Mullah Mohammad Mahdi Naraghi was one of the Mullahs of Kashan. His last child was born
after the death of Mullah Muhammad, and according to the old custom, they chose his father's
name for him. After a while, when Mullah Muhammad's son also becomes a Mullah , due to the
similarity of name with the name of Mullah Muhammad, people call the father Agha Bozorg and
the son Agha Kuchak.
After some time, Muhammad Shah Qajar traveled to Isfahan, stayed for a while in Kashan and
met with the scholars of the city, including Agha Kochuk. Mohammad Shah realizes that
he has a high level of scientific knowledge and orders him to be called Agha Bozorg like
his father. Also, he ordered the ruler of that time, Mohammad Taqi Khanban, to build a mosque
and a school named after Agha Bozor. In addition to these, Mohammad Shah married his daughter
to him.
The architect of the mosque Agha Bozorg was Ustad Shaaban. This mosque, like other buildings
in Kashan, was built in the architectural style of Gudal Baghche (lower courtyard) and
is considered one of the mosques that has three naves. One of the characteristics of the
Agha Bozor complex is the integration of the Shabestan with the mosque and the school,
which is considered one of the most beautiful and best examples of creating harmony
and connecting the two buildings together.
Decorations such as plastering, painting, wooden works (carving, knotting, alt and laqat),
moqrans work, tile work, formal binding, Yazdi binding, exquisite plaster and
tile inscriptions can be seen in the mosque of Agha Bozor School. There is a pair of
exquisitely carved doors at the main entrance of the mosque, decorated with knots and studs.
The painter of the Agha Bozor collection was Mohammad Bagher Qomsari. The mosque's calligraphic inscriptions
were also written by prominent calligraphers of Kashan, including Muhammad Ibrahim
(grandfather of the Maarefi family), (grandfather of the literary family) and Tughri baslams by
Seyyed Sadiq Kashani.
The mosque of Madrasa Agha Bozor consists of two floors and has an octagonal sardar, jelou-khan
and kriyas. The ceiling of the entrance hall is covered with suspended gypsum moqrans and
decorative paintings, and the walls of its front are covered with Alvan clay tiles from the
inscription above the entrance hall to the floor of the platforms on the sides of the entrance.
