WSEAS International Conference on CULTURAL HERITAGE AND TOURISM (CUHT'08), Heraklion, Crete Island, Greece, July 22-24, 2008

Analyses of Tile School One of the Most Effective Factors in Cultural Heritage Formation of Maragheh Architecture during Historical Periods

1AHADOLLAH A'ZAMI, 2SEYYED HOSEIN YASREBI 1Department of Architecture, 2Department of Civil Engineering 1Islamic Azad University- Branch, 2Islamic Azad University- Branch Department of Architecture, Islamic Azad University-Heris Branch, Heris City, East Azarbaijan Province

Abstract: - Regarding all remained tiles of tile decoration art, it could be said that Maragheh has been one of the most important center of this art during Ilkhanid times in Iran. There have been some well known and main centers of tile works in this period such as Kashan, Takht-e-Soleiman, Isfahan, Kerman and Soltaniyeh. But in decoration field with brick and tile, around sixteen kinds of tile scrape with extraordinary diversity are noticed in . As far as color is considered; blue, cerulean, white and black colors are used in Soltaniyeh and we have mostly turquoise and brown color in Maragheh. Investigation Maragheh observatory two very valuable tiles are found: 1. square sun-dries tiles with embossed intersecting spirals which have special colors and radiance in front of sun light and give special beauty to building. 2. Big sun dried tiles with inscriptions which are voted high among the tile of the period for their size, inscriptions and the kind of writing on them. As for the first kind tiles, it should be said that, not a one tile of this kind is found in other places of Maragheh or even other places other than Maragheh during Ilkhanid times. If this conclusion is true and no other samples are remained hidden, we should say that the creation and use of this kind of tile is initiated in constructing Maragheh observatory in Ilkhanid times and most probably the first step in creating diaphoretic tiles has been taken in this place. Besides, turquoise tiles used together with traditional light and shade brick decoration in Red Dome of Maragheh, which is surely one of the masterpieces of Islamic-Iranian architecture, is a sample showing that tile work art of Maragheh has started since Seljukian times with glorious samples as Blue Dome and continued its way to become the epoch in the growing process of Islamic-Iranian architecture decoration. It means that this art was the first to use tiles in building decoration together with brick works in a new method. This article examines and analyses building tile work art with high architectural value of Maragheh in different period of history.

Key-Words: - Tile work school (style), Maragheh, Cultural heritage, Art, Architectural space

1 Introduction accordance with architecture and were important in Since the invention of tile it has been broadly used to achieving the atheistic and applicable goals of the decorate building surfaces all over Iran. During Islamic building construction. In such a field studying Iranian periods in Iran there has been a vast use of tiles to tiles would lead any researcher to understand and know decorate internal and external surfaces of religious different issues. For example they can make good places, king palaces and the houses of rich people. guesses about the lives and behavior of the prices and Choghazanbil temple in Khuzestan is one the place the very rich people of that time and the behavior of where first Iranian tile can be found. These tiles are Muslims inside the mosque. Gradually after the glazed wall tiles whose shapes are square and some expansion of Islam, tile art became widespread and used embossed works can be seen on them. The production as the main object of decoration and cover for the date of these tiles is estimated to be thirteen centuries durability of buildings especially religious buildings. before Christ. Stone work, brick, plaster and tile works are the four On the whole it was noticed that tile work reflected kind decorations of Islamic architecture of Iran which techniques of pottery work and the interest and taste of have passed through natural, political and economical its protectors of the time while showing the building changes of history and left beautiful memorials of yield. Since the walls with tiles were made on external themselves, but in last one or two centuries and by the and internal routes of the building, these works were in beginning of machine time and by the development of

ISBN: 978-960-6766-89-3 136 ISSN 1790-2769 WSEAS International Conference on CULTURAL HERITAGE AND TOURISM (CUHT'08), Heraklion, Crete Island, Greece, July 22-24, 2008

