Structural analysis and themes of the inscriptions of Mir Emad Mosque in Kashan

The magnificent Arts related to Islamic architecture, especially religious places and mosques, have their own conceptual and aesthetic depth. After the construction of mosques, gradually and throughout history, the decorations related to architecture were upgraded and became more diverse. Looking at the history of religious architecture in Iran from the period of the Khwarazm shahs period until today, countless and valuable examples of mosques can be listed, of which the Mir Emad Mosque in Kashan has a historical position and prestige due to the variety of inscriptions belonging to different periods. Inscriptions with different characteristics such as subject diversity, decorative motifs, performance techniques, and materials, each represent a part of the culture and identity of their era. It seems that this mosque with 32 inscriptions is a suitable case for researching the historical dimensions and explaining the cultural-political themes of the religious monuments of Iran during different periods as a statistical sample (using a targeted census method). For this purpose, the goals of this research were studied in two dimensions: adaptation and rereading of historical dimensions, as well as reading and content analysis of the inscriptions of Mir Emad Kashan Mosque. The method of collecting information in this fundamental research was based on a combination of documentary methods, objective observations, interviews with experts, and field documentation, and the nature of the analysis of the findings was descriptive-historical. Finally, the most critical result deduced from this research showed that out of the four types of inscriptions classified in this mosque, two themes in two sections could be conceived: Religious topics and Quranic verses promoting and explaining the Shia religion in the sections inside the mosque, and the decrees of kings and the rulers of the era with cultural, economic themes and social and moral issues (mostly related to the Safavid era) in the outdoor spaces. These themes are implied through the art of sculpture, plastering and painting on plaster, and the use of Kufi, Sols and Nastaliq calligraphy, each expressing part of the traditions, beliefs, and orders of the rulers of their time on the walls of this significant cultural social building in the Mir Emad complex of Kashan.