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Iranian mirror-work transforms light, space into universal art
Seyed Mehdi Mojabi called the registration “a successful and commendable achievement” and explained that Iranian architecture is a systematic, evolved, and comprehensive structure composed of multiple subsystems, among which the concept of light and illumination holds a fundamental place, both materially and symbolically, according to chtn.ir.
Highlighting the ancient roots of light in Iranian culture and civilization, Mojabi noted that the concept developed alongside the settlement of Iranian peoples in historical and idealized lands and was manifested in innovative spatial patterns, tangible materials, and structured designs. In Iranian architecture, he explained, thought becomes visible, dynamic, and perceptible.
Mojabi further emphasized the deep connection between Iranian architecture and philosophical, literary, and mystical systems. He explained that Iranian mirror-work combines light, material, and spatial perception to create experiences that transcend functional use, elevating the craft to the level of a sublime art that challenges human senses and produces a poetic and phenomenological encounter.
Addressing the role of mirrors in creating multidimensional spaces, he noted that mirrors break two-dimensional surfaces and three-dimensional volumes, producing an imaginative spatial experience through light waves. This interaction extends beyond conventional spatial boundaries and transforms spatial perception.
He added that in Iranian mirror-work, a single source of light is multiplied through artistic reflections, creating a fluid, infinite, yet controlled space — a process that unites multiplicity into oneness, exemplifying Iranian mystical thought in tangible form.
Tracing the historical evolution of the art, Mojabi observed that while light and water had previously been used in Iranian architecture, the development of glass and mirror technology, particularly from the Middle Islamic Period onward, perfected the practice, culminating in the Safavid era. Mirror-work spread from private residences to palaces and then to ceremonial and religious spaces, reaching its highest level of refinement.
Referring to archaeological evidence, including Seljuk-era works and findings at the Soltaniyeh Dome, he noted that the remarkable development of glass technology during this period reflected a conscious shift from relying solely on natural light to incorporating human-made illumination in architecture.
Finally, Mojabi highlighted the diversity of regional mirror-work schools in Iran, noting that cultural centers such as Qazvin, Tabriz, Shiraz, and Isfahan each developed distinct styles, reflecting the breadth and depth of the conceptual foundations of this art. He concluded that mirror-work embodies a cosmic space, functions as a universal medium, and represents a unique artistic achievement in the evolution of Iranian architecture — an enduring human and global value that must not be separated from its ontological roots.