, and close associates. This diversity of courtyards also corresponds to the various ceremonies held throughout the year. Central fountains and lush trees further underscore the importance of natural scenery and water in private gatherings. The mansion’s large entrances, with high ceilings and built-in platforms, provided visitors a sheltered space during rain or snow, while the ornate brickwork signaled the power and wealth of its owner. The shahneshin, featuring a columned veranda and a domed pavilion (Kolahfarangi), represents the mansion’s most significant section. The arched crown of the kolahfarangi, combined with Orsi windows of colored glass and intricately carved wooden motifs, imparts a decorative style unique to Sanandaj. The columned veranda opens onto the central courtyard, the first space where visitors encounter the grandeur of the mansion and its elevated kolahfarangi, reinforcing respect for Mirza Yousef and his authority.
The lime plaster (Ahakbori) decoration in the mansion’s bath represents its most prominent ornamental feature. In Qajar art, these motifs held symbolic meanings that extended beyond mere representation. Plant motifs, including cypress trees, boteh-jeqqeh, and arabesques, conveyed notions of immortality, vitality, and growth. Animal motifs, such as the eagle and serpent in combat, symbolized the aspiration for longevity on behalf of the mansion’s owner. Furthermore, the symbolic depiction of the goat represented Mirza Yousef’s leadership authority and his role in the struggle against injustice (Bahramzadeh & Talebnia, 2015: 9). The depiction of the “tree of life,” flanked by two birds or two goats, stems from ancient Iranian traditions, symbolizing the desire for immortality and the perpetuation of the owner’s power. Doves embodied peace and friendship, while peacocks were associated with paradise. The limited use of this bath by the general populace at certain times, together with the presence of similar baths throughout Sanandaj during the Qajar period, offered governors opportunities to reinforce their authority while demonstrating care for the people. These decorative motifs also served as exemplars, inspiring the replication of similar designs in private homes or more public spaces.
Conclusion
The construction of aristocratic mansions by governors in Sanandaj was strongly influenced by the city’s climate, culture, and the political context of the Qajar period. The governors’ financial and moral support for architecture and the arts played a pivotal role in shaping these residences. The diversity of decorative motifs and architectural elements-from geometric patterns to animal and bird motifs-reflects the mansion owners’ knowledge of historical artistic traditions, awareness of societal dynamics, responsiveness to contemporary needs, and, simultaneously, the consolidation of their social and political status through these elaborately ornamented buildings. Key architectural features of the Moshir Divan Mansion include symmetrical layouts, hierarchical access arrangements, a lofty columned veranda (kolahfarangi), a fortified entrance adorned with intricate brickwork, expansive views through Orsi windows, and multiple courtyards serving both public and private functions. The varied decorative elements-brickwork, plasterwork, woodcraft, and lime plaster-showcase the authentic artistry of Kurdistan, particularly in Orsi windows and lime-plaster ornamentation. The research further demonstrates that the historical status of the governors was closely linked to the architectural form and decorative program of their mansions. The overall composition and motifs reflect a combination of displaying royal authority in line with Qajar monarchs, evoking the grandeur of ancient Iran, incorporating Western artistic influences, and preserving local artistic traditions. Moreover, the strategic placement of the Moshir Divan Mansion at the center of its neighborhood, adjacent to the Asef Mansion and the Jame Mosque, served to legitimize and reinforce Mirza Yousef Moshir Divan’s authority as advisor and deputy to the governor in the political and social affairs of Sanandaj during the Qajar period.
Keywords
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