==Task== Sassanid Buildings

[Lion.Kanzen]

I'm working in make  some simple houses.

Edited May 8, 2020 by Lion.Kanzen

[Lion.Kanzen]

 

WIP

I need adding several things.

I will need props. and some clean from 3d experts.

sorry If I was missing in May, is Storming season here.

Edited May 22, 2020 by Lion.Kanzen

[Lion.Kanzen]

remember that Sassanid art is the precursor of Islamic art.

 

I was looking at the Central Asian people Barracks from AoE II DE.

[Lion.Kanzen]

https://www.eavartravel.com/blog/2019/1/23/130462/elements-of-persian-architecture/

 

 

Persian architecture has a very long and complex history with the greatest contribution to the world’s culture. While Persian styles have a significant difference from any other Islamic architecture, they have strongly influenced buildings throughout much of the Islamic world. especially in Central Asia, Afghanistan, Pakistan, and India. 

 

The choice of subjects from nature, simplified into almost unrecognizable patterns, may be called the formative principle of Persian art. Much of 4th-millennium Iranian art is strongly influenced by that of Mesopotamia.

 

 

 

There are a few elements that share between most of the historical monuments with ancient Persian Architecture.

 

An iwan (Persian: ایوان eyvān, Arabic: إيوان ’īwān, also spelled ivan)[1][2][3] is a rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open. The formal gateway to the iwan is called pishtaq, a Persian term for a portal projecting from the facade of a building, usually decorated with calligraphy bands, glazed tilework, and geometric designs.[4][5] Since the definition allows for some interpretation, the overall forms and characteristics can vary greatly in terms of scale, material, or decoration.

An iwan is a vaulted space that opens on one side to a courtyard. The iwan developed in pre-Islamic Iran where it was used in monumental and imperial architecture. Strongly associated with Persian architecture, the iwan continued to be used in monumental architecture in the Islamic era.

 

Iwans are most commonly associated with Islamic architecture; however, the form is Iranian in origin and was invented much earlier and fully developed in Mesopotamia around the third century CE, during the Parthian period of Persia.

Iwans were a trademark of the Parthian Empire (247 BC–AD 224) and later the Sassanid architecture of Persia (224-651), later finding their way throughout the Arab and Islamic architecture which started developing in 7th century AD, after the period of Muhammad (c. 570–632).[15] This development reached its peak during the Seljuki era, when iwans became a fundamental unit in architecture, and later the Mughal architecture.[16][17] The form is not confined to any particular function, and is found in buildings for either secular or religious uses, and in both public and residential architecture.

Extensive use of arches

The two famous monuments, The Taj Mahal for the Mughal architecture and the Great Mosque of Isfahan for the Persian architecture displays the example of this fact. It is built for aesthetic reasons, as well as to place windows and to lessen the extent of sunlight to pour into the building

 

 Gardens, fountains, and pools

Both architectural styles offer spacious gardens or pools with fountains as features to the buildings. in a traditional Iranian architecture or private courtyard, it is used for bathing, aesthetics or both.

 

Water plays a particularly central role in Iranian design. 1,000 years before the invention of the first water pump, Persian agricultural experts created the qanat based on their hydraulic laws.

Domes

 

The Persian tradition of dome-building dates back to the earliest Mesopotamian architecture (3,000 BC) when domes became an integral part of buildings due to the scarcity of wood in many areas of the Iranian plateau.

 

In ancient Persian architecture, domes were associated with the divine side of life, as their circular shape represented perfection, eternity and the heavens.

 

The Persian domes then became the inspiration for the domed baldachin of Roman and Byzantine practice, after Alexander the Great conquered the Achaemenid Empire

Symmetry 

Iranian architecture makes use of abundant symbolic geometry, using pure forms such as the circle and square, and plans are based on often symmetrical layouts featuring rectangular courtyards and halls.

 

Sassanid architecture is decorated with carved stone or stucco reliefs and makes use of colorful stone mosaics. Beautiful gold and silver dishes, bowls, and ewers, often decorated with hunting scenes or animals in high relief, and textiles with symmetrical heraldic designs also remain.

 

Usage of Muqarnas

Mogharnas

 

Muqarnas is typically applied to the undersides of domes, pendentives, cornices, squinches, arches, and vaults and is often seen in the mihrab of a mosque. They can be entirely ornamental, or serve as load-bearing structures. The earliest forms of muqarnas domes, found in the Mesopotamian region, were primarily structural.

https://www.quora.com/Have-there-been-any-modern-buildings-that-adopt-Sassanid-architecture

Edited March 3, 2023 by Lion.Kanzen

[Lion.Kanzen]

19 minutes ago, Lion.Kanzen said:

https://www.eavartravel.com/blog/2019/1/23/130462/elements-of-persian-architecture/

 

 

Persian architecture has a very long and complex history with the greatest contribution to the world’s culture. While Persian styles have a significant difference from any other Islamic architecture, they have strongly influenced buildings throughout much of the Islamic world. especially in Central Asia, Afghanistan, Pakistan, and India. 

