Department of Art and Architecture, Payam-e Noor University, Tehran, Iran.
Abstract: (32 Views)
The Chehel Sotoun Palace (Čehel Sotūn), located in the city of Qazvin, which was designated as the capital during the reign of Shah Tahmāsp Safavid, holds a special significance in the history of Iranian art. This is due not only to its unique architectural value but also to its rich collection of murals and exquisite, diverse architectural ornaments. Among the surviving palaces of the Safavid era, the Chehel Sotoun Palace of Qazvin is recognized as the initial example (or precursor) showcasing Safavid art in architecture, serving as a prelude to the famous palaces later built in Isfahan. In this palace, Laye-Chīnī (Pastiglia layer) and Talā-Časbān (gilding) were fundamentally employed in the decoration of the murals. These techniques were crucial in emphasizing the motifs (giving them prominence) and utilizing the visually appealing luster of gold color, thereby lending a distinctive aesthetic to the them. The various layers of painting and ornamentation found in the Chehel Sotoun Palace indicate the continuation of artistic and restoration activities throughout different historical periods after the Safavid era, leading to the formation of diverse ornamental layers with different styles and characteristics in the structure. Some of the palace's ornamental motifs were detached from the wall surface using the stacco method during the repair work for conservation and restoration. However, many ornamentations have remained on the structure. The main remnants of the Lay-Chīnī and Talā-Časbān ornamentation are located in the central part of the building. Characteristic gilded ornaments are preserved, especially on the wainscots of the upper story. The present study is analytical-descriptive in nature and qualitative in approach, based on direct observation of the artifacts. The results indicate that in the Laye-Chīnī and Talā-Časbān ornamentation of the Chehel Sotoun Palace of Qazvin, Safavid artists utilized a considerable variety of Eslimi (arabesque), Khatā'i (floral), and bird motifs in combination. The visual structure of this ornament is deliberately based on aesthetic concepts such as symmetrical balance, rhythm, and alternating repetition. The Laye-Chīnī and Talā-Časbān ornamentation, by creating prominence and the brilliance of golden surfaces, has given the motifs depth and a three-dimensional effect, creating a luxurious and fantastical space that demonstrates the high skill of the Qazvin artistic school in combining form, color, and technique. This research aims to identify, introduce, and examine the motifs of the Laye-Chīnī and Talā-Časbān ornamentation of this palace to assist future researchers in the process of motif re-identification.
Type of Study: Research |
Subject:
Subject- oriented researches in Islamic architecture and urbanism, eg. Spatial-geometrical ideas, symbols and ornaments
Received: 2025/08/5 | Accepted: 2026/02/28
Received: 2025/08/5 | Accepted: 2026/02/28
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