View allAll Photos Tagged TileWork
This image was taken from nearly the same spot as my wider courtyard shot, but this time with a 75mm lens. The goal was to isolate the Kalta Minor—Khiva's famously unfinished minaret—and highlight how its glazed tiles and pastel tones interact with the surrounding domes and arches.
Built in the mid-19th century, the Kalta Minor was meant to be the tallest minaret in Central Asia. Construction stopped abruptly after Muhammad Amin Khan's death, leaving behind this squat, cylindrical shape—now one of Khiva's most iconic landmarks.
Whether this tighter composition works is up for debate. But I was drawn to the layered geometry, the contrast between the warm mudbrick and cool turquoise, and how the afternoon light softened the entire scene.
This tilework can be seen in the wall to the right of the doorway in the previous photo called Canoga Mission Gallery.
A local Historical Building. Fonthill Museum.. also posted on my FB page. I need to get out and shoot more.. soon..
Thanks for looking,
Kurt
This photo was taken in front of the Abdulaziz-Khan Madrasah in Bukhara. The entrance is a striking example of 17th-century Islamic architecture, adorned with intricate tilework, tall arches, and colorful muqarnas (stalactite-style ornamentation). The madrasa, built in 1652, was intended to rival the older Ulugbek Madrasah just across the square.
The woman in the photo was not merely posing for fun. She allowed me to take pictures, clearly hoping I'd buy something from her—in this case, an embroidered tablecloth. We ended up purchasing one for €25. It wasn't particularly unique, but it felt fair to support her after she had stood there patiently.
Later, we observed the same tablecloths sold at many tourist spots across the Silk Road. It wasn't a rare find, but now it's part of the story.
One of the proving facts of the (unique tileworks of Iran) is the amazing combination between geometrical patterns with natural motifs and colors using in Iranian classic architechture.
for more :
Unique tileworks of Iran : www.flickr.com/groups/879592@N24/
NISHAPUR, Khorasan Razavi, Iran — Detail of beautiful floral pattern decoration of a mosque in Nishapur, Iran, with golden painted tiles on a blue and turquoise background.
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The wall of Azulejo. The azulejo is a form of Portuguese painted, tin-glazed, ceramic tilework, that is a typical aspect of Portuguese culture.
Rolleiflex 2.8F xenotar
Kodak PORTRA 160NC
at Porto, Portugal
This shot was taken inside Registan Square, looking across from the Ulugh Beg Madrasah (left) toward the central Tilya-Kori Madrasah. The composition features two layers of Timurid architecture — intricate details up close and open symmetry in the distance.
The twisted tilework column in the foreground belongs to Ulugh Beg's early 15th-century madrasah, one of the oldest structures on the square. In the back, the turquoise dome of Tilya-Kori — built nearly 200 years later — adds depth, color, and balance to the scene.
This frame encapsulates what makes Registan special: centuries of craftsmanship, all side by side in one shared courtyard.
I took this photo inside the Shah-i-Zinda necropolis in Samarkand, Uzbekistan. The name means "The Living King," and it's one of the most important historical and religious sites in Central Asia. The complex stretches along a narrow walkway lined with over 20 beautifully tiled mausoleums, most of them built between the 11th and 15th centuries.
The turquoise domes and intricate facades you see here were added during the Timurid period, when Samarkand was a major center of spirituality and culture. Many of the tombs belong to royal women and members of Timur's court. According to legend, it's also the resting place of Qutham ibn Abbas, a cousin of the Prophet Muhammad.
Compared to the wide-open space of Registan, Shah-i-Zinda feels quieter and more sacred, as if you're stepping into a hidden world. I remember walking through that narrow path, taking in the details: the tilework, the calligraphy, the vibrant colors everywhere. I had heard about it before, but seeing it in person was something else. It's not as famous as other spots in Samarkand, but it might be one of my favorites.
My attempt to capture the symmetry of the entrance-iwan of this mosque, and particularly its dazzling beauty, has obviously failed but it was still worth to upload it.
Imam Mosque, formerly known as Shah Mosque is a mosque in Isfahan, Iran standing in south side of Naghsh-i Jahan Square. Built during the Safavid period, it is an excellent example of Islamic architecture of Iran, and regarded as one of the masterpieces of Persian Architecture. The Shah Mosque of Esfahan is one of the everlasting masterpieces of architecture in Iran. It is registered, along with the Naghsh-i Jahan Square, as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-colour mosaic tiles and calligraphic inscriptions. The mosque is one of the treasures featured on Around the World in 80 Treasures presented by the architecture historian Dan Cruickshank.
The Safavids founded the Shah Mosque as a channel through which they could express themselves with their numerous architectural techniques. The four-iwan format, finalized by the Seljuq dynasty, and inherited by the Safavids, firmly established the courtyard facade of such mosques, with the towering gateways at every side, as more important than the actual building itself. During Seljuq rule, as Islamic mysticism was on the rise and Persians were looking for a new type of architectural design that emphasized an Iranian identity, the four-iwan arrangement took form. The Persians already had a rich architectural legacy, and the distinct shape of the iwan was actually taken from earlier, Sassanid palace-designs, such as The Palace of Ardashir. Thus, Islamic architecture witnessed the emergence of a new brand that differed from the hypostyle design of the early, Arab mosques, such as the Umayyad Mosque. The four-iwan format typically took the form of a square shaped, central courtyard with large entrances at each side, giving the impression of being gateways to the spiritual world.
