Persian Mirror Art

Persian Mirror Art

If we do a little research into the culture, customs, and ethnic coverage of Iranian culture, we can notice that mirrors have a special place. As it has been for a long time, water and mirrors are symbols of brightness, purity, luck, truthfulness, and serenity, so the reason for using mirrors in the decoration of monuments and Iranian architecture may derived from this culture. Iranian traditional mirror work is a kind of ornament in the interior design of Iranian buildings, which Iranian artists created. Principally, customary Iranian mirror work involves regular, symmetrical, and geometric designs with small and large mirror pieces. Mirrors cut into geometric shapes and foliage (inspired by flowers and plants) are used to decorate the interior surfaces of the structure. The reflection of light in the many mirror pieces creates shine and beauty. The art of mirror work is not only used as a decoration of the building but also as a suitable and excellent coating for the strength and durability of the monuments.

History of the Art of Mirror Work

In the 10th century AH, various mirrors were imported to Iran from Europe, and many mirrors were broken during transportation. Iranian artists invented this beautiful art to utilize the broken fragments of mirrors.

The first mirror work was in the courthouse of Shah Tahmasp Safavi, the king of Iran at the time, in 1557 (965 AH), decorated with mirror work. After the capital of Iran moved from Qazvin City to Isfahan City, the mirror work art was used in many of the royal palaces of Isfahan. Among these palaces, the Mirror Pavilion Mansion gained more fame due to the extensive use of mirrors in the ornament of the mansion. The Mirror Pavilion Mansion, like Chehel Sotoon Palace, has a porch with 18 mirrored columns, and the hall and ceiling of the porch are also covered with mirrors. The reflection of the Zayandeh Rud and the groves of its northern shore in the mirrors of this building creates a unique view.

The Chehel Sotoun Palace was built between 1642 and 1668 (1052 and 1078 AH) during the reign of Shah Abbas II, and many mirrors were used in this palace. Tall mirrors, full-length mirrors, small pieces of mirrors, and colored glass were used on the ceiling, porch, and center reception hall (Mirror Hall) to decorate the palace. In the Chehel Sotoon Palace of Isfahan, a large and transparent mirror was installed on the wall at the head of the pond, which was called the Forty Columns Mirror or the World Mirror, and its size and brightness were so great that the images of ordinary people who entered the Chehel Sotoon carriage could be seen in the mirror.

Gemelli Carreri, a famous Italian adventurer and traveler, wrote in his trip to Azerbaijan to visit the house and palace of Mirza Tahir, the ruler of Azerbaijan in Tabriz, in 1105 AH: In one of the inner courtyards of the room, there is an esthetic mirror work, where not only the walls but also the fireplace are decorated with shining fragments of mirror, creating a dazzling scene under the light. After the fall of the Safavid era, the mirror-making industry fell into decline. The resumption of this art was with the construction of the courthouse of Karim Khan Zand in Shiraz, which was destroyed in 1794 (1209 AH) by order of Agha Mohammad Khan Qajar.

The columns, Khatam doors, and large mirrors were transported to Tehran for expansion and reconstruction of the Dar-e-Amara porch, now known as the Marmortronens veranda. Mirror-making had a gradual development and expansion but was noticeable in the 13th century AH. Thus, beautiful and extraordinary works such as the Shams-ol-Emareh hall and rooms (Mirror Hall) of the Golestan Palace in 1299 AH and several shrines have been decorated with this mirror work art.

Evolution and innovation are evident in the mirrored sections of the Green Palace, located in the Saadabad Cultural and Historical Complex of Shemiran, plus the Marmar Palace, built in 1927 and 1936. In the following years, the art of mirroring expanded beyond historical and religious sites, being incorporated into various structures such as restaurants, shops, and homes.

Mirroring Methods and Designs

Before starting to ornament with mirrors, first, a designer schemes the main design on paper and then uses special needles to transfer the design to walls, ceilings, and columns. After that, mirror fragments are glued to the surfaces, and the thickness of the mirrors is routinely about one millimeter. This task requires a lot of skill and patience. Mirrorwork has two types of mirroring methods: flat and embossed.

Flat Mirroring

In this method, the design is completely adhered to the surfaces. This enables the mirrors to be attached flatly and without angles. The final design has no protrusions.

Embossed Mirror Work

In this method, mirrors are affixed at an angle based on the original design, and the creation of volume accompanies the execution of this design. These designs are in the form of raised and recessed geometries that create a three-dimensional and embossed appearance. This method is commonly used in Iranian architecture, especially on the ceilings of religious buildings such as the Ali Ibn Hamza Mausoleum in Shiraz.

Common Designs and Combinations in Mirror Work

The most widespread mirroring design is the knotting or knotting technique. This type of design is widely used in all branches of Iranian art, such as mosque tiling.

Another design is framing (in the Persian language, it is Ghab Sazi or Ghab Bandi), used to decorate ceilings. Sometimes, the frames that make up the ceiling are only rectangular mirrors. One of the best examples of this design is the ceiling (Mirror Hall) of Golestan Palace. Another type of mirror work is the ruby design (in Persian, it is Yaghuti), which can also be found in the Marmar Palace and the Abbasi Hotel in Isfahan. This style of mirror work utilizes colorful glass, and its designs predominantly feature flowers, bushes, bergamot (referred to as “Toranj” in Persian), and half-bergamot (known as “Nim-Toranj” in Persian).

Muqarnas mirroring is a distinctive style of traditional mirror design, primarily applied to flat surfaces and often found in sacred sites. Volumetric shapes have been popular in the past and present. These include half-circles, known as cup bowls or cup flowers, or covered muqarnas with mirrors, used in the half-domed ceilings of porches or under domes. Another common combination is the merging of mirror art and wood carving, which can be seen in the Emarat-e-Badgir of Golestan Palace in Tehran and the Qavam House in Shiraz. Other places decorated with this art include the Saadabad Museum, Niavaran Palace in Tehran, Nasir al-Molk Mosque, Vakil Bath in Shiraz, Jame’ Mosque of Isfahan, and the Soltaniyeh Dome in Zanjan.

Modern Mirror Work

In recent years, the art of mirroring has expanded beyond royal palaces and is now commonly found in various settings. Restaurants, supermarkets, shopping malls, hotels, and even private homes are incorporating mirror work to enhance the attractiveness and diversity of their spaces. This trend has sparked innovations in traditional mirroring techniques. Designers and architects utilize mirrors in the interior of buildings to create a modern and good-looking space and new patterns and schemes.

These designs are known as modern mirroring. In modern Iranian mirroring, designs utilize more simple decorations. For example, in Iran Mall, the largest entertainment and commercial complex in Iran, the art of mirror work has been used well. Modern mirror work has various schemes and models, including rhombus mirrors, triangle mirrors, broken mirrors, accordion mirrors, solar mirrors, irregular mirrors, jigsaw mirrors, waterfall mirrors, and jeweled mirrors.

The art of mirroring has a rich history in Iranian architecture, encompassing traditional and trendy mirroring. Mirrors bring spaces to life and enhance the perception of breadth and depth within them. This technique can be utilized as art or decorative elements in various spaces. Mirrors are commonly found in religious and historical sites, and foreign travelers are often captivated by the magnificence and intricacy of Iranian mirror work, considering it truly remarkable.