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Beautiful brickwork & tilework inside the interior chamber of Sultan Amir Ahmad Bathhouse, a traditional Iranian public bathhouse in Kashan, Iran. It was constructed in the 16th century, during the Safavid era; however, the bathhouse was damaged in 1778 as a result of an earthquake and was renovated during the Qajar era.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Beautiful brickwork & tilework inside the interior chamber of Sultan Amir Ahmad Bathhouse, a traditional Iranian public bathhouse in Kashan, Iran. It was constructed in the 16th century, during the Safavid era; however, the bathhouse was damaged in 1778 as a result of an earthquake and was renovated during the Qajar era.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Beautiful brickwork & tilework inside the interior chamber of Sultan Amir Ahmad Bathhouse, a traditional Iranian public bathhouse in Kashan, Iran. It was constructed in the 16th century, during the Safavid era; however, the bathhouse was damaged in 1778 as a result of an earthquake and was renovated during the Qajar era.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
Seville, Spain.
"The Plaza de España ("Spain Square", in English) is a plaza in the Parque de María Luisa (Maria Luisa Park), in Seville, Spain. It was built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of Regionalism Architecture, mixing elements of the Baroque Revival, Renaissance Revival and Moorish Revival (Neo-Mudéjar) styles of Spanish architecture.
The center of it is Parque de María Luisa, designed in a "Moorish paradisical style", with a half mile of tiled fountains, pavilions, walls, ponds, benches, and exhedras; lush plantings of palms, orange trees, Mediterranean pines, and stylized flower beds. Numerous buildings were constructed in the park to provide spaces for the exhibition."
This and other architecture and fountains were the influence for the Country Club Plaza in Kansas City, Missouri, Seville's sister city.
sheikh lotfollah (or lotf allah) mosque, isfahan, iran, 1602-1619.
architect: muhammad reza ibn ustad hosein banna isfahani.
the strange colours here are due to artificial lighting rather than PS manipulation. the architectural idea is that the long, dark hallway makes the mosque appear very bright even though it is nowhere as bright as the square you have just left. sadly, this was not understood by whoever is in charge of the building.
this photo was uploaded with a CC license and may be used free of charge and in any way you see fit.
if possible, please name photographer "SEIER+SEIER". if not, don't.
A close look at Portugal’s artistry in tilework reveals a world of geometry, rhythm, and light. This pattern of azulejos—hand-painted ceramic tiles—features interlocking stars and diamonds in vivid blue, golden amber, and soft violet tones. Each line seems to pulse with precision, forming a mosaic that’s both mathematical and deeply human.
The design speaks to centuries of cultural exchange—Moorish influence meeting Iberian craftsmanship. These tiles were never just decoration; they were language. In their repetition lies a kind of meditation, a steady hum of symmetry and history that reflects Portugal’s layered identity.
Viewed up close, the slight imperfections—the brushstrokes, the uneven glaze—make each tile unique, a reminder that even in perfect order, there’s beauty in the handmade.
in progress
The unique blue tiles of Isfahan's Islamic buildings, and the city's majestic bridges, contrast perfectly with the hot, dry Iranian countryside around it, Isfahan is a sight you won't forget. Not only is the architecture superb and the climate pleasant, but there's a fairly relaxed atmosphere here, compared with many other Iranian towns. It's a city for walking, getting lost in the bazaar, walking in beautiful gardens and meeting people.
The famous half-rhyme Isfahan nesf-e-jahan (Esfahan is half the world) was coined in the 16th century to express the city's grandeur. There's so much to see that you'll probably have to ration your time and concentrate on must-sees such as the Imam Mosque, a magnificent building completely covered in Isfahan's trademark pale blue tiles; This mosque is situated to the south of Naqsh-e-Jahan sq. built in the reign of shah Abbas, tile work and architecture of this Mosque is amazingly superb. Its minarets Are 48 meters high. Naghsh-e-Jahan (world picture) Square, one of the largest town square in the world. The Chehel Sotun Museum & Palace, a marvellous 17th century pavilion and a great place for a picnic; this palace is another building dating back to the Safavid period, built amidst a vast garden covering an area of 67000 sq m. The building has a veranda with 18 pillars and a large pool in front of it. Being mirrored in the still water of the pool, the pillars create a beautiful view. The wall painting in the interior of the building is superlative in their kind.Ali Qapoo Palace Situated to the west of Naghsh-e-Jahan Sq. belongs to the Safavid period. It was used for the reception of the Ambassadors and envoys from other Countries. Ali Qapoo is a six-storied plasterwork and paintings of which are extremely impressive. and the Vank Cathedral, the historic focal point of the Armenian church in Iran. Taking tea in one of the teahouses under the bridges is also an essential part of the Isfahan experience.
Isfahan is about 400km (250ml) south of Tehran.
