The history of Iranian tile at a glance

 

 History of tile (glazed brick), manufacture and decoration in Iran, goes back to the prehistoric period. It has an important position among the various decorative arts in Iranian architecture. Four main decorative features could be categorized here. They are stone carvings, brick work, stucco, and tile panels. The intricate method of manufacture, designs and type of materials used in these four methods have evolved as a result of natural factors, economical and political effects. 

 

Tiles were used to decorate monuments from early ages in Iran. Mosaic patterns were the first step in the evolution of tile decoration. Imaginative and creative artisans put together mosaic patterns using bits of colored stone and brick and created patterns of triangles, semi-circles and circles in harmony with the structures they were placed on. 

 

These patterns later evolved into design of natural subjects, such as plants, trees, animals and human beings. The earliest examples of mosaic patterns have come from the columns of the temple at Ubaid in Mesopotamia, and are attributed to the second half of the 2nd millennium BC. Here, colored pieces of stone have been juxtaposed with shell and ivory to create geometric patterns. It is these early mosaic patterns which are the roots of later tile art. The first glazed bricks, a further advancement in tile art, have also been discovered in such sites as the palaces of Ashur and Babylon in the same area. A most famous example of early tile art on wares is the mosaic rhyton discovered in the excavations at Marlik. This vessel has two shells. The outer shell is covered with colored pieces of stone. This object is known as "Thousand Flowers". 

 

One of the earliest examples of Iranian tile work on architecture, actually glazed pieces of unbaked brick, have been excavated at Susa and Chogha Zanbil, and are attributed to the end of the second millennium BC. 

 

In the Achaemenian period full use was made of glazed and decorated fired bricks in yellow, green and brown on the palaces of Susa and Persepolis. Fired and glazed bricks were an important advancement in tile technique. The "Eternal Soldiers" at Persepolis have long elegant gowns in glaze made of fired earth and plaster. 

 

Glaze was used on vessels and even coffins in the Parthian period, but little architectural evidence has been discovered to show that glazed bricks were used. Turquoise and light green glaze were the most popular colors. Fresco painting was more popular for the decoration of buildings. 

 

Excavations in Firouzabad and Bishapour (both in Fars Province) have yielded much evidence of tile art and mosaic manufacture for the Sassanid period. Here, tiles have glaze that is one centimeter thick, and mosaic patterns of flowers, plants, geometric designs birds and human beings. 

 

The art of tile working blossomed in the Islamic period of Iran. It became the most important decorative feature of religious buildings. 

 

Iranian tile makers were in great demand and worked in the far corners of the Islamic empire. 

 

Before tile work, as we know today, brick and stucco were most important in decoration of buildings up to 10-11th CE. Two mosques of Na'in and Neiriz have brick decoration in geometric patterns of the Buyid period. 

 

By 11-12th CE, brick decoration had spread from the east throughout Iran. The best examples of brick decoration of this period are the mausoleums of Pir Alamadar, 1026 CE, Chehel Dokhtaran, 466 CE, and the Tower of Mihmandost 1096 CE.  The next stage of development was the use of colored glaze on decorative brick; turquoise being the most popular color. Pieces of turquoise glazed bricks were used with decorative brick works on monuments from the Seljuk period onwards. 

 

So artisans were familiar with the technique of manufacture of glazed bricks by this time. Sometimes these turquoise glazed bricks were used to create Kufic inscription among the brick patterns or were scattered among the brick patterns. The earliest example unfired turquoise Kufic inscription, is a panel stored at Iran Bastan Museum (National Museum of Iran) ascribed to the end of the 10-11th CE. Other religious structures which have turquoise tile works are Seyed Mosque, Isfahan, 1122 CE, the red Dome of Maraqeh 1147 CE and the Jame Mosque of Gonabad 1212 CE. 

 

 Mongol invasion slowed and halted many artistic traditions and trends. Normal conditions only returned by the 13th century CE, when the Ilkhanid rulers accepted Islam; they also became interested in creating secular and non-secular monuments and buildings. By this time, decorative bricks and tiles were used not only on the exterior, but also inside the building to cover the walls and domes. 

 

The art of tile manufacture reached its highest point of perfection and beauty at the end of Ilkhanid period and the beginning of Timurid in the form of Moraq tiles (mosaic style). Tile panels created with this technique are very durable and could withstand the elements of time. Here, tiles in such colors as yellow, blue, brown, black, turquoise, green and white were cut and carved into small pieces according to a previously prepared pattern. These pieces were placed close together and liquid plaster was poured over to fill in all the opening and gaps. After the plaster dried and hardened, a large single piece tile panel had been created, which was then plastered onto the required wall of the building. Timurid monuments in Herat, Samarkend and Bokhara were covered by this decorative technique. Among the most famous monuments so decorated are Goharshad Mosque (1418 CE), Molana Mosque (1444 CE), Jame Mosque of Yazd (1456 CE), Jame Mosque of Varamin (1322 CE) and Madrassa of Khan in Shiraz (1615 CE)

 

From the beginning of Safavid period, another method of tile decoration was added to the repertoire of artisans. Economical and political reasons prompted the creation of this "Seven Colors" (Haft Rang) tile to decorate many religious and non-secular buildings, which were made in great numbers in this period. Reasons which caused the popularity of this technique were:

"Seven Colors" tiles were cheaper to produce.

Less time was needed for their manufacture. Artisans could extend their repertoire of motives and designs for decoration. Square tiles were placed together and necessary design was painted in glazed colors on them. Each tile was fired. Then all were placed again next to each other to create the main large pattern. Arabesque motives were extremely popular. This method of tile decoration was popular until the end of Qajar period (1783-1924), when the repertoire of colors extended to include yellow and bright orange. 

 

Another important type of tile decoration at this time was luster tile. It was in demand by the end of Seljuk period and reached to its highest point of perfection in Kharazmshah and Ilkhanid eras. 

 

The Qajar Dynasty was a time of renewal for Iranian ceramics: royal structures as well as private homes of the rich were abundantly decorated with ceramic tiles, which sometimes formed veritable mural paintings. These tiles were essentially produced in two centers, Teheran and Isfahan. New colors, including pink and mauve, extended the range of hues that had been in use up to that point. 

 

They are reminiscent of celebrated Iranian models from the past, including Safavid painting and themes drawn from the history of pre-Islamic Iran.

 

 It should be mentioned that the technique of tile and its secrets of trade were safely guarded and orally handed from father to son and master to student; thus rarely have designs, patterns and details of technique been documented and few complete treatises exist on the art of Iranian tile work in the past.

 

Evidence of brick work, stucco carving and tile panels from the last 14 centuries demonstrates the creative and imaginative nature of Persian artisans who placed their art in the service of religious architecture. This religious inspiration found its highest expression in ornate inscriptions, which decorated so many works during these centuries.
(Source: Iran Chamber Society)