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fa پژوهشی بر رنگ‌بندی لعاب متفاوتِ نام و القاب شاهان و فرمانروایان در کتیبه‌نگاری کاشی‌های بناهای دورۀ تیموری و ترکمانان ایران A Research on the Different Glaze Coloring of the Names and Titles of, Royals and Rulers in the Inscriptions on the Tiles of the Buildings of the Timurid and Turkmen Periods of Iran <div style="text-align: justify;">رنگ‌بندی لعابِ نام شاهان، فرمانروایان و القاب آن‌ها، در  کتیبه‌های تزئینات کاشی‌کاری ابنیه دورۀ تیموری و ترکمانان، از ویژگی متمایزی نسبت به سایر بخش‌های کتیبه‌ها، برخوردار است. این خصوصیت منحصر‌به‌فرد و کم‌تر شناخته‌شده در این دوران، به‌گونۀ یک مسئله مهم در پژوهش پیش‌رو مطرح می‌شود. از این‌رو، مقالۀ حاضر ضمن معرفی بناهای دربردارندۀ این دسته از کتیبه‌های کاشی، در دورۀ تیموری و ترکمانان ایران، به مطالعۀ ویژگی‌های آن‌ها نیز می‌پردازد. در راستای دست‌یابی به این اهداف، پرسش‌های پژوهش چنین است: بناهای حاوی رنگ‌بندی لعاب متفاوتِ نام و القاب شاهان و فرمانروایان، در کتیبه‌نگاری کاشی‌های دورۀ تیموری و ترکمانان در ایر‌ان کدام هستند؟ این بخش از کتیبه‌ها، دارای چه ویژگی‌های از حیث رنگ‌بندی لعاب هستند و دلایل کاربرد آن‌ها چیست؟ روش یافته‌اندوزی؛ با استناد به منابع مکتوب و مبتنی بر مشاهدات گسترده میدانی صورت‌گرفته که به روش تفسیری-تاریخی، به تحلیل داده‌‌ها و اطلاعات می‌پردازد. دستاوردهای حاصل از این پژوهش، نشان‌دهندۀ آن است که 16 کتیبه کاشیِ دارای این ویژگی، در 12 بنا از ابنیۀ دورۀ تیموری و ترکمانان ایر‌ان یافت شد. بیش‌ترین آثار به استان اصفهان (شهرهای اصفهان، کاشان، ورزنه) و در مرتبه بعد، به استان‌های خراسان رضوی (شهرهای تایباد، خرگرد خواف، مشهد)، یزد (یزد) و آذربایجان شرقی (تبریز) اختصاص دارد. در کتیبه‌های کاشی این ادوار، نام و القاب پادشاهان و فرمانروایان وقت، اغلب با رنگی متفاوت و غالباً با طیف رنگ طلایی (عسلی، حنایی، متمایل به حنایی-عسلی) و گاهی قرمز اُخرایی با ترئین طلاچسبان، به‌کار برده شده‌اند. این ویژگی، یک سنت رایج در کتیبه‌نگاری تزئینات کاشی‌کاری دورۀ تیموری و ترکمانان (قراقویونلو‌ها و آق‌قویونلوها) محسوب می‌شود. کتیبه‌های مذکور، اغلب در سردر ورودی و ایوان‌های اصلی بنا‌ها کاربرد داشته که تأکیدی ضمنی بر مشروعیت‌بخشی حکومت و قدرت شاهان و فرمانروایان وقت دارد. کلیدواژگان: کتیبه‌نگاری، رنگ‌بندی لعاب، دورۀ تیموری و ترکمانان، شاهان و القاب آن‌ها، طیف رنگ طلایی.</div> <div style="text-align: justify;">The coloring of the glaze for the names of royals, rulers, and their titles in the inscriptions of the tiling decoration of buildings from the Timurid and Turkmen periods features a distinctive characteristic compared to other parts of the inscriptions. This unique and little-known feature in this era is raised as an important issue in the current research. Therefore, this article, in addition to introducing the buildings containing this category of tile inscriptions during the Timurid and Turkmen periods of Iran, also studies their characteristics. To achieve these objectives, the research addresses the following questions: What are the buildings containing different glaze colors for the names and titles of royals and rulers in tile inscriptions from the Timurid and Turkmen periods in Iran? What are the characteristics of this part of the inscriptions in terms of glaze coloring, and what is the reason for their use? Data were collected through documentary sources and extensive field observations, and the data and information were analyzed using an interpretive-historical method. The findings of this research indicate that 16 tile inscriptions with this feature were found in 12 buildings from the Timurid and Turkmen periods of Iran. Most of the works belong to Isfahan province (Isfahan, Kashan, Varzaneh), followed by Razavi Khorasan (Taybad, Khargerd Khaf, Mashhad), Yazd (Yazd), and East Azerbaijan (Tabriz) provinces. In he tile inscriptions of these periods, the names and titles of the royals and rulers of the time were often used in a different color, usually within a golden color range (honey, henna, henna-honey-like) and sometimes ochre red with gold-leaf application (tala-chasban). This feature is considered a common tradition in the inscriptions of tile decorations from the Timurid and Turkmen (Qara Qoyunlu and Aq Qoyunlu) periods. The mentioned inscriptions are typically used in the main entrances and porches