Persian Tiles; Extraordinary Decorative Tile Mosaics

The creation of Persian tiles began about 1200 A.D. and Persian tiles decorating reached it’s zenith in the 18th and 19th centuries. On any tour for first time visitors, there are the “musts,” of course: the ancient ruins at Persepolis, the gardens in Shiraz, the palaces and mosques in Isfahan, the Crown Jewels in Tehran. But in just about every setting, artistry hides in plain sight: in carpets, calligraphy, pottery, miniatures, and the favorite one: Iranian tiles, which are dizzyingly, deliriously magical.

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Simply put, Iran has the most beautiful tile work in the world. Over the centuries, glazed bricks and tiles have been used to decorate palaces, mosques, monuments, mausoleums, official buildings, schools, and shops.

The impact of Persian tiles occupies a prominent place in the history of Islamic art. Recognized for having one of the richest and varied art legacies, Persia (now Iran) used this form of art to decorate palaces, public buildings, monuments, mausoleums, and religious buildings, such as mosques and theological schools.

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The importance of tile-work in Persian architecture arises from two important factors; first the need to weatherproof the simple clay bricks used in construction, and secondly the need to ornament the buildings. Tiles were used to decorate monuments from early ages in Iran. Everywhere you go in Iran you will see glistening, multi-colored tiles, coating the walls, domes and minarets of mosques, and decorating the edges of every kind of building from schools to government offices. The tiled domes of Iranian mosques, reminiscent of Faberge eggs in the vividness of their coloring, are likely to remain one of your abiding memories of Iran.

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The earliest evidence of glazed brick is the discovery of glazed bricks in the Elamite Temple at Choqa Zanbil, dated to the 13th century BC. Glazed and colored bricks were used to make low reliefs in Ancient Mesopotamia, most famously the Ishtar Gate of Babylon (ca. 575 BC), now partly reconstructed in Berlin, with sections elsewhere. Mesopotamian craftsmen were imported for the palaces of the Persian Empire such as Persepolis.

The Achaemenid Empire decorated buildings with glazed brick tiles, including Darius the Great’s palace at Susa, and buildings at Persepolis.

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The succeeding Sassanid Empire used tiles patterned with geometric designs, flowers, plants, birds and human beings, glazed up to a centimeter thick. Early Islamic mosaics in Iran consist mainly of geometric decorations in mosques and mausoleums, made of glazed brick. Typical turquoise tiling becomes popular in 10th-11th century and is used mostly for Kufic inscriptions on mosque walls. Seyyed Mosque in Isfahan (AD 1122), Dome of Maraqeh (AD 1147) and the Jame Mosque of Gonabad (1212 AD) are among the finest examples. The dome of Jame’ Atiq Mosque of Qazvin is also dated to this period.

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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”. This art has been improved in the Achaemenid, Parthian and Sassanid periods.

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During the Safavid period, mosaic ornaments were often replaced by a haft rang (seven colors) technique. Pictures were painted on plain rectangle tiles, glazed and fired afterwards. Besides economic reasons, the seven colors method gave more freedom to artists and was less time-consuming. It was popular until the Qajar period, when the palette of colors was extended by yellow and orange. The seven colors of Haft Rang tiles were usually black, white, ultramarine, turquoise, red, yellow and fawn.

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The Persianate tradition continued and spread to much of the Islamic world. Palaces, public buildings, mosques and tomb mausoleums were heavily decorated with large brightly colored patterns, typically with floral motifs, and friezes of astonishing complexity, including floral motifs and calligraphy as well as geometric patterns.

The golden age of Persian tilework began during the reign the Timurid Empire. In the mora technique, single-color tiles were cut into small geometric pieces and assembled by pouring liquid plaster between them. After hardening, these panels were assembled on the walls of buildings. But the mosaic was not limited to flat areas. Tiles were used to cover both the interior and exterior surfaces of domes. Prominent Timurid examples of this technique include the Jame Mosque of Yazd (AD 1324-1365), Goharshad Mosque (AD 1418), the Madrassa of Khan in Shiraz (AD 1615), and the Molana Mosque (AD 1444)

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Other important tile techniques of this time include girih tiles, with their characteristic white girih, or straps.

Mihrabs, being the focal points of mosques, were usually the places where most sophisticated Persian tiles was placed. The 14th-century mihrab at Madrasa Imami in Isfahan is an outstanding example of aesthetic union between the Islamic calligrapher’s art and abstract ornament. The pointed arch, framing the mihrab’s niche, bears an inscription in Kufic script used in 9th-century Qur’an.

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One of the best known architectural masterpieces of Iran is the Shah Mosque in Isfahan, from the 17th century. Its dome is a prime example of tile mosaic and its winter praying hall houses one of the finest ensembles of cuerda seca tiles in the world. A wide variety of tiles had to be manufactured in order to cover complex forms of the hall with consistent mosaic patterns. The result was a technological triumph as well as a dazzling display of abstract ornament.

