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.

摘要

皮尔伊巴克兰 (Pir-i Bakran, 1298–1313) 陵墓是一座特殊的伊尔汗王朝纪念碑，体现了不同类型的建筑装饰。这些丰富而茂盛的护墙经过了广泛的研究：对陵墓的学术关注集中在纪念碑的众多建设和装饰阶段及其灰泥、壁画和应用灰泥之间的区别。然而，陵墓最初也装饰有光泽、模压和釉面的瓷砖、Lajvardina 和釉面介质，这些瓷砖在早期就从陵墓中拆除了。本文将注意力集中在纪念碑这个研究较少的方面：艺术史研究和博物馆收藏工作支持博物馆收藏中的瓷砖（有光泽、模制和釉面、Lajvardina 和釉面介质）的建议，可能源自 Pir-i Bakran 陵墓。其中一些瓷砖包含有生命的元素（鸟类，如鹤和凤凰），需要在宗教和丧葬结构背景下解释它们的含义。皮尔伊巴克兰 (Pir-i Bakran) 陵墓似乎是最南端（但不是最偏远）的纪念碑之一，其护岸上有动画图像和光泽瓷砖装饰。这项研究为伊朗高原内的思想流通和艺术交流提供了新的见解。带有护岸的纪念碑，其中包含动画图像和光泽瓷砖装饰。这项研究为伊朗高原内的思想流通和艺术交流提供了新的见解。带有护岸的纪念碑，其中包含动画图像和光泽瓷砖装饰。这项研究为伊朗高原内的思想流通和艺术交流提供了新的见解。