This art is one of the branches of decorative arts in Iran and is counted among the special innovations of Iranian artists. It was widely used to decorate interior surfaces, from palaces and royal mansions to religious buildings. Iranian mirrorwork involves creating regular, symmetrical, and geometric patterns using large and small mirror pieces. This creates a shiny and beautiful surface that reflects light as intricate abstract patterns or brilliant reflections.
One of the earliest buildings decorated with mirrors is the Shah Tahmasb I Diwan-Khaneh from 1524 to 1558 AD. After that, the use of mirrors spread to cities and buildings in Iran, and one of the most beautiful and famous of these palaces was the "Mirror House" in Isfahan. Mirrorwork involves installing large, transparent mirrors on walls or smaller and finer mirror pieces in shapes like triangles, diamonds, and hexagons were used, and artists cut them in diamond shapes.
From Picasso's perspective, "We cannot confine ourselves to their appearance, as seen from a specific angle, to recognize the quality of things. Not only should we see things from all perspectives, but we must also dissect the appearance and look inward."
When a person stands in front of a Mirrorworked surface, the first thing that catches attention is the lack of a complete image on the mirror's surface. Mirrorwork does not reflect the entire object directly in front; it seems to break the image apart, creating a complex and ambiguous collection. This quality, undoubtedly stemming from the artist's deliberate choice, fragments the mirror and places it on different surfaces and angles, intentionally preventing the formation of a complete image.
The viewer explores multiple aspects of the object, which are intertwined and reconnected. Thus, the viewer and the object engage in an eternal visual interaction. In terms of mental space (the reality that forms in our minds), a shape can exist in different forms and, of course, in different places.
The artist eliminates the physical solidity of objects and, based on the law of light's refraction, reveals the image in fragments. The juxtaposition of images induces a sense of motion; objects in motion and vibration penetrate each other and create new images. These fresh images depict a sense of rapid movement and action and quickly transform.
To understand the reason behind his work, it suffices to momentarily replace a smooth mirror with a Mirrorworked surface in one's mind. The scene changes completely. In this situation, a complete image of people, objects, and the facets of space is reflected in the mirror. A person sees their own image and feels their presence, contrary to the mirror worker's opinion, which strives to understand more about space and induce other concepts.
He adeptly utilizes the potential material properties and brings about its opposite. The mirror, which naturally serves as a tool for light and image display, becomes an image disruptor in his hands. Here, the mirror eliminates the apparent image of the world and seemingly shows an image of its essence—a vague yet magnificent image woven from light.
When all surfaces of a space are Mirrorworked, these qualities extend to the space. Mirrorwork delicately erases surfaces and volumes, removes their heaviness and gloominess, blurs boundaries, shatters everything and connects the collection into an inseparable whole. Humans find themselves in a jewel-like environment where everything is radiant, delicate, and pure.
Modern mirrorwork in some buildings by renowned architects pursues interpretations and objectives, creating ambiguity and imagery to draw the viewer into a metaphorical world. In all these endeavours, they strive to present concepts and constructions that transcend the viewer's direct perception of themselves and the building. For example, the Maxxi Museum by Zaha Hadid, (https://erfanrabiei.wixsite.com/erfan-studio/projects/architecture?pgid=luvckyiz-66f508_345a7f7f15cf4923bfa298b268907503mv2.jpg) despite its large dimensions and the use of mirrored surfaces, aims to showcase the identity and historical background of the building's surroundings. It not only provides some familiarity with the background but also aims to respect urban design.
In other architecture, such as "The New Investcorp Building for the Middle East Centre," the use of mirrors to create ambiguity and novel imagery is evident. This building, designed by Zaha Hadid Architects, has an outer surface made of curved stainless steel, which acts like a giant mirror, reflecting distorted images of the surrounding environment and constantly creating a changing and radiant appearance.
The reflection of the sky, trees, and even people walking adds dynamism and attractiveness to the building's form. This is a contemporary addition to a historical complex, and its mirrored surface helps it blend with the surrounding environment while also standing out as a distinct architectural element.
The use of mirrors in decorations and architectural structures can express various concepts, including a sense of suspension in space, as seen in the Marseille Vieux Port, France, by Foster + Partners, and other concepts that require the artist's thinking and presentation. Such concepts and abstractions can be observed not only in architecture but also in other arts, such as photography.
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