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Ghalamzani; The Persian Art of Engraving on Metal

Silver is a precious metal discovered in about 600 BC. Apart from the historical precedence of Ghalamzani, most people do not know enough about this beautiful artistic endeavor. Ancient art in Persia has been a massive influence on the arts and culture of the region and it was during the Achaemenid Dynasty era that the first upsurge of Persian art occurred. Despite a lull in its popularity during the Parthian Era (c.250 BC), The Sassanaid Period saw an outstanding period of Persian Art.

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Engraving Art

The splendid art of engraving is the creation of designs by carving chisels on various kinds of metals. It seems that the history of engraving has not been too far from the time when man discovered and used the metals. The ancient samples kept in “Iran-Bastan” and other museums in the world register the engraving art as 3000 years old.

Engraving (Ghalamzani) is the art of carving superb designs on various metals such as copper, brass, silver and gold. Isfahan is the main center for engraving. These artists crafted a range of gold and silver dishes stunningly decorated with animals and scenes of hunting. Sasanian luxury art were produced from precious and semi-precious stones, silks and glass vessels. In Iran and Mesopotamia finely, crafted silver vessels were produced in large amounts. These were renowned Sasanian silverware.

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Engraving Procedure and Methods

The silver would be hammered into shape and the decorative designs would be produced by using varying techniques. The artist has to use chisel and hammer to carve out every detail and make various scenes of people dancing and playing musical instruments. Due to the trading that took place via sea and land routes connections were made and production of these silver vessels took place in and became established in Central Asia.

The artistic movement of the engraver’s hand and the harmonized blows of the hammer and engraving tool will be finally led to creating a unique job. However, the decorations and embellishments are going to be performed on material which has already been shaped with hammer and anvil by another skillful artist. Metalworking masters are those who work with different sorts of metal sheets shaping them in to beautiful dishes, vases, boxes, samovars, and etc. and preparing them to be engraved. Nowadays, due to the hard job and old getting of the masters, the preparation of the metal dishes is sometimes getting performed by machinery.

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After completion of the drawing of pattern by the artist, the back side of the work is covered by a layer of tar, baked with some other materials, then the main lines of design are traced by carving chisels and henceforth it takes time, even months, for the artist to give life to the whole design which once was just an imagination to him.

The intricate process of creating each and every piece requires extensive skill, talent, and patience extended by the artists. Numerous tools and materials, such as chisels, hand-made instruments, hammers, etc. are utilized by the artisans to emboss and engrave the most detailed and complex of designs on the various types of metals. Different scenes from nature, animal and human shapes, flower and plant patterns, hunting grounds, etc., are some of the many aesthetic images hand-portrayed and carved on many kinds of Ghalam Zani pieces. Application of heat, Waxes, dyes, sanding and polishing materials are some of the other processes used in creating these masterpieces. The enchanting Ghalam Zani handicrafts are made in the shape of decorative trays, plates, vases, pitchers, etc.

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Many silver pieces were also decorated with the scenes of the ancient Persian state religion, Zoroastrianism. Many of these scenes detailed the Seasons, which appeared on many pouring vessels suggesting that they had a link to ceremonial meanings within the Zoroastrianism religion. In Iran and Mesopotamia finely, crafted silver vessels were produced in large amounts. These were renowned Sasanian silverware.

Ghalamzani is a combination of art, technique and industry. Today, even people who did not know much about silverworks until recently are buying silver objects to decorate their homes.

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Resuming this art is due to the diligent attempts of the Late Ostad Mohammad Oraizi and the Late Ostad Mohammad Taghi Zufan during the past eighty years, which has been led to creating tens of outstanding and distinguished metal engravings on the one hand and training the new generation on the other. Fortunately, the youth are taking more interest in this old art. Today, many youngsters work with old masters of Ghalamzani to learn the secrets of this craft.

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Persian Khatam; An Ancient Persian Technique of Inlaying

Inlaid work

Persian Khatam is one of the Persian arts of marquetry wherein the surface of wooden or metallic articles is decorated with pieces of wood, bone and metal cut in a variety of shapes and designs. Materials used in this craft can be gold, silver, brass, aluminum and twisted wire. Various types of inlaid articles and their quality are known by the size and geometrical designs. Smaller pieces result in a higher value of the artwork.

This craft consists in the production of incrustation patterns (generally star-shaped), with thin sticks of wood (ebony, teak, ziziphus, orange, rose), brass (for golden parts), camel bones (white parts). Ivory, gold or silver can also be used for collection objects. These sticks are assembled in triangular beams, assembled and glued in a strict order to create a geometrical motif such as a six-branch star included in a hexagon.

