tile

Qajar art, being in the process of transition from traditionalism to modernity, has characteristics in the field of content and material, which has made it attractive for studies. As one of the decorative arts of this period, the art of tiling is also of special importance. Golestan Palace is one of the oldest and most important royal buildings of the Qajar period, which has many tile decorations. The tiles of the eastern enclosure of the palace, like an illustrated notebook, have displayed the features and socio-political conditions of the Qajar era. Therefore, the study and investigation of these motifs sheds light on many issues related to the art of the Qajar period, and by knowing the characteristics of each, the existing research gap can be covered to some extent. In this regard, the aim of this research is to investigate and classify each of the motifs of the eastern enclosure of the palace and to analyze the meaning of each one in the form of a table. Based on this, the questions raised are as follows: 1. What are the visual elements and motifs used in the tile paintings? 2. What are the sources of inspiration and painting methods used by tile painters in the palace? The research method of the current research is qualitative and the method of collecting information is field (photographic) and library. The results of this research show that in the eastern area of the palace, the paintings are divided into eight general categories, birds, fruits, flowers, animals, women, narrative motifs, landscapes and buildings, each of which is influenced by photography techniques, coffee house paintings, stamps and postcards. They describe a story from the Qajar period. After categorizing the motifs, we found that the various and colorful tiles were painted with the principles of projection, and by observing the principle of perspective, shadow and light, they created great realism for the viewer.

The art of tiling in Iran during the Qajar period (especially from the Naser al-Din Shah onwards) was influenced by the archaic spirit of the court, its connection with the Western cultures and its artistic themes, the introduction of new media such as photography and printing, and finally the Persian Constitutional Movement. In some important cities of the country, such as Shiraz, tile paintings have gained such a status and prestige among the people that they have been referred to as the "folk movement of painting on tiles". The deep connection that was established between the tile-painters and the society during this period led to the creation of works that not only adorned the homes of ordinary people, but also were a mirror of their hidden and apparent tastes, beliefs and aspirations and a reflection of the thinking of the society of that time. The history of tile working in Shiraz during the Qajar era had various artists, among which "Mirza Abd al-Razzaq Kashipaz (1867-1937 or 38)" was one of the most prominent and was one of the few tile painters who have left a lasting and familial heritage. The aim of this study is to identify the circumstances, to classify the period of evolution of artistic life and finally to offer the typology of his works so that it can be a source for further comparative studies. Therefore, the key questions are 1- How many periods can Mirza Abd al-Razzaq's artistic life be divided into? And what were the factors affecting them? 2- Into what subjects and themes can the studied works be classified? And finally 3- What data can be historically deduced from other artistic figures of his time in these works? This research used historical method with the aim of achieving a monograph. In this regard, the necessary data have been collected in the field and with reference to published documents. Although a large number of tiles with the name of Mirza Abd al-Razzaq are expected to be available, many of these specimens are not available because they are either extinct or in private collections and private houses that could not be photographed. However, in this research, 10 works by Mirza Abd al-Razzaq are introduced, whose authenticities are not in doubt. What is known about Mirza Abd al-Razzaq's biography is the result of the first hand narrations by Rahim Gharbi (tile painter), Massoud and Ahmad Shishegar (tile painter) and Ismail Faghfouri (descendants of Mirza Abd al-Razzaq) in the writings of Hadi Seif (2013) and Atefeh Seyed Mousavi (2018).Mirzā Abd al-Razzaq was a "self-made" artist who, due to poverty, "had no master and instructor from the beginning" and "alone and helpless, learned the secret of the technique of tiling and tiling"; he was a "worthy, manager and resourceful" person. The findings of this research show that his artistic life can be divided into four periods: 1-Development (1877-1887), 2-Stabilization (1887-1892), 3-Pioneering (1892-1928), and 4-Lack of tile-projects (1928-1937). Most of his surviving works date from the third period, which spans more than three decades. In this research, works from 1897 to 1920 (from Mozaffar al-Din Shah to the Reza Shah Pahlavi’s period) were studied. The results of this study show that at least his works could be divided into five categories, including 1-tiles with flower and chicken designs, 2-tiles with epic themes, 3-tiles with religious themes, 4-tiles with icons and figures and 5-tiles with Vase and flowers. The tiles of Mirza Abd al-Razzaq also blended excellent examples of traditional themes of the Qajar era with the local taste of the people of Shiraz and created works that were mostly the decoration of houses and public places. For this reason, based on local taste, it has developed a tradition in Shiraz which, although similar in content to its contemporary counterparts, is unique in terms of aesthetics, composition, color and narrative style, which can be interpreted in the context of local culture and should be studied in the future. Sociologically, the study of the way in which titles are written on the tiles reveals interesting results that show to some extent how the social structure has shaped the relationship between the founder, the architect and the tile worker. In addition, a review of Mirza Abd al-Razzaq's works shows that there has been a kind of mutual cooperation between him and a number of prominent and well-known artists; "Ibrahim ibn Fereydoun" and "Abdul Ali Ashraf Al-Kottab Al-Yazdi" are two important examples. With the decrease in the use of tiles in the buildings in the Reza Shah Pahlavi’s era and the decline of the orders, it is important to consider the changes in his viewpoint. During this period, instead of "workshop", he used the word "industries" and words such as "repairs and restorations" and tended to restore the tiles of the city's landmarks; a trend that is later followed by his son (Karim).

