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Here, the ustad (master craftsman) is adding more small pieces of the ‘artificial stone’ to smaller defects in the memorial. Unusually, this ustad is a young man – most are much older, and the limited interest from younger apprentices means that many traditional skills are at risk of being lost. [C.S.2]
This damaged stone memorial, in Ardabil, is being restored by one of only seven appropriately skilled stone-carvers in Iran. He first makes ‘artificial stone’ (top and corner), using ground up stone similar to the original, plus various stabilisers. [C.S.1]
Here is the whole team responsible for restoring themuqarnas (behind them). The ustad (master craftsman, at left) told me that, unusually, he expected the two younger apprentices to continue working with him – more often now, young men do not stick to low paid and arduous craft jobs. [C.M.4]
The ustad (master craftsman) shown here part the way up inside the high dome at Sarakhs, is standing in front of some partially-restored (and fairly basic) muqarnas. [C.M.3]
This is the Shaykh Luqman Mausoleum in Sarakhs, on the Turkmenistan-Iran border. It was built in 1356, and is now being restored. Getting access to themuqarnas (stalactite vaulting) right up in the top of the dome involved squeezing up between the double shelled walls of the lower part of the building; then an exposed and hair-raising …
Muqarnas, sometimes called ‘stalactite vaulting’, are a three-dimensional form of architectural decoration of domes, niches and the underside of vaults. For the craftsmen-constructors, they require the application of detailed geometric principles; for the viewer, they allow infinitely imaginative reviewing. This Timurid muqarnas – from the Khargird madrese in NE Iran – has additional painted stucco …
‘Cutting’ each precisely curved element to make up faience is painstaking work. These two men are ‘sanding’ individual pieces to make sure they are an exact fit. The building they are working on, in Taybad, in NE Iran, has soaring expanses of faience work that is slowly being restored. [C.T.5]
The small pieces making up the faience can be seen here: with the carefully drawn out paper guides stuck on tiles to left; the face-down pieces at bottom, waiting to be attached together; and the perfectly interlocking pieces at left (with some of the paper still to be removed). [C.T.4]
This ustad is part of the team restoring the faience tiles inset into this wall. He has to first remove the glazed tiles – without damaging any of the surrounding graffiti, since some of this is historically important in its own right. [C.T.3]
This ustad (master craftsman) is using a squared and scaled plan for the banna-i, very similar to those seen in some Mughal book paintings. [C.T.2]