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History of Persian Khatam

There is no evidence to determine the exact date of Khatam-Kari. The oldest available samples of Persian Khatam art belong to Safavid period. Inlaid articles in the Safavid era took on a special significance, as artists used this art on doors, windows, mirror frames, Qur’an boxes, pen and penholders, lanterns and tombs.

Usage Things

The ornamentation of the doors of holy places predominantly consists of inlaid motifs. These specimens can be observed in the cities of Mashhad, Qom, Shiraz and Rey. The famous case placed in Imam Ali’s shrine is one of the masterpieces of Khatam art done by Shiraz masters and has been left from Safavid age. Another example of Persian Khatam is some parts of the Monabat Case of Sheikh Safi al-Din’s Shrine in Ardebil. In the Safavid era, the art of marquetry flourished in the southern cities of Iran, especially in Isfahan, Shiraz and Kerman.

Persian Khatam, which is one of the definitive masterpieces of this art, was awarded the first prize and a gold medal in an art exposition in Brussels. This desk is now preserved in the National Museum of Washington. Also, in some royal buildings, doors and various items have been inlaid. The inlaid-ornamented rooms in Sa’dabad and Marble Palace in Tehran are among masterpieces of this art.

In the 18th and 19th centuries, khatamkari declined, before being stimulated under the reign of Reza Shah, with the creation of art schools in Tehran, Isfahan and Shiraz. Persian Khatam can be used on Persian miniature, realizing true work of art, this craft existed for more than 700 years and is still practiced in Shiraz and Isfahan.

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Current Status

Currently, this art is being practiced in Isfahan, Shiraz and Tehran. Inlay masters, preserving the nobility of their art, have brought forth great innovations in this fine art.

Woodcarving is one of the outstanding Iranian arts, which require dexterity and artistic skills. It provides wood, ivory or bone in simple or complex shapes for use in khatamkari. Excellent specimens can be found in historical mosques, palaces and buildings. Some of the Iranian inlaid works are preserved in museums at home or abroad. Images of leaves, flowers, birds and animals predominate. Latticed woodwork, which developed later into an exquisite art, is also manually made by craftsmen. Old latticed doors and windows of Iran are famous.

Among other artworks, sudorific inlaid work can be mentioned. In this kind of inlaid work, the artist strictly avoids protrusions on the wood surface. The images carved on natural wood of various colors are finely inlaid. After the application of a fine finish, an even surface is produced. The art of inlaid and sudorific woodwork is supported by Iran’s Cultural Heritage, Handicrafts and Tourism Organization. These arts are also practiced in private workshops.

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Khatam Kari Art Works

Bagher Hakim-Elahi was a master of this art and learned the techniques from Master Sanee Persian Khatam in Shiraz. Later in life, he moved to Tehran, and continued making Khatam master pieces, currently in museums in Iran. He also taught the art to his younger brother Asadolah Hakim-Elahi.

At Maison Termeh, we value ancient artistry and we hope to support and hopefully preserve this heritage for our future generations.

Persian Pottery; A Masterpiece of Persian Handicrafts

Persian Pottery: A Masterpiece of Pottery Art

“The taste and talent of this people can be seen through the designs of their earthen wares”, R. Ghirshman

The history of the art of pottery in Iran goes back into ancient time. When agriculture came into existence and cultivation started on Iran’s plateau by primitive races of this land, people made utensils of baked clay in order to meet their needs.

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Earthenware is actually one of the oldest handicrafts in the world. Among the most famous old pottery, pitchers and bowls can be named. Before glass manufacturing became widespread, most dishes used by humans were pottery. The best-performing soil for pottery is clay, which because of the large amounts of iron is red.

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Iran can be called the birthplace of designed earthenware utensils. Designing earthenware in Iran started about 4,000 BC. In Iran pottery manufacture has a long and brilliant history. Due to the special geographical position of the country, being at the crossroads of ancient civilizations and on important caravan routes, almost every part of Iran was, at times, involved in pottery making. Yet, recent excavations and archaeological research revealed that there were four major pottery-manufacturing areas in the Iranian plateau. These included the western part of the country, namely the area west of the Zagros mountains (Lurestan), and the area south of the Caspian Sea (Gilan and Mazandaran provinces). These two areas are chronologically as far as is known today, the earliest.

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The third region is located in the northwestern part of the country, in Azarbaijan province. The fourth area is in the southeast, i.e. the Kerman region and Baluchestan. To these four regions one may also add the Kavir area, where the history of pottery making can be dated back to the 8th millennium BCE.

Currently, pottery art is popular in traditional and industrial ways in Iran, and its main centers are Laljin, Hamedan; Meybod, Yazd; Kalporagan, Sistan and Baluchestan; Shahvar, Minab; Mend, Gonabad; Zonoz, Tabriz; Kharmohre, Qom; Mazandaran; Gamaj, Gilan, Semnan; Saveh, Markazi; and Shahreza, Isfahan.

