Ayeneh-kari

Ayeneh-kari^[1] (Persian: آینه‌کاری) is a kind of Iranian interior decoration where artists assemble finely cut mirrors together in geometric, calligraphic or foliage forms (inspired by flowers and other plants).^[2] This creates a shining surface covered with complex facets, reflecting light as intricate abstract patterns or glittering reflections. Beside their decorative use, this art form is used as a strong durable cover for interior spaces.^[3] This type of mosaic work is commonly done in Iran and Pakistan. It is also found is Mughal era buildings of India.

Ayeneh-kari in the main hall of Emarat-e Badgir, Golestan Palace, Tehran, Iran

Etymology

The word Ayeneh-kari is a Persian compound word, composed of the words ayeneh and kari. Ayeneh means mirror. Kari means to do or place something onto something else. Together, the word Ayeneh-kari means mirror-work.

History

In ancient Iranian cultures, water and mirrors symbolised purity, light and truthfulness, and their use in Iranian architecture also has the same meaning and comes from the same concept.

During the Zand and Qajar eras, this craft was applied over doorways, window-frames, walls, ceilings, and columns in pavilions and private houses, tea-houses and zūrḵānas, as well as royal buildings and shrines. The funerary complex of Shah Cheragh in Shiraz, Iran, features extensive use of Ayeneh-kari. It also appears as an external architectural facade, within semi-domed ayvāns that mark the entrance of tālārs, courtyards, gardens and reflecting pools.^[4]

Elements of this craft have been attributed to Venetian glassmakers invited to Iran by the Safavid shah, Abbas the Great, in the 17th century.^[5] This art form may have also evolved from the creative reuse of shattered fragments of imported mirrors. By the 19th century, affluent homes in Isfahan featured a 'mirror room' as a reception space, in which mirror work was combined with carved stucco and the display of artist's prints.^[6]

Monir Shahroudy Farmanfarmaian was an Iranian artist who, by re-interpreting Ayeneh-kari, brought the art form into the contemporary art scene.

Gallery

• 
  Ayeneh-kari of Fatima Masumeh Shrine, Qom
• 
  Ayeneh-kari on the ceiling of Shah Cheragh shrine, Shiraz
• 
  Ceiling of Chehel Sotoun's mirror hall that contains Ayeneh-kari, Isfahan
• 
  Ayeneh-kari in Sahebgharaniyeh Palace, Niavaran Complex, Tehran
• 
  Ayeneh-kari in the Brilliant Hall of Golestan Palace, Tehran
• 
  Ayeneh-kari on the stairs leading up to the Salam Hall of Golestan Palace, Tehran
• 
  Ayeneh-kari in the Mirror Hall of Iran Mall, Tehran

See also

• Glass mosaic, a similar Burmese mosaic technique