Decoration Of Tiles Research Articles

The Art of Decorating Traditional Ceramic Tiles in Contemporary Vietnamese Architecture and Interior

Terracotta ceramic brick is a material with a long history in the life of the Vietnamese people, often used to build and decorate ancient architectural works with special techniques, visual arts, and decoration sharp. Over hundreds of years, although at present, the artifacts made from terracotta pottery are no longer intact on the ancient architectural works, they have still been kept as precious heritages, contributing to the formation of the imaging system. Unique statues and symbols in traditional Vietnamese architectural decoration art. Many designers have used traditional ceramic tiles to decorate contemporary architectural, interior, and exterior spaces to create a unique feature for each project. From the perspective of Fine Arts, Design, and a practical approach, the article aims to identify the characteristics, inheritance, and continuation of the artistic heritage of traditional ceramic tile decoration in architectural and interior design contemporary furniture in Vietnam, thereby proposing and suggesting some solutions to this problem.

Archaeometric Review of The Tile Decorations in Hasankeyf Zeynel Bey Tomb with P-EDXRF

Tile is known as a handicraft based on the production of items such as vases, jugs and pots by shaping the soil after cooking. It is defined as the covering material processed with colorful décor and motifs used in the decoration of items such as tiles, ceramics, porcelain plates and china making in the goods processed with the help of this material.
 In this study, 7 Light Blue Glaze, 7 Navy Blue Glaze and 8 Unglazed Tile belonging to Zeynel Bey Tomb, a total of 22 tiles were analyzed in Hasankeyf Cultural Park where the tomb was moved with P-EDXRF.
 As a result; The chemical contents of the 22 samples we examined on site were determined and compared with the previous studies. It was determined that the results obtained were compatible.

Synthesis of (Fe,Cr)2O3 solid solution pigment powders for ink application

AbstractIron chromite pigment was synthesized via solution combustion using iron(III) nitrate nonahydrate and chromium(III) nitrate nonahydrate as starting materials, and glycine, urea, citric acid, and ethylene glycol as fuels. The effect of postheating temperature on the structure, microstructure, and chromatic properties of the synthesized powders was also studied. X‐ray diffraction patterns showed that the as‐synthesized powders were amorphous to crystalline FeCr2O4 phases, depending on fuel type. Moreover, regardless of the fuel type, postheating led to the d‐space shift and oxidation and formation of (Fe,Cr)2O3 solid solution. Phase transformation of FeCr2O4 to (Fe,Cr)2O3 solid solution was observed at 500/750°C depending on the dominant phase present in the as‐synthesized particles. Fourier transform infrared analysis illustrated a shift in the band position of octahedral M–O and tetrahedral M–O bonds due to the movement of Fe cations and the lattice shrinkage by increasing the postheating temperature. Moreover, scanning electron micrographs showed that Fe0.7Cr1.3O3 semispherical fine particles consisted mainly of porous and spongy FeCr2O4 particles due to the oxidation and phase transformation during postheating. According to chromatic measurements, the ink prepared by using the powders synthesized in the presence of glycine and post‐heated at 500°C showed reddish‐brown color which could be considered a promising candidate for tile decoration application. Furthermore, rheology studies revealed that the prepared ink showed non‐Newtonian shear thinning behavior.

Frame simulations in 18th century Azulejos

The present article is the result of an ongoing research project and aims to draw attention to simulated azulejo frames. On the one hand, these decorative elements isolate the compositions, closing them in on themselves. On the other hand, simulated azulejo frames help integrate with the tile decoration they are part of, which in turn is part of a global decorative system in line with the concept of artistic totality typical of the Baroque period. This article will examine the various solutions that resort to this kind of frame, known as canvas-frame, including decorative elements, plastic compositions and their effects or consequences for the overall decorations. Finally, the focus will turn to future research directions, based on the systematic cataloguing of the known examples.

A four-dimensional model for the Ba–Ti–O dodecagonal quasicrystal

A four-dimensional (4D) model is presented of the first oxide dodecagonal quasicrystal found in a Ba-Ti-O ultra-thin film on a Pt(111) single-crystal substrate. The 4D model, with a 4D dodecagonal lattice constant ad= 8.39 Å, was derived by considering a tile decoration model of dodecagonal Niizeki-Gähler tiling composed of squares, triangles and 30° rhombuses. The model consists of four kinds of occupation domain, and 4D positional vectors defining the shape of each occupation domain are given. Moreover, the atomic arrangement of two Ba-Ti-O periodic approximants, the sigma-phase approximant and a 25.6 Å approximant were derived from the 4D model by the introduction of linear phason strains.