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Laljin, Center of Persian Pottery

Laljin is known as the Middle East pottery and ceramic center. 80 percent of the population of the city of Laljin is engaged in pottery and ceramic works. This city is one of the major centers of pottery and ceramics in Iran and the world. The products of the hard-working artists of this region, in addition to nearby cities of Iran, are exported to many other countries. Laljin’s pottery is very diverse and includes a variety of decorative and consumable dishes.

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Although pottery is a very old industry, but with time and expanding urban life, this art has not only disappeared but also evolved and adapted itself to the needs of today’s life. Over time, humans have drawn more beautiful styles with different colors on these dishes, and its beauty has doubled.

Most of the pottery in this area is marketed without a single-glazed stone. The products of this area are very diverse and in terms of soil and glaze, are relatively better than other parts of Iran. The colors of the glazes made in Hamedan are often Azure, Blue, Navy blue, Salmon, Yellow, Green, Turquoise and Brown.

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Embossed role tableau and small sculptures are among the most popular gifts in today’s world. One of the most beautiful-seeming of these days is the great pottery signs at Tehran metro stations. Mahdi Abbasi Nezhad, the pottery maker in our country, has built many of these precious pottery pieces, which we see below is an example of his art.

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Nowruz: Persian New Year + Customs

Nowruz is the traditional Persian festival of spring which starts at the exact moment of the vernal equinox, commencing the start of the spring. The name comes from Avestan meaning “new day/daylight”. Nowruz is celebrated March 20/21 each year, at the time the sun enters Aries and Spring begins.

Nowruz has been celebrated for at least 3,000 years and is deeply rooted in the rituals and traditions of the Zoroastrian religion.

Nowruz or Norooz meaning ‘The New Day’ marks the beginning of the Iranian New Year. It is the first day of spring or Equinox and marks the beginning of the year in the Persian calendar. On this day families gather together to observe the rituals and festivities of this day. It is celebrated by Iranians across the world.

Tabletop with Haft-seen elements for Nowruz: sonbol (hyacinth), sabzeh (grass), seeb (apple), somaq (sumac powder), seer (garlic), serkeh (vinegar), goldfishes, flowers hyacinths, coins, burning candles, painted eggs and mirror

ChaharShanbe Suri

The festivities begin with the celebration of the night of ChaharShanbe Suri. It is celebrated on the last Wednesday of the old year to get rid of all the bad luck and misfortunes of last year. People generally light small bonfires and jump over the flames shouting ‘Zardie man az to, sorkhie to az man’ meaning ‘May my sickly pallor be yours and your red glow be mine’. And Haji Firooz, who on the last Tuesday of the year, were sent by the white-dressed priests (Moghs) to spread the news about the arrival of the New Day.

Haji Firuz

The traditional herald of the Nowruz season is called Haji Pirooz, or Haji Firuz. He symbolizes the rebirth of the Sumerian god of sacrifice, Domuzi, who was killed at the end of each year and reborn at the beginning of the New Year. Wearing black make up and a red costume, Haji Pirooz sings and dances through the streets with tambourines and trumpets spreading good cheer and the news of the coming New Year.

Haji Firouz represents the red-dressed” fire keepers” of the Zoroastrians. The Fire keeper’s second duty was to call on the people to burn their old items in the Fire, and to renew their life and regaining health by obtaining the solved energy of the Fire. The dark color of the Fire keeper’s face is allegedly caused by the heat of the holy fire. Fire keepers use of rather unfamiliar expressions combined with their humorous nature, brought laughter to people’s faces.

“Arbabe khodam samalon-alaykom, Arbabe khodam sareto bala kon, Arbabe khodam boz-boze ghandi, Arbabe khodam chera nemikhandi”

My master, hello
My master, bring your head up
My master, look at me
My master, do us a favor
My own master, the billy goat
My master, why don’t you laugh

The Celebration of Nowruz

On the first day of Nowruz, family members gather around the table, with the Haft Seen on the table or set next to it and await the exact moment of the arrival of the spring. At that time gifts are exchanged. Later in the day, on the very first day, the first house visits are paid to the most senior family members. Typically, the younger ones visit the elders first, and the elders return their visit later.

The table is set up with Quran, the Holy Book; a bowl of gold fish; mirror; candle; flowers; painted eggs and seven traditional Persian dishes each starting with the letter ‘s’. This table is kept in the home for thirteen days after the start of the holiday. The seven traditional Nowruz foods are:

  1. Seeb (apple), representing beauty
  2. Seer (garlic), representing good health
  3. Serkeh (vinegar), representing patience
  4. Sonbol (hyacinth), representing spring
  5. Samanu (sweet pudding), representing fertility
  6. Sabzeh (sprouts), representing rebirth
  7. Sekeh (coins), representing prosperity
  8.  
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Recipes for Nowruz

A traditional Nowruz dinner is called Sabzi Polo Mahi which is a rice dish with whitefish and green herbs like parsley, coriander, chives and fenugreek. At the end of thirteen days, Sizdeh Bedar is celebrated which means ‘getting rid of the thirteenth’. The green sprouts grown during the holiday are thrown into rivers or lakes to symbolize the plants return to nature. This marks the end of the festivities.

