SAINT MARY CHURCH, JOLFA, ISFAHAN
The numerous and massive churches of Jolfa district in Isfa- han pertain to the glorious days of this historical city under the reign of Safavids. They provide valuable information regarding the socio-economic situation of the era and serve as evidence to the symbiosis and interaction of the followers of different faiths. In the same regard, it should be noted that according to historical evidence before the closing of the seventeenth cen- tury AD Christians held six churches in Isfahan and 24 in New Jolfa district, of which unfortunately only 13 have reached our time. Shah Abbas believed that architecturally, churches of Armenians residing in Isfahan should differ from those in Armenia. His order aimed at integrating Armenians’ religious spaces into the fabric of Iranian architecture preventing the emergence of visible differences between the followers of Is- lam, as the main religion, and immigrant Christians. Following that line, Armenian architects produced new designs adjusting their architecture to the dominant conditions. In their plan and religious principles, all churches followed the example of their homeland, Armenia, while in their external shape and façade they were guided by the principles of Iranian architecture of the time and were sharply distinguished in their facades from Armenian churches. Such political decision and the combina- tion of Armenian and Persian architectural styles resulted in the creation of unique buildings with large domes creating a resemblance to a mosque. The tall minarets were replaced with a short bell tower in the outer façade giving it a unique look. No doubt, other factors such as the climate and local material including brick and mud-brick were influential in the formation of the structure of Isfahan churches. Among these churches, Saint Mary Church is of a particu- lar value due to its original structure. According to historical documents, the Armenians of Jolfa district expanded their first church, Hakoop producing the Saint Mary Church whose cha- pel was located in the middle of the property of the previous. Important elements such as the portal, entrance and the lofty dome of this sacred space show an unparalleled resem- blance to the religious spaces of Muslims of the time yet avoid attractive decorations on the outer facades and other parts of the buildings visible from the street. For instance, there is no sign of the beautiful glazed tiles common in the design of domes, entrance ivans and outer facades of big mosques of Isfahan. Brick is the only major material in the visible parts and the colourful decorations of the facades of the courtyard and spaces attached to it are kept as minimal as possible in order to avoid any sensibility towards and suspicion of publi- cizing the religion. However, the interior space of the chapel is full with decoration and paintings which falls in sharp contrast to the outer façade.
* Babak Zirak graduated in architecture at Iran National University. He has been director manager for Aran Consulting Engineers company and chairman of some research project and has published more than 42 articles on Iran’s historical architecture and urbanism in professional journals.