Alki Caravanserai – Near Marand is considered one of the most important buildings on the way in north-west regen- Iran due to its special position in archaeological studies. It was located on the side of the ancient Silk Road and was built by the order of Khawja Rashid al-Din Fazl-Allah (Fazllullah) Hamadani. The ornaments used in the Entrance gate of this building are a combination of tiles and bricks, which have special and important place in the north of the country not only from the archeological point but also because of their position in the evolution process of making tile arrays. This shows the importance of recognition, conservation, and restoration of Alaki caravanserai. Due to the full destruction of this caravanserai building over time, some ornaments and part of the architectural plan of this caravanserai have been discovered during archaeological excavations. In Current research, the process of recognizing and classifying these ornaments has been done based on historical and decorations remain studies that lead to the protection, restoration, and revival of the caravanserai building regarding the health of the plan and the foundations of its structures. First, the separated and broken decorations were classified according to historical studies and their location was identified in the old pictures of the caravanserai. This matter was done in the feasibility of revitalizing entrance gate Then, according to the available images and parts, the geometric nodes related to the two types of designs are drawn, then according to the available parts, it is possible to check the geometric frame of a tile and brick combination frame as an example of the works of this renovation.

The mosque, as a religious building and place of worship, is one of the most important architectural works in Islam and has always been one of the highest examples of decoration in the history of Islamic art and architecture. In addition to beautifying the space, decorations have an effective role in improving the quality of the spiritual space of worship. In the Qajar period, due to the influence and prevalence of Western culture and thought, the nature of decorative forms has changed, separated from transcendent concepts and has found more tangible and objective meanings. Tiling and inscriptions have an effective role in the decoration of mosques of the Qajar period and the decorations of many mosques have been dedicated to this period, while in previous periods they have received less attention. The research method of the present article is descriptive-analytical. In the first step, through library studies and using written sources, theoretical foundations related to the decorations of mosques of the Qajar period have been collected, and in the next step, tile decorations and inscriptions in the mosques of Moshir-Ol Molk and Nasir-Ol Molk have been compared comparatively. The findings show that tiling and inscriptions play an essential role in Qajar period decorations. Among them, in the tiling of Moshir-Ol Molk Mosque, geometric patterns and in the tiling of Nasir-Ol Molk Mosque, architectural motifs of landscapes prevail over other motifs, but in terms of inscriptions, in both mosques, similar Qur'anic inscriptions with The third line is used.

In the past, the art of designing and painting tiles was passed from master to apprentice, and each time the creativity of different artists gave a different effect to these works. Therefore, the methods of drawing these motifs have never been written down. As we know, most of the motifs used in the decoration of historical tiles have a geometric origin, and their analysis or drawing requires knowledge of projection. Therefore, in this note, an attempt has been made to propose the hypothesis of the matching of symmetrical elements in the patterns of historical tiles with the symmetrical elements of material crystals, while examining the geometric structure of different motifs, rules based on symmetry data are presented for drawing these motifs. It is believed that with the help of this method, the rearrangement of traditional motifs in the tile production industry, as well as their recovery for the restoration of damaged parts using formula writing and marking, will become easier.