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Customs

Nowruz is a time for spring cleaning, buying new clothes, visiting friends and relatives. On the 13th day of the New Year, the celebrations finally end. During the Nowruz holidays people are expected to pay house visits to one another (mostly limited to families, friends and neighbors) in the form of short house visits and the other side will also pay you a visit during the holidays before the 13th day of the spring.

Sizdah Bedar (Nature Day)

The thirteenth day of the New Year festival is called Sizdah Bedar (meaning “thirteen outdoors”). It often falls on or very close to April Fool’s Day, as it is celebrated in some countries. People go out in the nature in groups and spend all day outdoors in the nature in form of family picnics. It is a day of festivity in the nature, where children play and music and dancing is abundant. On this day, people throw their sabzeh away in the nature as a symbolic act of making the nature greener, and to dispose of the bad luck that the sprouts are said to have been collecting from the household.

The thirteenth day celebrations, Seezdah Bedar, stem from the belief of the ancient Persians that the twelve constellations in the Zodiac controlled the months of the year, and each ruled the earth for a thousand years. At the end of which, the sky and the earth collapsed in chaos.

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Nowruz Registration on UNESCO

Nowruz was inscribed on the UNESCO list by the 11th Intergovernmental Committee for Safeguarding Intangible Cultural Heritage held in Addis Ababa, Ethiopia, from November 28 to December 2. UNESCO recognized Nowruz as part of the Intangible Cultural Heritage of Humanity on September 30, 2009, based on an initiative undertaken by Iran, India, Azerbaijan, Uzbekistan, Kazakhstan, Pakistan and Turkey. In 2014, five other countries: Iraq, Turkmenistan, Tajikistan, Afghanistan and Kyrgyzstan asked to join the project which led to a review of the case and resubmission of the proposal to UNESCO.

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Chaharshanbe Suri: A Fire-jumping Festival

Iranians celebrate Chaharshanbe Suri. It is a fire jumping festival celebrated by Iranians around the world. On the eve of the last Wednesday of the Persian solar year, known as Chaharshanbe Suri or the Persian Festival of Fire, special customs and rituals take place in which everyone particularly children eagerly participate. Where young and old gather around and jump over fires that stay burning all night. These bonfires symbolize kindness, friendship, and light.

Chaharshanbe Suri

The event takes place on the eve of the last Wednesday before Nowruz. Loosely translated as Wednesday Light, from the word “sur” which means celebrations/red in Persian, or more plausibly, consider sur to be a variant of Sorkh (red) and take it to refer either to the fire itself or to the ruddiness (Sorkhi), meaning good health or ripeness, supposedly obtained by jumping over it, is an ancient Persian fire festivity from the Zoroastrian era which marks the euphoria of nature on the eve of spring.
Fire, which has always been a sacred item for ancient Persians and Zoroastrians, is supposed to give people its warmth and energy and take away their sickness, paleness and problems in return by the coming of the New Year.

Chaharshanbe Suri (Red Wednesday in English), in many ways is the equivalent of Halloween or Guy Fawkes night. The celebration usually starts in the evening, with people making bonfires in the streets and jumping over them singing “zardi-ye man az toh, sorkhi-ye toh az man”. The literal translation is, my yellow is yours, your red is mine. This is a purification rite. Loosely translated, this means you want the fire to take your pallor, sickness, and problems and in turn give you redness, warmth, and energy.

Undoubtedly Chaharshanbe Suri is one of the most popular ways to welcome Nowruz. A specially made mixtures of nuts and dried fruit, called “Ajil”, is a commonly nibbled on throughout the evening. This tasty treat, believed to make one kinder and compassionate, is prepared using salted hazelnuts, pistachios, almonds, prunes, apricots, and raisins.

Innocent Siavash in Shahnameh

Some people believe that Chaharshanbe Suri associate with the story of Siavash, and this is a mystery. In this day Siavash, safely, passed through the fire with his horse because he was innocent. Ferdowsi tells the story of Siavash’s passing from fire in his popular book (The Epic of Kings).

Siavash, Persian Prince, loses his mother at age seven. The king got married with another wife, Soodabe, a beautiful woman and capricious,who then loves Siavash. She had wanted to have relationship with Siavash, (Siavash was refusing to do so) and she accused him. Siavash told his father that he was innocent and, to prove it, was ready to cross the tunnel and the corridor of fire.

“If I’m a sinner, I will burn in the fire, and if I’m clean, I will cross the fire,” he said.

