SHEIKH LOTFOLLAH'S MOSQUE (MASJED-E SHEIKH LOTFOLLAH)

Southeast of the square, facing the Ali Qâpu Palace. This small jewel, completed in 1619 by Mohammad Reza Isfahani (son of the architect of the bridge to the Thirty-Three arches), owes his name to a prestigious theologian and required just over fifteen years of work. Of smaller proportions than the large mosque, it is coated, both inside and inside, of ceramics with rare tons, the mosque presents very beautiful arabesques. The glazed dome dome is decorated with blue flowers and white arabesques on a cream or pink background depending on the time of day. A unique vision that radically changes the turquoise tones that one is accustomed to seeing on the cupoles of Muslim medieval monuments. Even if the aesthetics will be happy to say that the rose perfectly enhances the turquoise and arabesque arabesques in the extraordinarily complex route that decorates the dome finely. Do not hesitate to offer some time of contemplation and return to different times of the day because the ensemble changes radically from the angle of the sun. Sit on the portal and its rich mosaic of geometric patterns, complemented by a stalactite vault with a particularly fine purpose. Note the absence of an inner courtyard and minarets. We move very quickly from light to darkness through a narrow corridor, designed to protect the faithful from indiscreet eyes and symbolizing a path towards the heavenly vault. Then you access the sanctuary, composed of a unique and vast prayer room. The darkness contrasts sharply with the clear colors that could have been observed outside, on the dome or on the portal.

Here we discover the science of the mural mosaic art, true jewel of the Persian fade. See in particular the large ceramic tiles to the flowered arabesques of artistic calligraphy. The blue and yellow dominate the walls as well as the ceiling while calligrapher Ali Reza gives the drums the full measurement of his art. In this regard, the Sheik Loftollah mosque is considered an outcome. Clou of the show, this aura of light filtered by high musharrabiehs placed in the drum supporting the dome and letting appear on the walls the "tail of the peacock". Take the time to walk in this square room of 19 m aside to vary the colors, colors, shadows on decorations according to the angle of entry of sunlight by the windows. The use of light weighs as much in decorations as all the mosaics or mosaics, making the prayer room a masterpiece.

As in the Shah mosque, architects had to face a problem of alignment of the building and, so that the mirhab could look at Mecca, it was necessary to abandon it parallel to the plot. The entrance corridor to the prayer room also serves to conceal the 45 degree angle change.

The mosque, once completed, was reserved for the private use of Sheik and his relatives, hence his nickname of the king's oratory. You will notice the total absence of minaret, strange for a mosque, but the muezzin appeal was useless because only Sheik came to pray under the dome.