The protection of historical monuments has two aspects: one that considers the material features, and the other that considers its spiritual, artistic, historical, and aesthetic values. Therefore, the introduction, documentation and recording various historical works, as a part of the conservation and restoration process, not only promote the understanding and recognition of the values of art and culture, but also aid in their protection and revive. This research aims to address this protective need by introducing the collection of tiles of from the UNESCO World Heritage site of Takht-e Soleiman, as one of the valuable collections of Iranian art, known for its antiquity and diversity. To achieve this goal, a descriptive and analytical method was employed along with the examination and collection of field documentation and library studies. As a result of this study, over 5400 tiles were identified, including all kinds of exquisite luster tiles in diverse shapes and patterns, azure, turquoise, gilded tiles with embossed patterns, geometric tiles, samples of monochromatic tiles, and some brick tiles.

There have remained a few chimneys from Qajar period dispersed inside Iran and abroad. It seems that they have been produced in two or three tile production workshops in Tehran or Isfahan. Therefore, the main question of the present research is that what are the most important technical and artistic features of chimneys that have been made by Master Ali-Mohammad Isfahani? Furthermore, has the chimney in the Moghadam Museum been made by the same tilemaker? The chief goal of this research is to identify and introduce those chimneys produced by Ali-Mohammad Isfahani. Ali-Mohammad is a renowned and prolific tile maker in this period who wrote a treatise by order of the Major Robert Murdoch Smith on tile making and ceramics. His works are now preserved in many museums, including the V & A, as well as in impressive buildings inside and outside Iran. He immigrated to Tehran from Isfahan in 1301 AH/1883-84 AD at the recommendation of Smith, the then head of Telegraph Department, setting up a workshop near the Shah Abdol-Azim Gate, in the south of Tehran. We have little evidence from his life and artistic activity at Isfahan. No signed tile by him has been observed at Isfahan. Murdoch Smith visited him twice while travelling to that city. In his second travel, he was astonished by this young artist’s works and admired him. That event was a new page in the professional life of Ali-Mohammad, because Smith and other Europeans such as Monsieur Lemaire, the musician who taught at Dar-ol-Fanoun (the Qajar Poly technique School), brought about the development and establishment of his career at Tehran. Consequently, his works and his workshop became so famous in a short time that other great masters, e.g. Master Mostafa, visited there frequently. The signed works by Ali-Mohammad are not few. Such a level of production indicates that his workshop has been the most important place in making painted tiles, tiled panels, ceramics and glazed. This article studies, four tiled chimneys by Master Ali-Mohammad by gathering data from textual sources, internet, as well as field research. It should be be pointed out here that the technical aspects of such chimneys, their constructions and heating systems have not been taken into consideration as a result of considering aesthetics and art matters. Now two of chimneys are in Olana State Historic Site, New York; one is preserved in the V & A Museum (only its border is on display without any other tiles). The fourth ceramic chimney, preserved at the Moghadam Museum, is attributed to Ali-Mohammad and bears no sign. The findings of this research prove that this piece has been made by Ali-Mohammad. Regarding this master’s professional background as a mason, ceramic chimneys should be considered one of his own innovations. Other artisans must have followed this trend making such tiled chimneys in this artist’s workshop, since there was mass production of molded tiles for dados in that place. All other chimneys of this type have been flanked by such tiles on either side.

The “Rustam and Div-e Sepid (White Demon)” tilework painting on the Karim Khan citadel (Arg) is one of the Qajarian’s interventions into this Zandian’s building. In addition to its artistic features, this work has a special social and governmental significance. However, it has received less attention from researchers. A new interpretation of it could provide a deeper understanding of the developments of the Zandian’s complex at Qajar era. The research is based on the hypotheses that this tilework in spite of its artistic role -in keeping with the Iranian tradition of illustrating the struggle of Rustam and Div-e Sepid in the art- also has non-artistic (political and governmental) functions.