Siavash, safely, passed through the fire with his horse because he was innocent and proved his chastity. This event had happend on Tuesday, and from Wednesday to Friday the National Day was announced, and throughout the vast country of Iran, under the command of Kikavos, the sponging and joy were established. Since then, reminding of the proudly passing the fire, Persians celebrate the last Wednesday of each year with jumping over the fire.

Persian Miniature; The Art of Richly Detailed Painting

A Persian miniature is a richly detailed miniature painting which depicts religious or mythological themes from the region of the Middle East now known as Iran. The art of miniature painting in Persia flourished from the 13th through the 16th centuries, and continues to this day, with several contemporary artists producing notable Persian miniatures. These delicate, lush paintings are typically visually stunning, with a level of detail which can only be achieved with a very fine hand and an extremely small brush.

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Originally, Persian miniatures were commissioned as book illustrations for Persian illuminated manuscripts. Only the wealthiest of patrons could afford these illustrations, with some Persian miniatures taking up to a year to complete. Eventually, people also began collecting these works of art on their own, binding them into separate books. Many of these collections fortunately survive to this day, along with other examples of Persian art such as Iran’s famous pile carpets. 

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The Persian miniature was probably inspired by Chinese art, given the very Chinese themes which appear in some early examples of Persian miniatures. Many of the mythological creatures depicted in early Persian art, for example, bear a striking resemblance to animals in Chinese myth. Over time, however, Persian artists developed their own style and themes, and the concept of the Persian miniature was picked up by neighboring regions.

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Content and form are fundamental elements of Persian miniature painting, and miniature artists are renowned for their modest, subtle use of color. The themes of Persian miniature are mostly related to Persian mythology and poetry. Western artists discovered the Persian miniature around the beginning of the 20th century. Persian miniatures use pure geometry and a vivid palette. The allure of Persian miniature painting lies in its absorbing complexities and in the surprising way it speaks to large questions about the nature of art and the perception of its masterpieces.

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The history of the art of painting in Iran, goes back to the cave age. In the caves of Lorestan province, painted images of animals and hunting scenes have been discovered. Paintings discovered by W. Semner, on the walls of buildings, in Mallyan heights, in Fars, belong to 5,000 years ago.

Paintings discovered on earthenware in Lorestan, and other archaeological sites, prove that the artists of this region were familiar with the art of painting. Also, from the Ashkanid era, few mural paintings, most of them discovered in the northern parts of Forat River, have been uncovered. One of these paintings is a display of a hunting scene. The position of riders and animals, and the style in this work reminds us of the Iranian miniatures.

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Mogul emperors, after the invasion of Iran, were impressed by the Iranian art and encouraged the painters, initiating the former kings of Iran. Among the characteristics of the Iranian art which can also be observed in the paintings of Mogul style, we can enumerate, subtleties, decorative compositions, and fine short lines. The style of the Iranian paintings is linear and not dimensional. Artists in this field have demonstrated a particular creativity and genuineness.

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Artists of the Mogul royal court honored not only the techniques but also Iranian themes. A part of their work consisted of illustrating Iranian literary masterpieces such as “The Shahnameh” of Ferdowsi.

Agha Reza Reza-e Abbasi  (1565 – 1635) was the most renowned Persian miniaturist, painter and calligrapher of the Isfahan School, which flourished during the Safavid period under the patronage of Shah Abbas I. Art experts believe that during Teimoor’s era, the art of painting in Iran, had reached a climax. During this period, outstanding masters, such as Kamal-ul-Din Behzad, contributed a new touch to the Iranian painting.

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Behzad, this great artist belongs not only to Iran but also to the world. The French newspapers published many articles in praise of this Iranian artist. The miniature of Iran, in the Isfahan of Safavid era, was detached from the influence of the Chinese out and stepped on a new road. The painters were then more inclined towards naturalism.

Mahmoud Farshchian (born January 24, 1930) is a world-renowned master of Persian painting and miniatures. He was born in the city of Isfahan in Iran, a place famed for its art and artists, and it was here where he started to learn art, painting and sculpting.

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“The Museum of Master Mahmoud Farshchian”, is a museum devoted to the works of the master, which has been set up by the Cultural Heritage Foundation in the Sa’dabad Cultural Complex in Tehran, inaugurated in 2001.

The Art of Inlaid Turquoise (Firoozeh-Koobi)

Inlaid turquoise is a kind of handicraft made by implanting small pieces of turquoise stone in mosaic fashion on the surface of the dishes, ornaments and decorative objects with copper, brass, silver or bronze bases.

Turquoise is rare and valuable in finer grades and has been prized as a gemstone and ornamental stone for thousands of years owing to its unique hue. In recent times, turquoise has been devalued, like most other opaque gems, by the introduction onto the market of treatments, imitations and synthetics. Turquoise Koobi is one of the newest arts that the use of turquoise and the art of picking these precious stones and polishing them is called turquoise.