 

The choice of subjects from nature, simplified into almost unrecognizable patterns, may be called the formative principle of Persian art. Much of 4th-millennium Iranian art is strongly influenced by that of Mesopotamia.

 

 

 

There are a few elements that share between most of the historical monuments with ancient Persian Architecture.

 

An iwan (Persian: ایوان eyvān, Arabic: إيوان ’īwān, also spelled ivan)[1][2][3] is a rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open. The formal gateway to the iwan is called pishtaq, a Persian term for a portal projecting from the facade of a building, usually decorated with calligraphy bands, glazed tilework, and geometric designs.[4][5] Since the definition allows for some interpretation, the overall forms and characteristics can vary greatly in terms of scale, material, or decoration.

An iwan is a vaulted space that opens on one side to a courtyard. The iwan developed in pre-Islamic Iran where it was used in monumental and imperial architecture. Strongly associated with Persian architecture, the iwan continued to be used in monumental architecture in the Islamic era.

 

Iwans are most commonly associated with Islamic architecture; however, the form is Iranian in origin and was invented much earlier and fully developed in Mesopotamia around the third century CE, during the Parthian period of Persia.

Iwans were a trademark of the Parthian Empire (247 BC–AD 224) and later the Sassanid architecture of Persia (224-651), later finding their way throughout the Arab and Islamic architecture which started developing in 7th century AD, after the period of Muhammad (c. 570–632).[15] This development reached its peak during the Seljuki era, when iwans became a fundamental unit in architecture, and later the Mughal architecture.[16][17] The form is not confined to any particular function, and is found in buildings for either secular or religious uses, and in both public and residential architecture.

Extensive use of arches

The two famous monuments, The Taj Mahal for the Mughal architecture and the Great Mosque of Isfahan for the Persian architecture displays the example of this fact. It is built for aesthetic reasons, as well as to place windows and to lessen the extent of sunlight to pour into the building

 

 Gardens, fountains, and pools

Both architectural styles offer spacious gardens or pools with fountains as features to the buildings. in a traditional Iranian architecture or private courtyard, it is used for bathing, aesthetics or both.

 

Water plays a particularly central role in Iranian design. 1,000 years before the invention of the first water pump, Persian agricultural experts created the qanat based on their hydraulic laws.

Domes

 

The Persian tradition of dome-building dates back to the earliest Mesopotamian architecture (3,000 BC) when domes became an integral part of buildings due to the scarcity of wood in many areas of the Iranian plateau.

 

In ancient Persian architecture, domes were associated with the divine side of life, as their circular shape represented perfection, eternity and the heavens.

 

The Persian domes then became the inspiration for the domed baldachin of Roman and Byzantine practice, after Alexander the Great conquered the Achaemenid Empire

Symmetry 

Iranian architecture makes use of abundant symbolic geometry, using pure forms such as the circle and square, and plans are based on often symmetrical layouts featuring rectangular courtyards and halls.

 

Sassanid architecture is decorated with carved stone or stucco reliefs and makes use of colorful stone mosaics. Beautiful gold and silver dishes, bowls, and ewers, often decorated with hunting scenes or animals in high relief, and textiles with symmetrical heraldic designs also remain.

 

Usage of Muqarnas

Mogharnas

 

Muqarnas is typically applied to the undersides of domes, pendentives, cornices, squinches, arches, and vaults and is often seen in the mihrab of a mosque. They can be entirely ornamental, or serve as load-bearing structures. The earliest forms of muqarnas domes, found in the Mesopotamian region, were primarily structural.

https://www.quora.com/Have-there-been-any-modern-buildings-that-adopt-Sassanid-architecture

View of iwan at Hatra (present-day Iraq).

 

Although some scholars have asserted that the iwan form may have developed under the Seleucids, today most scholars agree that the Parthians were the inventors of the iwan.[Note 2][citation needed] One of the earliest Parthian iwans was found at Seleucia (Seleucia-on-the-Tigris), located on the Tigris River, where the shift from post-and-lintel construction to vaulting occurred around the 1st century CE.[13] Other early iwans have been suggested at Ashur, where two buildings containing iwan-like foundations were found. The first building, located near the ruins of a ziggurat, featured a three-iwan façade.[18] The proximity of the building to a ziggurat suggests that it may have been used for religious preparations or rituals.[18] It could also indicate a palatial building, as it was common for the ziggurat and palace to be situated next to one another in the Ancient Near East. What seems to be a palace courtyard had iwans on each side, which remained a common features well into Islamic times.