The aim of the research is to recognize the content and conceptual aspects of this neglected tilework in its historical and social context and to identify its political and governmental functions in the Karim Khan citadel (Arg).

This study attempts to obtain a new understanding of the aforementioned tilework by “describing”, “analyzing” and “interpreting” the existing documents using the three stages of the iconography method of Erwin Panofsky in history of art studies. Primary data included archived images of the tilework and historical documents.

The findings show that: A) The primary or natural subject of this tilework was similar to other examples, however, the scene’s components such as “animals” and “elements of Western architecture” on the margins are different from previous samples; B) The secondary or conventional subject of this tilework illustrates Rustam’s struggle with Div-e Sepid (the thirteenth scene of the story narration) in the last stage of the Shahnameh Seven Adventures story called Haft Khan, which also undergoes some changes over time; C) The intrinsic meaning of this tilework with respect to the three subjects named “Artistic Backgrounds”, “Shiraz Government and Administrative Conditions” and “Symbolic Social and Political Implications” indicates that the use of these figures at the Karim Khan Citadel portal-at two levels of “Populace” and “Elite”- can serve as a visual medium for the transfer of the glory and political power of Fars governor Hussein-Ali Mirza Framanfarma as well as a symbol of his centrality, individuality, and independence against central government in Tehran. This artwork is to be interpreted as a part of other similar actions by the governor to announce the succession after Fath-Ali Shah Qajar.

The Qajar period is one of the important political, social and cultural sections. Henry is Iran. The explicit effects of Western culture in this period are inevitable. The Kakis continued to be the most significant architectural remnants of the Qajar period. In this regard, people like Fath Ali Shah and Nasser-al-Din Shah undertook repairs and build new palaces. Considering the importance of the crown in Iran and the fact that heaven is a symbol of the heavenly testimony, the crown decoration has been taken into consideration. The crochet has been decorated with the crown section and the hat of the Qajar kings; an adornment on the front of the hat Or the crown of kings was embedded. The main objective of this research is to find the relationship between the designs of the Qajar kings (Fath Ali Shah and Nasser-al-Din Shah) and the designs used in the tiles of the Golestan Palace. The present research seeks to answer the question of the relationship between the motifs used in the Qajar kings' jigsaw and the tile designs in the Golestan Palace. In this regard, by comparative study, using a descriptive-analytic research method, the relationship between the decorations of jute and tile works of Golestan Palace is investigated. In reviewing the images of the jute and comparing it with the tile of Golestan Palace, it is concluded to the author that the designs used in the jute are not related to tile designs in this period. In fact, these beautifully decorated motifs featured such as: the use of plant-animal designs and ... the appearance of these motifs is seen both in tiles and in fur coats. In this regard, the manifestation of the geometric designs in the first rank and the plant designs (Khatay) in the second rank and animal designs in the third order is important.

Tiles from Islamic times and their unique decorations are one of the main manifestations of deep spiritual concepts and cultural events, which are changed to one of the treasures of the Islamic art. These decorations have several abilities in the field of design and visual communication and are important in the contemporary applied arts. The documentation of the present research is the Islamic architectural works, especially tiles of Nasir al-Molk mosque of Shiraz. Studying and investigating the tile decorations of this mosque can help to recognize the cultural identity of it. This paper attempts to answer the question by analyzing and describing the collected data in a field and library about decorating arrays of this building. This reflects how the tile designs of this historical building can be used in textile design and interior home decoration. In this way, first we take pictures from the motifes of the tiles so they are evaluated and analyzed. In the next step, existent capabilities of these motifs be investigated for textile design. Finally, the suffiecent motifs are selected and changed and textile design for interior home decoration is performed. The findings of the research show that however most of the motifs used in Nasir al-Molk mosque of Shiraz is affected by west decorative arts and are naturally and non-abstract, but the principles of aesthetics and the specific features of the Iranian tradition have been deliberately and timidly taken into consideration by the designers of the time. So these designs have sufficient applied and visual capabilities to use applied arts, especiaaly textile design, in accordance with Iranian identity and the standards of the modern society.

