کاشی‌های زرین‌فام نویافتۀ زیارتگاه شاه‌یلمان کاشان

Abstract
In this study, the focus is on the luster tiles from the Shah Yalman Shrine in Kashan. In the autumn of 2015, a fire broke out inside the shrine, after which the tiles under study were largely damaged. For their protection, these tiles were transferred to the Cultural Heritage Department of Kashan and later in 2015 moved to the National Museum of Bagh-e Fin, Kashan. To date, no information about these tiles has been published, nor have they been exhibited. Because of their high cultural and material value, we examined them with respect to decoration and the techniques employed. Since the tiles bear no maker’s signature, we compared them with signed works of similar style and technique. This research addresses the following questions: (1) Do the recovered luster tiles belong originally to this building, or were they brought here from elsewhere? (2) From a stylistic perspective, to which workshop, family, or master can the luster tiles be attributed? The authors examined the shrine tiles using a descriptive-comparative method. Eleven tiles were studied in total; each was documented in detail, including photography and pattern drawings, and relevant archival information was gathered in a specialized library. In appearance, the tiles closely resemble those from other sacred sites, including tiles associated with the shrine of Imam Reza. The findings indicate that the tiles most likely did not originally belong to the Shah Yalman Shrine and appear to have had a use other than as tombstones before subsequently being installed in that function within this building. The study further suggests that the luster tiles examined share the same designer or group of designers as works found in other buildings. The research also comprehensively documents the tiles’ conservation history and reviews archival records that inform contextual interpretation and provenance assessment.
Keywords: Kashan, Shah Yalman, Shrine, Luster Tile, Decorations, Ilkhanid.
 
Introduction
Numerous religious buildings, including mosques, madrasas, shrines, and tombs, were constructed in Kashan from the Ilkhanid period through to the Qajar era. The tomb of Shah Yalman, located in the Kashan Bazaar, is one such structure. Following a fire that occurred at this shrine in 2015, a number of tiles were discovered. After their recovery, these tiles were transferred to the Kashan Cultural Heritage Organisation. In 2016, the second author cleaned the smoke residue caused by the fire from the surface of several samples, after which the tiles were moved to the National Museum of Kashan, located in Bagh-e Fin. During this time, the tiles were stored in the museum repository and remained unstudied. A total of 17 luster tiles were recovered from this building. These tiles are square and rectangular in shape; however, the present study focuses exclusively on the eleven square examples. Several of the square luster tiles are damaged, and one is completely fragmented. This particular tile differs from the others in terms of decorative composition. The studied tiles lack the maker’s signature, and the inscriptions are incomplete, with verses that are only partially preserved. As a result, the available evidence provides limited information regarding their precise attribution and production context. The primary aim of this research is to introduce the luster tiles from the Shah Yalman tomb and to examine their decorative motifs and epigraphic content. The tiles are analysed with regard to their technical characteristics and ornamental features and are compared with similar examples from other sites in order to identify stylistic parallels. In addition, the study seeks to address two main questions: (1) to which stylistic family do the studied luster tiles belong, and (2) whether these tiles were originally produced for this building or were transferred there from another context. Given the nature of the material, a descriptive–comparative method has been adopted. All tiles have been fully documented through photography and graphic recording, and relevant published sources, including articles and books, have been consulted. The results of this study suggest that the tiles were likely produced by a designer or workshop comparable to those associated with the Abu Taher family, known from signed lusterware examples. Furthermore, based on the number of tiles and the thematic content of the inscriptions, it appears that these luster tiles originally served a function other than tombstones. It is therefore plausible that they were first installed in another architectural setting and were later reused as tomb markers for reasons that remain unknown.
 
Identified Traces
By comparing the luster tiles from the Shah Yalman shrine with other luster tiles associated with shrines and tombstones, it becomes evident that the Shah Yalman examples differ from typical tombstone tiles in both dimensions and decorative programme. A further distinction can be observed in the type of script and the content of the inscriptions. Tombstone tiles are generally executed in Naskh script and commonly include verses related to the Day of Judgment, as well as themes of Heaven and Hell. In contrast, luster tiles used in mihrabs and on architectural walls often feature different scripts and inscriptions focusing on moral conduct, encouragement of good deeds, avoidance of wrongdoing, and calls to prayer. The number and arrangement of the studied tiles also support this distinction. The assemblage consists of eleven tiles, which together would complete a total of forty-seven verses. This number is considerably greater than what is typically observed in mihrabs. Mihrab compositions usually include no more than three verses, whereas the Shah Yalman tiles preserve seven distinct verses. On this basis, it is highly unlikely that the tiles originally belonged to a mihrab. Instead, they were most probably produced as wall tiles and were later installed on the grave. If the studied tiles are interpreted as wall tiles, it can be concluded that the shrine of Shah Yalman itself lacked sufficient architectural space to accommodate such an extensive tile programme. This strongly suggests that the tiles were transferred from another location where they originally functioned as wall decorations. In order to protect them from theft or damage, the tiles were subsequently concealed beneath a layer of plaster. According to available evidence, they were later removed and stored under supervision, placed inside a wooden box and guarded. Comparable practices can be observed elsewhere. As illustrated in the available photographic documentation, wall tiles at the Dar al-Hafez complex of the Imam Reza Shrine in Mashhad were originally installed around the entrance doorway. At a later stage, these tiles were removed from their original position and relocated to higher sections of the entrance in order to ensure greater protection. This parallel supports the interpretation that the Shah Yalman tiles underwent a similar process of relocation and reuse.
 
Conclusion
In response to the first research question concerning the authenticity and original context of the studied tiles, the available evidence suggests that the luster tiles did not originally belong to the Shah Yalman tomb. The number of tiles, the thematic content of the inscriptions, and the overall shape of the tiles are inconsistent with those typically used for tombstones. Moreover, due to the limited wall space within the shrine, the tiles could not have functioned as wall decorations in their present location. Tombstone tiles generally employ a single script type, most commonly Naskh, whereas wall tiles and mihrabs characteristically display a greater variety of scripts. In the studied assemblage, three distinct types of writing are observed, further supporting the conclusion that these tiles were not intended for funerary use.
With regard to the second research question, a comparative analysis with the luster tiles from the mihrab of the Imam Reza Shrine and the Mir Emad Mosque reveals a high degree of stylistic similarity. These similarities suggest the involvement of a common designer or workshop. The diversity of decorative motifs observed in the studied tiles closely parallels those used in the Imam Reza mihrab. In both cases, comparable ornamental elements appear in the central fields and marginal zones, and the inscriptions are executed with elongated letterforms, accompanied by Kufic script in the lower margins. These stylistic features are commonly attributed to the Abu Taher workshop. It is therefore plausible that the same designer was responsible for all of these works, and that they were produced within a similar chronological framework, most likely around 594 AH.