kanīse (Synagogue)

kanīse (Synagogue), a place of assembly and worship for Jews.

The words kanīse and kanīs and their plural kanāʾis are Arabic and its Persian pronunciation, kunesht or kenesht, is also found in early Persian texts such as Safar-nāme-ye Nāṣer Khusru*. The word kanīse derives from the Aramaic keništâ, meaning “Jewish house of worship,” and is pronounced kanīsā by Iranian Jews*. In the Aramaic language, spoken by the Jews of Babylonia, a Jewish place of worship was called bet hakenīshtā, a term that gradually evolved, with the presence of Jews in Iran, into kanīsā.¹ In Hebrew, it is known as bet hakeneset, literally “house of assembly”, which refers more to the social-historical function of the place than to its religious and spiritual role.² Today, kanīṣa refers to the place of assembly for Jews, deriving from the gatherings of Jews during the Babylonian captivity in the sixth century BCE.³ This article first discusses the common architectural features of synagogues and the function of each structural component, with particular emphasis on the synagogues of Isfahan. It then describes, in chronological order, the oldest and most significant synagogues of each quarter.

The structure of the synagogue

The first point concerning the structure of the synagogues is their location within the three historic Jewish quarters nestled in the heart of the Jūbāre* district, near the Masjed-e Jāme‛-ye ‛Atīq*. This proximity illustrates the coexistence of the Jewish minority with the Muslim majority at the very center of Isfahan. The scattered placement of the synagogues throughout the neighborhood, much like the organic texture of the district itself, is irregular and unplanned. A look at the map of synagogue distribution in Isfahan shows that six synagogues are situated close to the main thoroughfare of Jūbāre, in the Kuy-e Kamarzarrīn and its two branching lanes. Except for one instance, the remaining synagogues are also constructed adjacent to the main passages of the quarter. Given the introverted nature of these buildings’ architecture, from the outside one observes only a small entrance with plain exterior walls, often coated in mud plaster. This choice of materials harmonizes perfectly with the fabric of the neighborhood. In recent years, several urban development projects have led to the demolition of some structures, causing the walls of a number of synagogues to directly abut the lanes, thereby exposing the synagogue buildings themselves. The scale and dimensions of the synagogues in the Jūbāre district constitute another feature aligning these edifices with the overall neighborhood texture—so much so that they are indistinguishable from the surrounding homes.

The construction and execution of the synagogues do not differ from other buildings in the quarter: the structures are built with vaults, arches, domes, and load-bearing piers. Their interior finishes and decorations also employ the common techniques of the time, such as stucco work, paintings on plaster, and various types of tilework including muqarnas (honeycomb work) and haft-rang (seven-color tiles). Thus, in their physical form and quality of construction, these buildings constitute an integral part of the city’s traditional architecture.

Main architectural components of the synagogue

In accordance with the religious laws governing the design of the synagogue interior, these spaces are arranged by order of significance and hierarchy as follows:

• The Torah Ark (hekhal)
• Platform for the prayer leader (mishkan or teva)
• Area for the congregants
• Special section for women (‛ezrat nashim)
• Entrance

Moreover, certain synagogues in Isfahan also exhibit features of Persian architecture, such as the presence of a courtyard.⁴ The organization and arrangement of the synagogue’s components, the quality of each element, and their interrelation ultimately create a hierarchy within each synagogue that, on the one hand, renders every synagogue a unique structure, and on the other, establishes shared principles and characteristics among them. These commonalities have come to define the typical features of the synagogue and, in some cases, the particular traits of the synagogues of Isfahan.

The Torah Ark (hekhal)

The Torah Ark is usually situated along the western side of the synagogue, with the tablets most often kept in niches or cabinets embedded within the wall, protected by wooden doors. In front of these doors hangs a curtain, which imparts a sense of orientation to the synagogue’s interior and, in accordance with Jewish law, indicates the direction of prayer towards Jerusalem. The Torah Ark is regarded as the most sacred point within the synagogue and serves as the focal center of attention and concentration during worship. It is typically the first part of the building to be decorated during the construction process. These decorations vary according to the scale of the synagogue, ranging from simple stucco work to elaborate muqarnas and various painted motifs on plaster. The area in front of Torah Ark is the site of certain special rituals and is sometimes constructed a few steps above the floor of the prayer hall, thereby not only creating a physical separation between the sanctuary and the other sections, but also accentuating its heightened significance.

Platform for the prayer leader (mishkan or teva)

The platform for the prayer leader is situated at the center of the synagogue. Here, an individual stands on behalf of the congregation to recite the liturgical texts aloud. This platform is typically made of wood and is sometimes constructed as a dais with sides faced in stone or tile. Like the area before the hekhal, it is elevated above the floor of the prayer hall. All of these platforms are rectangular in shape, except for the one in the Ḥājī El-yāhū Synagogue, which, in keeping with the overall design of that synagogue, takes the form of a regular octagon.

The steps located at the middle of the eastern, northern, and southern sides of the platform provide access to it. A low railing is often installed around the platform to emphasize the points of entry situated at the centers of these three sides. In synagogues with domed ceilings, the platform for the prayer leader is generally positioned at the center of the synagogue, directly beneath the dome. Since domes are typically supported by four piers or columns, within the interior space of the synagogue these four columns or piers encircle the platform, defining its spatial domain within the prayer hall and further accentuating its significance. In many synagogues, a skylight is constructed at the center of the main dome, whose base is octagonal. In the adjoining masonry, this skylight appears as an eight-sided prism, with its facets fitted with wooden lattice windows. In synagogues lacking a courtyard, this skylight serves as the sole source of natural illumination. At the center or along the western side of the platform stands a special reciting table, usually a tall, rectangular wooden table that is also decorated.

Area for the congregants

Nearly the entire interior space of the synagogue, apart from certain designated sections, constitutes the area for the congregants. This area is demarcated within the prayer hall by the spreading of cloths or the placement of benches for seating. In order to direct the full attention of those present towards the platform for the prayer leader, the seating arrangement of the congregants is typically organized around and facing this platform.

Special section for women (‛ezret nāshim)

In synagogues, a separate and distinct area is designated for women. This space is typically, where feasible, a mezzanine situated in upper galleries supported by columns.⁵ The stairs providing access to this mezzanine are constructed in such a way as to remain out of sight. The connection between this section and the main prayer hall is generally limited, such that the women’s area is not visible from within the sanctuary. A lattice wall, often adorned with brick and tile decorations, restricts the visual link between these two spaces while still allowing the women to hear the voice of the prayer leader.