The companion of different materials in architectural decorations of Iran, during the Islamic era, in many cases has opened up new art styles and techniques and changed the aesthetic look of the cultures that carry this phenomenon. The accompaniment of brick, plaster and glaze decorations is one of the fascinating changes in the history of art of Iranian architectural decorations that its history of invention has remained somewhat obscure. Meanwhile, the initial idea of using tiles in the decorations of Iranian architecture in the Islamic era remains largely unknown. Tile is a type of architectural decoration that may be originated from ancient Iran, and therefore, little information is available about the manufacturing and execution techniques and specimens of tile works from the early centuries of the Islamic era. This aim of this work was to distinguish between the tile and the glazed-brick. From the view-point of the researcher, when the thickness of the glazed-ceramic exceeds from its width, the work becomes glazed-brick, while the width of the glazed-ceramic become greater than its thickness, it will be a tile. The main purpose of this research was to obtain the information on the oldest tiles of the Islamic period in Iran, which could be found as the glazed-ceramic in the architectural design Khajeh Atabak in Kerman. In order to achieve the aims of this research, the study of written sources and the field studies were carried out simultaneously, to characterize the tile works in Iranian architectural decorations, especially at the tomb of Khajeh Atabak in Kerman. On the basis of the results obtained, it could be said that unfortunately from the Islamic period in Iran till the 11th century AD., no dated tiles have been left. Many of the tiles with no written date on them have been dated by researchers regardless the manufacturing technology, and only based on the tiles appearance and archaeological characteristics.  These dating studies have not been performed based on the laboratory studies and they were actually done with speculation, so are not scientifically acceptable. For example, for decades it was thought that the oldest tiles in Iranian architecture belong to the Qazvin Jame-Mosque, while as a result of field studies realized in this research, it was found that there is no antique tile in this monument, where the color of the painting was mistakenly recognized as tile. Donald Wilber reported this error for the first time, and over the several decades, all the researchers repeated the same error without careful scrutiny. Anyway, the tile samples of five monuments with a collection of tiles or with one single tile were identified as the oldest tiles of the Islamic period in Iran. One of the main results of this research is to identify the use of fractured pieces of glazed pottery in architectural decorations, where some researchers have identified these works as the tiles. In these cases, both sides of the pieces of potteries have glaze and the body is very thin and delicate along with the arches and curves. Moreover, in some cases the edges of the pottery container can also be seen. Achieving this result reinforces this hypothesis that using the broken pottery container may have formed the first idea for tiles construction.

The design of abstract vases with Khatai flowers (One of the major schemes and contractual Decorative Arts of Iran that is used gilding carpet and tile, and it is the horn chart layout, tree or shrub with flowers and leaves and buds), in Safavid period, and realistic vase with Qajar’s fresh flowers, are among the designs which widely used in tiling in these two periods.An abstract vase design, and eleven realistic vases with fresh flowers, in the tiling of historical bathrooms have been remained. What are the flower motifs in the tiling of Iranian bathrooms? What is the position of vase designs of the Princesses bathrooms in the turning of abstract vase motifs in the Safavid era? This article aims to introduce and study designs of vase in the tiling of bathrooms, especially the existing vase design in Princesses bathrooms. According to studies, vase design of Princesses bathrooms, has a structure similar to that of the mid-Safavid period and probably, is the oldest remaining example of the application of abstract vases In the Iranian tiling of bathroom. The realistic drawing of the body of the vases, low-twist stems and importance of flowers, design of vase, and emphasis on the central branch, are from the features of this sample. It is also appear that vase design in different cities, has its own unique features, such as the difference in the form of vases, framing the tile and a way of drawing the flowers. Over time, the motifs have become more crowded and busier. Flower Vases related to Qajar era in the bathroom, in cases such as form of body, how to paint, framing style of the tile painting, floral differences in terms of type, size and color scheme and the application of European Art makes the possibility of a certain local style to design and draw the vases motifs in the bathroom. This article is done with the descriptive and analytical approach and field and library style.

