Maremat & Me'mari-e Iran

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The Shrine of the Imam of the Eighth Imam has been the site of dedication to many artists, including carpenters and pilgrims. The wooden works of window, door, Menbar and part of the Zarih in this place from the period of the Ilkhani to the contemporary are protected. Still on the passages, a number of doors are installed and a number of others are kept in the central museum of Astan-e Quds. The aim of the paper is to compare the collection of wooden artworks, especially the content and content of the works. Thus the question that arises here is what are visual features of the inscribed wooden works of the shrine, and how their content classified? The method of this fundamental research is descriptive, analytical, and comparative, and the data collected based on library data, and in particular field studies. The findings show that there are a total of thirty four inscribed wooden works. The inscriptions on the various sections of the works have been written with Roqaa, Sols e Jali and Khafi, Kofi Banaei and Nastaliq calligraphies. The content of the inscriptions is analyzed in seven forms: historical inscriptions, endowments and creators, Quran, praise and thanksgiving, divine names, and the names of the Imams, Shahadati and narratives. The artistic richness and content of these works reveals the evolution of the art of embroidering and woodcarving in the history of traditional Iranian-Islamic art.

Keywords: Shrine of Razavi, Wooden Works, Inscriptions, Meaning and Content, Form and Artistic Style

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