The origins of marquetry in Iran date back to the pre-Islamic era; however, its principal flourishing occurred during the Islamic period. In the Seljuk era, tile marquetry became widespread in religious architecture. During the Timurid and Safavid periods, this art reached its peak and was extensively used in the decoration of mosques, madrasas (schools), mausoleums, and palaces. Cities such as Isfahan, Yazd, Kashan, Tabriz, and Shiraz were among the major centers for the development of marquetry.
Marquetry encompasses various forms, including tile marquetry, which is the most common type in Iranian architecture. In this form, cut pieces of colored tiles are used for domes, mihrabs, iwans, and inscriptions, as seen in monuments such as Sheikh Lotfollah Mosque in Isfahan, the Jameh Mosque of Yazd, and the Goharshad Mosque in Mashhad.
Another type is wood marquetry, in which naturally colored woods, such as walnut, pear, jujube, maple, and ebony, are used. On these woods, motifs such as arabesques (eslimi), floral and bird designs, miniatures, and other patterns are executed. This form is commonly applied to traditional doors and windows, decorative panels, and artistic furniture.
Marquetry on metal and stone is another variation of this art. Using metals such as brass, copper, and silver, or various colored stones, in which artisans create marquetry works featuring geometric patterns or floral and natural motifs.
In the process of marquetry, the design is first drawn on paper. After selecting suitable materials, the pieces are carefully cut using a fret saw or finer tools, then assembled side by side, glued, and fixed in place. Finally, the surface is sanded and polished.
From a cultural perspective, marquetry represents a synthesis of mathematics, geometry, art, and spirituality. In Islamic architecture, it embodies the concept of unity within multiplicity. Marquetry is not merely decorative; it also carries symbolic and spiritual meaning.
Today, marquetry continues to be taught in traditional workshops and art universities. Contemporary artists, by combining modern designs with traditional techniques, have introduced this art into interior decoration, artistic panels, and mixed-media works.
Overall, marquetry in Iran can be described as an ancient, precise, and meaning-oriented art that reflects the taste, patience, and skill of the Iranian artist. It is considered a bridge between tradition and aesthetics and a lasting expression of Iran’s cultural identity.
Traditionally, the art of marquetry is very common and well known in Iran; however, in other ECO member countries there are also decorative wood arts, carving, and handicrafts that are visually and technically closely related to marquetry.