TEHRAN – Maryam Jalali-Dehkordi, the deputy minister for handicrafts, has hailed the recent UNESCO listing for Ayeneh-Kari, the art of mirror-work in Persian architecture, saying the registration testifies grandeur of Iranian arts and architecture. 

She made the remarks at a recent ceremony organized to unveil its registration certificate, adding that the inscription highlights the role of new generations to preserve the skill in line with sustainable development and art-oriented economy. 

Ayeneh-Kari is far more than decoration. It may be even a humble manifestation of Persian art to convey aesthetics and culture of Iranians, the deputy minister said.  “Ayeneh-kari is more than a decorative technique. It embodies Iran’s cultural and historical heritage as an interplay of light and reflection.” 

Ayeneh-Kari was inscribed on UNESCO’s intangible heritage list in December 2025 following a decision by the Intergovernmental Committee meeting in New Delhi.

According to the nomination file, the craft involves decorating architectural surfaces such as ceilings, walls, domes and columns with small, cut pieces of mirror arranged in geometric or organic patterns to reflect light.

The practice combines skills including design, mirror cutting, plastering, painting and mosaic work, and is transmitted through family-based apprenticeships as well as universities, non-governmental organizations and training institutes.

UNESCO said the art is used in religious sites, royal palaces, private homes and contemporary spaces, and that master practitioners hold a respected social position within their communities.

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.

AM