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Mirdehqan S F, Heidari Babakamal Y, Khakbaz Alvandian E. (2025). Investigation of the Origin, Visual Characteristics, and Content of Patterns and Inscriptions on Luster Tiles of Kamaliyeh School in Yazd. Parseh J. Archaeol. Stud.. 8(30), 231-255. doi:10.61882/PJAS.8.30.231
URL: http://journal.richt.ir/mbp/article-1-938-en.html

Abstract
Kamaliyeh Collection is one of the most significant remnants dating back to the first half of the 8th century AD in the city of Yazd. Despite its historical and archaeological importance, no studies have been conducted on this collection. Through systematic efforts carried out in the 1970s, 24 intact or broken tiles with luster patterns depicting plants, birds, and inscriptions in the form of star-shaped (kokabi) motifs were discovered. Since there have been no published studies or reports on these tiles, the present research aims to examine their visual, content, and probable origin characteristics based on historical and architectural evidence through a comparative analysis with existing samples. Therefore, the following research questions are addressed: 1. What information can be obtained from the patterns and inscriptions on luster tiles of Kamaliyeh School in Yazd? 2. Based on the visual features of the patterns, which centers of luster tile production do the identified tiles belong to? The current study employs a documentary and descriptive-historical approach, along with analytical and comparative methods, to logically address the research questions. The results indicate that the patterns on the tiles include floral designs (three pattern models with a lotus flower motif and Shah Abbasid buds around the center of the tile), birds (a flying eagle with spread wings among floral patterns), and inscriptions (Quranic verses with themes of victory, admonition, sustenance, and Persian literature derived from Ferdowsi’s Shahnameh and Shams Tabrizi). These designs on the tiles serve specific religious, belief, and burial functions within the collection. Moreover, considering the significant similarity in pattern models, designs, and inscriptions among the studied samples, it is likely that Kashan was the major center for tile production. This is plausible considering the strategic communication route from Rey to Kerman passing through Kashan to Yazd for the distribution of luster tiles.
Keywords: Kamaliyeh School, Yazd, luster tiles, floral patterns and inscriptions, Kashan.

Introduction
The Al-Muzaffar era is one of the significant historical periods in the city of Yazd, ruling over the southern and central regions of Iran in the 8th century AD. The flourishing construction and development in Yazd during this period were substantial enough to lead to the expansion of its citadel and wall in several stages, particularly the relocation of some city districts outside its fortifications (Kateb, 1966: 69).
Luster tiles were crucial architectural elements used in both religious and non-religious structures during this period, adorning interior or exterior facades and mihrabs. In the Ilkhanid era, some religious buildings in cities, including the mausoleums of Shiites, were adorned with luster artworks. It seems that Yazd was one such city, gaining increased significance during the Middle Islamic centuries with the rise of the Al-Muzaffar dynasty. The Al-Muzaffar rule in Yazd, due to their support for the arts and culture of the Yazdi people, contributed significantly to the prosperity and development of the city. This support was to such an extent that one of the shining cultural periods in Yazd’s history is attributed to the reign of the Al-Muzaffar dynasty (Kateb, 1966: 89).
One notable feature of this era was the establishment of numerous Dar al-’Ilms (houses of knowledge), with Yazd earning the title of Dar al-’Ilm. Various sciences were taught in schools, mosques, Dar al-Siyadehs, and Khanqahs (Mirhosseini, 1993: 58). Another characteristic of this period was the flourishing of Sufism and the creation of various khaneqahs in Yazd and its surrounding regions, including the Rastaq Khanqah (Ibid: 265). These institutions made utmost efforts to create robust architecture and embellish it with the finest elements. One of the historical buildings of great value, adorned with remarkable luster tiles, is the Kamaliyeh Collection or Shah Kamal in Yazd. This structure was constructed in the year 720 AH by Khwaja Kamal al-Din Abu al-Ma’ali.
In the early 1970s, during organizational efforts, a number of luster tiles were discovered installed above a wall and are currently preserved in the secure storage of the Cultural Heritage, Handicrafts, and Tourism Organization of Yazd Province (Afshar, Vol. 2, 1996: 613). Although these objects have been organized and cataloged in recent years, a comprehensive scientific study on these tiles and their origin has not been conducted so far. Therefore, the present research aims to provide logical answers to existing ambiguities regarding the origin and nature of these tiles by studying their patterns and inscriptions and comparing them with contemporary and similar samples.

