Studying the time, place and the artist assignment of polychrome tile work of decorated archway

      The polychrome tile work of the Qajar era reveals the identical illustration, which has a different artistic style comparing to former eras. Shiraz tile makers of this period provide polychrome tiles with specific features according to costumes and public folklore and established Shiraz school of painted tile work. This article concentrates on the decorated tile work of an archway at the London art auction, Bonhams.Analyzing and comparing it with the other similar tile works of Shiraz from the Namazi Clinic and Salehi and Atrvash historical houses are carried out, attempting to work out the chronological, spatial and the artist assignments of this archway based on the available documents. The method use in this article is comparative-analytical method and the data has been gathered via field observations and literature review.  The following results indicate that this archway is related to the tile works of the investigated places in Shiraz, both in style and subject and shares common motifs which shows that this archway belongs to Shiraz’s school of tile work in late Qajar period. Also survey inscription of this archway and the other available inscriptions of the investigated places reveals that Ostad Ebrahim was a tile maker from Shiraz during late Qajar era, was contemporary with Mirza Abdolrazaq, one of the famous tile makers of Shiraz school of tile work. Tiling is an art that is of high importance and importance in Iranian architecture. Almost all of the buildings that are considered masterpieces of Iranian architecture have a great deal of beauty and splendor from their beautiful tiles adorned with a variety of motifs. Tiles in Iran have a long history and have varied in artistic style in different regions and periods. The industry was of particular interest during the Qajar era and underwent major changes in decoration, coloration and patterning techniques. Seven-color tiles that have been installed on Iranian buildings from the late Safavid to the Qajar period are a new movement that has displayed a distinctive identity of Qajar visual art. Despite the general similarities in style and style, the tiles of this period have their own characteristics in different areas (Tehran, Shiraz and Isfahan). Many of the Qajar-era pictorial tiles, like many other artworks, have been sold at antique auctions since leaving Iran and are on display in museums and personal collections. The subject of this article is the introduction and examination of a crescent-shaped crescent to seven-color tile with subjects such as Solomon's Tomb, flower and chicken images and images of women leaving Iran and its current location is a London art auction called Bonams. In this study, according to the existing documents and also comparing and matching common decorative features, patterns, colors and inscriptions of this work with similar works in Shiraz tiles (Salehi House, Atroush House, Namazi Clinic and Vakil Mosque) The issue of the timing, location, as well as the identity of the creator of this work should be clarified. The method of this study is analytical-comparative and the method of data collection is based on library studies as well as field studies.