Entrance

The entrance of the synagogue holds great significance, as it serves as the “transitional element” from a profane space to a sacred one, marking a separation between the “outside” and the “inside.” This feature has been observed as far as possible in the old synagogues of Isfahan, where in nearly all cases there exists an intermediary space between the prayer hall and the street. In none of these synagogues does the entrance door open directly from the alley into the prayer hall; rather, there is always a transitional area between the synagogue and the entrance to the sanctuary. In most of Isfahan’s synagogues, this intermediary space takes the form of a corridor or vestibule (hashtī), while in only two instances it is a courtyard that mediates between the prayer hall and the alley. The entrance to the interior prayer hall is generally situated along the eastern side, and where possible at the center of the hall, facing the platform for the prayer leader. These three elements—the entrance, the platform, and Torah Ark—together orient the interior space of the synagogue and establish an east-west axis, beginning with the entrance to the sanctuary and terminating at the hekhal, which faces towards Jerusalem. In some synagogues, the entrance is located at the corners of the eastern side of the hall, thereby diminishing the prominence and power of the east-west axis.

Courtyard

The courtyard is not a fixed or universal component of synagogues; only some of them possess courtyard, most of which are situated adjacent to the alley, sharing only a wall with the street. The courtyard provides natural light and ventilation for the enclosed spaces and plays a role in the hierarchy of access to the prayer hall. However, it has little impact on the interior space of the sanctuary itself, and its connection to this space is neither strong nor direct.

Synagogues of Isfahan

It is said that the construction of synagogues in Isfahan dates back to the first Jews who settled in the city, but what remains today belongs to the Safavid period and later. During his visit to Isfahan, Chardin noted: “There is a quarter called Kuy-e Jahūdān, and their principal synagogue is located there. The number of Jews in Isfahan is small, and throughout this capital—as in the entire countary—they are rare; nevertheless, they have three synagogues, but these are nothing more than small prayer houses.”⁶ In addition to their function as houses of worship, the synagogues of Isfahan also serve important social roles; they are places for gathering, learning about one another’s circumstances, consulting together, and finding solutions to individual and communal problems. Even today, despite the remarkable expansion of communication channels, this function remains strong in those synagogues that are still regularly used.

Today, Isfahan has seventeen synagogues, all of which remain active except for one. The historical synagogues of Isfahan are located in the Jūbāre and Gulbahār* quarters. Since the Jewish community* no longer resides in these old quarters, these synagogues are generally active only on Saturdays and on special occasions. With the migration of the Jewish community to the central part of the city and the construction of the Keter David synagogue at the Felestīn intersection, this particular synagogue is active throughout the week. Additionally, there are three synagogues situated outside the city, adjacent to the cemetery of Sāreḥ-bat-Āsher (Esther Khātūn*) in Pīrbakrān*, which are used only when pilgrims visit.

Synagogues of the Jūbāre quarter, in order of antiquity:

• Moses Ḥayy Synagogue*
• Shukrullāh Synagogue (Ya‛qūb Masjedī)*
• Samuel Gulī Synagogue*
• Mullā David Synagogue (Nāsī)*
• Ḥājī El-yāhū Synagogue*
• Samuel Ḥannāsāb Synagogue (Āsīyābān)*
• Buzurg*, Jamā‛atī*, and Mullā Rabbī* Synagogues
• Joseph Samuel Simeon Synagogue*
• Mullā Ya‛qūb Synagogue*
• Sang Bast Synagogue* (no longer active)
• Mullā Neysān Synagogue*
• Khurshīdī Synagogue*

 

Synagogues of the Gulbahār quarter:

• Gulbahār Synagogue*
• Madrese Synagogue*

Felestīn Crossroads Synagogue:

• Keter David Synagogue*

Moses Ḥayy Synagogue /Mūsā Ḥayyā

This synagogue is located at the Māhī-furūshān crossroads (Fishmongers’ Crossroads), just before Kamāl Street in the Jūbāre quarter, and was registered on Iran’s National Heritage List on 10 May 2007/ 20 Urdībehesht1386 under registration number 19071. According to one account, its origins date back to the Safavid* period; the construction of the synagogue is approximately from 1795/1210.

According to Suleyman Sa‛dīyā⁷, the current caretaker of the synagogue, “the original structure had a basement upon which the present building was erected.” The architectural structure of this synagogue exhibits differences from the other synagogues in the Jūbāre quarter, including the exceptionally thick piers at the bases of the arches, as well as the geometric form of the ceiling and its arches. Changes in the urban fabric around the synagogue have led to the creation of a passageway along its eastern side, exposing the brick piers to view—an aspect that did not exist during the author’s first visit to this synagogue (winter 2003/1381), when the only visible element in the neighborhood was its entrance door. The entrance of the synagogue stands next to the entrance of the Joseph Samuel Simeon Synagogue, with the building of the Moses Ḥayy Synagogue situated on its northern side. A seven-color tile inscription on a restored brick background is installed above the entrance door, bearing the text “kanīsā Mūsā Ḥayyā” in both Persian and Hebrew. Beyond the entrance lies a long corridor, its floor three steps below the level of the alley. At the end of this corridor, turning to the left leads to a short passage that opens to the entrance of the prayer hall on the eastern side and to a small restroom. Before this entrance, a spiral staircase ascends to the women’s section on the mezzanine above, located on the eastern side of the building.

It may be that the Mūsā Ḥayyā Synagogue is the only old synagogue in which there is a complete visual connection between the women’s section and the interior of the prayer hall. The sanctuary is composed of a central hall topped by a dome, flanked on the north and south by two barrel vaults. In recent years, the interior structure of the synagogue has been restored and finished with white plaster and paint. The platform for the prayer leader, like in other synagogues, stands on a square wooden dais at the center beneath the dome. The reading table is also square and, like the dais, features notable wooden carvings and details. Natural light and ventilation are provided through the skylight at the center of the dome and the barrel vaults on either side. These skylights are also visible in the surrounding built fabric.

In the thick western wall of the building, in addition to two windows on either side, there are niches for storing prayer books, fitted with wooden screens and curtains. The Torah scrolls, or hekhal, are situated at the center of this section and are surrounded by stucco work and painted decorations. One of the distinctive features of this synagogue is a door located in the southeastern corner that opens onto the middle of the northern side of the Joseph Samuel Simeon Synagogue. Another notable element is a shallow, asymmetrical recess in the southern corner of the synagogue, which, according to Suleiman Sa‘diyā, the principal architect of the building was constructed as a place where he himself would perform prayers during the building process. The beveled angle of this wall edge, which is almost perpendicular to the qibla direction (towards Jerusalem), along with the arched niche now covered in plaster, supports this account.

