Strategic Studies of Art

Strategic Studies of Art

A Comparative Study of the Paintings of the Safi ‘Ali-Shah Khāneqāh with Respect to the Influence of His Social and Mystical-Spiritual Status

Document Type : Original Article

Authors
Arameh Eskandari 1
Jamalaldin Soheili 2
1 PhD Student, Department of Architecture, Qazvin Branch, Islamic Azad University, Qazvin, Iran. Email: a.eskandari6369@gmail.com
2 Associate Professor, Department of Architecture, Qazvin Branch, Islamic Azad University, Qazvin, Iran (Corresponding Author) Email: jamaleddinsoheili@gmail.com
10.22083/ssa.2026.565524.1109
Abstract
Introduction: The khānaqāh, as a sacred and multifunctional institution, has consistently played a fundamental role in organizing the socio-spatial order, transmitting mystical teachings, and representing the collective identity of Sufis. Among such institutions, the Khānaqāh of Ṣafī ʿAlī Shāh functioned not only as a gathering place for disciples and a site for performing spiritual rituals but also as a visual medium for expressing mystical worldview, affirming the spiritual legitimacy of the Sufi master, and ensuring the continuity of the Niʿmatullāhī Sufi order.
This study undertakes a comparative examination of the wall paintings and tilework motifs of the khānaqāh-mausoleum of Ṣafī ʿAlī Shāh in relation to his social, mystical, and spiritual status. It seeks to demonstrate how visual art in this commemorative monument reflects his personal conduct, stages of spiritual wayfaring, and social role as a Sufi master within the context of Qajar-era Sufism. Focusing on the semantics of tilework motifs and wall paintings in this complex, the article explores how the mystical lifestyle and spiritual path of Ṣafī ʿAlī Shāh are manifested in the selection of themes, symbols, poetic inscriptions, and human figures, and what factors influenced the formation of Qajar tilework motifs in mystical-funerary architecture.
The main objectives of the research are: first, to explain the reflection of Ṣafī ʿAlī Shāh’s mystical way of life in the visual art of his khānaqāh-mausoleum; and second, to identify the functions and formative factors of tilework motifs in Qajar-era mystical architectural monuments. The research questions are as follows: (1) How did the mystical lifestyle and spiritual path of Ṣafī ʿAlī Shāh influence the tilework motifs of his mausoleum? (2) What factors influenced Qajar tilework motifs in the context of mystical-funerary architecture?
Methods: A descriptive-analytical research method has been employed for this study. Data were collected through library research and inferential analysis. The research process involved examining Ṣafī ʿAlī Shāh’s lifestyle and his socio-mystical position among the Niʿmatullāhī dervishes, followed by a comparative analysis of these qualitative data with the visual motifs and poetic inscriptions found on the tiles of the khānaqāh-mausoleum. This comparative approach enabled a symbolic interpretation of the artworks and their relationship to the spiritual and social dimensions of the Sufi master.
Findings: The findings indicate that the paintings and tilework of the Khānaqāh of Ṣafī ʿAlī Shāh are not merely decorative elements but possess semantic, educational, and legitimizing functions. Concepts such as divine love, mystical ecstasy, annihilation (fanāʾ), spiritual authority (wilāyah), the master-disciple relationship, and esoteric knowledge are conveyed to the viewer through the simultaneous integration of imagery, poetry, and visual symbols. These motifs depict the various stages of Ṣafī ʿAlī Shāh’s spiritual journey-from seeking and love to gnosis and servitude-while also consolidating his socio-spiritual status as a Sufi master in the collective memory of his followers.
Conclusion: In conclusion, the visual art of the Khānaqāh of Ṣafī ʿAlī Shāh can be understood as a tangible reflection of the interconnection between Sufism, art, and the social structure of the Qajar period. The study demonstrates that the tilework and wall paintings served not only aesthetic purposes but also functioned as a didactic and symbolic medium for transmitting mystical teachings and legitimizing the master’s spiritual authority. This research offers deeper insight into the role of painting and tilework in conveying mystical experience and representing socio-spiritual identity in Iranian Sufi architectural spaces. Further study of similar monuments could expand our understanding of the relationship between visual culture and Sufi practice in the Qajar era.
Keywords: Khāneqāh; wall painting; Qajar tilework; mystical-funerary architecture; Safi ‘Ali-Shah’s mystical and spiritual conduct.
Keywords
Keywords: Khāneqāh
wall painting
Qajar tilework
mystical–funerary architecture
Safi ‘Ali-Shah’s mystical and spiritual conduct
Subjects
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