This set better viewed here: www.darckr.com/set?setid=72157612300560064&submit=dis... Or HERE: www.flickriver.com/photos/cjb22222222/sets/72157612300560... (from Wikipedia) The Shah Mosque (Persian: مسجد شاه , Masjed-e Shah) is a mosque in Isfahan (Eşfahān), Iran standing in south side of Naghsh-i Jahan Square. Built during the Safavids period, it is an excellent example of Islamic architecture of Iran, and regarded as the masterpiece of Persian Architecture. The Shah Mosque of Esfahan is one of the everlasting masterpieces of architecture in Iran and all over the world. It is registered along with the Naghsh-i Jahan Square as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-color mosaic tiles and calligraphic inscriptions. The port of the mosque measures 27 meters high, crowned with two minarets 42 meters tall. The Mosque is surrounded with four iwans and arcades. All the walls are ornarnented with seven-color mosaic tile. The most magnificent iwan of the mosque is the one facing the Qibla measuring 33 meters high. Behind this iwan is a space which is roofed with the largest dome in the city at 52 meters height. The dome is double layered. The acoustic properties and reflections at the central point under the dome is an amusing interest for many visitors. There are two seminaries at the southwest and southeast sections of the mosque. Architectural Significance The Seljuqs and the Safavids found the Shah Mosque as a channel through which they could express themselves with their numerous architectural techniques. The four- iwan format, finalized by the Seljuq dynasty, firmly established the courtyard facade of such mosques as more important than their exterior ones. During the Seljuq rule, as Islamic mysticism was on the rise in the region, the four-iwan arrangement came to be interpreted as seeking true meaning within the appearance. Their presence can serve the sole purpose of being the passageway between the material world and that of the spiritual. It must also be noted that glazed brickwork and tiling had little appeal to the Seljuqs as they primarily favored the distinct tranquil color of turquoise blue. Covered with premeditated calligraphic fresco, the front doors are used as an apparatus to remind the spectator of the glory of God and of Shah Abbas I himself. Entering from the northern iwan, the compelling physical presence of the identical side iwans direct our attention to the soaring qibla iwan situated straight ahead. As a result such architecture stresses the degree of fidelity in the structure which makes it explicitly pervasive.