The Qajar era is one of the glorious periods of Iranian architecture, in which the doors are one of the topics used mainly for the decoration of the building. The interior facade1 is one of the architectural elements that can express the constructive beliefs of the building. The Qajar era is a period of innovation and new developments in Iranian art and architecture. Among these developments, there is an increasing relationship with the West, followed by direct effects on art and architecture, in particular, the decoration of buildings. Considering the combination of Iranian and European culture, the developments that were made during that period were used as symbolic motifs for the decoration of the buildings of Shiraz. In the meantime, the tile designs used in the Qajar period have themes that are rich in visual values and have been prevalent in functional terms. The hypothesis of this research is to study the designs of the Qajar-period houses in Shiraz and their symbolic aspects. The content of the present research is qualitative and based on the historical-analytical methodology and the method of data collection is library studies. The purpose of this research is to study the tiling of Qajar-era prominent buildings in Shiraz and their features and characteristics. This study and analysis is based on historical approach. The main question of this research is an analytical study of the features of motifs and analysis of facade of the Shiraz houses. The results of the research show that these motifs follow the visual systems in the form and depending on the subject and position of the design, they are used to decorate the walls of the buildings and have played a different role in composition, arrangement and theme. Thematic analysis of these tiles shows that the tile designs of the faces have a symbolic aspect which has been dealt with in a thematic section. The motifs used in selected chambers include themes of historical, mythical, political, and religious monuments, in which arrays such as the snake, the lion and the sun, the winged angel, and so on are depicted. And finally, a beautiful collection of paintings, in form of seven-colored tile, decorates the crescent shapes in facades of these buildings. In fact, the tile art of the Qajar period has generally been the continuation of the same style and method of Safavid period, but craftsmanship of the artists of this period led to the overall evolution of the type of design in all different aspects of architectural works. Particularly for the "exterior and interior" parts of homes, and in general, a lot of new and abundant tile art has been made. Tiling is one of the artifacts used in various historical periods, with bricks, plastering and painting for interior decoration. In fact, this art was used in every era to express and display the common beliefs and customs of that era. The interior is one of the most important parts of every building, and tile works can, in addition to functional and decorative functions, also inspire cultural, social and political messages. Since distant past, at least in Iran, the interior is considered as a place to express the beliefs and beliefs of the owner and owner of the building. The tiling discourse can be a discourse consisting of a series of rules and words. In this text, the words are considered the same as colors, shapes, characters, and their states, and how they combine the rules of constructive discourse for the audience. Due to the close proximity to the Qajar period and the existence of the monuments constructed at this time in our place, as well as the adherence to the traditions during the Qajar period (including the facade tradition), in this research, six of the Qajar period buildings in Shiraz are selected as case study and are investigated in terms of the message that they are conveying. The significance of the Qajar period can be attributed to the beginning of the confrontation between tradition and modernity in Iran. In fact, the remnants of the Qajar period indicate that the decoration of the entrances of buildings during the Qajar period is important, and the combination of traditional culture and the richness of the arrays has been to decorate the entrances of the buildings during this period. The research shows how much of the tile painting has been used. To this end, the theme or the narrative of each part has been read at the edges of the selected buildings, and then a cursory look has been bestowed upon the composition and order of the layout, following which the common fundamental elements in the images of the six buildings are examined. The purpose of this research is to study the tiling of Shiraz's main buildings during the Qajar period, and to analyze the characteristics of the designs used on the walls.

The Golestan Palace complex, residence of Qajar dynasty monarchs, is considered one of the most beautiful and oldest buildings of Iran. This palace consists of a variety of buildings placed beside each other at a large area. The ancient area of Golestan Palace is covered by a lot of tile works decorations. These tiles are a visual set of diverse motifs of national and historical concepts; all portraying and illustrating social and political characteristics and circumstances of Qajar era. The authors of present papar made attempts to investigate the feature of tiles motifs in ancient area of Golestan Palace. What has been studied in present research is the presence of human motif as one of the main Qajar motifs in this building. Accordingly, the following research questions were addressed: Which motifs have been used in the tile works of the ancient area of Golestan Palace? How have been the human motifs depicted in Golestan Palace area? The required data were collected by means of documentary (library) and field surveying approaches and a historical - analytical method was used. The results indicate that human motifs of men and women are amongst the significant motifs which have been depicted in different realistic and abstract formats. Motifs of men are more regular than woman’s, and the wester methods had a great effect on depicting human motifs depicting and characters’ clothing. Aside from westernization, motifs have kept Iranian intellectual originality in thematic format. Therefore, we can see a linkage between Iranian and European art in human motifs of Golestan Palace area.