Tile Decoration in the Ottoman Period Mosques at Southeast Anatolian (Şanlıurfa and Gaziantep Examples)

Osmanlı Dönemi çini sanatı hakkında yapılan çok sayıdaki araştırma sayesinde bu dönemin çini süslemeleri hakkında oldukça detaylı bilgilere sahibiz. Günümüzde yapılan araştırmalar ile bu bilgiler her geçen gün daha da artmaktadır. Osmanlı döneminde, özellikle 16. yüzyılda İznik üretimi çiniler, başta başkent olmak üzere İmparatorluğun çeşitli bölgelerinde inşa edilen yapıları süslemekte kullanılan ana bezeme malzemelerinden birisi olmuştur. İznik’in yanında Kütahya, Tekfur Sarayı ve Diyarbakır gibi İstanbul ve Anadolu’nun farklı bölgelerinde çini üretildiği ve mimari süslemede kullanıldıkları da bilinmektedir. Çalışmamız kapsamında değerlendirdiğimiz Güneydoğu Anadolu Bölgesi’nde yer alan Şanlıurfa ve Gaziantep şehirlerinin coğrafi konumları göz önüne alındığında, İznik’ten bu bölgeye çini getirilmesi zor ve zahmetli olacağı için bu şehirlere daha yakın olan Diyarbakır ve Suriye’den muhtemelen stok (depo) çinilerin getirildiği ve süslemede kullanıldıkları anlaşılmaktadır. Özellikle Diyarbakır, Şam ve Halep gibi bölgelerde inşa edilen yapıların yerel atölyelerde üretildikleri düşünülen çinileri ile Şanlıurfa ve Gaziantep şehirlerindeki yapıları süsleyen karolar halindeki birbirlerinden farklı çinilerin çok yakın benzerlikler taşıması bu fikri güçlendiren bir durumdur. Şanlıurfa ve Gaziantep şehirlerindeki çinilerin benzer örnekler ile birlikte değerlendirilmesi, Osmanlı mimarisinde İznik dışındaki merkezlere ait çinilerle süslü yapıların tanıtılması ve Diyarbakır ile Suriye’deki üretim merkezlerinin 16.-17. yüzyıllarda bölgedeki yapıları süsleyen çinileri ürettiklerini göstermesi açısından önemli olacaktır.

Silicate-based persistent phosphors

Eu2+-doped alkaline-earth silicates are the second most studied group of persistent luminescent inorganic phosphors after aluminates, such as SrAl2O4. Silicates are comparable with the aluminates in terms of chemical stability, high quantum efficiency and large band gap, but offer advantages including better water resistance and lower calcination temperature. Their applications range from traditional uses such as traffic signs, tile decoration or fluorescent lamps to more advanced ones such as solar cells, LEDs or in the medical field.The highest persistence has been found in (Ca,Sr,Ba)3MgSi2O8: Eu2+, Dy3+, Ba4(Si3O8)2: Eu2+, Dy3+ or Sr2MgSi2O7: Eu2+, Dy3+. Various synthesis routes have been employed to obtain crystals of these phases, such as sol-gel, hydrothermal and combustion synthesis and, more commonly, solid-state reaction. The preparation of silicate phosphors from glass crystallization has not yet been widely explored. Here, we review the progress made in the research of these inorganic crystalline phosphors, the proposed persistent luminescence mechanisms taking place and the different preparation methods employed to date, with special attention paid to the Sr2MgSi2O7: Eu2+, Dy3+ phase due to its long afterglow emission.

Lost and Found: The Ilkhanid Tiles of the Pir-i Bakran Mausoleum (Linjan, Isfahan)

ABSTRACT The mausoleum of Pir-i Bakran (1298–1313) is an exceptional Ilkhanid monument, which exemplifies different types of architectural decoration. These rich and exuberant revetments have been subject to extensive research: scholarly concern with the mausoleum focused on the distinctions between the monument's numerous constructive and decorative phases and its stuccos, wall paintings, and applied stuccos. However, the mausoleum was originally also decorated with tiles in lustre, moulded and glazed, Lajvardina and glazed media, which were removed from the mausoleum at an early stage. This paper dedicates its attention to this less well-studied aspect of the monument: art history research and work in museum collections support the suggestion that tiles (in lustre, moulded and glazed, Lajvardina and glazed media) in museum collections, may originate from the Pir-i Bakran mausoleum. Some of these tiles comprise animate elements (birds, such as cranes and phoenixes), which require an explanation of their meaning within the religious and funerary structure contexts. The Pir-i Bakran mausoleum appears to be one of the most southerly, though not the most remote, monuments with revetments containing animate imagery and lustre tile decoration. The research provides a new insight into the circulation of ideas and artistic exchange within the Iranian plateau.