Discussion and Analysis
Tile Shape: The identified luster tiles in this structure are octagonal, a model commonly used in combination with cross-shaped (Chelipa) tiles with turquoise single-glaze enamel in the decoration of religious Shia buildings, such as the shrines of Imam Reza (AS) and Hazrat Masoumeh (SA) or Takht-e-Soleiman, dating back to the 7th century AD. In their decoration, plant, animal, and inscription motifs have been employed.
Patterns: The bird pattern of a flying eagle is one of the common motifs in the decoration of these tiles, appearing in the midst of floral patterns with outspread wings. Comparable examples can be identified among luster vessels produced in the city of Kashan. Among the comparable examples, luster star-shaped tiles in the Museum of Islamic Art in Istanbul, a sample from Takht-e-Soleiman in the British Museum, samples from the Sackler collection, the Victoria and Albert Museum, and the Freer Gallery of Art, all date back to the Ilkhanid period and were produced in the city of Kashan.

Floral Patterns
Most of the studied tiles depict a blue lotus flower with dense branches and leaves covering the entire central area of the tile. The spaces between the branches and leaves are filled with small circular motifs arranged in a band. While the floral patterns show overall similarity, careful examination reveals at least three design patterns among them: 1) a floral design with a Shah Abbasid flower at the top with branches and leaves on both sides (examples 16-1), 2) a Shah Abbasid flower in the center with dense branches and leaves around it (example 17), and 3) a small hexagonal flower at the top with two Shah Abbasid flowers on either side (example 20). Among these three patterns, the similarities between patterns 1 and 2 with samples from the Cambi Auction House in Genoa, Italy, a specimen from Sultanabad, and a sample preserved in the Victoria and Albert Museum are noteworthy.

Inscriptions
All the studied tiles include outer margins adorned with inscriptions. Among the 24 studied tiles, 18 are adorned with Quranic verses, 6 with Persian verses, 5 with verses from the Shahnameh, and one of the samples features verses from Shams Tabrizi.
The detailed analysis of the identified luster tiles in the Kamaliyeh Collection provides valuable insights into the patterns, shapes, and inscriptions used during the Al-Muzaffar era in Yazd. Comparisons with contemporary examples from Kashan and other regions contribute to a better understanding of the cultural and artistic context of this historical period.

Conclusion
The Kamaliyeh School is one of the significant educational institutions of the Ilkhanid period in the city of Yazd, expanding its influence in subsequent eras. It appears that luster tiles were utilized in adorning certain sections of the building, though the exact purpose of their use remains unclear. In the explorations conducted in Yazd, few traces of luster tiles have been discovered, and the collected samples from the Kamaliyeh School are the most important luster artifacts found to date. A crucial point is the function of these tiles, as research suggests that they are generally associated with religious beliefs or identity burial practices and have been predominantly used in shrines or burial sites. In the Kamaliyeh Collection, it is probable that they were used in the burial chamber, similar to examples found in the Seyyed Shams al-Din and Seyyed Rokn al-Din shrines in Yazd. While the samples from Takht-e-Soleiman primarily depict a royal structure (palace), the presence of religious color throughout the entire collection justifies the usage of such ceramics. Moreover, considering the Kamaliyeh Collection’s diverse functions, including a khanqah, school, and dome, and its educational-religious approach, the use of these types of tiles was likely a common practice during its time. The results also indicate the use of three categories of patterns: floral, animal, and inscription motifs. The floral patterns mostly depict a blue lotus flower, which has a long history in Iranian culture and has been used in various arts, including carpet weaving, under different names like “Shah-Abbasi flower.” With regards to the better-preserved examples, at least three design patterns emphasizing the Shah Abbasid flower are conceivable. The bird pattern of a flying eagle, present in the midst of floral patterns and on the central area of octagonal tiles, is surrounded by inscriptions in though script on the outer margin. The inscriptions draw inspiration from two different sources, the Holy Quran and Persian literature. Quranic inscriptions are categorized into several groups based on content, and the presented concepts can be considered relevant to the building’s function. Persian verses are mostly related to the Shahnameh, with only one case influenced by the poetry of Shams Tabrizi. Through a comparison of form, design patterns of motifs and inscriptions, and even the colors used, with examples preserved in museums such as the British Museum, the Museum of Islamic Art in Istanbul, the Sackler Collection, the Victoria and Albert Museum, and the Cambi Auction House in Genoa, it can be asserted that the probable place of production for the luster tiles of the Kamaliyeh School was the city of Kashan.