The flavor of Persian architecture in Shiraz is different than that of the rest of Iran, Afghanistan, and Central Asia. It is characterized by a certain humbleness and sobriety in form, yet intense sophistication in ornamental expression. Shiraz is a city of poetry, heavenly gardens, and saints- disillusioned towards ambitions of fleeting imperial glory that is experienced in its ancient days.
The Vakil Mosque of the Zand dynasty is no exception to this pattern. Built in the late 18th century CE by the famed Zand dynasty ruler, Karim Khan Zand- a man who preferred to be called by the title “وکیل الرعایا/ Vakil ol-Ra’aya” (Deputy of the People) as opposed to the pompous titles of previous Kings.
Considering the Vakil Mosque is the primary architectural monument of the Zand dynasty, it appears small and unmonumental compared to the boastful constructions of the Safavid and Timurids. After all, here the mosque only has two grand iwans- a daring move considering the essentiality of the 4-iwan plan in the language of Persian architecture.
One must not search for monumentality though to appreciate what has been achieved in the Vakil mosque, beauty here is not in the sculptural form of the mosque, but rather the form is a canvas for some of the most rich and emotive tilework, stone work, and brick work. The artisans of the Zand period have removed the veil of abstraction that defined Persian art for so long. Every tile, every inch of stone skirting, is a unique and literal artistic expression of the beauty of nature.
I have experienced worshipping in many mosques from many time periods, often I find myself in a state of awe when visiting ancient mosques, as symbols of civilization achievement it feels empowering to perform congregational prayers under their arches. Rarely though do I feel a sense of reflective calmness though, I felt that though at Vakil mosque, and for the first time in a long time I found myself just wanting to peacefully sit under its arches and reflect and observe. I sat there for a few hours and lost track of time, when I got up I took this photo and said goodbye to the mosque for the last time.
One does not leave Shiraz without making a visit to the Masjidi Nasir Al Mulk in the city’s old quarters. When I visited this mosque I was honestly surprised, although it is considered among the ranks of Iran’s great mosques and famous tourist attractions, it is actually quite a small and humble structure. It boasts neither a notable dome, nor any notable minarets, the courtyard is also quite small, yet there is something so warm and lovely about it. Perhaps it is the tiles. The tile artisans of this mosque have truly exerted the Qajar-Shirazi school of tilework to its limits and realized it’s full potential.
In non architectural terms, the colors and designs used here make the mosque feel cozy, warm as if you are standing in the courtyard of your grandmothers old home. Very different than the cold imperial grandeur of Iran’s old Timurid and Safavid mosques.
Of course it is also famed for its small hypostyle indoor prayer hall, which is illuminated quite beautifully in the sunshine as the suns rays filter through the stained glass windows.
Masjidi Nasir Al Mulk is not an old building in the scale of old Persia, built only in 1888 AD it really is a modern mosque more than an ancient one. It does though hold a special delicate place in the history of Persian architecture as being among the last traditionally constructed mosques before the shift to modern western construction techniques and materials in the early 20th century.