khatam in the Qajar period
In the Qajar period, more than the distinctive and positive features in the field of this art, the element of calligraphy and negative points can be seen in most of the methods and materials used in Khatam’s works. Use of paper liners instead of wood, use of non-abrasive and round wires, use of worthless raw materials and replacement of bone instead of ivory, fofel wood instead of ebony and use of jujube wood instead of beech and non-observance of geometric order, including The sinister legacy of the Qajar period is in this art.
Khatam’s characteristic in the Qajar era, which can be seen in some works, is the use of Khatam as a semi-mosaic. This work is, in fact, another initiative of Qajar period artists that has no precedent in the past and is basically the starting point for combining the two arts of Khatam and mosaic. This method has been used more in the decoration of mirror frames and doors.
Despite the blows inflicted on Khatam’s art during the Qajar period, it did not prevent the growth and dynamism of this original art, and we witnessed creativity and innovation through the efforts of artists. Among these innovations, the use of octagonal and hexagonal shapes instead of ten- and pentagonal shapes was common. Applying new designs and margins such as “white barley” “barley barley”, arch, cloud one round and two round and even three rounds, six flowers, six-wire armpits, in the wire throat, text in the green throat, red text in the green throat And the green or red text on the pearl’s throat began and continued during this period.
One of the works of the Qajar period is the doors of the Marble Throne Emirate, the date of its construction dates back to the reign of Agha Mohammad Khan, the founder of the Qajar dynasty.
Other works include: The treasury door of the court of Hazrat Abdolazim Hassani (AS) in the city of Rey and the doors of Imamzadeh Zayd, as well as the magnificent inlaid work made by Shirazi artists and now kept in the Museum of Ancient Iran.
With the establishment of the Mustazarfeh Industrial School by the great artist, the late Mohammad Ghaffari, known as Kamal-ol-Molk. In Tehran, and special attention to the potential industries during this period, expanded the scope of Khatam’s use in the decoration of special objects and places. The Khatam Hall of the Marble Palace, the Khatam Hall of the Shura Council and hundreds of beautiful and valuable works were built during this period.
Pahlavi period inlay: In the Pahlavi period, chemical dyes replaced natural and traditional dyes, which dealt a terrible blow to natural originality. The placement of not-so-valuable woods instead of valuable woods such as ebony and foil, the use of cow and horse bones, and even donkeys are some of the features of Khatam’s works made during this period. Also in this period, instead of camel-colored bones for green, orange-colored wood was used, and instead of brass wires, copper wires were used.
The Pahlavi period is one of the most prolific periods of the art of embroidery throughout the history of the origin and evolution of this art. In this period, valuable works are created, which are the best examples of Khatam in their kind. These works include: 1. Khatam Hall of Marble Palace 2. Khatam Hall of the Shura Council. 3. Khatam Nimardger table, donated to Eisenhower, then President of the United States. 4. Gift table to Queen Elizabeth.
In addition to the mentioned examples and works, other beautiful works have been made during this period, such as the Khatam Fund of Hazrat Zeinab’s court in Syria, the tomb of Hazrat Abdolazim Hassani (AS) in Rey, the court of Hazrat Ahmad Ibn Musa Shah Cheragh’s court and The tomb of Sayyid Mir Mohammad (AS) in Shiraz is one of them.
Khatam-e-Saz artists also pursued the integration of the art of Khatam-e-Saz with other decorative arts, including woodcarving and mosaic, which began in the Pahlavi period after the revolution; But the introduction of calligraphy and calligraphy, especially Kufic calligraphy, into Khatam’s art may be one of the most unique features of Khatam’s work made after the Islamic Revolution.
Other features of Khatam after the revolution are the frequent use of octagonal, five, and quadrangular flower arrangements and the efforts of Khatam-e-Saz artists to produce small inlays in various designs.