The rank of Qajar architecture in the history of Iranian architecture—previous to the present epoch—is a matter of consideration. Qajar period reveals a high value in spatial creativity compared to the architecture of previous epochs like Zandiyeh and Safavid. The former pattern of architecture evolves into the expansion of spaces in this period. If we consider the evolution of architecture as expansion, transparency, and lightness of spaces, then the architecture of this period is certainly a step forward.
Two outstanding dimensions, proportions, shapes and ornaments, the Qajar period studies in an inferior position compared with its past, especially the Safavid era. New forms enter the architecture, which are unrefined and disorderly. The dimensions lose their smoothness, and the proportions are less harmonious and monumental. Architectural ornaments degrade and even become vulgar, awkwardly imitating the past in an anarchic fashion, contrary to the works of Safavid and Seljuq periods.
To demonstrate the above-mentioned facts, we take the Shahid Motahari School (Sepahsalar School) as an example. This masterwork, by pointing to two main spatial elements of the mosque and school of the Qajar era, demonstrates the architectural evolution of the period.
The Dome Space
The dome space of Gonbadak (koumas), in mosques at the beginning of the Islamic era, like the Jameh Mosque of Isfahan, is separated from the rest of the building by heavy brick walls. But it was always the intention of architects to eliminate this heavy barrier between the dome space and other spaces. For example in Imam Mosque in Isfahan belonging to Safavid epoch, the relation between the dome space with porches and adjacent chambers are ameliorated, and with two openings to east and west faces of the building, this relation is also established with the outdoor space.
Still a better example is the dome space of Ghoharshad Mosque, in which all the walls between the dome space and the porch are removed and a cluster relation is established between the dome space and the courtyard. One must admit that the Sepahsalar Mosque is the best example of this relation, because by choosing a cross-type plan, not only the relation between the dome space and the porch and courtyard is maintained, but also, by an exceptional plan, has created the possibility to relate the dome space with all its directions.
The dome space creates a new opening to the court space: (a) two large courtyards lay on the sides of the main Shabestan (main hall of the mosque), and are linked to the main court through several porches. The principle task, that is, the opening of the courtyard, is done in Qajar period, for which several solutions were created. One example could be found in Seyyed Mosque in Isfahan, in which four small porches in second floor, in east and west faces of the building enlarges the openings. In Sepahsalar Mosque, a further step is taken in this direction apart from four openings on east and west faces of the mosque; three entries from north and north-west faces as well.
Ornament and Proportion
Although the Sepahsalar Mosque is a turning point in evolution of mosque and spatial patterns of Islamic architecture, but viewed from the angle of shapes, measures, proportions, and the like, it is a retro-gradation compared to its previous periods, especially the Safavid period. We take a look at this aspect.
In Sepahsalar Mosque, dome space is very large and occupies nearly all of the north side of the building. This has created an unfavorable proportion between the dome and the courtyard (compared with the Imam Mosque). Creating four Minarets instead of two has still amplified this aspect. Forms, measures, and proportions of different architectural elements, such as domes, porches, and minarets, are in much lower levels compared to outstanding examples of the previous period.
Also the ornaments of this mosque have a low standing compared with descent and elaborated ornaments of Sheikh Lotfallah Mosque and the Sepahsalar Mosque. Returning to our main discussion, the architecture of the Qajar period and the Sepahsalar Mosque are outstanding examples of the evolution of creativity and innovation in newest pattern of Iranian architecture. This is certainly a step forward, but for various reasons, including a decline in architects' and employers' taste, bad quality and irrational speed of construction, penetration of other countries' architectural and ornamental elements, especially the Ottomans and Tsarist Russia, have led to a decline in architectural ornaments of this period.