Shukrullāh Synagogue (Ya‛qūb Masjedī)

The origin of the synagogue’s name is unclear. On the exterior of the building there is only a restored brick wall, a metal door, and a seven-color tile inscription bearing the text: “kanīsā-ye Āqā Shukrullāh Ya‛qūb Masjedī.” It is located in the Jūbāre quarter, on Sulṭān Sanjar alley at the end of the Ḥammām-e Sefīd cul-de-sac, and was registered on Iran’s National Heritage List on 10 May 2007/20 Urdībehesht1386 under registration number 19073. The date inscribed on one of the synagogue’s curtains is 5569 in the Hebrew calendar (1808 /1223), which predates the construction of the current building. According to Ebrāhīm Esḥāqīyān, the former caretaker of the synagogue, the present structure dates to roughly a hundred years ago. Judging by its appearance, it likely belongs to the late Qajar period. In addition to the curtain, a recently discovered Judeo-Persian text from Afghan Jews was found in the Torah Ark, referring to the discipleship of one of the Afghan rabbis; it is now mounted in a frame on the synagogue’s wall. According to Munvvar Hārūnīyān, Esḥāqīyān’s wife, there was once a house adjacent to the synagogue used to accommodate travelers or others, which a few years ago was incorporated into the synagogue’s expansion.⁸

The skylight of this sanctuary can be seen from the surrounding urban fabric. Beyond the entrance door lies a dark corridor, three steps below the level of the alley. At the beginning of this corridor stand the metal door of the neighboring house and a wooden shoe rack, while at its end is the wooden door leading into the prayer hall. Entry into the sanctuary is from the corner of the eastern side, facing west. Except for the western wall, the other walls feature a row of niches at the lower level and a row of frames and windows above. The platform for the prayer leader is situated at the center on a wooden dais surrounded by four columns. Along the northern, eastern, and southern sides runs a continuous bench for the congregants, and there is no separate section designated for women. The Torah Ark as a recessed space in the western wall, topped by an arched cover. In addition to the roof skylight—which, according to local residents, is a recent addition—light is provided by the tall windows on the northern and eastern sides; however, these windows are presently blocked. The decoration of the building is limited to seven-color tiles on the benches.

Samuel Gulī Synagogue

This synagogue is located in the Jūbāre quarter, at the intersection of Keyvān cul-de-sac and Lat-Far Passage. According to the date inscribed on its tile inscription, it was constructed in 5574 of the Hebrew calendar (1813/1228). The exterior façade of the building consists of two simple walls, one of brick and the other of mud plaster with a stone dado. The entrance features a double-leaf metal door set within a plastered frame, above which is mounted a seven-color tile inscription bearing the name of the synagogue in both Hebrew and Persian. Two tall windows on the southern side and a roof skylight covered with cobalt-blue tiles are visible on the exterior façade.

The space between the entrance and the prayer hall is a corridor that connects the main entrance door, the staircase to the women’s mezzanine, and the entrance to the prayer hall on the eastern side. The door to the sanctuary is a restored double-leaf wooden door. The floor of the prayer hall is three steps higher than the corridor. The building of the synagogue is a simple rectangular structure with a flat roof; after the collapse of the original roof and its subsequent reconstruction—undertaken without consulting the Cultural Heritage Organization—a metal truss was installed in the current ceiling. The women’s section is a mezzanine above the entrance area, with two columns and several steps creating a kind of vestibule for the synagogue. The building has been recently restored, with whitewashed walls and elements painted blue. In addition to the octagonal skylight at the center of the ceiling, natural light also enters through the windows on the southern side. The Torah Ark is on the western side, consisting of three rows of recessed niches with arched wooden doors separated by columns. The platform for the prayer leader is a square stone dais at the center of the building.

Mullā David Synagogue (Nāsī)

In the Jūbāre quarter, another synagogue stands in Kuy-e Kamarzarrīn, opposite Kamāl Park, which was registered on Iran’s National Heritage List on 10 May 2007/20 Urdībehesht 1386 under registration number 19036. The original name of the synagogue is Nāsī, though it is also known as Mullā David, pronounced Mala Dāvīz in the local dialect. Monsieur David Nāsī, the son of Āsher Kadkhudā and one of the elders of the quarter, contributed to the renovation of the synagogue and was himself among the first directors of the Alliance School* in Isfahan. This synagogue is also referred to by the name of Mullā Sham‛ūn Yādgārān, who was a member of this synagogue.

On the interior wall of the sanctuary it is written: the construction of this building was completed on Tuesday, the first of Tishri 5625/1863. This building shares a side with the adjacent alley. On this side there are the entrance and rooms that in the past were used for teaching religious subjects to children and in recent years have also served as the caretaker’s house. The current entrance of the synagogue opens onto Māhī-furūshān Street, which has been widened, but until 2017/1396, when the last restorations were carried out, access was through another door on Sarṭāve alley, which is lower than the main alley, and this door still exists. Between the entrance and the sanctuary building there is first a corridor and then a courtyard. Entry into the sanctuary itself is from the southeast side. On either side of the platform for the prayer leader and in the northern and southern parts of the building there are seating areas that break the symmetry of the building. The women’s section is located on a mezzanine on the northern side, and by means of latticed brickwork its visual connection with the men’s section has been blocked. The current prayer leader’s table is a woodcarving* work by the Jewish artisan Ya‛qūb Nurūz.

According to one account, the style of this building belongs to the Seljuk period and was revived during the Safavid era. By removing seven layers of plaster, it was determined that this synagogue has been renovated seven times. The method of dome construction in this synagogue is similar to that of the mausoleum dome known as the Tomb of Isaiah* in Isfahan. In the most recent restoration, many of the stucco works, paintings, panelings, and Hebrew inscriptions remaining from the Seljuk and Safavid periods were revived, including the painting of “Four Birds” depicted in the four corners of the vault. On one of the walls, a text is written in Judeo-Persian: “We pursued and purchased a new Bet Ḥayyīm (cemetery) with the community’s funds from Pīsh Qalyūnchī Afdūn to the edge of the Nar…,” the rest of which was destroyed in past years during the synagogue’s expansion. Other inscriptions on different parts of the wall include passages from the Psalms of David and names of the builders, painter, and craftsmen of the synagogue.⁹ Under the central vault, the names of four of the synagogue’s benefactors are also written. The interior light of the sanctuary is provided by skylights on the eastern and western sides and a large window on the southern side.

This synagogue holds two handwritten books in Judeo-Persian in medium octavo size, from which religious stories and legends were read on Saturday nights. There is also a Torah scroll here, known as the Torah of Abbā Qazvīnī, another example of which is found in the Shukrullāh Synagogue. Decorative panels adorn the entire synagogue, painted by a man named Māshīaḥ, who was of Afghan Jewish descent.¹⁰

Ḥājī El-yāhū  Synagogue

At present, the building of the synagogue is visible within the fabric of the quarter; it is a structure of adobe and brick, with mud plaster covering the adobe walls and cement applied to parts of the brick walls. The roof of the building is domed, and at the center of the dome there is a tall octagonal skylight. On the northern side of the building, there is a small metal door with a seven-color tile inscription placed above it.