The importance of tilework in Persian architecture arises from two important factors; first the need to weatherproof the simple clay bricks used in construction, and secondly the need to ornament the buildings. Tilework was used to emphasise certain motifs such as the ascending and descending patterns in the dome of the Sheikh Lotfallah mosque, and to emphasise transitional points in the design either by providing a patterned panel or border, or by incorporating calligraphy.
Two main types of tilework developed. The mosaic tilework formed by incorporating single colour tiles into the design and the so called cuerda seca technique where a range of colours is used on individual, generally square shaped tiles. This latter form developed extensively during the 17th century, Safavid dynasty, as the quality of glazes improved and because it was significantly cheaper to produce.
The principle colours used were blue, yellow, turquoise, pink, aubergine and green. These seven colours gave rise to the name haft rang - which literally means "seven colours"
Seen and photographed on a New Year's Eve photowalk with Chun and Andrea. Powell Street, Gastown, Vancouver. December 31, 2012.
A loaded skip is hauled by rope up the incline at Far Ings Tileries, Barton on Humber, on 21st July 1999. The one skip and 'Simplex' locomotive (Motor Rail 8678 built in 1941) was the complete complement of rolling stock on this 2'0" gauge railway, the last loco-worked narrow gauge railway in the UK to serve a brickworks/tileworks. The loco driver operated the incline as well as the excavator in the clay pit! Judging by the number of coats hung over the handbrake column, the weather can get pretty bleak in those parts. I guess that the driver used to dream of having a loco with a cab fitted!
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
Outside a Virgin Maria on the exterior wall in blue tilework, the so-called azulejos, It was completed in 1940 to celebrate 800 years of the Women`s Catholic Movement.
This is a small conventual church. The place of honor on the High Altar is a venerable statue of Our lady of Mt. Carmel (1704)
When the last surviving nun died in 1854, the convent was used by the Ministry of War as a military hospital.
Today, the 3rd order of Carmelites (a lay association) maintains watch over the site and are more than happy if you want to visit the upper choir (1 euro), other than that the visit is free and this is a perfect place to rest and reflect upon the good and glorious works of earlier times - as well as your great good fortune to be able to visit here and enjoy this tiny jewel of Portuguese patrimony.
To my understanding it houses now a religious institution that works as a children’s home named Lar de Santa Estefania.
A tile entrance at an antique store in downtown La Crosse, Wisconsin — harking back to when the store was home to Gantert’s Furniture. Gantert’s occupied this store space from 1885 to 1981 so I’m thinking this tile work dates to the 1930s.
Calligraphy Reads:
"Is He [not best] who responds to the desperate one when he calls upon Him and removes evil" (Holy Quran - portion of verse 62, Suratul Naml [27])
The importance of tilework in Persian architecture arises from two important factors; first the need to weatherproof the simple clay bricks used in construction, and secondly the need to ornament the buildings. Tilework is used to emphasise certain motifs and descending patterns in the domes and door arches etc. and to emphasise transitional points in the design either by providing a patterned panel or border, or by incorporating calligraphy.
Two main types of tilework developed. The mosaic tilework formed by incorporating single colour tiles into the design and the so called cuerda seca technique where a range of colours is used on individual, generally square shaped tiles. This latter form developed extensively during the 17th century, Safavid dynasty, as the quality of glazes improved and because it was significantly cheaper to produce.
The principle colours used were blue, yellow, turquoise, pink, aubergine and green. These seven colours gave rise to the name haft rang - which literally means "seven colours"
The discussion of tilework on these pages falls into the following categories. You can study them in historical order, starting with Early Brickwork, or select a particular item of interest.
Bathed in soft afternoon light, this magnificent horseshoe arch marks one of the most striking entrances of the Palácio Nacional da Pena—Pena Palace—in Sintra, Portugal. Its Moorish-inspired geometry, intricate tilework, and crenellated parapet showcase the richly eclectic spirit that defines the entire palace complex. Rising from the misty Serra de Sintra, this gateway invites visitors into a dreamscape where Gothic, Renaissance, and Islamic architectural influences intertwine in a vivid Romantic fantasy.
Built in the mid-19th century under the direction of King Ferdinand II, the palace stands as one of Europe’s earliest and most iconic examples of Romantic architecture. The monarch, deeply influenced by German and Austrian castles, envisioned Pena as a place where imagination could run free—a fairytale retreat filled with symbolism and beauty. This particular archway, with its alternating stone voussoirs and tiled interior wall, reflects Portugal’s historic dialogue between cultures, echoing the Mudéjar and Moorish design traditions that once flourished across the Iberian Peninsula.
