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تاریخچه کاشی
اولین شکل های کاشیها به دوران بسیار دور بر می گردد .اولین خاکی که در ساخت لوازم ساختمانی توسط انسان های زمان های گذشته استفاده شد ، خاک رس بود .اولین کاشی هایی که ساخته شد در برابر کاشی های امروزی بسیار زمخت تر و مقاومت کمتری داشته .
مواد اولیه ی ساختن کاشیها از رودخانهها دریافت...
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Mosaic tilework on a wall in the Baths of Oceanus, one of the ancient buildings of the ruins of Sabratha. A UNESCO World Heritage Site, Sabratha was a Roman city during the time of Augustus Caesar, located between Tripoli, Libya and the border with Tunisia. Original photo taken in 1962 with a Pentax camera, using Kodachrome 35mm slide film. Scanned with a Canon 9000F scanner at 2400dpi.
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wikimapia aerial:
Shah (Imam) Mosque:
Architecture of the region had evolved over a couple of thousand years from the earth itself. When you don’t have abundant timber beams, or suitable stone, you develop techniques to span space with bricks, together with earth plaster incorporating lime and straw. This produces mass walls with deep openings, vaults spanning and intersecting, and domes round in plan. Juxtaposed, they’re adjoined in three-dimensional geometry — earlier Persians were leaders in maths and geometry. Devoted craftsmanship became decorative expression. All this in that sun-bright light. And Persian design contributed the cruciform mosque. It was in Isfahan especially that they developed the four-iwan courtyard concept — with reflecting ablution pools and shimmering rhythm of arcading. This then became skinned with exquisite, intricate, and brilliantly-coloured glaze-tiles protecting the earth materials and twinkling the light. Ethereal, other-wordly.
The tiles of much of this mosque aren’t the traditional mosaic of tiny cut pieces to fit a pattern, but a faster-to-produce technique of painting up to seven colour glazes onto a ceramic face and firing as one, and even making into a panel.
And if we look closely at that amazing entry tilework, we note that despite first appearance, the patterns aren’t strictly symmetrical left to right.
Work started on the Royal mosque in 1611, but it wasn’t until 1629, last year of Shah Abbas’s reign, that the building was completed.
So, over a substantial threshold emphasizing our entry into transition space — qualities of aged usage, void, and further light entice us on. That entry portal aligned with the Maidan Square, whereas the interior spiritual aims were directed at 45◦ (towards Mecca). The architects used this to skilfully create the short transition. Apart from the portal entry, and landmark dome marking the main sanctuary, the exterior is unimportant. The transition moves us from the bustle of the daily-life Square into seclusion and quietude of the inner courtyard — a setting aside of space and mind........>
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Wikipedia:
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There are at least two types of Islamic tilework.
Shown here is mosaic tilework, in which tile is cut or formed in pieces which, when assembled, form the design. It is by far my favorite.
The other type of Islamic tile consists of rectangular painted tiles which form the pattern when they are appllied to the wall in the correct order. Design elements may cross the borders of individual rectangular tiles, and the overall design may not become apparent until several rectangular pieces have been mortared into place.
I prefer mosaic work because I think it is more difficult to execute and because I like the way each colored shape on a mosaic wall is a separate piece of tile, as opposed to simply being painted onto a rectangular tile as one of many brush strokes.
Mashhad, Iran.
This piece of tilework consists of mosaic: each shape and each color is a different piece of tile.
I like it because of the juxtaposition between the baroque overall shape and the rigidly geometric composition of the yellow and black tiles inside the outline.
I also like it because you see two different patterns depending on whether you focus on the yellow tiles or the black tiles. Fun!
Mashhad, Iran.
The Custard Factory is now home to Zellig.
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
From Pevsner Archiectural Guides Birmingham by Andy Foster
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
The scaffolding has mostly come down since I last saw the Custard Factory's Devonshire House. It was still up when I took it last in October 2009. It is nice to see it like this again, although there is still barriers at the bottom. I hope that they have removed the graffiti that was on the bottom of the building last year (when sections were exposed to vandals).
My bus route switched to Bradford Street, so I can't see it from the bus anymore.
