Journal of Art and Civilization of the Orient

An Analysis of the Design Plan of the Mehrabi Kufic Inscription from the Kakuyids Era in the Ghadamgah Mosque (Pilgrimage Site) of Farashah, Yazd

https://doi.org/10.22034/jaco.2025.514637.1470
Volume 13, Issue 49
Autumn 2025
Pages 32-43
Journal of Art and Civilization of the Orient

Document Type : Research Paper

Authors

Sahar Salehi
Mahnaz Shayestehfar
Seyed Aboutorab Ahmadpanah

Faculty of Art and Architecture, Department of Islamic Art, Tarbiat Modares University, Tehran, Iran.

Abstract
Kufic inscriptions in Iran are considered an art that was basically formed under the influence of the beliefs and convictions of the society rulers in the religious monuments. With the arrival of Islam in Iran, most of the inscriptions on these buildings included Quran verses in Kufic script. The Mosque-Ghadamgah of Imam Reza (AS) in Farashah, Yazd has a stone-shaped Mihrab (Altar) dating back to 512 AH, the Kakuyids era coincides with the Seljuk time. During this era, the Kufic inscriptions appeared in more detail and diversity compared to the previous stages. The main objective of this research is to deeply comprehend the Design Plan (DP) and visual concepts of this inscription in the relevant historical and cultural context. This study has applied a qualitative research method by addressing a case study. To get this, the Mihrab Kufic inscription of the mentioned mosque has been analyzed and examined; the analysis method covers the written structure, features, and techniques of the design. The research findings show that the inscription artist has used a design plan with exact basic proportions to create these Kufic inscriptions, that has addressed visual features such as rhythm, symmetry, proportions, and other related items. The research findings show that a design plan was used in the Kufic inscription, including the verses (23) of Surah al-Shura and (55) of Surah al-Ma’idah in the Mihrab of the Farashah Mosque-Ghadamgah in Yazd city. This design plan was formed based on a precise proportion of 32/32 with a minimum ratio of 1/32 above the baseline and a ratio of 5/5 with a minimum size of 1/5 below this guiding line.The major guiding lines, middle guiding lines, and all the arrangements in this Kufic inscription are placed based on these proportions, as it can be observed that the artist has determined and designed the ratio of the letters and their connections using these architectural features.

Keywords

Farashah-e Yazd
Kakuyids
Kufic Inscription
Islamic Calligraphy
Seljuk Era
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