Beyond the entrance door on the northern side is a vestibule area used for removing shoes, three steps below the level of the alley. The synagogue is an irregular, symmetrical octagonal structure of two stories, with some sides featuring a mezzanine for women constructed with latticed brickwork. The platform for the prayer leader is a hexagonal dais located at the center beneath the dome, with the skylight above it directing natural light into the interior. An element that draws attention in the building is the special wooden reading table, which is adorned with paintings. The piers between the arches terminate above in geometric vault decoration (rasmībandī) and at their bases connect to the dome of the ceiling. Among the synagogues of Isfahan, this building is unique in terms of the geometry and centralization of its interior space. The Torah ark is situated on the western side, marked by a wooden cabinet with fine qalamkār curtains placed in front of it. On the painted wooden frame above the curtain of the Torah Ark, it is written in Judeo-Persian: “The construction of the synagogue was completed by the late Ḥājj El-yāhū Raḥīmīm on the 30th of Av, 5668 (1908/1286).”

Samuel Ḥannāsāb Synagogue (Āsīyābān)

In the Jūbāre quarter, at the intersection of Tūtūnī Passage and Ferdaws cul-de-sac, there is another synagogue, whose stone inscription above the entrance records the completion date of the building as Thursday, the first of Elul 5668/(1325/1907). The exterior walls of the synagogue are of mud plaster with brick framing, which have been restored. The entrance to the building is located at the end of Ferdaws cul-de-sac, with a small metal door surmounted by a tile inscription. The courtyard of the synagogue serves as a transitional element from the alley to the sanctuary and is situated below the level of the street. On one side, the courtyard leads to the entrance of the prayer hall, and on the other side to the restrooms. The courtyard is small in size, and its walls are coated with white cement.

The entrance to the sanctuary is at the center of the southern side. The sanctuary has a central main dome with four barrel vaults surrounding it. The platform for the prayer leader and the roof skylight are also located at the center of the building, and a row of windows on the southern side provides light from the courtyard. The walls and ceiling are whitewashed, and the dado of the walls is covered with seven-color tiles. The area for the congregants is arranged along the walls, and no separate section for women has been designated.

Buzurg Synagogue

This synagogue is located in the Jūbāre quarter, in Kuy-e Kamarzarrīn, opposite Kamāl Park, and was registered on Iran’s National Heritage List on 10 May 2007/20 Urdībehesht1386 under registration number 19039. It stands next to two other synagogues, Jamā‛atī and Mullā Rabbī, which are also known as Kunjī and Mīr Ākhur, respectively. The shared walls of these three synagogues have effectively joined them into a single complex. In the past, another synagogue called Hazkiel was located adjacent to these three, though no trace of it remains today. These three buildings do not bear inscriptions* and are considered to be approximately contemporaneous. According to Ya‛qūb Nahdārān, the former caretaker of this synagogue and of the Sārḥ Bat Āsher* cemetery,¹¹ the age of these three synagogues exceeds roughly one hundred years. The Buzurg Synagogue was initially an underground space, which over time, with community support, took on its present form. The land belonged to three families named Ben Pūrāt, Yum-Ṭūb, and Zakaryāī, while the construction costs were covered by charitable donors. The builder’s name was Ḥājj Maḥmūd Shujā‛.¹²

This sanctuary, which is entered from its northeastern corner, is larger than the other synagogues of Jūbāre and perhaps for this reason is called “Buzurg” (great). The building of the sanctuary consists of a dome resting on four stone columns, with four pointed barrel vaults on each side. At the center of the dome there is a skylight with an octagonal base that directs natural light into the interior. On each side at the base of the columns, a recessed carved design has been created. The wooden beams, columns, and carvings at the bases of the columns are painted gold, while the capitals and their bases are gray. The walls between the main piers feature one, two, or three recessed niches that extend from the tiled dado up to the level of the vaults. The walls and ceiling are also plastered white. The combination of blue and gold above the niches on the western side, along with decorative paintings on the vault in this area, are details that mark the location of the Torah ark in the space. Two small decorative columns painted gold, with details in blue, also stand on either side of the ark, further accentuating this spot. The curtain hanging over the ark is made of crimson velvet fabric.

The platform for the prayer leader is a square wooden dais situated beneath the dome, decorated with blue designs on a golden background. At the center of this platform stands a lacquered wooden table, which is among the most elaborate and richly adorned objects in this sanctuary. The area for the congregants is arranged along the walls facing the platform, but no separate section has been designated for women; only by means of a curtain on the eastern side is an area set aside for them.

Jamā‛atī Synagogue

The structure of this synagogue is similar to that of the Buzurg Synagogue, differing only in its dimensions and some details: it is entered from the corner of the southern side; it is slightly larger and has more extensive ornamentation. Decorations can be seen in various parts of this synagogue, especially beneath the dome and at the Torah ark, which is considered one of the most beautiful examples among the synagogues of Jūbāre. These include seven-color tiled dados, paintings and motifs on the plaster surfaces of the dome and walls, two rectangular tiled panels on either side, a highly elaborate curtain hanging in front of the ark, elements of the roof skylights and windows, stone bases and capitals, and the platform for the prayer leader along with its railings, all of which give this synagogue a vivid and colorful character. The area for the congregants is a continuous bench arranged along the walls and around the platform. This synagogue also does not have a separate section for women. Its  Torah Ark is as large as a room, with the scrolls placed on a platform. Beneath the ceiling of this space, facing west, there is a small window.

Mullā Rabbī Synagogue

The corridor leading to this synagogue is shared with the Buzurg and Jamā‛atī synagogues. The entrance to the sanctuary of the Mullā Rabbī Synagogue is a cream-colored metal door on the southern side. The floor area of this synagogue is larger than that of the other synagogues in Jūbāre. The building is a rectangle oriented along a north-south axis, with six central domes resting on square piers in the middle and ten barrel vaults surrounding the domes to form its roof. The central domes, under one of which the platform for the prayer leader is situated, are larger than the others. Skylights at the centers of these domes, with octagonal bases and wooden lattice windows, provide natural light and ventilation for the sanctuary. These skylights are prominent features in the surrounding urban fabric. Wooden beams reinforced with metal rods, which were added during restoration, strengthen the bases of the domes. The structural patterns of the domes are painted blue with golden borders on a white plaster background.