Quasiperiodic bobbin lace patterns

Bobbin lace is a fibre art form in which threads are braided together to form a fabric, often with a very detailed and complex design. In traditional practice, each region of the fabric is filled with a periodic texture. We establish the groundwork for non-periodic lace patterns and present three new quasiperiodic families based on Sturmian words, the Penrose tiling by thick and thin rhombs and the Ammann-bar decoration of the Penrose tiling.

The iconographic role of azulejo frames

This article documents the relations between the verbal and visual elements found on the frames used in Portuguese tile decorations. Frames are a constant presence in the history of Portuguese azulejos, from the late fifteenth century to the present day. Their role is to integrate the decorations within the surrounding architecture and other artforms (mainly gilt woodwork, easel painting, polychrome marble inlays, ceiling painting, sculptures, and textiles), as well as to structure systems with a varying degree of complexity, usually subordinated to the idea of artistic totality. Throughout the centuries, changes in taste have influenced the different kinds of frames, often regarded as a minor part of the decoration, and therefore more open to the introduction of new artistic styles. In the light of all this, it is clear that frames are not mere finishing elements, but an important means of designing architectural spaces and structuring tile decorations. Moreover, frames are often the vehicle for a visual and textual discourse that is part of the iconographic programme they enclose. As such, they play a decisive role in the history of Portuguese azulejos, highly relevant for today’s international frame studies, and for the dialogue between images and words.

TO BE PART OF... ARCHITECTURE, DECORATION OR ICONOGRAPHY. DOCUMENTING AZULEJO AS INTEGRATED HERITAGE

Abstract. Az Infinitum – Azulejo Referencing and Indexation System may be briefly defined as a work tool combining Art History’s traditional methods with the use of digital technologies, in order to create a system designed to document, catalogue and index all the tile decorations produced and applied in Portugal since the late 15th century and still found in their original locations. By highlighting the potentialities of Az Infinitum and by describing its data structure and the procedures used to collect and upload information, the present article proposes a reassessment of the project in light of these parameters, as well as a discussion of future developments. Moreover, it aims to clarify the link between the norms followed within the system and the ones used internationally. This link reflects the aim of integrating the system within previously developed structures, without losing sight of the specificities of a hybrid form of heritage, whose documentation must be adapted in different ways. Such a need has led to the development of specific data structures, designed to meet the unique characteristics of patterned tile decorations.

Sivas Çifte Minareli Medrese’nin Minarelerindeki Tuğla ve Çini Süslemeler Üzerine Yeni Öneriler

With its current entrance façade and collapsed main building, Çifte Minareli Medrese (Double Minaret Madrasah) in Sivas is one of the buildings which has been the subject of various studies. We do not aim to repeat the information about the building but we wish to make new proposals about those decorations which have not been deciphered and which have been destroyed. The minarets of the building, together with their bases, were constructed with bricks and their decorations were made with bricks and tiles. Having undergone great destruction, the building has also been damaged by the restorations carried out in recent years and it has been determined that especially the decorations of the building on the minaret bases were ruined during these restorations. The arrangement worked in the mâ’kılî script style, in which the word “Allah (God)” was repeated, on the panel on the base of the minaret on the left (north) was intended to be made in conformity with its original, although partially. On the other hand, a decoration which seems like a geometric composition today but which has no arrangement set-up is striking on the panel on the base of the minaret on the right (south). This panel in particular has been restored very erroneously. It is clearly understood that the word “Allah (God)” was provided by placing it in four different directions and joined to a swastika motif in the middle on the panel on the left. As a result of our research, it has been established that the names “Muhammed (Muhammad)”, “Ebubekir (Abu Bakr)”, “Ömer (Umar)”, “Osman (Uthman)” and “Ali” were provided again with Arabic letters in the mâ’kılî script on the panel on the right. The current appearances of these panels, the originals of which the master worked on the basis of a mathematical formula in a perfect geometric system, are at an unacceptable level. The majority of the other tile decorations in the building have also been destroyed irreversibly.