Architecture is a cultural objectified mass, which is belong to that culture or affect it. If Iranian architecture in Islamic era be studied, it can be revealed the fact that architecture is influenced by ideas and thought of this Islamic era. The purpose of this research is the readout of mystical ideas effects on symbolic visibility of color (blue) by using building blocks (tiles) in Iranian architecture of Islamic era. Mystic contemplation based on revelation was started by Imam Mohammad Ghazali and accompanied by philosophy of illumination Sheikh, Suhrewardi, which the degrees of knowledge and awareness were correspond to the degrees of light and advent, and lustered by the growth of mystical thought of light and color. So that, color in mystical ideas of Najmuddin Kubra and Sheikh Ala Simnani gets its concretion and intension mostly from light of lights and every color is an intrinsic representative (allegory) of one meaning. Thus in universe the colors and lights is compatible with lights in mystics journey and the mystic of beauty way (God) can observe the manifestation of this way as the guide in his/her inside in a form of light determinations (colors). So light has different levels and there is a connection between the universe of meaning and lights and the mystic achieves the higher levels as much as passing the steps. So that in mystical insights and among all of the colors the allegorical role of color blue is covering. In order to begin the journey, this color (blue) is suitable for those who are in the first steps of mystical life.
In Islam, art has the inherent connection with Islamic mystic and it has been inspiring for artists and architecture aspects. The historical background of the connection between mystic and architecture shows that the formation of Fetyan and Fotowwat associations had the important role in transferring Shiite mystical ideas and thoughts to business owners like architecture, so this allegorical mystical vision was applied to show that shrines can be enumerated as the place of establishment of the best proportion between architecture and beliefs, especially in mosques architecture (central) which is the apex of manifestation of architects› symbolic art. However by considering the tile of this article it can be imagined that the monastery which is the place of Sufis and Dervishes, is the appropriate litter for the subject of research, but the studies show that we do not know whether monasteries has the same concept during the Iran›s Islamic era or they had been changed. Also we do not know the concept of monasteries or how one place had been named as a monastery. So monastery cannot be a suitable sample for hypothesis test. The symbolic usage of blue titles in Kharazmshahian era on mosques› porches was provided by developing light-based mystical thoughts in sixth century and decline of rational thoughts and the degree of attention and sensitivity of architecture companions to the concept of Fotowwat and its association with mystical ideas, because these blue porches were the first thing to draw the audience›s attention. After that due to the evolution of Islamic mystic›s noetic aspect in Timurid period and Shiite tendency among mystics, the employment of blue tiles in domes was increased too. Safavid era was the boom of legal, illumination and Shiite ideas and followed by, the Isfahan school established the symbolic buildings so that the mystical language, which is a kind of symbolic and allegorical language, has been manifested in a best way in Safavid era that is the peak of Shiite and mystical thoughts. Correspondence between states (initial) of mystical homes by using color allegory (blue) in Iranian mosques architecture is one of the effects of mystical beliefs which has caused the sequence in meaning and appearance between mystical thoughts and blue tiles employment in mosques architecture, so that using blue tiles (either cobalt or turquoise) from the beginning of using to full-color domination in Safavid mosques (Imam mosque). In this research, data and information collection is done through documentary and library studies, and then data is analyzed by using descriptive and analytical method in historical context and is proved by applying determinant evidence