new arts the traditional decorative architecture of Iran when using together with bricks they used turquoise tiles has been forgotten. like the bezel of ring in different geometrical shapes and mold them between bricks in different sizes or the put the second bricks as Kufi inscriptions. 2 Turquoise and single color tiles Attacks from Mogul made an interval in art activities, During 12th century (sixth century in Islamic calendar) but from the middle of thirteenth century and by the turquoise and cerulean colors became popular and were Islam being accepted by Ilkhanid leaders the used together with non-glazed bricks. The remains of establishment of religious and non-religious places was this period are some incurved and glazed turquoise tiles started with brick and tile decorations. Since then the use with inscriptions on them. of other colors such as yellow, indigo, brown, black and The moldings of some tiles were embossed. While white became common. The tile decorations which were some others were flat and were decorated using colors. applied only on external parts of building were used to The incurved tiles were difficult to find and it seems cover internal parts as well. they were of rare kinds. The technique includes three different processes: single color glaze, enamel on the glaze and golden color on glaze. The certain thing here 3 Golden Color is that use of single color glaze is the continuation of This technique was first used in eighth century in Egypt past traditions. But, during Seljukian times the colored to decorate glass and probably it has expanded to Basra glazes as cream, turquoise blue and cerulean color and Iraq and transformed on earthenware later on the glazes became wide spread. [2] golden tiles are first made around ninth century and are The destruction caused by Mogul during 13th century found in Samira Iraq and Girvan Mosque of Tunis. The affected the tile production process and there have been most glorious golden tiles belong to twelfth and found no tiles around 775-787 A.D. fourteenth century earthenware of Kashan. After freeing cities the Ilkhanid leaders started What Abolghasem calls it two-fire glaze is in fact renovating the old buildings and constructing new painting on golden color glaze and was the most famous memorials. The result of such action was amendment in technique in decorating tile. After applying white glaze tile work industry. This period can be named the most on tile body and baking it, the tile was pained with silver fruitful one regarding tile industry. A large number of and copper pigments and was heated again in kiln and tiles were produced for inscriptions and decoration of finally looked like a shining metal. According to studies religious non-religious buildings. The cover technique on sculptures which conducted on the first golden color was ruined and other kinds of earthenware decorations tiles and since these tiles were mostly used in sculpture replaced them which were called cerulean later on; this works rather than plant patterns, it can be said that these technique was in fact added to mono color, multi color tiles belonged to non-religious buildings. and transparent techniques. The requirements decorated In the beginning of Ilkhanid time, golden color with cerulean techniques were glazed with white, technique was applied on glazes with no added color. cerulean and in rare cases with turquoise color after But in last 25 years of 13th century a little of cerulean molding process; red or brown colors were added on this and turquoise colors were used. Entering 14th century glaze and were heated for second time. Not only making sky blue color became more popular. The topic of these the architecture more rich by decoration, the glazed tiles tiles includes some scenes of Iran’s epical history. The made cover for wall elements of building as well. [1] elements such as dragon and Ghoghnus are affected by Due to lack of enough research conducted in cities Chinese patterns. There are some poems of Iranian belonging to primary Islamic periods and some other Shahnameh book displaying on the tiles as well. [3] limits, we don’t have exact information and proper The golden color tiles of non-religious buildings in knowledge about application of covers and decorative 13th century, before Ilkhanid times and the attacks by bricks with mono color glaze and their initiation time as Mogul, are divided into two general groups: small well. But, based on some scattered information and golden color polygon tiles of 9.51 to 13.2 cm, as shown remains we can deduce that the architects were aware of in the picture, and big stars and crosses of 31.1 cm. the glazed brick secrets since Seljukian time. At the same most common type of small tiles was octagonal star tiles time some of primary and historical resources state that which are united with mono color glazed tiles. [1] from the beginning of Islamic period the buildings were The production of golden color glaze has a decorated with some kind of tile. mysterious and complex process. This kind of glaze is Iranian architects were innovative in covering bricks produced by using a composition of cooled down kiln. with mono color glazes since the beginning of Islamic In this kiln carbon dioxide is produced due to confining period. They would prefer turquoise to other colors and the amount of entering air and as a result the oxygen of

ISBN: 978-960-6766-89-3 137 ISSN 1790-2769 WSEAS International Conference on CULTURAL HERITAGE AND TOURISM (CUHT'08), Heraklion, Crete Island, Greece, July 22-24, 2008