 

The second iwan building is located across a courtyard, and Walter Andrae, a German archaeologist, suggested that it served as an administrative building rather than as a religious center because there is no evidence of inscriptions or wall carvings.[20] Although the absence of inscriptions or carvings does not equate necessarily to a civic function, it was not uncommon for iwans to serve a secular use, as they were frequently incorporated into palaces and community spaces.[21] Other early sites including Parthian iwans include Hatra, the Parthian ruins at Dura Europos, and Uruk.[22]

 

https://en.m.wikipedia.org/wiki/Iwan

 

Edited March 3, 2023 by Lion.Kanzen

[Lion.Kanzen]

4 minutes ago, Lion.Kanzen said:

View of iwan at Hatra (present-day Iraq).

 

Although some scholars have asserted that the iwan form may have developed under the Seleucids, today most scholars agree that the Parthians were the inventors of the iwan.[Note 2][citation needed] One of the earliest Parthian iwans was found at Seleucia (Seleucia-on-the-Tigris), located on the Tigris River, where the shift from post-and-lintel construction to vaulting occurred around the 1st century CE.[13] Other early iwans have been suggested at Ashur, where two buildings containing iwan-like foundations were found. The first building, located near the ruins of a ziggurat, featured a three-iwan façade.[18] The proximity of the building to a ziggurat suggests that it may have been used for religious preparations or rituals.[18] It could also indicate a palatial building, as it was common for the ziggurat and palace to be situated next to one another in the Ancient Near East. What seems to be a palace courtyard had iwans on each side, which remained a common features well into Islamic times.

 

The second iwan building is located across a courtyard, and Walter Andrae, a German archaeologist, suggested that it served as an administrative building rather than as a religious center because there is no evidence of inscriptions or wall carvings.[20] Although the absence of inscriptions or carvings does not equate necessarily to a civic function, it was not uncommon for iwans to serve a secular use, as they were frequently incorporated into palaces and community spaces.[21] Other early sites including Parthian iwans include Hatra, the Parthian ruins at Dura Europos, and Uruk.[22]

 

https://en.m.wikipedia.org/wiki/Iwan

 

 

 

The Sasanian Persians also favored the iwan form, and adopted it into much of their architecture; however, they transformed the function. The Parthian iwan led to other spaces, but its primary function served as a room itself. In contrast, the Sasanian iwan served as a grand entranceway to a larger, more elegant space which was usually domed.[23] Both the Parthian and Sasanian iwans were often elaborately decorated with inscriptions and sculpted reliefs including scenes of hunting, vegetal motifs, abstract, geometric patterns, and animal scenes.[24][25] The reliefs’ style shows a blend of influences including other Near Eastern cultures, Roman, and Byzantine decorative traditions.[26] For instance, the rock-cut iwan at Taq-i Bustan features Roman style figures, Eastern-inspired vegetal patterns and crenellations, and wide-eyed, stylized Byzantine-esque angels and mosaic interiors

Edited March 3, 2023 by Lion.Kanzen

[Lion.Kanzen]

https://youtu.be/ygVLLPQAxWA

 

[Lion.Kanzen]

Shrine of fire Sassanid.

this one has quite a bit of influence even those side towers.

If we compare it with the fortresses 

I like it for military buildings.

another fire temple it is a reconstruction.

Some examples of arches.

 

[Lion.Kanzen]

 In reviving the glories of the Achaemenian past, the Sasanians were no mere imitators. The art of this period reveals an astonishing virility. In certain respects it anticipates features later developed during the Islamic period. The conquest of Persia by Alexander the Great had inaugurated the spread of Hellenistic art into Western Asia; but if the East accepted the outward form of this art, it never really assimilated its spirit. Already in the Parthian period Hellenistic art was being interpreted freely by the peoples of the Near East and throughout the Sasanian period there was a continuing process of reaction against it. Sasanian art revived forms and traditions native to Persia; and in the Islamic period these reached the shores of the Mediterranean.

In reviving the glories of the Achaemenian past, the Sasanians were no mere imitators. The art of this period reveals an astonishing virility. In certain respects it anticipates features later developed during the Islamic period. The conquest of Persia by Alexander the Great had inaugurated the spread of Hellenistic art into Western Asia; but if the East accepted the outward form of this art, it never really assimilated its spirit. Already in the Parthian period Hellenistic art was being interpreted freely by the peoples of the Near East and throughout the Sasanian period there was a continuing process of reaction against it. Sasanian art revived forms and traditions native to Persia; and in the Islamic period these reached the shores of the Mediterranean.

