year 9, Issue 33 (12-2025)
Parseh J. Archaeol. Stud. 2025, 9(33): 329-349 |
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Kafili N, Rahmani G. (2025). Identification of the Waq Tree in the Luster Tiles of Takht Suleiman. Parseh J. Archaeol. Stud.. 9(33), 329-349. doi:10.61882/PJAS.841.1097
URL: http://journal.richt.ir/mbp/article-1-1097-en.html
URL: http://journal.richt.ir/mbp/article-1-1097-en.html
1- Assistant Professor, Department of Islamic Art, Faculty of Conservation and Restoration, Iran University of Art, Tehran, Iran (Corresponding Author). , negar.kafili@art.ac.ir
2- Assistant Professor, Research Center for Conservation of Cultural Relics, Research Institute for Cultural Heritage and Tourism (RICHT), Tehran, Iran.
2- Assistant Professor, Research Center for Conservation of Cultural Relics, Research Institute for Cultural Heritage and Tourism (RICHT), Tehran, Iran.
Abstract: (466 Views)
Pottery has long been one of the key mediums for expressing cultural elements in Iran. The decorative motifs used in this art form are deeply rooted in Iranian culture, literature, religion, and political contexts, immortalized through the innovative creativity of Iranian artists. Among these motifs, the “Waq Tree” or “Talking Tree” stands out as one of the most prominent decorative elements, particularly gaining attention during the Ilkhanid period. This motif, which combines natural, imaginative, and mythical elements, was employed in the luster tiles of Takht-e Soleyman and reflects a profound connection between humans, nature, and animals. This study aims to address why this motif was prominently featured and executed by artists during the early Ilkhanid rule at Abaqa Khan’s palace in Takht-e Soleyman. It seeks to explore both visual representations of the examples and their associated cultural foundations. Using a descriptive, analytical, and historical approach, supported by imaging of historical samples, this research concludes that the painters of Takht-e Soleyman’s luster tiles depicted wild animals such as deer, gazelles, and rabbits instead of humans—who are typically central to illustrations of the Talking Tree. The choice of wild animals over human figures may reflect the nature-oriented tendencies of the Seljuks and Mongols. This selection also highlights the influence of Mongol culture on Iranian art—a culture that introduced animal anthropomorphism as a prominent element in literature and art. The Waq Tree, rooted in Iranian and global folklore, symbolizes a deep connection between humans, nature, and living beings. This mythological concept is intertwined with ideas such as the sanctity of nature and the bond between the human world and the natural world. The depiction of this motif on Takht-e Soleyman’s luster tiles demonstrates the artists’ efforts to convey these concepts, which were innovatively reimagined during the Ilkhanid era.
Keywords: Waq Tree, Luster Tile, Takht-e Soleyman Lusterware, Takht-e Soleyman Pottery, Iranian Pottery.
Type of Study: Research |
Subject:
Interdisciplinary
Received: 2024/10/13 | Accepted: 2024/12/31 | Published: 2025/12/22
Received: 2024/10/13 | Accepted: 2024/12/31 | Published: 2025/12/22
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