Gemstone Cutting and Mukhraj-Kari in Mashhad

In 2016, Mashhad was officially designated as the Global City of Gemstones by the World Crafts Council (WCC), a UNESCO partner organization. This prestigious honor was achieved thanks to the city's rich historical background, the presence of master artisans, and the vast mineral capacities of Khorasan Razavi province in precious and semi-precious stones. Khorasan Razavi is considered one of the primary hubs for gemstone extraction and processing in Iran. Minerals such as turquoise, agate, jasper, garnet, amethyst, quartz, and zeolite are among the most prominent deposits in this region. Among these, the Nishapur Turquoise mine stands out as one of the oldest and most celebrated turquoise mines in the world, with its fame extending far beyond Iran’s borders for centuries.

Turquoise (Piroozeh in ancient Persian) is a valuable mineral from the phosphate class, revered in the ancient civilizations of Iran, Egypt, and China as a symbol of power, protection, and healing. In Islamic traditions, this blue-hued stone symbolizes light, blessing, and spiritual openness, and has adorned the rings of kings, religious scholars, and ordinary citizens alike for generations. Agate (Aqeeq) is another highly sought-after ornamental stone in Mashhad’s markets, prized for its diverse colors and unique natural patterns—particularly dendritic agate (Aqeeq-e Shajar)—with a significant portion sourced directly from the mines of Khorasan.

Throughout history, particularly during the Safavid and Qajar eras, the art of lapidary in Mashhad evolved significantly and was passed down through traditional and semi-traditional techniques that continue to this day. In the past, gemstone cutting was performed primarily using a simple handcrafted tool known as the Kamancheh (a bow-like drill). The craftsman would move the bow with one hand while shaping the gemstone against a rotating abrasive wheel with the other. This demanding and time-consuming method required immense concentration, mastery, and patience, as even the slightest mistake could damage or significantly reduce the value of the raw stone. Today, the introduction of electric machinery and modern equipment has greatly increased both the speed and diversity of gemstone cutting techniques. Nevertheless, many artisans in Mashhad continue to preserve elements of traditional craftsmanship while integrating modern technology into their work. This unique fusion of heritage and innovation defines the distinctive identity of Mashhad’s gemstone craftsmanship.

Mukhraj-Kari, or gemstone setting—which in Mashhad is performed predominantly on high-grade silver—is the meticulous art of mounting cut stones onto metal rings and bases. As a specialized branch of traditional jewelry-making, this craft demands extraordinary precision and technical skill; stones are secured firmly in place without adhesives, relying solely on pressure and carefully calculated engineering. Geometric, Eslimi (arabesque), and Khatai motifs are among the most common decorative patterns used on Mashhad’s silver ring settings, deeply rooted in Persian-Islamic ornamental art. Among many master artisans in this field, maintaining spiritual cleanliness and performing ablutions (Taharah) is considered especially important, particularly when engraving sacred names and Quranic verses onto gemstones. This tradition reflects the profound spiritual connection between the craft and the religious culture of Mashhad.

The traditional bazaars surrounding the Holy Shrine of Imam Reza—most notably Reza Bazaar, the Carpet Bazaar, and the markets along Navvab Safavi Street—remain the beating heart of this authentic art form. Within these historic centers, hundreds of small workshops and stalls continue to cut gemstones and produce traditional jewelry. The annual arrival of millions of domestic and international pilgrims has created a lasting connection between Mashhad’s pilgrimage economy and its gemstone industry, making gemstone souvenirs an inseparable part of the pilgrimage culture of the city. Consequently, a significant portion of Iran’s trade and export of precious and semi-precious stones is conducted through Khorasan Razavi province.

Nevertheless, this living heritage faces numerous contemporary challenges. The export of raw, unprocessed stones, insufficient international branding, declining purchasing power, the influx of inexpensive machine-made products, and the decreasing interest of younger generations in traditional crafts all threaten the future of this art. Many veteran master craftsmen believe that without specialized institutional support, professional training programs, and stronger international market development, some traditional lapidary and gemstone-setting skills may gradually disappear.

Ultimately, the art of gemstone cutting and Mukhraj-Kari in Mashhad is far more than a technical skill or economic activity; it is an essential part of Khorasan’s cultural and artistic identity. This art tells the story of patience, precision, and creativity cultivated over centuries by artisans who carved timeless beauty into stone and continue to pass this invaluable heritage from one generation to the next in the historic alleys surrounding the Holy Shrine of Imam Reza.