 

The splendour in which the Sasanian monarchs lived is well illustrated by their surviving palaces, such as those at Firouzabad and Bishapur in Fars, and the capital city of Ctesiphon in modern Iraq. In addition to local traditions, Parthian dynastic architecture must have been responsible for a great many of the Sasanian architectural characteristics. All are characterised by the barrel-vaulted iwans introduced in the Parthian period, but now they reached massive proportions, particularly at Ctesiphon. The arch of the great vaulted hall at Ctesiphon attributed to the reign of Shapur I (241-272) has a span of more than 80 ft, and reaches a height of 118 ft. from the ground. This magnificent structure fascinated architects in the centuries that followed and has always been considered one of the most important pieces of Persian architecture. Many of the palaces contain an inner audience hall which consists, as at Firuzabad, of a chamber surmounted by a dome. The Persians solved the problem of constructing a circular dome on a square building by the squinch. This is an arch built across each corner of the square, thereby converting it into an octagon on which it is simple to place the dome. The dome chamber in the palace of Firouzabad is the earliest surviving example of the use of the squinch and so there is good reason for regarding Persia as its place of invention.

The Palace of Ardashir, constructed in AD 224 during the Sassanid Dynasty. The building has three large domes, among the oldest examples of such large-scale domes in the World

[Lion.Kanzen]

The most ancient of the Sassanid buildings which admit of being measured and described are assigned to the century between 350 and 450 CE; and we are thus unable to trace the exact steps by which the Sassanid style was gradually elaborated. We come upon it when it is beyond the stage of infancy, when it has acquired a marked and decided character, when it no longer hesitates or falters, but knows what it wants, and goes straight to its ends. Its main features are simple, and are uniform from first to last, the later buildings being merely enlargements of the earlier, by an addition to the number or to the size of the apartments. The principal peculiarities of the style are, first, that the plan of the entire building is an oblong square, without adjuncts or projections; secondly, that the main entrance is into a lofty vaulted porch or hall by an archway of the entire width of the apartment; thirdly, that beside these oblong halls, the building contains square apartments, vaulted with domes, which are circular at their base, and elliptical in their section, and which rest on pendentives of an unusual character; fourthly, that the apartments are numerous and en suite, opening one into another, without the intervention of passages; and fifthly, that the palace comprises, as a matter of course, a court, placed towards the rear of the building, with apartments opening into it.

Fire place.

 

Rayen Castle.

The oblong square is variously proportioned. The depth may be a little more than the breadth, or it may be nearly twice as much. In either case, the front occupies one of the shorter sides, or ends of the edifice. The outer wall is sometimes pierced by one entrance only; but, more commonly, entrances are multiplied beyond the limit commonly observed in modern buildings. The great entrance is in the exact centre of the front. This entrance, as already noticed, is commonly by a lofty arch which (if we set aside the domes) is of almost the full height of the building, and constitutes one of its most striking features. From the outer air, we look; as it were, straight into the heart of the edifice, in one instance to the depth of 115 feet, a distance equal to the length of Henry VII's Chapel at Westminster. Similar entrances are common in the mosques of Armenia and Persia, and in the palaces of the latter country. In the mosques "lofty and deeply−recessed portals," "unrivalled for grandeur and appropriateness," are rather the rule than the exception; and, in the palaces, "Throne−rooms" are commonly mere deep recesses of this character, vaulted or supported by pillars, and open at one end to the full width and height of the apartment.

 

Arches

 

The height of the arch varies in Sassanid buildings from about fifty to eighty−five feet; it is generally plain, and without ornament; but in one case we meet with a foiling of small arches round the great one, which has an effect that is not unpleasing. The domed apartments are squares of from 25 to 40 feet, or a little more. The domes are circular at their base, but a section of them would exhibit a half ellipse, with its longest and shortest diameters proportioned as three to two. The height to which they rise from the ground is not much above 70 feet. A single building will have two or three domes, either of the same size, or occasionally of different dimensions. It is a peculiarity of their construction that they rest not on drums, but on pendentives of a curious character.

 

A series of semi−circular arches is thrown across the angles of the apartment, each projecting further into it than the preceding, and in this way the corners are got rid of, and the square converted into the circular shape. A cornice ran round the apartment, either above or below the pendentives, or sometimes both above and below. The domes were pierced by a number of small holes, which admitted some light, and the upper part of the walls between the pendentives was also pierced by windows.

