A Study of Tile-cutting (Kāshī-Tarāsh) in the Ilkhanid Period and its Successors

The Ilkhanid period and its successor, the Muzaffarid era, represent a significant phase in the evolution of tilework in Iran, marked by extensive innovations in decorative techniques. During this time, numerous previously unknown or underutilized tilework methods emerged and were refined. Among these, the technique of tile cutting (Tarash) is of particular importance. While the practice of cutting bricks and tiles predates the Ilkhanid period, it was during this era that the method underwent considerable development, facilitating the introduction of new decorative elements and even the formation of entirely new techniques.

A comprehensive understanding of tile cutting is essential for a more nuanced interpretation of Ilkhanid and Muzaffarid tilework. This technique forms a conceptual and practical bridge between cut- tilework and Mu‘araq (Mosaic Tilework), particularly in its combination with materials such as brick, plaster, and terracotta. Comparative analysis of tile cutting and mosaic tilework in Iranian architecture reveals divergent developmental trajectories and distinct origins for each technique.

This study investigates the differences between tile cutting and mosaic tilework, as well as their respective origins and evolutionary paths, employing a historical-comparative methodology based on both textual sources and field research. The analysis begins with an overview of cut brick traditions prior to the Ilkhanid period and identifies the earliest extant examples of tile cutting within Iran. In tracing the roots of this technique, earlier instances from Central Asia and Anatolia are also examined.

Subsequently, the study classifies the types of tile cutting evident during the Ilkhanid and Muzaffarid periods, drawing upon remaining architectural evidence. Attention then shifts to the origins and development of mosaic tilework in Iran, with the argument that it likely emerged independently of the tile cutting tradition. Evidence suggests that mosaic tilework may have first developed in Anatolia due to the migration of Iranian artisans such as Mohammad ibn Mohammad ibn Osman elBanna Toosi, Ahmed Abubakr elMarandi during the Mongol invasions and their patronage under the Anatolian Seljuks. However, by the early eighth century AH (14th century CE), Iran had become a major center of innovation in mosaic tilework, as evidenced by the variety of designs and the gradual integration of color.

Color, as a marker of artistic progression in mosaic tilework, is also a focal point of this research. The study examines eight prevalent colors—turquoise, cobalt blue, white, black, ochre, brown, green, and yellow—based on preserved examples in architectural contexts.

The findings indicate that the tradition of combining cutting tile with brick, plaster, and terracotta is uniquely Iranian, with early examples traceable to Iran, Afghanistan, and Central Asia. This tradition precedes mosaic tilework and appears to have reached Anatolia during the Seljuk period. By the Muzaffarid era, however, mosaic tilework had gained dominance in architectural decoration, suggesting a shift in both aesthetic preference and technical practice. The transformation of tile cutting can be delineated in several stages: beginning with cut brick combined with terracotta and plaster; followed by the incorporation of color; then the addition of ceramic tile; and ultimately culminating in the emergence of mosaic tilework.