Was part of the Devonshire Works of Alfred Bird & Sons.
It was built in 1902.
Pevsner description:
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
Clean shots of Devonshire House.
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
Devonshire House - Heritage Gateway
I did not intend to get that Ant and Dec Push the Button billboard. In this case I've just got Dec.
Copyright photo. 1994 slide.
Zellij tilework at the Saadian Tombs, Kasbah, Marrakech.
The Saadian tombs near the edge of the kasbah had been walled up by a vengeful successor but were (early 20thC) discovered and access made into some of the fragrant garden courts where the Saadian imperial families lie buried in opulent grandeur. Great contrasts.
The decoration is particularly impressive.
Zellij: fire-glazed tile mosaics set into plaster.
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Wikimapia Saadian Tombs:
wikimapia.org/#lat=31.6172542&lon=-7.9887021&z=17...
Diagrammatic map:
www.moroccotime.com/mapmarra.htm
Wikipedia:
10/30/13. I'm looking in the garage for a few things to take to Hawaii with me (anybody know where my lightweight tripod is?), and I happened on a couple of boxes, decided to look inside and see if these were things that I could now bear to toss. One box held all my mother's pay stubs and Medicare statements--what to do with that was an easy decision. Another held the photos I took from her house--not photo album photos exactly, but just loose photos she had propped up on her mantel and dresser--as well as all the postcards I ever sent her. Those, obviously, I keep. (Well, we'll see about the postcards). And then there was a box with "stuff." One of the items was the tile here--which I didn't know until this week was from a famous tileworks. My friend Kathi gave it to me several years ago, and it hung on our "travel wall," where I enjoyed seeing it every time I went out the door. (Every time I stopped to notice it, anyway.) This week, what with 2014 appointments and dates mounting up, I decided it was time to buy my calendars. I always buy two, one for each of my offices. One was the Audubon Society's "Birds of Paradise," full of amazing birds; the other was "Arts & Crafts Tiles." Flipping through it I arrived at March and thought, wow, that looks familiar. How cool to know I have a Motawi tile! Better later than never.
Mudejar tilework. Imitating the Moorish patterns found in the Mudejar royal palaces of the Alcazar of Seville, but implemented with patterned rectangular tiles -- a cheaper material, less labor-intensive -- rather than as a mosaic.
The Hospital de Venerables Sacerdotes was built in the late 17th century as a nursing home for retired priests (looks like priests lived the good life), it now houses an art museum with a small but fine collection including works by Velasquez and Murillo.
This photograph captures a striking view of Khiva, Uzbekistan, emphasizing the city's rich architectural heritage. The Islam Khodja minaret dominates the right side of the frame, its patterned surface rising against a clear blue sky. To the left, a building with a prominent arched entrance is visible, adorned with detailed tilework. The composition is dynamic, looking upwards to highlight the height and grandeur of these structures. The bright sunlight creates strong contrasts and emphasizes the textures of the buildings.
This link will bring you to my immersive 360° YouTube video.
One of the finest examples of a Jacobean Manor house to survive in London, Eagle House was built in 1613 or 1617 (depending on which sources you consult) for Robert Bell, Master of the Worshipful Company of Girdlers and co-founder and a director of the British East India Company. Bell died childless in 1840 and, after his wife's death in 1647, the house was sold to Sir Richard Betenson. His grandson sold the house again in 1700 to Richard Ivatt, an alderman of London. Ivatt's grandson sold the building again to George Bond in 1766. Bond rented the house out and the Rt hon William Greville was a tenant in 1787.
It was purchased by one Reverand Thomas Lancaster in 1789-90 who used it to house the Wimbledon School for Young Gentlemen and Noblemen. Lord Nelson and Lady Hamilton visited the school in 1805, after which it was renamed the Nelson Academy. The school as also known as "Blackenbury's" at some point.
In 1887 the house was purchased by Thomas Graham Jackson who restored much of the house to the state it had been in in its pre-school days.
The inside of the building is reputed to retain many original features including fine ceilings and 17th century Delft tilework.
The blue plaque visible on the outside of the building says "SCHOPENHAUER, Arthur (1788-1860), Philosopher lived and studied here in 1803".
