In the Alborz, Sassanian metalwork tradition was still followed by artists and artisans even after the advent of Islam. Girls, birds, felines, legendary animals, etc were the common motifs still decorating metal works. Little by little, based on their old skills, methods and traditions, Iranians created some new works.
In post-Islam period, most of the forms used in metal works were prototypes like plate, buckets, most types of lights, multi-flamed candlesticks, chairs, small make-up tools, etc.
During Abbasids, certain metal works were made in Baghdad like some ewers in forms of excellently shaped geese, deers, roosters and humped cows.
Under Samanids, bronze cast animals and birds were created in innovative manners. Highly valuable objects were made of cheap raw materials like copper, zinc, tin and lead.
Seljuk Period
During 10th and 11th centuries, theriomorphic incense burners gained widespread popularity in the north east of Iran. These decorations consisted of armed horse riders, hunters, drinkers, wrestlers, musicians, backgammon players, and so forth.
In middle ages’ books, some of the fields of art were famous in certain cities like Bukhara in 10th century, for bronze works and zinc works, Samarqand for copper works, Rabinjan and Hamedan for excellent tinworks. In 11th century, Baykand and Sharq gained reputation for copper works, Bactria for silverworks. Finally, in 12th century, Heart was known for its silver decorations on bronze and brass. The astrolabe-making masters in Esfehan had great reputation both inside and outside Iran’s borders.
Sprinklers, cups, decanters, etc made during 11th and 12th centuries are indicative of luxurious lives among the wealthy.
Some personal belongings of such classes of people consisted of armor and weaponry decorated by gold and silver and black enamel, silver belts with their gilded or enameled annexations, silver arrows, silver-beaded rosaries, boxes of amulet and talisman made of half-gilded silver, gold cups, silver bowls, saucers, ewers, jars, vases, water containers, plates, etc.
These classes of people were the patrons of the gold and silver works in early post-Islam Iran.
Ilkhanid Period
In Ilkhanid period, metalworking followed an international method current in Iran, Syria and northern Iraq. So, many of local cultural differentiations were dissolved into uniform methods. Forms were limited and already decided which led to a general decline in the quality of form changeability.
Timurid Period
About 1300 A.D, Samarqand was declared capital by Timur and attracted famous artisans and artists from all conquered nations.
During Timurids, the general taste in Samarqand dictated conservative and static trends in metal works, because the fixed forms had then remained unchanged since 13th century.
Therefore, all the other artists’ centers were losing customers and preferred to emigrate to Samarqand. But an exceptional case happened in Khorasan. Metalworkers were focused on cheaper raw materials, but created some unparalleled products, silver and gold patterns on brass works.
In general, Iran proved to be continuously known as a center for producing metal sheets and silver, gold damascening on other metal materials for seven hundred years (since pre-Islam era).
Safavid Period
Under Safavids, metalworkers produced lots of luxurious works as well as lots of tin-tempered copper works and engraved brass works. They were unrivalled in using furbished steel. Best swords were produced in Iran. Numerous jewelries were created then that can today be visited in the unforgettable collection of jewelry museum in Tehran.
Written By: Rahman Mehraby