Inlaid turquoise is one of the most beautiful Iranian artworks with a history of at least half a century. Iranian artists use turquoise in various forms of art including calligraphy and handicrafts. In Europe it is called turquoise. And it means Turkish stone, because the Iranian turquoise through Turkey was arrived to Europe. This ornamental stone is used in Italy as one of the most precious stones in jewelry.

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The History of Inlaid Turquoise

The art of Firoozeh-koobi is putting small pieces of Turquoise stone on the surface of dishes and decorative objects. A royal beauty of the objects will be created after final polishing of turquoise stones. Firoozeh-koobi or Turquoise fixing consists of jewelries and containers made of metals such as copper, brass, silver, or bronze on which small pieces of turquoise stones are placed side by side with special glue. Firoozeh-koobi is a relatively young handicraft, and the history of it goes back to around 70 years ago. This kind of handicraft is produced in Isfahan.

According to experts, high quality turquoise is characterized by a dark blue color and less impurity streaks that are known as turquoise Ajami. To turquoise without streaks around the world is called Persian Grade, no matter where they are extracted. Various types of turquoise are available in different streaks that vary in color from green to dark blue, but the turquoise of Neyshabur with dark blue color is a criterion for valuation of turquoise all over the world and Neyshabur mine is the biggest turquoise mine in the world

Inlaid Turquoise Stages

This art is one of the newest arts that the use of turquoise and the art of picking these precious stones and polishing them is called turquoise. There are several important features in this art to create the best and most beautiful artwork, this art is not generally handicrafts of a particular city, but now Isfahan city is considered to be the activists of this art.

The pieces must be placed in a way so that no space is left between them as far as possible. In order to fill the possible gaps between Persian Turquoise pieces, temperature is added (to about 40o C) and some more shellac powder is sprinkled onto the pieces until the shellac layer is softened to a melting form, and then try to fill all the spaces by adding smaller Persian Turquoise pieces, or, as they say, the pieces sit well on the surface. This is usually done by pressing Persian Turquoise pieces by hand onto the surface so that they stick fast to it. After the object is cooled, the shellac covered parts become rigid. After that stage, the parts covered by shellac and Persian Turquoise pieces are polished with emery so the extra shellac and little raised parts of the pieces are flattened.

Examples of natural turquoise rock in this mine have been exhibited in geological and mineral museum of the world such as London Geological Museum and in Iran’s Tehran and Mashhad Geological Museum.

Discovering Persia: Top 10 Must Visit Places

Discovering Persia, The Land of Four Seasons

1. Masuleh village

Mysterious foggy village lost high in the northern forests. With ocra houses standing on each other, and occasional people appearing in the narrow staircases and lanes between the buildings. This beautiful complex, remained from history with traditions, manners and customs, handicrafts, and many natural and historical sites, is the host of thousands of eager guests and travelers every year. Pick a time off-season to avoid crowds of tourists – and you will guarantee yourself a magical experience. Read More

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Second place for discovering Persia:

2. Traditional Houses in Kashan

The city is a tourist spot in itself – lost in the desert it reminds of the all-time childhood favourite Alladyn. A true jewel here – traditional houses of wealthy merchants that have now been turned into public museums. Elegant stained windows. Delightful wall paintings. Long corridors and stunning décor. An a stunning view on the sand city from the marvelous rooftops.

Third place for discovering Persia:

3. Tabriz bazaar

UNESCO World Heritage Site and one of the oldest bazaars in the Middle East. The largest covered bazaar complex in the world – with stunning décor and incredible complex of domes inside. Being an important historical center and place of cultural exchange, in the past it was also a place of political significance – Tabriz bazaar has been a crucial spot during Constitutional and Islamic revolutions. Read more

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4. Abyaneh village

A charming red-coloured village lost in time. Wandering around you barely see any people – among the abandoned buildings you only occasionally get a glimpse of the someone hiding in the narrow alleys. Even then – the feeling of being in the past does not disappear. For years now people here have not changed their lifestyle. Same style clothes, same traditions, same Zoroastrian religion.

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5. Isfahan Bridges

Architecture in Esfahan tops anything you have seen before, and bridges are not an exception. 300-meter artwork challenges the imagination. Being favorite meeting spots among locals these bridges are like small cities – for hours you can observe the life passing by on its multiple passages. Read More about Sio Se Pol and Khaju Bridge

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6. Wind Catchers in Yazd

A desert city of Yazd is famous for its ancient wind catchers – traditional architecture elements that helped to create natural ventilation in buildings. The invention was so effective it spread to the whole Middle East – and became the main refrigerating device in local architecture. Read about the highest wind catcher in Dowlat Abad Garden

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7. Persepolis

The city that was built as a palace worthy the Empire. Majestic capital of Persia with the only suitable name – Persepolis, “The city of the Persians”. The city was destroyed to the ground by Alexander the Great – but the history continues to live here among the remains of bricks, walls and columns. Read More