of the buildings, which implicitly emphasizes the legitimacy of the government and the power of the royals and rulers of that time. Keywords: Inscription, Glaze Coloring, Timurid and Turkmen Periods, Royals and Their Titles, The Golden Color Range. Introduction The practice of employing distinct color schemes for the names and titles of monarchs and rulers is a notable decorative tradition observed in certain ceramic inscriptions. The earliest documented instances of this technique can be traced back to the late Muzaffarid period (793 AH) at the Pamenar Mosque in Kerman. This specific inscription, located on the mosque’s entrance portal, features white lettering on a lapis lazuli background adorned with spiral/volute motifs; notably, the name “Al-Sultan Ahmad” is distinguished through the use of a honey-colored glaze. This decorative method reached its zenith during the Timurid and Turkmen (Qara Qoyunlu and Aq Qoyunlu) eras, appearing extensively on entrance portals, iwans, capitals, and column bases. Consequently, the present study endeavors to identify buildings containing tile inscriptions that utilize distinctive color schemes for royal names and titles during the Timurid and Turkmen periods in Iran, while also examining their stylistic characteristics and functional motivations. The significance of this research stems from the current lack of independent studies on this specific phenomenon. Therefore, by synthesizing all available evidence, this article seeks to introduce and characterize these inscriptions. To achieve these objectives, the research addresses the following questions: Which buildings in Iran feature tile inscriptions with color-coded royal names and titles from the Timurid and Turkmen eras? What are the specific glazing characteristics of these inscriptions, and what were the underlying reasons for their implementation? The study encompasses 16 specimens distributed across 12 edifices within four provinces: East Azarbaijan (Tabriz), Isfahan (Isfahan, Kashan, Varzaneh), Razavi Khorasan (Taybad, Khargerd, Khaf, Mashhad), and Yazd (Yazd). As such, this article serves as a fundamental precursor to a deeper understanding of this inscription decoration style during the aforementioned period, addressing a significant scholarly gap. The article begins with a brief overview of the political history of the Timurid and Turkmen eras, followed by an introduction to the case studies and an analysis of the sovereigns' names and titles. For enhanced comparative analysis, all studied specimens are compiled in a comparative table, concluding with a comprehensive discussion and synthesis of the findings. Discussion The analysis of the studied statistical samples reveals a consistent pattern in the examined inscriptions: the names and titles of sovereigns are rendered in a color distinct from the primary text. This phenomenon constitutes a widespread convention in the epigraphy of Timurid and Turkmen tile decorations. This tradition, which traces its origins to the late Muzaffarid period, reached its zenith during the Timurid and Turkmen eras and continued into subsequent periods, such as the Safavid era. The color differentiation of royal names and titles—often employing honey, henna, or ochre-red hues—serves as a visual emphasis on the ruler’s primary status and authority. In certain instances, such as the entrance portal of the Ghiasieh Madrasa in Khargerd, Khaf, the royal name is further embellished with gold-leaf motifs on the tiles. It is highly probable that most such inscriptions originally featured gold-leaf ornamentation over the honey, henna, or ochre glazes, which may have diminished over time or during subsequent restoration processes. Although subtle variations in the glaze colors of royal names and titles exist, they collectively fall within a spectrum of golden tones, effectively signaling the preeminence and distinctive status of these figures to the observer. It is noteworthy that while this tradition of color differentiation is applied elsewhere in the country solely to the names and titles of monarchs, the Yazd region exhibits a unique application. In Yazd (as seen in