Abstract
Cultural Iran according to historical evidences, archaeological remains and cultural features such as language, ceremonies and customs, it covers a wide range from Central Asia to parts of the Indian subcontinent to the Caucasus and Asia Minor and throughout the Middle East and parts of the north of Africa. Throughout the history of the governments that ruled the Iranian plateau, at certain points in time have dominated a large part of the ancient world that, while political domination, have left their cultural influence directly and indirectly in various aspects in these realms and areas. These effects on the mentioned areas are so deep that they can be considered as part of the cultural Iran. Material evidence of this influence and cultural influences can be found in the material remains left in the form of cities, as well as the character of buildings, ancient hills and historical sites and  their dependent effects related to them, including the formation and patterns of pottery, architectural decorations, as well as cultural influences such as language, clothing, customs, and mythology. In this regard, trade and exchange in the form of transfer of artificial products from Iran to other lands also has a particular importance. In this regard, some pieces of tile decorations in Qalhat site were obtained during the archeological survey of the Iranian mission, which are clear examples in this field. The ancient port of Qalhat in Oman is one of the lands that owes part of its history to the presence of the Iranian element there; According to evidences, the presence began at the beginning of the historical period of Iran, ie the Achaemenid period, and has continued for centuries. In this article, we are going to introduction this ancient port to answer the question that tile decorations obtained from the archeological survey of the Iranian mission how confirm the trade and cultural exchange between Iran and this port ? Another question is: from which center or tile production center in Iran have been these tiles traded? This research is descriptive historical type and seeks to answer the research question with an archaeological approach based on evidences and remains from survery and library studies, including refering to historical texts and other sources.
Keywords: Qalhat Island, Bibimarim, Zarinfam Tile, Iranian Archaeological Board, Kashan.

Introduction
The ancient port of Qalhat is located 15 km north of the port and industrial city of Sur in the eastern province of Oman. Qalhat is one of the most important ports in Islamic lands along with other ports such as Sohar and Nazwa in Oman and Siraf in Iran, which has been of special importance throughout its history due to their location. This port is located in a triangle area where the natural and geographical features including mountains and sea have formed. The city covers an area of around 60 hectares from the west to the heights of Jabal Al-Hijr, from the north to the alluvial valley of Wadi Al-Helm, and from the east to the sea, and from the south to the city fence wall. Cultural exchanges of 
The results of the study program showed that the first period of settlement in this place reaches the third millennium BC (Bronze Age of Oman). Also, historical information confirms the continuation of the activity of the inhabitants of this place in the Iron Age, and periods of Parthian, Sassanid, early Islamic, Islamic Middle Ages - Seljuk period - until the sunset of the peaks in the seventeenth century AD. Accordingly, we are witnessing a period of about four thousand five hundred years of residence and prosperity in this port city.

Description
At the end of its life, this port was occupied by the Portuguese during the reign of Shah Abbas I Safavid. The Portuguese at this time in order to expand their colonies and dominate on the Persian Gulf, the Sea of Oman, the Red Sea and the Indian Ocean and control the lucrative trade of these parts and compete with the Dutchs and the Britishs who at this time realized these lucrative areas, Sent warships and units of their navy to these areas and occupied important areas including several islands and ports, which can be mentione areas such as Gambron port - Bandar Abbas - Hormoz and Qishm islands in Iran and ports of Qalhat, Ras al-Hadd, Sohar, Nazwa and Qoryat in Oman. In 1639, following the revolt of the inhabitants of the people of Qalhat against the occupiers and the recapture of the city, the defeated Portuguese retreated using explosives placed in the city on one side and with the cannons of their ships on the other targeted the city with severe attacks and completely destroyed it , so that except for the tomb of Bibi Maryam and the water reservoir of the city that was adjacent to it, all urban structures were destroyed. Some have attributed the non-destruction of the tomb to the Portuguese respect for Maryam’s name. In any case, this destruction was so widespread that it led to the destruction and abandonment of the people, and thus this important port disappeared for ever.
Following the conclusion of an agreement between the Cultural Heritage Research Organization of Iran and the Ministry of Archeology and Culture of the Oman, Two research programs were conducted in the Qalhat area under the supervision of the author. During the first season in the winter of 2007, this area was archaeologically surveyed and all its architectural remains were mapped and documented. In this regard, the important places of the port, including the areas around Bibi Maryam’s tomb and Qalhat Mosque, were surveyed with more focus.  In the second season, in the winter of 2008, based on the knowledge obtained from the archaeological survey conducted in the previous season, a place was selected for excavation, which resulted a building with the use of a khan or travelers’ residence.

Conclusion
One of the sites surveyed by the Iranian archaeologists is the remains of the ruined Mosque of Qalhat, which is located in the southeastern part of the city and overlooks the sea. This mosque has a square plan and was constructed with materials including rubble and light coral stones, like other buildings in the city, and from the surface artifacts, it can be seen that it was decorated with a lot of decorative elements related to architecture. The tiles used in this building are of the star and cross type in turquoise and green colors.
The most important building in this city is the tomb of Bibi Maryam, which has a quadrangular building with a crypt tomb; A building that, as mentioned, has survived the pervasive destruction of the city by the Portuguese. Bibi Maryam, the wife of “Ayaz”, the ruler of the Ilkhanid period, was in Hormoz, who sat on the throne for 2 years after the death of her husband around 696 and 697 AH.  According to the available evidence, parts of the inside and outside of the tomb were covered with tiles. Except for a few pieces, none of the tile decorations are left on this building, at now, but existed evidences on walls indicate that many parts of the building are covered with different types of tiles.  The study indicated that, pieces of several types of tiles were used as ornament for the tomb. In this article, we have introduce the tiles obtained from the study and discussed how to transfer these cultural materials in the form of trade and compare and them with similar examples in Iran. 

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.