oxides leaves it and changes to a pure metal and finally general scheme separated into small parts of paintings sticks stably on the surface of the sample. To avoid any and colors and each part was separated from the others seeping of soil, when taking the things out of kiln they by axe works applied on mono color glazed tiles to be are rubbed gently. The cross-star tile with animal or installed in their proper place in general scheme. human paintings on them belonged to non-religious After the passage of one century progress was made buildings such as palaces or the houses of rich people. in tile work and in Seljukian time the art of tile work The use of water lily flower paintings became entered into a new stage. In the beginning of Mogul time common after the introduction of Chinese paintings in Iranian earthenware artists worked using the styles of second half of thirteenth century. Chinese paintings were Seljukian time (alkaline glaze), but there were gradually common in Ilkhanid time including dragon and innovations in this industry which enriched it more and ghoghnus as the symbol of China Empire. The Moguls more. The attack from Mogul side stopped this art for a who were governing Iran employed Chinese artists in while, but soon after the 7th century and the Ilkhanid their palaces. But, as the style of these tiles were acceptance of Islam religion, the construction of completely Iranian, it is probable that Iranian artists religious and non religious buildings started using brick have imitated Chinese models. and tile decorations. Applying other colors such as dark Chinese paintings also entered in among other blue, brown, black and indigo were more paid attention. productions such as Chinese silk clothes; these clothes were powerful sources to catch up the paintings and patterns of plants and animals of Far East and their 4 Case Studies penetration in Islamic art. The dishes of Soltan Ababd in 13th century and cerulean and golden color tiles of this 4.1 Turquoise Maragheh Red Dome (Ghonbade period also have lily flower and dragon and Ghoghnus Sorkh) paintings on them. Another pattern used on earthenware Carving brick is the innovation of Iranians and it has not of Ilkhanid times was “fly of crane” which was symbol been common in other counties. The red bricks were of good luck and long life. Still it is not clear whether carved in desired sizes and were used for decoration Islamic artists understood the story behind it or were just making cavities and projections. These decorations interested in the pattern itself. Even though these which are used in Red Dome and their pattern is rarely patterns are found in Takht-e-Soleiman, they prove that found are covered by mono color turquoise tiles. But, these Chinese paintings were the important elements of around 90% of the wall covers are ruined. Mogul style and expressed the joining chain with eastern world. Under glaze painting with cerulean or sky blue colors were composed with Kashan golden color glaze and both were profoundly used in star shape tiles to emphasize the writings in big tiles with inscriptions on them. The tiles with under glaze paintings which were not composed with golden color tiles were painted blue and black tiles with embossed mold inscriptions and Chinese white-blue patterns. Unfortunately based ob the tradition and style of the Fig.1: Entrance door top of Maragheh Red Dome artists the secrets of tile work or earthenware works were not taught to others except family members and Iranian architects were innovative and pioneer in they were not recorded in any place; thus, there is no covering bricks with mono color glazes and used document or proof to show the scientific and turquoise colors. Together with bricks they used geometrical order of the patterns and paintings of this art turquoise tiles and like the bezel of ring they molded and the only way of its transform among the family colored pieces of tile in different geometrical shapes in members; the child following his father occupation. different sizes or the put them between decoration bricks Iranian tile work applied the complex of body as Kufi inscriptions. making, glazing and painting works in three basic The entrance of Red Dome, which opens to North, is a methods. The oldest method which is seen in 5th century tall and beautiful opening which is decorated with buildings meant; arranging glazed bricks in square and elegant and sensitive brick works together with rectangle shapes with turquoise color on a plain or black turquoise tiles. At that time this style had was new in pattern. Gradually the range of colors expanded to Seljukian architecture. include blue as well. After this stage the rational changes Curved stones are used in constructing foundation and lead to foundation of diaphoretic works on tile where the

ISBN: 978-960-6766-89-3 138 ISSN 1790-2769 WSEAS International Conference on CULTURAL HERITAGE AND TOURISM (CUHT'08), Heraklion, Crete Island, Greece, July 22-24, 2008