The glazed azulejos adorning the inner face of the arch shimmer in the sunlight, their blue-green hues playing off the warm ochre of the surrounding walls. Each tile, meticulously arranged, contributes to the rhythmic pattern that defines Portuguese artistry. The crenellations above, reminiscent of medieval battlements, add an element of fortress-like strength to this otherwise ornamental gateway. It’s an entrance that feels simultaneously defensive and decorative—a perfect embodiment of the Romantic era’s fascination with history, myth, and visual drama.
Beyond its aesthetic brilliance, the arch serves as a threshold—both literal and symbolic. Passing through it, visitors leave the everyday world behind and step into the realm of imagination that Pena Palace represents. The winding paths beyond lead to terraces, domes, and courtyards of contrasting colors and forms, each revealing another layer of Ferdinand’s vision: an architectural dialogue between past and present, Europe and the Orient, dream and reality.
Today, the Palácio Nacional da Pena is recognized as a UNESCO World Heritage Site, celebrated for its visionary blend of architecture and landscape. Standing beneath this archway, surrounded by lush ferns and distant mountain views, one feels the palace’s enduring magic—a reminder that great design transcends time, uniting beauty and storytelling in a single breathtaking composition.
Tilework on one of the domes in the Shah-i-Zinda Necropolis in Samarkand, Uzbekistan. A fairly similar photo to one ive posted before...
Another wonder example of Soviet Art in the National Museum of the History of Ukraine in the Second World War. Like other works in the complex I can find no information about its provenance online. This tilework is in the main memorial hall of the museum, which contains the names of tens of thousands of Ukrainians slain in the war against Hitler. The self-consciously Orthodox nature of this work is striking, not only its use of Byzantine-style tilework, but the St Anne-like babushka brandishing the sword with the Soviet star in the centre, and the angel who seems about to rip off his outer garments to the right.
The National Museum of the History of Ukraine in the Second World War (Ukrainian: Музей історії України у Другій світовій війні) is a memorial complex commemorating the German-Soviet War located in the southern outskirts of the Pechersk district of Kyiv, the capital of Ukraine, on the picturesque hills on the right-bank of the Dnipro River.
The museum was moved twice before ending up in the current location where it was ceremonially opened on May 9 (Victory Day) in 1981 by the Soviet leader Leonid Brezhnev. On June 21, 1996, the museum was accorded its current status of the National Museum by the special decree signed by Leonid Kuchma, the then-President of Ukraine.
It is one of the largest museums in Ukraine (over 300 thousand exhibits) centered on the now famous 62-metre tall Motherland statue, which has become one of the best recognized landmarks of Kyiv.
This photograph captures a moment inside the Hamid Olimjon Bekati Station, a subway station in Tashkent, Uzbekistan. The scene is dominated by a train arriving at the platform, with several people, primarily teenagers and young adults, walking along the platform. The station's architecture is notable for its elaborate tilework. The image is a panoramic shot, taken with a Fujifilm GFX 50SII camera, and exhibits an unsaturated color palette.
My 360° Tashkent Video on youtube
This link will bring you to my immersive 360° YouTube video.
King Manuel I had the idea of erecting a large monastery close to the site where Henry the Navigator had built a church dedicated to Santa Maria de Belém in the 15th century. With a view to perpetuating the memory of Henry and acknowledging his own great devotion to Our Lady and St. Jerome, Manuel I chose to establish the Monastery of Santa Maria de Belém on a site just outside Lisbon on the banks of the River Tagus. The monastery was given to the Order of St. Jerome, which is why it was given the name of Jerónimos (or Hieronymite) Monastery.
A lavish carved headboard rises against an intricate backdrop of geometric azulejos, blending Moorish motifs with 19th-century Romantic excess inside Sintra’s Pena Palace. Deep mahogany spindles twist upward in rhythmic patterns, catching warm highlights that reveal their craftsmanship. The surrounding tilework interlocks star shapes, crosses, and floral forms in a palette of gold, blue, crimson, and stone gray—an architectural tapestry that feels both historic and fantastical. Draped red fabric with fringe crowns the scene, adding theatrical flourish to a room already steeped in royal pageantry. A richly patterned bedspread echoes the palace’s maximalist aesthetic, creating a layered environment where color, texture, and ornament intertwine. The result is a portrait of Portuguese Romanticism at full bloom: ornate, handcrafted, and unapologetically dramatic.
Beautiful brickwork & tilework inside the interior chamber of Sultan Amir Ahmad Bathhouse, a traditional Iranian public bathhouse in Kashan, Iran. It was constructed in the 16th century, during the Safavid era; however, the bathhouse was damaged in 1778 as a result of an earthquake and was renovated during the Qajar era.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
A beautiful example of tilework in the Blue Mosque of Tabriz. It has the three elements of arabesque design - calligraphy,floral elements and geometric patterns. The darker areas are original tiles from the 15th century and the lighter areas are recent repair work of the areas destroyed by earthquakes.