Next to the entrance door, a spiral brick staircase leads up to a mezzanine on the southern side, which serves as the women’s section. This mezzanine lies outside the main rectangular plan of the synagogue and, architecturally, forms a shared boundary between this building, the entrance corridor, and the northern side of the Buzurg Synagogue. Three wooden lattice windows also form the point of contact between the women’s section and the main space of the synagogue.

The platform for the prayer leader is an elevated stone dais situated at the center of the middle dome. Framing and decorative borders, along with carved curved and vegetal motifs and four stone column bases at its four corners, adorn the structure of this platform. The floor of the platform is covered with cobalt-blue glazed tiles. Currently, a row of wooden balusters has been installed along the edge of the platform, and the wooden reading table is not placed on the platform itself but rather set closer to the south (near the entrance door), resting on the floor of the synagogue.

The western side, which is divided following the structure of the ceiling, contains in two of the dome bays large compartments with wooden doors that serve as the place for  the Torah Ark. The southern bay features a double-leaf wooden door with two lattice windows on either side and an additional window above. The geometry and placement of this door and the windows suggest that there may once have been an iwan or an porch courtyard behind them, though it is now closed off by a wall.

The walls of the sanctuary are whitewashed with plaster and have a seven-color tiled dado, coordinated with the vaults and arches under the ceiling, the niches, and the tripartite divisions. The arches beneath the ceiling on the eastern walls contain wooden windows that are covered on the exterior with latticed brickwork. In the southwestern corner, there is also a double-leaf wooden door that either opens onto the Buzurg Synagogue or to a corridor and house that once existed. The area for the congregants in this synagogue is defined by tables and chairs arranged within the interior space.

Joseph Samuel Simeon Synagogue

It is located adjacent to Kuy-e Kamarzarrīn. Its exterior features a restored brick wall, a metal door with an old tiled lintel, and a roof skylight. On the inscribed stone dado of the building, the completion date of the synagogue is recorded as the year 5669 of the Hebrew calendar (1908/1287). Entry into the synagogue is from the corner of the eastern side, passing through a narrow courtyard that serves as a transition from the alley to the sanctuary. The floor of the sanctuary is three steps below street level. The building is a domed chamber with four barrel vaults on each side, the eastern and western vaults being larger and, like the main dome, containing roof skylights. The platform for the prayer leader is a square wooden dais situated in the center of the domed chamber. A mezzanine for the women’s section is located on the eastern side and is covered with latticed brickwork. This section sits above the entrance corridor of the Mūsā Ḥayyā Synagogue. Turquoise-colored latticed bricks also appear in other corners of the sanctuary, though without mezzanines therein. Seven-color tiled dados, decorative stucco columns, wall niches, the geometric vault decoration of the domed chamber, and hanging curtains are among the ornamental elements of this synagogue. The windows on the southern side bring natural light from the courtyard into the synagogue. The congregants of this synagogue and Mūsā Ḥayyā Synagogue are the same, holding services alternately between the two each week. The Sa‘īdīyān family serves as the caretakers of this synagogue nowadays.

Mullā Ya‛qūb Synagogue

According to Samuel Ḥāy Reyḥānīyān, a former congregant of this synagogue, its construction dates to around 1911/1290. It is built along Esmā‛īl alley, adjacent to the tomb of Kamāl al-Dīn Esmā‛īl*, a famous poet of fourteen/eight century. The sanctuary was restored once in 1997/1376 and again in recent years under the supervision of the Cultural Heritage Organization*. The mud-plastered wall, the entrance door of the synagogue with its brick framing, the tile inscription, and the plaster arch above it are among the elements of this building visible from the passage. A corridor lies between the entrance door and the vestibule of the synagogue. One side of the vestibule leads to the sanctuary, while the other opens onto a small courtyard. The tombs of several elders of the Jewish community of Isfahan, including the late Mullā Ya‛qūb, the founder of this synagogue, are located in the basement adjacent to the courtyard. The structure of this basement, including the gravestones and all its sections, is decorated with brickwork and tilework.

The entrance to the sanctuary is located on its southeastern side. The geometry and overall structure of the building are similar to those of the Buzurg and Jamā‛atī synagogues, though on a larger scale; the dimensions of the central dome, the surrounding barrel vaults, and the overall height of the building exceed those of the other two. The interior space of the synagogue is richly decorated, largely the result of restorations. These include: the square platform for the prayer leader completely covered with seven-color tiles; the corners of the walls, niches, geometric vault decoration, vaults, and arches painted with blue and golden lines; paintings on plaster and Hebrew inscriptions adorning the borders of the roof skylights; and the multicolored seven-color tile dado enhancing the base of the walls within the sanctuary. The entrance corridor lies beneath the women’s section, which is built as a mezzanine on the southern side of the building. This section features a row of old metal railings with wooden handholds and maintains visual connection with the sanctuary. A prominent feature of this building is the window above the Torah ark, fulfilling the religious commandment of having a window facing Jerusalem. The synagogue has a symmetrical and centralized geometry, with the Torah ark as the sole element giving orientation to the space. This centrality is further emphasized by the four columns supporting the main dome surrounding the platform for the prayer leader. The Amān, Rīḥānīyān, Ṭūṭīyān, and Nurūz families are the worshippers of this synagogue.

Sang Bast Synagogue

According to the contents of this synagogue’s inscription, the completion date of the building was Monday, the 11th of Sivan 5674 (1913/1292). The synagogue is located on Kamāl Street, Sāḥeb al-Zamān Street, Zībā alley. The Sang Bast Synagogue belongs to the late Qajar period and was registered on Iran’s National Heritage List on 10 May 2007/1386 under registration number 19066. According to the late Manṣūr Yom Ṭūbīyān, the building was restored by the local community around 1981/1360.¹³

The entrance to this synagogue is situated at the end of a winding alley. A long corridor connects the entrance to the sanctuary, after which there is a space designated for removing shoes. The staircase leading to the women’s mezzanine is located on the southern side. Entry into the sanctuary is possible from the southern corner of the eastern side. An intermediate space between the main dome and the western side of the building disrupts the symmetry and diminishes the prominence of the platform for the prayer leader at the center of the space. In this location, a small wooden table for the prayer leader has been placed on the floor. This synagogue is very rich in decoration; prominent stucco work and paintings on plaster, along with elaborate seven-color tiles, are among its distinguishing ornaments. Among the oldest families participating in this synagogue are the Ṣeddīqpūr, ‛Aqavīyān, Raḥmān Ḥakkāk, Gīdānīyān, and Gulshīrāzī families. One of the longstanding prayer leaders of this synagogue is Ruben Yom Ṭūbīyān, known as Ruben Dādā, who had exceptionally beautiful Hebrew handwriting, and the Hebrew inscriptions on the curtain of the Torah Ark are his work.¹⁴

Mullā Neysān Synagogue

This synagogue was built in Kuy-e Kamarzarrīn, adjacent to the main passage of the quarter. In recent years, the Imam Hasan ‛Askarī seminary has been constructed near this synagogue. According to a Hebrew inscription inside the synagogue, its construction was completed in the year 5675 of the Hebrew calendar (1926/1301), and five years later, the prayer leader Ebrāhīm and Isḥāq Sāsūn built the reading table on the platform. “Thanks to the efforts of Isfahan’s Cultural Heritage Organization, this synagogue was reopened in 2019/1398 after restoration during a special ceremony.”¹⁵

The entrance of the synagogue is about one meter below the level of the alley. A double-leaf wooden door set in a carved stone frame serves as the main entrance to the synagogue. Above this door, a stone inscription is installed, on which the following text is engraved in both Persian and Hebrew: “Mosque of the late Ḥājjī Mullā Neysān and Lady – founded 1915/1294.” Comparing this inscription with the Hebrew inscription inside suggests that the construction of this building may have taken seven years. A small vestibule lies between the entrance and the sanctuary, which also opens onto the courtyard of the synagogue. Entry into the prayer hall is from its northeastern corner.

The dome construction of this building, in terms of vaulting and the geometric patterns beneath the ceiling, differs from that of the other synagogues in Jūbāre. Despite its simple exterior, this synagogue is one of the most beautiful and richly adorned synagogues in Isfahan; features include the carved woodwork of the prayer leader’s table, the seven-color tilework of the wall dado, and the intricate designs on the columns and capitals. The Torah ark—especially its wooden door—also displays more elaborate decoration than those in other old synagogues. The dominant colors in the decorations of this synagogue are light blue and azure. This synagogue has two large windows on its western side, symmetrically positioned relative to the Torah ark. The women’s section is located on a mezzanine on the eastern side and receives light from windows facing the courtyard. The visual connection between the women’s section and the prayer hall is limited by lattice brickwork. The building is entirely symmetrical and centralized, with the only element giving the space a directional orientation being the Torah ark on the western side. The east-west elongation of the synagogue’s courtyard not only provides part of the natural lighting for the sanctuary but also accommodates the staircase leading up to the women’s section.

Khurshīdī Synagogue

This synagogue was originally the five-door hall (panjdarī) of a large, old residence. According to ‛Azīzullāh Shamīyān, the former caretaker of the synagogue, the house was built around 1931/1310, and some years later, a wall was constructed in the courtyard dividing the property into two parts. From the beginning, the hall had been used for worship, and with the addition of the wall, it was transformed into a synagogue. The synagogue’s entrance is a small metal door on Jannat alley, and its courtyard is in fact the southern section of the house. The wall separating the two courtyards is short and plain, lacking harmony with the rest of the building. In the southern side of this courtyard, on either side of the sanctuary, there are two-story rooms with three-panel windows that have been recently restored. Around the base of the courtyard walls, one can see brick and stone lattice windows, indicating the presence of a basement. Located beneath the synagogue is a large mikveh (ritual bath) used for Jewish purification rites, consisting of two rooms situated before and after the immersion pool. The structure of this space is made of adobe and brick, with pointed barrel vaults and arches transferring the load to the piers. The presence of the mikveh reflects the original owner’s observance of religious obligations.

From the small west-facing porch, one can reach the hall of the sanctuary, which is a few steps above the courtyard level. In order to convert this hall into a synagogue, hardly any changes were made to the building’s structure. What gives this hall the appearance of a synagogue is the west-facing entrance, the extension of the space along an east-west axis, a reading table for the prayer leader placed at the center of the space, and the transformation of one of the niches on the western side into the Torah ark. In the past, there was also an elaborate five-sash wooden window (urusī) facing the courtyard, of which now only several separate windows remain, while the other parts have been covered with metal doors. The geometric form of the sanctuary makes its height appear greater; the niches, vaults, and arches of the ceiling are plastered and white. A narrow band of seven-color tile has also been installed above the entrance of the synagogue, bearing an inscription in Hebrew with this meaning: “Blessed are you in your coming, blessed are you in your going.” The caretakers of this synagogue are the Khākshūr and Shamīyān families.

Gulbahār Synagogue

This synagogue is located in the Gulbahār quarter of Isfahan, on Hārūnīye Street, Ḥāj ‛Abbās Gandalī alley, and was inscribed on Iran’s National Heritage List on 10 May 2007/20 Urdībehesht 1386 under registration number 19070. The Gulbahār Synagogue has two inscriptions: the first is a stone inscription belonging to the original building, which records that in the year 4528 of the Hebrew calendar (968/357) half of the costs for constructing the synagogue and its underground mikveh were paid by El-yāhū son of Levi Fānī and his wife Malāhem daughter of Raḥmān Bannā, with the other half covered by the community. The second inscription states that the current building of this synagogue was rebuilt by the people in 5703/(1944/1321).

In the fabric of the quarter, only a small metal door at the end of the alley is visible as part of the building’s exterior. On one side of this door is the mud-plastered wall of a neighboring building, and on the other side stands a brick structure housing an electrical substation. Above the doorway, curved metal railings have been installed. Beyond the entrance door, there is a narrow corridor that leads to a small courtyard. The courtyard of the synagogue is a narrow rectangle, about two meters wide, stretching lengthwise along an east–west axis. The southern wall of this courtyard is roughly three meters high, constructed of mud plaster with a stone dado about twenty centimeters high. The northern wall is approximately 220 centimeters tall with a 40 centimeter stone dado and a row of curved railings above it. The floor of the courtyard and corridor is paved with cement tiles. On the northern side of the courtyard, there is a washbasin and a small enclosure that appears to be a restroom, next to a narrow flight of steps. These steps are covered by wooden boards and lead up to a metal door, which serves as the entrance to the women’s section on the mezzanine above. The exterior parts of the women’s section are also built of adobe and coated with mud plaster. Entry into the main sanctuary is through a short four-leaf metal door, above which a tile inscription in seven-color work on a dark azure background is mounted, bearing the name of the synagogue and its construction date in Persian.

The entrance to the sanctuary is located at its southeastern corner. Next to the entrance door stands a wooden shelf for placing shoes before entering. The building extends along an east-west axis. Along the southern and eastern sides there is a mezzanine supported by plastered columns that serves as the women’s section. Above the northern side, six large wooden windows stand out, supplying light to the interior and making this one of the brightest synagogues. The ceiling is flat and continuous, so that the central area—where the platform for the prayer leader is located—has twice the height of the sections beneath the women’s galleries. Load-bearing columns around the platform rise all the way to the ceiling. In line with these columns, the main ceiling beams protrude slightly, dividing the ceiling into smaller sections. The width of the women’s mezzanine on the western side is narrower, forming a kind of corridor, beneath which is situated the Torah ark. On the opposite side, under the eastern mezzanine, a curtain is hung between the columns, and along with a few blue wooden shelves, tables, chairs, and a small gas stove, the area serves as a space for preparing and consuming food. Along the southern, eastern, and western walls, there are platforms made of chiseled stone for the congregants to sit on. For their comfort, cushions have been placed on these platforms and against the wall behind them. The walls of the sanctuary are painted white and blue—these are the dominant colors of this synagogue, also seen on the wooden railings of the women’s section and throughout the sanctuary.

The platform for the prayer leader is a large stone dais, its floor covered with turquoise tiles, rising five steps above the floor of the sanctuary. Benches have also been placed on the northern and southern steps of this platform. The stone walls of the dais are richly decorated, carved with curved motifs of flowers and vases. The prayer leader’s table is made of wood and is adorned with numerous intricate details, including turnery, painting, and calligraphy. At the geometric center of the ceiling, there is a skylight constructed with an octagonal base. The base of this skylight is plastered white to a height of about one meter. On each side of the base, a wooden window has been installed, and a wooden pyramidal roof with an octagonal base completes the skylight. The operable sections of these windows are fitted with clear glass, while the upper, fixed parts are covered with stained glass. A large chandelier, suspended by a metal chain from the center of this skylight, hangs above the prayer leader’s table.

The Torah ark of the gulbahār Synagogue is situated on the western side and is symmetrically divided into three unequal panels: the width and height of the central panel exceed those of the side panels, extending from the floor of the sanctuary up to the women’s mezzanine. In the middle section, a stucco design of a seven-branched menorah has been rendered, creating a semi-circular form that continues up to the parapet of the mezzanine. The Torah scrolls are placed in a recessed niche at the center of the western wall, and in front of this stands an almost two-meter-tall three-leaf wooden door. The stucco border on either side of this door measures about twenty centimeter and arches into a semi-circle at the top, within which a design resembling sash windows has been crafted in stucco. In front of this ark hangs a green velvet curtain into which the Ten Commandments have been woven in abbreviated letters. The stucco motifs of the central panel are vegetal, with the base of the menorah incorporating designs of a crown and the Torah tablets. The walls on either side of the Torah ark are clad up to about one meter with seven-color tiles on a deep azure background, adorned with yellow, red, and blue patterns, clearly distinguishing them from the rest of the walls. Above this tiled dado, two recessed niches have been built into the wall: the lower one with a semi-circular arch, and the upper one in a square shape. The interiors of these niches are painted blue, while their outer faces, opening toward the sanctuary, are white.

The Madrese Synagogue

This synagogue is located at the western end of the northern side of the Alliance School (now Shahīd Ḥalabīyān). According to Suleiman Ṣeddīqpūr, the Madrese Synagogue originally stood on another side and in a different location when the school was first constructed. After 1979 Revolution, the school, its courtyard, and the western wing underwent major alterations; as a result, the former synagogue was demolished, and several classrooms on the ground floor of the northern wing were designated as the new place of worship. At present, the building on the northern side of the school is in better condition than the other sections and it is likely that classes are still held there.

The exterior of the sanctuary features several wooden doors and windows, similar to the other parts of this wing of the school, with the only difference being the metal grilles installed over the windows of this section. At present, one classroom has been allocated as a synagogue, and according to Farajullāh Sepārzāde, one of the long-time members of this synagogue, a few years ago another classroom on the eastern side of the sanctuary was added by demolishing part of the wall and dividing the eastern classroom into two sections. The walls of this space have been covered with PVC panels. Additionally, kitchen facilities along with tables and chairs have been placed here for dining.

The sanctuary is a tall rectangular cuboid space oriented along an east–west axis. Its entrance is located at the southeast corner of the building, with no transitional area between the entry and the prayer hall. The windows on the southern side provide natural light and ventilation for the space. A wooden reading table for the prayer leader is placed at the center of the hall. Both the platform for the prayer leader and the Torah ark are at the same level as the floor. The Torah ark is situated in the middle of the western side, highlighted within a raised stucco frame, with two symmetrical wooden panels hanging on either side of this frame. Slender metal columns support a mezzanine added on the western side, extending from the middle of the northern wall and facing west, yet it does not alter the geometric form of the building. Beneath this mezzanine, there is a tripartite arrangement consisting of a wooden door flanked by two windows. This mezzanine serves as the women’s section and connects via a metal door on the west to a small brick staircase, ultimately leading to the synagogue’s courtyard. On the northern wall of this section, niches with arched tops can be seen.

The interior of the synagogue is coated with plaster and painted in light colors, whose quality indicates that it is relatively new. A 20-centimeter-high stone dado and a narrow wooden band about sixty centimeters above it run continuously along the walls. At the junction of the walls and ceiling, a stucco border encircles the prayer hall. The ceiling above the platform for the prayer leader is also richly decorated with stucco work, further accentuated by the large chandelier hanging from it, which highlights the prominence of the prayer leader’s platform.

Most of the architectural and decorative details of this synagogue are concentrated around the Torah ark and the platform for the prayer leader. Elaborate woodcarving and Hebrew calligraphy, along with stucco work and paintings on plaster, are the predominant forms of ornamentation used here, employed more extensively than other types of decoration.

At present, the Seppārzāde, Brūkhīm, and Shamāsh families serve as the caretakers of this synagogue.

Keter David Synagogue

This synagogue is situated at the intersection of Ustāndārī and Āmādegāh Streets, on the northwest side of Felesṭīn Square, and is the newest and most important synagogue in Isfahan. It was registered on Iran’s National Heritage List on 10 May 2007/20 Urdībehesht 1386 under registration number 19068. According to the synagogue’s inscription, it was founded by Ḥājj Esḥāq Sāsūn in 1944/1323. This building has undergone several renovations and extensions over the years. It itself does not have a striking urban façade, as a large courtyard separates it from the street. On the northern side of this courtyard is a roughly twenty-square-meter room that formerly served as the prayer hall and now functions as the caretaker’s residence. The northern and southern sides of the synagogue were once open spaces, allowing natural light to enter the interior through windows on these sides; however, subsequent constructions have since blocked this feature.

The entrance to the sanctuary is located along the building’s axis of symmetry, on its eastern side. The structure is oriented along an east–west axis. As is customary, the platform for the prayer leader is situated in the middle of the building, with a skylight positioned above it. The synagogue has three windows on its western façade, facing Jerusalem. The Torah  ark is also arranged with a hierarchical approach, defined by two steps and a projection in the ceiling. The women’s section is a mezzanine extending along the southern, eastern, and northern sides, maintaining a direct visual connection with the sanctuary. The synagogue building itself is constructed with utmost simplicity and lacks much ornamentation. Ḥājj Isḥāq Sāsūn, a renowned artist specializing in wood inlay and a craftsman of Torah cover inlays with Hebrew inscriptions, built this synagogue with his personal funds and assistance from the Jewish community of Isfahan. The building originally had a high ceiling and tall wooden columns on the rooftop, but around 1969/1348, the wooden roof and columns were replaced by a steel frame. Two years later, in an effort led by Suleiman Sāsūn and supported by the Jewish Association through the sale of a valuable carpet from the synagogue’s property, funds were raised for improvements that included creating a skylight in the center of the roof, constructing balconies and stairs on both sides, and painting and adding decorations. In 2001/1380, with the growing number of worshippers and the need for more space, the synagogue was expanded under the direction of Suleiman Sāsūn. The twin staircases at the main entrance on the eastern side were removed, and an external staircase was built at the back of the building to reach the women’s mezzanine, altering the design of the main entrance. Shortly after this renovation, the synagogue suffered a fire. The roof was unharmed, but the entire body of the building was burned. The central wooden reading table, which was carved from walnut and richly decorated, was damaged but later restored.¹⁶

One of the decorations of the synagogue is the panel of the Ten Commandments in the center of the Torah ark, which was created at the same time as the construction of the synagogue. The Hebrew inscription of this stucco work is attributed either to Ruben Yomtoubian or to Hājj Eshāq Sāsūn. The Torah ark in this synagogue features two symmetrical niches on the western wall, and exquisite wooden doors adorned with flower-and-bird paintings, designed by Eshāq Sāsūn and executed under the supervision of Engineer Bekhradī by Nīrūkār and Madanī, painters from Isfahan. The paintings on the wooden platform for the prayer leader are the work of Sayyed Hāshem Rashtīyān. Additionally, a watercolor painting by Suleiman Sāsūn, whose design is inspired by an old ketubah, is mounted on the wall near the Torah ark.¹⁷

To the north of the synagogue grounds, there is a three-story building constructed in 1983/1362. The upper floor of this building is a large hall used for weddings and celebrations. The two middle floors are dedicated to classrooms for students. The basement floor serves as a small shop and a place for preparing kosher food. Opposite this building stands a guard room and the caretaker’s residence. Previously, the southern part of the synagogue grounds contained a clay oven for baking unleavened bread (matzo) and a parking space for the ambulance that transported the deceased to the Sāreḥ Bat Āsher cemetery. However, in the late 1980s/1360s, a two-store building was constructed on this spot. The ground floor now houses the Jewish Youth Club of Isfahan, while the first floor serves as the caretaker’s residence and includes a small unit for accommodating guests.

/Rafael Sadiqpur/

 

Bibliography

In addition to the author’s own observations;

Burhān, Muhammad Hussein b. Khalaf, Burhān-e Qāṭe‛, Tehran: Amīr Kabīr, 1963/1342.
Hasan Dūst, Muhammad, Farhang-e Rīshe-shenākhtī-ye Zabān-e Fārsī, Tehran: Farhangestān zabān va adab-e Fārsī, 2014/1393.

Chardin, Jean, Sīyāḥt-nāme-ye Chardin, trans. Muhammad ‛Abbāsī, vol. 7, Tehran: Amīr Kabīr, 1957/1336.

Cohn-Sherbok, Dan, Dīn-e Yahūd, trans. Hasan Afshār, Tehran: Nashr-e Markaz, 2015/1394.

Daqīqīyān, Shīrīn-dukht, Nardebānī be Āsmān: Nīyāyeshgāh dar Tārīkh va Falsafe-ye Yahūd, Tehran: Vīdā, 2000/1379.

Hinnells, John Russell, Rāhnamā-ye Adyān-e Zende, trans. ‛Abd al-Raḥīm Guvāhī, Qum: Būstān-e Ketāb, 2006/1385.

Markaz-e Pajūhesh va Muṭāle‛āt-e Yahūdīyān-e Iran, 2025/1404; Retrieved June 30, 2025, from https://7dorim.com

Nahdārān, Ya‛qūb, interview, interviewer: Raphael Sadiqpur, winter 2003/1381.

Sa‛dīyā, Suleymān, interview, interviewer: Raphael Sadiqpur, 13 December 2024/22 Āzar 1403.

Sadiqpur, Raphael, “Me‛mārī-ye Kanīse-hā-ye Eṣfahān,” Dānesh-namā, nos. 161-162, Mehr–Ābān 1387/October–November 2008.

1. See Burhān, s.v. the entry and fn. 3; Daqīqīyān, p. 127; also Hasan Dūst, s.v. “Kenesht.”[↩]
2. Cohn-Sherbok, p. 86.[↩]
3. Hinnells, p. 386.[↩]
4. The synagogues of Mullā Dāwīd, Samuel Ḥanāsāb, Joseph Samuel Simeon, Mullā Ya‛qūb, Mullā Neysān, Khurshīdī, Gulbahār, and Keter Dāwīd all have courtyards.[↩]
5. Cohn-Sherbok, p. 87.[↩]
6. Chardin, vol. 7, p. 221.[↩]
7. Saʿdīyā, interview, 13 December 2024/22 Āzar 1403.[↩]
8. Markaz-e Pajūhesh va Muṭāle‛āt-e Yahūdīyān-e Iran, https://www.7dorim.com/tasavir/sh_esfahan_kenisa_yaghob_masjedi/  [↩]
9. Ibid., https://www.7dorim.com/tasavir/sh_esfahan_kenisa_mol_shimoon/[↩]
10. Nahdārān, interview, winter 2003/1381.[↩]
11. Nahdārān, interview, winter 2003/1381[↩]
12. Markaz-e Pajūhesh va Muṭāleʿāt-e Yahūdīyān-e Iran, https://www.7dorim.com/tasavir/sh_esfahan_kenisa_bozorg/ [↩]
13. Ibid., https://www.7dorim.com/tasavir/sh_esfahan_kenisa_sang_bast/[↩]
14. Ibid.[↩]
15. Markaz-e Pajūhesh va Muṭāleʿāt-e Yahūdīyān-e Iran, https://www.7dorim.com/tasavir/sh_esfahan_kenisa_mol_nisan/ [↩]
16.  Ibid., https://www.7dorim.com/tasavir/sh_esfahan_kenisa_keter_david/[↩]
17. Among the notable and longstanding prayer leaders of this synagogue are Ibrāhīm Yūsīyān, Hājī Khudādād Sadiqpur, and his son Ḥākhām Suleymān Sadiqpur.[↩]