all column head corners and column heads of small that brick works lead to tile works. stands which carry secondary arch head sides are of Since in addition to tiles made totally of brick whose stone. Other facades are made of bricks which are sample was seen in red dome we can see other tiles on beautifully set on each other. Among these dark red façade of arches incurved and piece by piece, the bricks small jars of turquoise tiles have special progress of mono color brick and tile work is evident in manifestation. The inscriptions and geometrical patterns this dome. It can be said that brick works in this building which are incurved on red bricks, bricks and blue color are exceptional; before it was believed that the elegant tiles are showing off on top of the entrance on a field of and colorful tile works of Islamic buildings are designed plaster. These inscriptions are decorated with paintings by simple geometrical tools. It means that the surface to of flower and plants on plaster works. be covered was divided into special parts using ruler and There are geometrical shapes such as circle and caliper and a pattern was originated in this way which semicircle on the entrance door which are distinguished covered all surface by repeating. This condition is the with glazed turquoise tiles. A composition of brick and same as what is seen in solid orderly crystals. tiles was used in primary architecture of this building These patterns were underestimated till Emil and for this reason it is called vanguard of Razi Makweiki (Copenhagen University professor) noticed architecture style. There are also sings of brick and tile something on external walls of Blue Dome of Maragheh. composition among brick works of triangular of arches He discovered that the order in these patterns were more which are shining like a ring bezel due to putting the complex that a simple repetitions as in crystals and it turquoise tile among red bricks and making shade and was more like the movement of atoms in some metal light effects. [4] alloys. If we closely examine the external façade and its Blue Dome of Maragheh was built in 1197 and at the beautiful half columns of brick we would see a little time of Makweiki visit, 800 years had passed since its sings of turquoise glazed bricks; meaning that, once construction. these half columns were covered by turquoise tiles made probably in Kashan or by Kashan artists. This state is true about east and western walls as well. However, these glazes may be ruined away from brick surface due to the kind of glazed tiles or weather effects through years; these bricks are made of mud and glass glaze does not penetrate in mud tile. Thus, after some time the mud tiles crack and will be ruined away due to penetration of water and dust inside the cracks. Fig.3: Blue Dome of Maragheh

The Islamic period tile workers should have waited for the discovery of the complexity of their works for more longer, once Peter J. Lou, - physics PHD student of Harvard University – was attracted to it due to some similarity between some tiles of this building to Penroz patterns. Roger Penroz, mathematician and cosmologist, was the first person to propose a design to cover one surface with two lozenges; a pattern where the plate was covered completely without any repetition of a special Fig.2: Maragheh, Red Dome with its tile pattern pattern. He called this design “Penroz tile work”. They started with simple and repeated design and finally reached this point. It is astonishing that they have 4.2 Blue Dome done a work whose complex mathematics was not The value and credit of Iranian architecture is mostly known till last 20 - 30 years. Lou has reported some dependant on its decorations. Tile works has been one of errors n these patterns, however, in this kind of tile the most important features of architecture and it is works errors grow so fast and turn to look like disorders believed that Iran was the first country to use tile first and he considers them to happen during construction or for decoration and then for building strength. Before the repair phases. tile work being common, brick and plaster works were In broad aspects Kovazi crystals get to have 5, 10 and two important elements in architecture decoration so as

ISBN: 978-960-6766-89-3 139 ISSN 1790-2769 WSEAS International Conference on CULTURAL HERITAGE AND TOURISM (CUHT'08), Heraklion, Crete Island, Greece, July 22-24, 2008

12 symmetry (special crystals with no repetitive order them. Not regarding the ruined inscriptions on three which were seen in nature in 1984 for first time). sides of dome and considering only the two remaining It means that the whole pattern goes round the circle inscription on door forehead we can say that writing as one fifth, one tenth and one twelfth of itself and style of Ghaffarieh inscriptions was Reyhan and the comes back to the same point. Geometrically it is not material which were used in making letters were possible to cover a surface with 5, 10 or 12 orderly side diaphoretic dark blue and black color tiles. Based on and this is exactly what makes the Kovazi crystals remained evidences we can say that this dome is different from others. But how much were the Iranian constructed during “Soltan Abu Saeid Bahador Khan” artists aware of the value of their own work? Peter Lou Mogul Ilkhanid leadership and is inspired by Red Dome says: “I believe this can not be just by chance; they were of Maragheh. The only difference is that; tiles and tired of simple designs and wanted to make patterns with glazed bricks are rarely used for colorful decoration no repetitions. Even though they were not much aware purposes and turquoise tile pieces are used instead in of mathematical characteristics of their works, they did a inscriptions and red bricks are used in tower façade. [4] job which led us now to Kovazi crystals. However, in turquoise tile frame designs some patterns with symmetrical designs can be seen. For example brick work designs are executed like below picture which is called “Shesh Tond Zamineh Dah” in tile work.

Fig 5. maragheh-Ghaffarieh Dome, Northern façade picture and zymotic decoration on tomb entrance door

Ghaffarieh Dome has by itself all glorious characteristics of “Azeri Style” art and from the “Building Style” point of view it is a collection and a mirror of art and Iranian-Islamic architecture during Ilkhanid time in west north of Iran. Fig.4: Shesh Tond Zamineh Dah in Blue Dome of Passage of time and the ruins caused by natural elements have Maragheh imposed lots of damages on this building, but for orderly repairs this building is in good condition at present time.

