Study of structure and re-examination of the Khwarazmshahi Lustre epigraphy; Dar-al- Hifaz porch in the Razavi Shrine

Certainly, one of the creative inventions after the rise of Islam within the geographical territories of Islamic rulings, is the artistic method that we now know as Lustre. Three alters in the museum and the plinths of the holly Razavi shrine, also the inscribed tiles all-around the northern wall of the (Dar-al-hifaz), are some examples of that era. The aim is to look at the inscribed tiles all-around the northern wall of the (dar-al-hifaz porch), to analyse them from, visual and technical aspects. Thia article based on some historical dating of part of these inscribed tiles, they date back to the Jamadi-al-aval of the year 612 Hijri. Therefore What historical information and meaning can be found within this entrance?  The study of continuity of this work, around the entrance to the Imam Reza’s Holly shrine, that has been conducted from the Dar-o-l-hefaz  direction, can clarify this point: the writings on these tiles tell us about the efforts undertaken by the powerful and the prominent more than 800 years ago to show that Alavian were the right full owners who had been under the Abbasid rulings. The presence of this caliphate has meant that over the years, the Sunni Moslems have paid extra attention to the fact that this in fact remains a holly and special place and not a place for an ordinary descendant of the Abdolmottaleb like Haroon Alrashid. But is a holly resting place of a special descendant of the Prophet Muhammad and his son-in-law, Amir Almonenin. This kind of representation is rather similar to the famous Hadith called : “Selselatol Zahb” meaning the chain made of gold; which in reality has been made with the gold lustre imagery, depicting every ancestors name introducing the Imam’s martyrdom in detail and reminding us that he in fact was an important descendant of the prophet Muhammad himself. The acceptance of the legitimacy of him as the true Imam or leader of the Shi’ite Moslems, distinguishes him from those of the Ismaili and Zeydi faiths. In the centre of this collection is the emphasis on this depiction. There is also a poem describing this detail that reminds us of its legitimacy. These are all within the taut thread in Azure within these tiles in style of Regha and Kufi writings. These inscriptions in Arabesque traceries, form a voluminous and significant result. The tile’s golden background becomes the Hu of this play with light, which moves with the observer’s movements. And gives the  illusion that the tile is in fact made of gold colour metal or even real gold itself. Where the bass relief is more prominent, the illusion becomes even more dazzling. Producing the “Rozat-o-l monavare”. In reality, the shape and essence of this amazing creation, is like a golden leaf taken form the pages of an exquisite book of Koran.  Inviting the by lookers to drink in its vastness and because of it, know and appreciate the gracious Imam whose body and memory lies within its walls.