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Shushtar, a wonderful place with great history for discovering Persia:

8. Shushtar

One of the oldest cities in Iran, Shushtar in Khuzestan Province borders Masjed Suleiman in the east, Dezful and Shush in the west, Ahvaz in the south and the Bakhtiari Mountains of the Zagros Mountain range in the north. The most famous attraction of the city is the Shushtar Historical Hydraulic System, a network of watermills, weir bridges, dams, water channels, rivers, and moats along with a castle which controlled the flow of the operation. Read More

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9. Kandovan village

A settlement that is frequently compared to Cappadocia in Turkey is much less touristy – and arguably more charming. Homes dug in volcanic rocks remind of Hobbitland or Smurfs village – and make a great choice for a day trip from Tabriz.

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10. Isfahan city center

The beauty of the magnificent Imam Square cannot be praised enough – it has to be seen with one’s own eyes. Around the square, its mosques and palaces – one of the oldest and largest bazaars in the Middle East, dating back to the 17th century. You can spend hours here shopping for traditional rose water sweets or splendid blue copper plates, and – if you are tired, – unwind with a meal in atmospheric Bastani Traditional Restaurant or kalyan at Azadegan teahouse. Read about Naqsh-e Jahan Square

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Reference:
http://waveuptravel.com/travel-photoblog/top-10-places-in-iran/

Sepandar Mazgan, Persian Lovers Day + Love Stories

Sepandar Mazgan is an ancient Iranian/Persian festival with Zoroastrian roots, the day for celebrating love, friendship and earth in the ancient Iranian culture. Dating back to the Achaemenid Empire, the first Persian Empire. This festival is widely known as the Iranian Day of Love, although it is celebrated in its neighboring countries as well as Afghanistan and Tajikistan. According to Iranian tradition, the day of Sepandar Mazgan was held in the Great Persian Empire in the 20th century BC .

This day is registered on Bahman 29th in the Iranian Calendar, only 3 days After Valentine. The original Esfandegan (Sepandar Mazgan) was on the 5th day of Esfand equals to 23rd of February but some scholars believe it is on 29th of Bahaman or 17th of February. So why two dates for a single day? This 6 day gap refers to calculations of the modern Iranian Solar year which is 365.25 days and the months are not fixed 30 days. So this scholars decided to make corrections in the calendar and preponed Esfandegan to 6 days earlier. These corrections have caused bewilderment among people who like to retrieve this old tradition.

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History of Sepandar Mazgan

Persians have a rich culture with many great feasts based on natural occasions that have been mixed up with happiness &  joy. In the feast of  Sepandar Mazgan , Earth was worshiped and women venerated. On this day, Women and girls sat on the throne and men and boys had to obey them and bring them presents and gifts. In this way, men were reminded to acclaim and respect women. Also Sepandarmaz is Earth Guardian Angel. It is the symbol of humbleness, it means modest toward the entire creation. These are the qualities attributed to Earth that spreads beneath our feet, thus the symbol of modesty and love.

As human beings, there are creatures that we find unpleasant and repulsive, but Earth is not like us. She embraces all creatures the same and loves them the same; like a mother who loves all children alike, even when they are ugly. In our ancient culture, mother is symbolized by  Sepandarmaz  or earth. Have you ever seen a Love more sacred than Mother’s Love to children?

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Iran’s Famous Love Stories

Leyli & Majnun

Layla and Majnun is a classic story of love most notably expressed by the great poets Nizami Ganjavi and Muhammad Fuzuli. It has been presented in many Middle Eastern and sub-continental cultures; Muslim, Sufi, Hindu, and secular. Layla and Qays, are in love from childhood but are not allowed to unite. Qays (called Majnun, which means “possessed”) is perceived to be mad in his obsession with Layla. Layla is married off to another and Majnun becomes a hermit, devoting himself to writing verses about his profound love of Layla. Although they attempt to meet, they die without ever realizing a relationship. (Read More)

Shirin & Farhad

These two illustrations feature scenes from the story of Shirin  and Farhad. Their tragic love story is well known today, from Turkey to India and is especially popular in Iran. The encounter between Shirin and Farhad is part of a longer and much more tragic love story of Shirin and Khusrow. Farhad, was a humble engineer, artist and craftsmen famed for his skill at carving rock, who served Shirin, the Queen of Armenia. Farhad fell in love with Shirin.

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In order to dissuade Farhad from his love for Shirin, Khusrow set him the impossible task of carving a tunnel through Mount Behistun. Before starting this arduous task, Farhad carved the likeness of Shirin into the rock face. Farhad’s story does not end well. He is tricked by Khusrow into believing that Shirin has died, after which he kills himself using the tools that he had used to carve her very image into the rock.

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