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ancient Portuguese ceramic tile
National Museum of the Azulejo - traditional tilework of Portugal and of the former Portuguese Empire (1500 to 1700).
Located in the former Convent of Madre Deus, founded by Queen D. Leonor in 1509.
The Museum of Marrakech is a historic palace and museum located in the old centre of Marrakesh, Morocco. In addition to its notable architecture, the museum's collection showcases various historic art objects and contemporary art from Morocco.
A estação de S. Bento, no Porto, é uma das mais belas e históricas do país. Inaugurada em 1916, a estação deve o seu nome ao antigo convento de S. Bento de Avé-Maria, que ocupava o mesmo local.
The S. Bento station, in Porto, is one of the most beautiful and historic in the country. Opened in 1916, the station owes its name to the former convent of S. Bento de Avé-Maria, which occupied the same location.
A beautiful gate and plenty of people outside it. The Palace is still used. en.wikipedia.org/wiki/Dar_al-Makhzen_(Fez)
One of the Azulejo tiles lining the wall of the Cloister Refectory
"Azulejo" refers to a typical form of Portuguese or Spanish painted tin-glazed, ceramic tilework. They have become a typical aspect of Portuguese culture and have endured for five centuries, without interruption, as a trend in Portuguese art.
Lisbon, Portugal
O átrio da estação de São Bento no Porto é um dos mais belos do mundo, graças aos seus azulejos que cobrem as paredes com cenas da história e da cultura portuguesas. Os azulejos foram pintados por Jorge Colaço, um dos mais famosos ceramistas do país, e instalados entre 1905 e 1916. Eles retratam episódios como a conquista de Ceuta, a entrada de D. João I no Porto, a batalha de Aljubarrota e a vida rural do Minho. Os azulejos são de um azul intenso que contrasta com o branco e o amarelo, criando um efeito visual impressionante.
The atrium of São Bento station in Porto is one of the most beautiful in the world, thanks to the tiles that cover the walls with scenes from Portuguese history and culture. The tiles were painted by Jorge Colaço, one of the country's most famous ceramists, and installed between 1905 and 1916. They depict episodes such as the conquest of Ceuta, King João I's entry into Porto, the battle of Aljubarrota and rural life in Minho. The tiles are an intense blue that contrasts with white and yellow, creating an impressive visual effect.
I'm always noticing art underfoot. I see these types of entryways all over Seattle. Tile or terrazzo work with an embedded address, date, business or personal name. This one in the Clolumbia City historic district is the first I recall seeing with a floral hexegon border.
TEHRAN, Iran — Colorful facade to the hall of marble thrones and tombs of the Qajar era Golestan palace in the heart of Tehran.
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©2019 German Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer.
Sultan Amir Ahmad Bathhouse (Persian: حمام سلطان امیر احمد , Hammam-e Sultan Amir Ahmad), also known as the Qasemi Bathhouse, is 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. The bathhouse is named after Imamzadeh Sultan Amir Ahmad, whose mausoleum is nearby.
Sultan Amir Ahmad Bathhouse, with an area of around 1000 square meters, consists of two main parts, Sarbineh (the dressing hall) and Garmkhaneh (the hot bathing hall). Sarbineh is a large octagonal hall, which has an octagonal pool in the middle separated by 8 pillars from the outer section. There are four pillars in Garmkhaneh, which make smaller bathing rooms all around as well as the entrance section to Khazineh (final bathing room) in the middle. The interior of the bathhouse is decorated with turquoise and gold tilework, plasterwork, brickwork as well as artistic paintings. The roof of the bathhouse is made of multiple domes that contain convex glasses to provide sufficient lighting to the bathhouse while concealing it from the outside.
-From Wikipedia-
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Would appreciate not having large/animated multi invite codes.
Benni and I love to visit the grounds of the 5 star Montage Hotel in Laguna Beach. It's on 30 acres of beachfront property and they welcome people and dogs who wander around taking photos. This wall can be seen from whale watching boats out at sea.
(click on picture to see more detail)
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"
A visitor stands in awe within the Hassan II Mosque, framed by its majestic arches and intricate tilework. Light streams through the open space, illuminating the architectural details and creating a serene atmosphere. This image captures the grandeur and spiritual essence of one of Morocco's most iconic landmarks.
A view from one of the Minar`s at Jehangir`s Tomb looking down at the ceiling of the building. The pretty tilework and elaborate stage in the center probably mean that the tomb was more than a place to bury the dead.
November, 2007.
Nikon D200. Sigma 10-20mm at 10mm.
Exposure: 1/125 s at f5.6.
ISO: 200.
At the Giant's House, Akaroa. All artwork is by Josie Martin with the house on the hill above Akaroa township bursting with bright tile people and artworks set amongst beautiful gardens. With a great view to the sea and hills. This is the wider view of the previous photo for those that are interested in the scope of the works. thegiantshouse.co.nz/
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
Taken @Naqsh-e Jahan square, Esfahan, Iran
This was such an over the top, absolutely breathtaking room to be in, a part of the Alcázar, in Sevilla.
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.
This is the Gur-e-Amir Mausoleum in Samarkand, the final resting place of Timur — better known in the West as Tamerlane (1336–1405). He was born in Shahrisabz, just south of here, and rose to power as a Turco-Mongol warlord who founded the Timurid Empire. Although he wasn’t a direct descendant of Genghis Khan, he married into the Genghisid line and adopted Mongol titles to strengthen his legitimacy.
Timur saw himself as the Khan’s true political heir and led a series of brutal but highly effective military campaigns across Central Asia, Persia, India, and the Middle East. Cities fell, cultures clashed, and power shifted. Despite the destruction he left behind, Timur was also a patron of science, art, and architecture. Under his rule, Samarkand was transformed into a vibrant cultural and intellectual hub — a legacy continued by his grandson Ulugh Beg, a famous astronomer.
Timur died in 1405 near Otrar (modern-day Kazakhstan) while preparing for a campaign into China. His body was embalmed and brought back to Samarkand. The Gur-e-Amir Mausoleum, originally built for his grandson Muhammad Sultan, who died young, was repurposed for Timur after his unexpected death.
The mausoleum is modest in size, but rich in detail. It features a fluted blue dome, Persian-style tilework, and two distinctive minarets with spiraling patterns and Arabic inscriptions. The interior chamber is decorated with carved marble and inscriptions — an elegant contrast to Timur’s fierce reputation.
Also buried here are several of his closest family members:
Ulugh Beg, his scholarly grandson
Shah Rukh and Miran Shah, two of his four sons (the others being Umar Shaikh and Jahangir)
Muhammad Sultan, his original heir
After Timur’s death, the empire was divided among his sons, but internal rivalries weakened it. Still, the cultural influence of the Timurid dynasty spread far beyond Central Asia — even inspiring later Mughal architecture in India. In fact, Gur-e-Amir set the architectural precedent for later masterpieces like Humayun’s Tomb and the Taj Mahal.
Standing in front of it today, this site offers more than just beautiful design — it marks the turning point where a conqueror’s story became a legacy.
The Shah mosque aka Royal Mosque, or Imam Mosque (after the Iranian Revolution), is a mosque in Isfahan, standing in south side of Naghsh-e Jahan Square. It was built during the Safavid dynasty, ordered by Abbas I of Persia - December 2004
Typical ceramic tilework ('azulejo') in Lisbon. The photo shows a decorated entry at the Museu Militar (military museum) in Lisbon, Portugal.
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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
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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©2019 German Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer.
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/