TEHRAN — Ayeneh-Kari, the art of mirror-work in Persian architecture, was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity on Thursday following a decision by the Intergovernmental Committee meeting in New Delhi.

According to the nomination file, Ayeneh-Kari involves decorating architectural surfaces such as ceilings, walls, domes, columns and panels with cut pieces of mirrors. Practitioners cut and shape mirrors into geometric or organic forms and glue them onto surfaces to create patterns that reflect light.

The craft combines several skills, including design, mirror cutting, plastering, painting and mosaic work. Communities regard mirrors and water as symbols of purity and illumination, and the practice is associated with ideas of light and enlightenment.

Transmission of the craft occurs informally through apprenticeships and workshops and formally through universities, non-governmental organizations and training institutes. In many families, the skill is taught across generations by elder relatives. According to the file, Ayeneh-Kari masters hold a respected position and the art is used in religious sites, royal palaces, private homes and modern spaces.

The practice of Ayeneh-Kari is passed down both informally through apprenticeships and workshops and formally through universities, non-governmental organizations and training institutes. In most cases, Ayeneh-Kari is a career transmitted across several generations, taught by grandfathers, fathers and uncles to descendants. Ayeneh-Kari masters occupy a highly respected social position, and the art is recognized simultaneously as a luxurious and spiritual expression, ornamenting all kinds of traditional and contemporary spaces, from holy shrines and religious sites to royal palaces and private residences. An inclusive art form, Ayeneh-Kari is practiced across various groups and continues to hold significance in both historical restoration and modern design.

According to historical sources, Venetian glassmakers in the 15th century pioneered the production of small mirrors by cutting open blown glass cylinders, which were then polished and silvered. By 1507, they perfected a method using an amalgam of tin and mercury to coat sheets of glass, a development that eventually enabled the production of plate glass in the late 17th century. During this period, Persian glassmaking had declined to the point where craftsmen often resmelted old glass, resulting in inferior material. The industry was later revitalized when Safavid monarch Shah Abbas I invited Venetian glassmakers to Iran, marking a significant turning point in Persian decorative arts.

Ayeneh-kari flourished during the Qajar period as a prominent form of architectural decoration. Imported European mirrors—typically rectangular and framed with elaborate glasswork—were used as luxurious focal points or as full mirrored revetments on building facades. These mirrors often adorned transitional spaces between exterior and interior areas, creating a striking interplay of light and reflection. An early and exemplary instance of Ayeneh-kari appears in the 17th-century Chehel Sotun Palace in Isfahan.

The Zand and Qajar periods saw the widespread adoption of mirror decoration across a range of architectural elements, including portals, overdoors, window frames, walls, ceilings, and columns. The technique was applied in pavilions, private residences, tea houses, royal buildings, shrines, and traditional Zurkhanehs (athletic houses). Multiple mirrors with etched and painted glass frames formed the traditional rectangular units used for facades, creating a harmonious integration of art and architecture.

In the Pahlavi period, Ayeneh-kari found renewed expression in modern interpretations of traditional Iranian architectural elements such as talars (porches or halls) and iwans (rectangular vaulted spaces open on one side). These structures incorporated mirrored glass to enhance visual impact, maintaining the legacy of Ayeneh-kari within contemporary architectural design.

The process of Ayeneh-kari is meticulous and labor-intensive. Artists begin by designing patterns inspired by geometric forms, floral motifs, and calligraphic scripts. Once the design is finalized, mirrors are cut into specific shapes and sizes, then carefully arranged and embedded into a layer of plaster. The precision required to position each fragment ensures the creation of a cohesive and shimmering mosaic of reflective glass.

Ayeneh-kari is more than a decorative technique; it embodies Iran’s cultural and historical heritage. Its reflective surfaces carry symbolic associations with divine light and spiritual illumination. The interplay of light and reflection can transform architectural spaces, imparting a sense of depth and tranquility. The technique has long been used to adorn mosques, palaces, and mausoleums, lending these structures an ethereal quality.

Despite the passage of time, Ayeneh-kari continues to inspire artists and architects. Contemporary interpretations appear in modern Iranian architecture and interior design, where craftsmen integrate mirrored glass into new forms and environments. Its enduring appeal lies in the ability to create beauty through light and reflection, reflecting the ingenuity and artistic skill of Iranian craftsmen.

AM