the Jameh Mosque of Yazd and the Amir Chakhmaq Mosque), this technique was also extended to the names and attributes of God and the Prophet Muhammad (PBUH), as well as to demarcate the conclusion of Quranic verses in longer inscriptions—a practice that is unparalleled in its scope. Evidence for this unique Yazd tradition can be found in the inscription attributed to the “Shah Vali Taft Khanqah/Shrine” (currently in the Islamic section of the National Museum of Iran) and the wooden inscriptions surrounding the entrance of the Shah Vali Taft Jameh Mosque. Crucially, contrary to the prevailing Timurid and Turkmen convention where royal names were highlighted through color contrast, certain inscriptions from this era maintained the same color for the ruler’s name and titles as the rest of the text. Notable exceptions to the color-contrast rule include the entrance portal of the Afoshteh Khanqah in Natanz, the Sheikh Ali Baniman Complex in Bidakhvid, Taft, the Jameh Mosque of Semnan, the Shahrukh Khanqah in Damghan, and the inscription on the northern part of the entrance hashti (octagonal vestibule) of the eastern wing of the Jameh Mosque of Yazd. Conclusion The findings of this study demonstrate that 16 specimens of distinctive ceramic inscriptions were identified across 12 historical edifices in the provinces of Isfahan (Isfahan, Kashan, Varzaneh), Razavi Khorasan (Taybad, Khargerd, Khaf, Mashhad), Yazd (Yazd), and East Azarbaijan (Tabriz). Most of these inscriptions, which feature the names and titles of sovereigns, are executed in Thuluth script using Moarraq (mosaic) tilework or a combination of Moarraq and L’eb-paran (glaze-spread) techniques. The inscriptions vary in composition, appearing in both multi-line (mother-and-child) and single-line formats. A consistent aesthetic pattern was observed: white lettering set against a lapis lazuli background, often complemented by turquoise spiral/volute motifs with Khata’i patterns in the background. The names and titles of monarchs are predominantly rendered in a color distinct from the rest of the inscription—typically within a golden spectrum such as henna, honey, or henna-honey hues, and occasionally ochre-red. In some high-status examples, gold-leaf ornamentation was applied to the tiles. This visual differentiation serves as a powerful symbolic emphasis on the sovereignty and authority of the contemporary rulers. Given their socio-political importance, these inscriptions are strategically positioned in highly visible areas, such as entrance portals or main iwans. Notable examples of this color-coded epigraphy include the Jameh Mosque of Yazd, the Amir Chakhmaq Mosque in Yazd, the Dodar Madrasa in Mashhad, the Ghiasieh Madrasa in Khargerd, the Zeyn al-Din Abu Bakr Taybadi Shrine, the Jameh Mosque of Varzaneh, the Jameh Mosque of Isfahan (including its winter quarters and southern iwan), the Darb-e Imam Tomb, the Sheikh Abu Masoud Razi Khanqah, the Darb-Kushk in Isfahan, the Minbar of the Meydan Mosque in Kashan, and the Kabud Mosque in Tabriz. Beyond their aesthetic value, the specific glazing of royal names and titles functions as a form of “political expression”, providing an implicit affirmation of the legitimacy and power of the ruling dynasty. In conclusion, the use of golden-toned color differentiation for royal names constitutes a prevalent and defining epigraphic pattern of the Timurid and Turkmen eras. This tradition, which solidified the visual hierarchy of power, became a well-established convention during these periods and subsequently influenced the architectural epigraphy of the Safavid era.</div> کتیبه‌نگاری, رنگ‌بندی لعاب, دورۀ تیموری و ترکمانان, شاهان و القاب آن‌ها, طیف رنگ طلایی. Inscription, Glaze Coloring, Timurid and Turkmen Periods, Royals and Their Titles, The Golden Color Range. 89 113 http://athar.richt.ir/browse.php?a_code=A-10-220-7&slc_lang=fa&sid=2 Zahra Rashednia زهرا راشدنیا z.rashednia@yahoo.com 0000-0002-5999-2580 Yes Department of Archaeology, College of Conservation & Restoration, Art University of Isfahan, Isfahan, Iran. گروه باستان‌شناسی، دانشکده حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران.