When you reach Jame Abbasi Mosque, before getting to the portal, you have to pass through a semi-circle pish-khan or forecourt. Flanking the eastern and western sides of the forecourt, there are two corridors containing shops and connected to Qeysarie Bazaar. In the middle of the pish-khan, there is a stone pond which used to be filled with water for the purpose of ablution. The walls surrounding the forecourt are decorated with false-arches, inscriptions, and haft-rangi (seven-color) tiles.
The portal itself is composed of different parts. It includes two goldasta minarets, each one rising as high as 42m. The minarets include decorations of spiral blue turquoise tiles and Bannai inscriptions. At the top of each minaret, there is a goldasta, a special space from which mo’azen calls people to prayer. However, since these goldastas overlooked the royal harem, they were never used during the Safavid period.
The main part of the portal is 27m high, embellished with haft-rangi tiles and faience mosaic. Around the portal, there is a large inscription representing a line from the Quran which reads as: “Do not stand in it ever! A mosque founded on God-wariness from the [very] first day is worthier that you stand in it [for prayer]. Therein are men who love to keep pure, and Allah loves those who keep pure.”
The niche composing the middle part of the portal is decorated with amazing honey-comb stalactites, giving the portal a stunning view. Below the stalactites, in the middle elevation and left and right sides, there are designs of three pairs of peacocks, representing god’s perfection as well as integrity and beauty.
Below this niche, in the middle of the portal, there are several important inscriptions. The largest one, running from East to West, states that Shah Abbas I built Jame Abbasi Mosque from the royal treasure (khāleseh) and dedicated it to the soul of his grandfather, Shah Tahmāsb. At the end of this inscription, you can find the name of the calligrapher, Ali-Reza abbasi, the chief librarian and the master calligrapher of Shah Abbas’ time, and also the date of the completion of the portal, 1616 AC.
Just under the inscription mentioned above, there is another smaller inscription written by Mohammad-Reza Imāmi which credits Moheb-Ali Beig Lala with supervision over the construction of the mosque. This same dignitary had joined the Shah by contributing to the endowments of the mosque from his own personal funds. The names of two architects are also associated with mosque: 1. Maestro Ali-Akbar Isfahani as the engineer of the mosque and, 2. Maestro Badi’-al-Zaman Tuni Yazdi, responsible for procuring the land and construction resources.
At the base of the portal, there exists two high-relief marble vases from which rises spiral turquoise tiles. The spiral tiles, on the one hand, symbolize Tuba tree of paradise, and on the other hand, draw the viewer’s eyes upward toward the apex and infinity.
The original doors of the portal (4 m by 1.7 m each) were of plane trees, covered with a thin layer of gold and silver and decorated with carvings and filigrees. Several lines of poetry are engraved around the door, the last one of them functioning as a chronogram. Based on this line, the gates were installed during the reign of Shah Safi (1629-1642).