4.3 Ghaffarieh Dome Another ancient building in Maragheh is Ghaffarieh Dome which is the only remaining tower from Ilkhanid time and is decorated gloriously with tiles. Its architecture is affected by the towers of Seljukian time, but its decoration is different from it. In this building tile work is diaphoretic which is constructed by putting incurved tiles beside each other. These diaphoretic works are designed in sun and flower shapes being Fig.6: Maragheh-Ghaffarieh Dome, Northern and beside each other and they are glazed by turquoise and Southern facades of tomb before basic restoration in dark blue colors. 1956 and 1952 To write inscription in this building incurved and embossed tiles are used; the inscriptions are under arches and are written in Kufi characters. This is another reason to call it more advance than Red Dome, whose 4.4 Maragheh Observatory inscriptions were on simple bricks. This also shows that The Islamic period Name of Maragheh has always come tile work art in Maragheh was in progress so along as the biggest star research center means the dynamically and there may have been artists who were Khajeh Nasir Al-din Tussi Observatory. This complex, busy working on tile and earthenware and they may had which only a small part of it remains at present, has been some works shows which are destroyed and diminished constructed in 1216 A.D. by the order of Holaku and through the passage of time and nothing remains from efforts of Khajeh Nasir Al-din Tussi. This building includes; central tower of observatory and star section

ISBN: 978-960-6766-89-3 140 ISSN 1790-2769 WSEAS International Conference on CULTURAL HERITAGE AND TOURISM (CUHT'08), Heraklion, Crete Island, Greece, July 22-24, 2008

which are dependant on it, conference room or school, investigating Maragheh Observatory Conclusion library, professors and researchers’ room, villa having 5 Conclusion porch, water reservoir, etc. Gradually after the expansion of Islam, tile work became the most important factor in decorating, ornamenting and covering buildings; especially religious buildings. Basic techniques used in tile decoration works included; golden color, under glaze painting, on-glaze painting, enameled, cerulean, diaphoretic tile and seven color tiles, some of which (such as enameled and cerulean) were used inside the building and others were used both inside and outside of building. Molding of some tiles was embossed in some cases. Incurved tiles were rare and were seen less. [5] During Ilkhanid time, they Fig.7: Maragheh– Khajeh Nasir Al-din Tussi succeeded to make the elements used for diaphoretic Observatory, central tower outline of Observatory shapes, smaller and manifest the most beautiful construction and geometrical shapes in a complex of

beautiful and shining colors which can be found only in Diverse bricks were on walls, floors and decorative eastern industry, especially Iran and in Maragheh. But incurved bricks were used in façade of building in this the aim of tile works in tile work school of Maragheh complex. Together with these bricks different kinds of was not simply to provide people with their necessary tiles such as mud tiles, mud tiles with inscription are and daily needs, but the understanding of artist of beauty used which own high artistic value and are signs of and his satisfying his higher interests of humanity and industrial and artistic glory and innovation in tile work. religion. On the whole we must deeply search and study From the other hand stone, brick and tile decoration are tile work styles, which are found only in Maragheh, and used here which are incurved beforehand in two record its name and high pavilion in architecture and turquoise and dark brown colors in a bed of plaster Islamic art as “Maragheh Tile School”. mixture in embossed frameworks of windows, doors and external façades of building. These decorations are made in beautiful geometric designs and it is assumed that the References: first steps of creation and formation of diaphoretic tiles [1] Morvarid Y., Maragheh (Afrazeh Roud), Tehran, has been taken here. [4] 1991.

[2] Pourter V., Islamic Tiles (Islamic Arts Collection 1), Tehran, 1990 [3] Zomorshidi H., Iran Tile work, Urban Rehabilitation Organization Publication, 2005. [4] Kheyri S., the Architecture and Decoration of Wooden Sotvands in Safavid Era in Azarbaijan, Adineh Publication, 2006. [5] Authors' Research in the field of tile work of Iran and Maragheh. Fig.8: Khajeh Nasir Al-din Tussi Observatory, the photo of two molded bricks found in investigating the observatory

Fig.9: Maragheh, Khajeh Nasir Al-din Tussi Observatory, Golden color tile with inscription, found in

ISBN: 978-960-6766-89-3 141 ISSN 1790-2769