 

There are no passages or corridors in the Sassanid palaces. The rooms for the most part open one into the other. Where this is not the case, they give upon a common meeting−ground, which is either an open court, or a large vaulted apartment. The openings are in general doorways of moderate size, but sometimes they are arches of the full width of the subordinate room or apartment. As many as seventeen or eighteen rooms have been found in a palace.

 

The exterior ornamentation of the Sassanid from the ground to the cornice, while between them are a series of tall narrow doubly recessed arches. Far less satisfactory is the much more elaborate design adopted at Ctesiphon, where six series of blind arches of different kinds are superimposed the one on the other, with string−courses between them, and with pilasters, placed singly or in pairs, separating the arches into groups, and not regularly superimposed, as pillars, whether real or seeming, ought to be. The interior ornamentation was probably, in a great measure, by stucco, painting, and perhaps gilding. All this, however, if it existed, has disappeared; and the interiors now present a bare and naked appearance, which is only slightly relieved by the occasional occurrence of windows, of ornamental doorways, and of niches, which recall well−known features at Persepolis. In some instances, the arrangement of the larger rooms was improved by means of short pillars, placed at some distance from the walls, and supporting a sort of transverse rib, which broke the uniformity of the roof. The pillars were connected with the side walls by low arches.

 

Such are the main distinctions of Sassanid palace architecture. The general effect of the great halls is grand, though scarcely beautiful and, in the best specimens, the entire palace has an air of simple severity which is striking and dignified. The internal arrangements do not appear to be very convenient. Too much is sacrificed to regularity, and the opening of each room into its neighbor must, one would think, have been unsatisfactory. Still, the edifices are regarded as "indicating considerable originality and power," though they "point to a state of society when attention to security hardly allowed the architect the free exercise of the more delicate ornaments of his art".

Houses in Izadkhast.

Uniqueness

Edit

The unique characteristic of Sassanid architecture, was its distinctive use of space. The Sassanid architect conceived his building in terms of masses and surfaces; hence the use of massive walls of brick decorated with molded or carved stucco. Stucco wall decorations appear at Bishapur, but better examples are preserved from Chal Tarkhan near Rayy (late Sassanid or early Islamic in date), and from Ctesiphon and Kish in Mesopotamia. The panels show animal figures set in roundels, human busts, and geometric and floral motifs.

 

Sassanid art revived forms and traditions native to Persia; and in the Islamic period these reached the shores of the Mediterranean. The influence of Sassanid architecture reached far beyond their borders, it had a distinctive influence on Byzantine architecture and Islamic architecture. Islamic architecture in fact borrowed heavily from Persian architecture.

 

Baghdad, for example, was based on Persian precedents such as Firouzabad in Persia. In fact, it is now known that the two designers who were hired by al-Mansur to plan the city's design were Naubakht, a former Persian Zoroastrian, and Mashallah, a former Jew from Khorasan, Iran.

 

The Great Mosque of Samarra is another example, where the spiral edifice was based on Persian architecture, such as the spiral tower in the middle of Firouzabad, a former Sassanid capital.

 

In Afghanistan at Bamian are ruins that show the great impact of Iranian art and architecture (specially from Sassanid era) from the 4th to the 8th century.Frescoes and colossal Buddhas adorn Bamian's monasteries, revealing a fusion of Sassanid-Iranian and Greco-Buddhist elements.

 

Byzantine architecture had influence on some Sassanid architecture, one of the good examples is at Bishapur, some of the floors were decorated with mosaics showing scenes of merrymaking as at a banquet; the Roman influence here is clear, and the mosaics may have been laid by Roman prisoners. Buildings were also decorated with wall paintings; particularly fine examples have been found on Mount Khajeh in Sistan.

 

https://en.m.wikipedia.org/wiki/Sasanian_architecture

 

[Lion.Kanzen]

Study – Influences of Sassanid Empire in the Islamic Art and Architecture.

[WIP] 

 

https://starsinsymmetry.wordpress.com/2010/12/02/study-influences-of-sassanid-empire-in-the-islamic-art-and-architecture/

 

[Lion.Kanzen]

3 hours ago, Lion.Kanzen said:

remember that Sassanid art is the precursor of Islamic art.

 

I was looking at the Central Asian people Barracks from AoE II DE.

@guerringuerrin

Cuando necesites la textura la pides.

 

Aquí hay 2 buenos ejemplos de cómo hacer la estructura de la barraca.

Yo le agregaría 2 torres a los lados como plataformas de vigilancia, cuasi torres.

[Lion.Kanzen]

I'm going to do the textures separately.Then we join them into 2-3 images.

@Lopess