Ornamental Motifs of Haft Rang Tiles in The Architecture of Houses Constructed in Shiraz in the Pahlavi Era

In the Pahlavi-constructed areas of Shiraz, there are a number of residential houses built with modern architectural design, but traditional techniques and designs have been used in their decoration. Haft rang tiles are among the most commonly used techniques in the architectural decoration of these houses. The use of this ornamentation as seen in both internal and external views of Shiraz houses in the Pahlavi era is an exquisite example of the combination of tradition and modernity in contemporary Iranian architecture; studying its dimensions can lead to a better understanding of Iranian architecture in the contemporary period. Accordingly, this paper explores decorative features and diversity of ornamental motifs of Haft rang tiles in the architecture of houses built in Shiraz in the Pahlavi Era using a descriptive-analytical methodology. The required data was collected through field and library research. To this end, the tile decorations of 20 houses within the urban area of Shiraz constructed during the Pahlavi Era were investigated and categorized by the researcher in terms of spatial, framing, design, and motif diversity. According to the findings of the study, the Haft rang tile frames in the analyzed houses displayed a wide diversity of shapes including rectangles, squares, deformed vertical rectangles, curved surfaces, vertical diagonal frames, window frames, composite geometric shapes, and crowns. The most commonly used patterns in the sample group (20 houses were studied) were Eslimi (arabesque) and Khatai patterns. Human figures are also depicted in the form of archeological or miniature patterns or simple human shapes. Eslimi and Khatai patterns, flowers and birds, and human figures have been sometimes realistically portrayed, and sometimes portrayed in abstract forms. The dominant background colors of the tile frames in the studied period are turquoise and azure.

An Evaluation on Tile Decorations in Some Seljuk and Ilkhanid Structures in Tokat and Niksar

Tokat ve Niksar, XII.-XIII. yüzyıllarda Danişmendliler ile Selçuklular döneminde önemli merkezler olarak karşımıza çıkmaktadır. Bölgede bu süreçte inşa edilen yapılar gerek planları gerekse de süsleme özellikleri bakımından Türk mimarisi içinde önemli örneklerdir. Söz konusu yapılar, şüphesiz araştırmalara konu olmuş ve çeşitli vesilelerle çalışılmıştır. 2012 senesinden itibaren özellikle Tokat merkez ve Niksar’da yaptığımız çalışmalar, yapıların hem mimari hem de süsleme özellikleriyle dikkatimizi çeken bazı unsurlarını ortaya çıkarmış bulunmaktadır. Bu makalede, Tokat ve Niksar’daki alan çalışması sonucunda elde ettiğimiz veriler ışığında, Selçuklu dönemi yapılarında uygulanmış olan çini süsleme programlarıyla ilgili bulgular ve tespitler ele alınmıştır. Tokat merkezde bulunan Şeyh Meknûn Zaviyesi, zaman içinde harap duruma düştükten sonra restorasyon çalışmaları geçirmiştir. Eski kaynaklar ve resimlerden öğrendiğimiz üzere, yapının kubbeli sofa, eyvan ve türbe bölümleri zengin bir çini dekorasyonuna sahipti. Günümüze bunlardan yalnızca türbe bölümündeki çinilerden bir kısmı ulaşmıştır. Tokat Yağıbasan Medresesi’nde 2000’li yılların başında yapılan bir restorasyon çalışmasında ise güney eyvan duvarında in-situ durumunda altıgen formlu firuze renkli çiniler tespit edilmiştir. Yine Selçuklu döneminden Murad Sevdekâr Türbesi’nde çini izleri günümüze kadar ulaşmış, Sefer Paşa Türbesi’nde ise çini bulunduğuna dair bazı izler daha önceki araştırmacılar tarafından kayıt edilmiştir. Niksar’daki alan çalışmamız sırasında ise, Yağıbasan Medresesi’nin yanında, bahçe olarak düzenlenen alanda mozaik çini tekniğinde yapılmış, bir kitabeye ait olduğunu tahmin ettiğimiz bir parça dikkatimizi çekmiştir. Niksar’da bu parçayla ilgili olabilecek yapılar incelendiğinde, çini süslemelere sahip olduğu kaynaklardan bilinen Sunguriye Türbesi’ne ulaşılmaktadır. Türbenin günümüze yalnızca gömü odası ulaşmış vaziyette olup, harap durumdaki üst katı 1940’lı yıllarda yıktırılmıştır. Bu çalışmada, Sunguriye Türbesi ile ilgili yazılı ve görsel kaynaklarında yardımıyla, buradaki çini süsleme programı ve tespit edilen çini mozaik parça arasında bir bağlantı olup olamayacağı belirlenmeye çalışılacaktır.Tokat’ta XII-XIV. yüzyıllar içinde inşa edilmiş yapılardaki verilerin ışığında, çini süslemelerin bütüncül olarak değerlendirildiği bu çalışmada herkes tarafından bilinen Gök Medrese’den başka, aynı dönemde inşa edilmiş yapılarda da, bir kısmı günümüze ulaşamamış olsa da zengin bir çini kullanımının söz konusu olduğu ortaya konmaktadır.

