Aesthetic and functional analysis of mosque entrance areas in Ottoman and Safavid Empires: a comparative study

Figures & data

Table 1. Flowchart of the study’s methodology.

Figure 1. ‘Ascension’ (معراج); Nizami Ganjavi’s Khamsa, Safavid Period (Shah Tahmasb), a work by Sultan Muhammad, printed in Tabriz in the years 946–950 H (Islamic calendar). Currently, it is housed in the central library in London.

Figure 2. Imam Mosque (Shah Mosque), Isfahan, Entrance plan, by obstructing the direct view of the courtyard with a small movement at the entrance element in the direction of the square formation, privacy has been provided, Iran Ministry of Culture, 2000, Isfahan.

Figure 3. The entrance gates of the Varamin Great Mosque are located on the axis of the courtyard, Iran’s Ministry of Culture and Islamic Guidance, 200, Tehran.

Figure 4. Mihrimah Sultan Mosque, Istanbul, Turkey’s Ministry of Culture and Tourism, 2021, Istanbul.

Figure 5. Sultan Selim Mosque, Istanbul, Ministry of Culture and Tourism of the Republic of Turkey, 2021, Istanbul.

Figure 6. Selimiye Mosque, Edirne, on the axes of the entrance gates of the courtyard, Ministry of Culture and Tourism of the Republic of Turkey, 2021, Istanbul.

Figure 7. Jameh Mosque of Yazd, Ministry of Culture of the Islamic Republic of Iran, 2021, Tehran.

Table 2. Comparison of mosque entrance design between Ottoman and Safavid Empires.

Aspect	Ottoman Empire	Safavid Empire
Entrance Design	Large, ornate gate (Selamlik)	Modest entrances on side streets or alleys
Location of Entrances	Main street leading to the mosque	Side streets or alleys
Courtyard Area	Smaller courtyards	Large open courtyards for gatherings
Architectural Characteristics	Intricate carvings, calligraphy, tilework	Simpler entrances
Architectural Influence	Islamic design principles	Islamic design principles
Architectural Innovation	Formal, grand entrances	Emphasis on courtyards and community
Entrance in Iranian Architecture	Emphasis on the middle of the front facade and as an axis of the courtyard	Gradual transformation into more complex entrance systems
Transportation Logic	Straight and direct	Graduations, directions, and pauses
Entrance Styles	Entrance from the corner, entrance behind the Iwan	Various design changes to enhance user experience
Light and Shadow	Use of natural light and shadow	Emphasis on light and shadow for aesthetics and ambiance
Acoustics	Natural amplification of sound	Carefully considered acoustics
Materials and Design	Mud brick, plaster, geometric designs, calligraphy	Traditional materials, aesthetic details, ventilation, acoustics
Importance of the Mosque	Deep reverence and community role	Deep reverence and community role