One of the most important specifications of Islamic art is the technical and visual similarities between the pottery of different parts of Islamic world especially pottery of Seljuk kind. This matter has been observed mostly in Iran, Syria, and Turkey geographical area. One of the cases that have been considered in Islamic art studies is the determining of sources of these similarities. The persent investigation, regarding to this matter and by purpose of analysis about the directions of transferring tradition in pottery at 6th and 7th century Hegira is going to evaluate the sources of designs on tiles of Kubad Abad Palace in Turkey as one of the examples of their similarities. This essay by using of library referenced and also descriptive-analysis method for data gathering, seeking to find an answer for this question that: If Iranian art has effected on Anatolia and Seljuks of Rum. If the answer is yes, what was the reason of these impacts and how did it take place? Research finding show that, Iran is the origin of the most of impacts and influences on designs of tiles at Kubad Abad Palace. Also, Egypt has dedicated a small share for itself. Some parts of these impacts have been imported indirectly by intermediating of Syria and some parts directly by commerce, immigration and wars into Anatolia. Of course, the domain of these similarities is beyond the pottery, and it has impressed the other artistic works. Also, architecture, literature and governorship method have been influenced by it, accordingly, we could deduce that Iran beyond the artistic impacts, is a wide sources of cultural, political and economical similarities in Anatolia at Seljuks of Rum period.

Many ancient Iranian stories are artistically emblazoned by poets as well as painters and artists. The story of Bahram Gur’s hunting trip with his slave girl- Kanizak- is among a number of anecdotes about the life of the Sassanid king that has been told differently by various sources. Comparisons of the details have taken distinct art forms and descriptions. With poets like Ferdowsi and Nezami, who have chronicled the diversities and common grounds of this subject; we are able to appreciate the effect and the possible influence of their poems on the art forms. In this research, which was based on descriptive and comlerative methods, after further review of Ferdowsi and Nezami’s expressions of the story of Bahram and Azadeh, the related images have been categorized in two parts: the pre-Islamic artifacts/relics and the Islamic period. Images depicted in ceramic, metal, and tile works were separately evaluated and noted to correspond with the lyrical works.It is also shown that this anecdote has been famous during a long period in a vast area. The resemblance between details in Ferdowsi’s descriptions and pre-Islamic images suggests the likelihood of error in dating those artworks or the probability that Ferdosi had access to images as the resource. About the Islamic period it is shown that Ferdosi’s narration of this story has been more famous than other narrations including Nizami’s.

In the late Qajar era, Iranian architectures have been synchronized with religion. Tiling is widely used to beautify the surface of Iranian-Islamic monuments. Innovation in construction methods and content is one of the tiling features in this period. One of the most prominent presences of tile in decoration of religious buildings of Qajar era is related to Mo’aven-ol-Molk Tekyeh in Kermanshah. This building is a pictorial collection of national, religious and historical varied designs and themes which are on the tile pieces. Tiles of this building reflect the culture, traditions, identity and religious beliefs of Iranian people as a visual media. The presence of religious designs as the main theme engraved on the tiles is investigated in this article. The questions of article are as following: 1- How is the visual feature of religious designs on the tiles of Mo’avenol-Molk Tekyeh? 2- What is the content of religious designs on the tiles of Mo’aven-ol-Molk Tekyeh? This is an analytical research. Data collection is done through documentary method. The results show that the religious images are the most popular images in the tiling of Mo’avenol- Molk Tekyeh. These motifs are depicted in various forms such as human, animal, plant, geometry, architecture and other visual elements. They have been mostly displayed on the tiled pictures with Ashura themes. All these designs denote the features of arts in Qajar era. In addition to artistic values, they introduce the cultural and religious features as well as the identity of the people of this land.

In this article Takht-e-Soleyman’s Tiles are introduced and studied. In the tiling decoration of Abaqa-khan’s palace, Mongolic have profited the best technology of their period. Takht-e-Soleyman’s tiles are in various types as luster ware, gilded tiles, azure tiles, cyan tiles, geometric tiles and monochrome tiles that the luster ware and gilded tiles are the most precious of them. Most of these tiles have Persian and Arabic inscriptions and poems that generally poems are Farsi and traditions are Arabic. Takht-e-Soleyman’s tiles still have not been scientific category and technical study, and even they have not comprehensive introduced yet. This study has started on target to know glazes compound, body of the tiles structure and technology of these monuments. For this intention, some samples were tested and analyzed. Tests were chosen in the way to reach useful information of tiles and totally get a compilation of technical identification of the site’s variety of tiles. In pathology discourse proceeded to different damages that threaten tiles, and has considered damages that appeared on Takht-e-Soleyman’s tiles.