Since 1989, it has been home to the Al-Furqan Islamic Heritage Foundation who have done extensive renovation. It houses a library and research facilities.
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.The colours used were blue, yellow, turquoise, pink, aubergine and green.
Tilework in the upper part of the Dome of the Rock facade, Jerusalem
Razia Grover, Mosques. New Delhi, India: Roli & Janssen BV, 2006, p. 28.
Cairo's Islamic Museum is one of the finest dedicated to the art of Islam and its rich collection contains much to enjoy in all mediums.
Especially fine are the ceramics, with tilework and glazed pottery adorned with exquisitely intricate designs, whilst a good proportion incorporates elements of figurative imagery, normally forbidden under Islam and reflecting a more relaxed attitude to applied art and the pleasure it gives.
The museum is a delight and the beautifully displayed collection will richly reward a visit.
For more detail see the article below:-
The Custard Factory is now home to Zellig.
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
From Pevsner Archiectural Guides Birmingham by Andy Foster
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
Devonshire House - British Listed Buildings
Zellig banner.
This tilework is UNBELIEVABLE... each of those is a piece of glazed masonry, cut and fit together!!! We watched a master workman doing this and still couldn't believe it.
Here, I'm looking up at the side of the entrance gate - you can see the same structure straight-on in this photo of HORIZON's.
For more information about the mosque, see HORIZON's description - scroll down to "Jame Mosque."
I am so grateful to HORIZON for teaching me (through his example) how to photograph this stuff - always straight on - don't mess with the sacred geometry.
William James Neatby is noted for the decorative scheme, in Doulton ceramic tilework, which he designed for the food hall of a well-known Kensington department store. Another of his designs was applied to the front of the Edward Everard printing works in Broad Street, Bristol. Being familiar with the latter building I might have been expected to recognise the entrance to the Royal Arcade, Norwich, as Neatby's work, but didn't. I found out later, when browsing in Pevsner. The two schemes are similar, notably in the colours of the tiles and in those chubby little columns, upper left. They were executed in consecutive years, 1899 and 1900, this being the earlier. Neatby's work is a decorative façade, of course. The architect was George Skipper. Pevsner avers that the premises now occupied by Waterstone's were originally a public house.
Moravian Tile Works Factory by Henry Mercer -
www.buckscounty.org/government/MoravianPotteryTileworks/M...
One of the finest examples of a Jacobean Manor house to survive in London, Eagle House was built in 1613 or 1617 (depending on which sources you consult) for Robert Bell, Master of the Worshipful Company of Girdlers and co-founder and a director of the British East India Company. Bell died childless in 1840 and, after his wife's death in 1647, the house was sold to Sir Richard Betenson. His grandson sold the house again in 1700 to Richard Ivatt, an alderman of London. Ivatt's grandson sold the building again to George Bond in 1766. Bond rented the house out and the Rt hon William Greville was a tenant in 1787.
It was purchased by one Reverand Thomas Lancaster in 1789-90 who used it to house the Wimbledon School for Young Gentlemen and Noblemen. Lord Nelson and Lady Hamilton visited the school in 1805, after which it was renamed the Nelson Academy. The school as also known as "Blackenbury's" at some point.
In 1887 the house was purchased by Thomas Graham Jackson who restored much of the house to the state it had been in in its pre-school days.
The inside of the building is reputed to retain many original features including fine ceilings and 17th century Delft tilework.
The blue plaque visible on the outside of the building says "SCHOPENHAUER, Arthur (1788-1860), Philosopher lived and studied here in 1803".
Since 1989, it has been home to the Al-Furqan Islamic Heritage Foundation who have done extensive renovation. It houses a library and research facilities.
More of the history of Eagle House.
This tilework is UNBELIEVABLE... each of those is a piece of glazed masonry, cut and fit together!!! We watched a master workman doing this and still couldn't believe it.
For more information about the mosque, see HORIZON's description - scroll down to "Jame Mosque."
I am so grateful to HORIZON for teaching me (through his example) how to photograph this stuff - always straight on - don't mess with the sacred geometry.