Raman spectroscopy on the identification of the organic mordant used in gilding decoration of Persian archaeological tiles

Several organic reference materials including gums, proteins and oils, as well as the organic mordant used for adhering gold leaf on ten archaeological Persian gilded tiles dated from the fourteenth to the sixteenth century were studied by Raman spectroscopy. The relative surface area under the spectral components of the C–H stretching region from the reference materials and archaeological samples were used as criteria for identifying the class of the organic material used as mordant. Our studies showed that a drying oil has most probably been used as mordant in the archaeological samples. Also, the possibility of the use of gum ammoniac as gilding mordant is considered.

The Complex of Gawhar Shad in Herat: New Findings about its Architecture and Ceramic Tile Decorations

ABSTRACTThe architectural complex commissioned by Gawhar Shad in Herat (820–841/1417–1438) constitutes one of the major foundations of the Timurid capital city. The site has sustained substantial damage over the centuries and very little is currently known about its architecture and decoration. Since the 1980s, access to it has been strictly limited due to the presence of landmines. This article aims to present the last archaeological surveys carried out on the site in recent years, and to introduce the first results of the study of the ceramic tiles collected on the “Musalla” and transferred to the National Museum of Herat in 2015.

Mughal Tilework: Derivative or Original?

Although concentrating on Mughal tilework, this paper also discusses its predecessors elsewhere in the Islamic world, particularly in Iran, Central Asia, and Sultanate India. A brief survey of the development of the main techniques, namely monochrome-glazed tiles, sgraffito, tile mosaic, underglaze-painted and cuerda seca, both in Sultanate India and in other parts of the Islamic world, precedes the discussion of Mughal examples in the body of the paper. The paper highlights the initial links with Sultanate tilework, whether underglaze-painted, as in the Punjab, or with tile mosaic, in northern India. The development of Mughal tile mosaic is emphasized, as this was the medium most frequently used for tile decoration. Changes in the colour palette and in the introduction of new patterns are examined, highlighting the extensive use of figural imagery at the Lahore Fort and the simultaneous introduction of naturalistic vegetal panels. The less-frequent Mughal use of underglaze-painted and cuerda seca tiles is also examined. The conclusions summarize the characteristic features of Mughal tilework and suggest areas for future study.

Objective criterion for evaluation of the quality decoration in ceramic floor tile production prior to the sintering process

Abstract In the ceramic tile decoration process, the set of variables that can cause hue variation is quite wide and independent of the methodology used in the production. The understanding of the effects of these variables over the final expected result is of great importance to the producers, especially if it could be done before the ceramic tile’s sintering stage. The quality of the decoration is linked to the deposited dot shape and its filling with ink. It is proposed in this paper the determination of a ‘quality index’, comparing the theoretical deposition pattern and a real deposition obtained with samples. Measuring the values of the areas with and without ink, using the statistical tool of the ROC curve, it was obtained the values for sensibility=0.791, specificity=0.830, precision=0.802 and quality index=0.768. The method is intended to be used prior to the sintering step for hue variation control.

In Portuguese… and Spanish, English, Ditch, French….. Singularities of Portuguese Azulejos within European Historiography

The link between Portuguese tile decorations and the notion of identity(ies) is rooted today in a very wide context, leading to the extensive use of azulejos as cultural and narrative symbols with very different aims. The purpose of the present article is go back in time, to the mid 19th century, and to debate the role played by European historiography in the emergence of the azulejo as an “identitarian” art form, considering its unique characteristics and the main moments and agents that have contributed to the creation and consolidation of this phenomenon.

The Shahi ʿIdgah of 1312 at Rapri (Uttar Pradesh): A Landmark in Indian Glazed Tiles

Abstract The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAla⁠ʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.