Standing in the public square, or Maidan, the entrance-iwan (gateway) to the mosque takes the form of a semicircle, resembling a recessed half-moon and measuring 27 meters in height, the arch framed by turquoise ornament and decorated with rich stalactite tilework, a distinct feature of Persian Islamic architecture. At the sides rise two minarets, 42 meters high, topped by beautifully carved, wooden balconies with stalactites running down the sides. Master calligrapher of the Royal court, Reza Abbasi, inscribed the date of the groundbreaking of the construction, and besides it, verses praising Muhammad and Ali. In the middle, in front of the entrance, stood a small pool and a resting place for the horses, and inside the worshippers found a large marble basin set on a pedestal, filled with fresh water or lemonade. This basin still stands as it has for four hundred years, but no longer serves the function of providing refreshments to the worshipers at the Friday prayers.
Nazir al-Molk Mosque.It was built around 1872-1884 by order of Nasirol-Mulk the aristocrat of Shiraz.
The mosque is the essence of Iranian art and architecture. The ceiling has fine stalactite molding plus beautiful tilework.
Amazing tilework, Fresco walls and beautiful gardens, all excavated from Vesuvius’ wrath. I am so taken by this ancient place…I really want to go back to continue photographing this place. Italy stole my heart.
The shot belongs to the tomb of Sayyed Mohammad, a religious leader which is killed and then burnt by the governer of Neyshabur city, after that he is called Mahroogh which in arabic means bernt.
His tomb is located in Neyshabur City.
I took this photo inside the Shah-i-Zinda necropolis in Samarkand, Uzbekistan. The name means "The Living King," and it's one of the most important historical and religious sites in Central Asia. The complex stretches along a narrow walkway lined with over 20 beautifully tiled mausoleums, most of them built between the 11th and 15th centuries.
The turquoise domes and intricate facades you see here were added during the Timurid period, when Samarkand was a major center of spirituality and culture. Many of the tombs belong to royal women and members of Timur's court. According to legend, it's also the resting place of Qutham ibn Abbas, a cousin of the Prophet Muhammad.
Compared to the wide-open space of Registan, Shah-i-Zinda feels quieter and more sacred, as if you're stepping into a hidden world. I remember walking through that narrow path, taking in the details: the tilework, the calligraphy, the vibrant colors everywhere. I had heard about it before, but seeing it in person was something else. It's not as famous as other spots in Samarkand, but it might be one of my favorites.
National Museum of the Azulejo - traditional tilework of Portugal and the former Portuguese Empire (made 1500 to 1700).
© All Rights Reserved Please don't use this image on websites, blogs or other media without my explicit permission
click image to view on flickr black or see it on my stream in flickriver: www.flickriver.com/photos/msdonnalee
san francisco california
from a description of the Museu Nacional do Azulejo on the Lisbon Tourism Guide website, www.lisbonportugaltourism.com :
"Tile art is a common feature throughout the Mediterranean, but only Lisbon has a museum exclusively dedicated to it. It's a must-see, one-of-a-kind attraction, housed in a magnificent old convent from 1509, and with a collection featuring pieces going back to the 1400s. It explains the origins and evolution of the art in Portugal, which ended up being the country with the vastest and most innovative uses of tiles.
From the old convent remains a small Manueline (a Portuguese Gothic and Renaissance style) cloister and a stunning church, which makes the museum one of Lisbon's most beautiful sights. The church's tile panels are among the main highlights of the collection, and the gilded woodwork is one of the finest of several exceptional examples of the kind in the city."
This photo was taken early in the morning with the sun rising to the right of the Ulugbek Madrasah. Built in 1417 by the Timurid ruler and astronomer Ulugh Beg, it is one of the oldest madrasahs in Central Asia and part of a series he commissioned in Samarkand, Gijduvan, and Bukhara.
The building's façade features modest geometric tilework, typical of the more academic Timurid style. Once a center of learning, the madrasah now stands quietly next to cafés and souvenir shops, a calm presence in the historic heart of Bukhara.
Site of a late 19th or early 20th century exhibition, the plaza has amazing tilework depicting important historic events in the provinces of Spain
This McDonalds has turned into a time capsule of sorts. It hasn't been updated since forever and is kept in tip top shape.
Perry Hall MD
Azulejo tilework, rescued from a ruined convent. The Lebrija Palace is a 16th-century mansion, remodeled in 1914 by a countess with an interest in archaeology. The lines between professional archaeologist, amateur archaeologist, treasure hunter and antiquarian were all a bit blurry back then, but she amassed an impressive collection that is beautifully displayed in her former home, a work of art in its own right.
This is the inner courtyard of the Muhammad Amin Khan Madrasah, the most significant madrasah in Khiva. It is located just inside the west gate of the old city, Itchan Kala. Built between 1851 and 1854, it was commissioned by Khan Muhammad Amin, one of the last rulers of the independent Khanate of Khiva.
The two-story madrasah once housed over 250 students, including lecture halls, student cells, and a mosque. Its size and layout reflect Khiva's role as a religious and administrative center in the 19th century.
In the background rises the unmistakable Kalta Minor, known for its vivid turquoise tilework and unusually stumpy appearance. It was intended to be the tallest minaret in Central Asia. Still, construction was abruptly halted after the khan's death, leaving behind what is now Khiva's most iconic architectural feature.
Today, the madrasah functions as a hotel and museum.