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Exploring the Architecture of Observatories through Persian Paintings
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Shamim Nottagh *   , Azita Belali Oskoui |
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Abstract: (13 Views) |
The concepts of observation and the observatory are deeply rooted in Iranian tradition and represent rare examples of scientific institutions not borrowed from Western modernity. Historically, observatories functioned as specialized buildings where astronomers used a variety of instruments to study celestial bodies. In this sense, they may be regarded as the earliest research and educational centers, serving as forerunners of the modern academy or university.
Among them, the Maragheh Observatory occupies a particularly important place in Iran’s history, acting as a model for later observatories established in other countries. While no complete observatory structures have survived in Iran—aside from the remains of Maragheh, with knowledge of others preserved mainly through manuscripts—examples abroad, such as those in India inspired by Maragheh, are still standing and continue to attract many visitors. Their enduring cultural and historical value highlights the need to study the architecture and ornamentation of such significant monuments. Hence, this research seeks to investigate the architectural features of observatories as reflected in Persian Paintings. Information on architectural design and instruments is drawn primarily from records related to the Maragheh Observatory. Since Paintings serve as important visual and historical sources, their analysis can provide valuable insights into the form and function of these institutions.
This study addresses two central questions: How were the architecture and decorative details of observatories represented in Persian Paintings? Which astronomical instruments received particular attention from painters? Adopting a descriptive–analytical approach, the research relies on library-based sources and examines three selected Persian Paintings. The findings indicate that artists focused mainly on depicting the central hall of the observatory. At the same time, secondary spaces—such as the library, mosque, or living quarters of astronomers—were either omitted or only briefly suggested in the margins. Only one of the examined works makes a limited reference to these auxiliary functions.
In their depictions of the main spaces, artists employed three types of roofing: domed, sloped, and open-air. This variety suggests different interpretations of spatial structures within observatories. Another striking feature is the repeated presence of certain astronomical instruments, especially the astrolabe and celestial globe, which are emphasized and often rendered symbolically in all the examined examples.
Overall, the study concludes that in the selected Paintings, astronomical instruments served as the primary visual markers of the building’s purpose. The representation was less concerned with an accurate reconstruction of architectural details and more directed toward illustrating the practice of astronomy itself. In other words, the painters’ aim was not to document the precise design of observatories, but to highlight the intellectual and cultural significance of astronomy through visual emphasis on its tools. This tendency may reflect the scarcity of surviving observatories in Iran and the resulting limited familiarity of artists with their actual architectural features.
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| Keywords: Observatory, Persian Paintings, architecture, ornamentation, astronomical instruments |
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Full-Text [PDF 5159 kb]
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Type of Study: Research |
Subject:
Special
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