Why Are Islamic Tiles So Valuable? History, Craftsmanship & Collecting Guide

Islamic & Indian Art

Why Are Islamic Tiles So Sought After? History, Craftsmanship & Collecting Guide

17 April 2026

Neil Graham

Iznik, Damascus, Ottoman & Qajar are all names synonymous with the production of exquisite ceramic tiles. Now divorced from their original context, individual tiles are prized for their beauty and extraordinary craftsmanship.

Why are Islamic Tiles Popular?

Today they are considered works of art and sell for vast prices at auctions houses around the world. Originally created to add colour to external facades the use of tiles grew from discrete segments to elaborate designs covering entire exteriors and interiors of mosques, shrines, palaces and houses across the Middle East. Just like clothes on a person, tiles cloth buildings reflecting light and surroundings and projecting the unique culture of the Islamic world.

How were Tiles Made?

Clay was initially used to make both luxury vessels and tiles up to the 12th century. After this period stone paste (originally used in Egypt) was introduced to create a finer more translucent porcelain. Glazes add an impervious layer protecting and preserving the tile and creating a glassy surface and a sense of luxury. Lustre is perhaps one of the best-known glazes recognised by its metallic sheen and multi-coloured reflections.

This technique originated in Egypt in the 8th century where it was used to decorate glass however it was likely first adapted in Basra, Iraq for pottery. Whilst early examples can be found in the at Samarra in Iraq from the 9th century the most prolific period of lustre tile production was between 12th – 14th centuries at the potteries of the Kashan.

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How did Chinese Porcelain Influence Production?

Imported Chinese porcelain from the Tang and Song dynasties was not only admired across the Middle East but became a powerful catalyst for artistic transformation. Its influence first took root under the Abbasids in Iraq during the 9th and 10th centuries and later flourished throughout Iran in the Seljuq and IlKhanid periods between the 12th and 14th centuries.

The arrival of Yuan and Ming blue and white porcelain sparked yet another wave of innovation, reshaping both the palette and the decorative language of Mamluk pottery. The Islamic reinterpretations of Chinese blue and white are particularly interesting. Syrian artisans of the late 14th century produced vessels so similar to their Chinese counterparts that they seem almost like siblings. Yet by the mid15th century, something remarkable had happened: the borrowed motifs had been absorbed, reimagined, and transformed, giving rise to a hybrid style which combined both Chinese elegance and Islamic creativity.

How Did the Ottoman Empire Influence Iznik Tile Production?

Situated 100km south of Istanbul, Iznik became one the major centres of tile production following the expansion of the Ottoman empire and the conquest of Constantinople in 1453. At this time Iznik already had an established tile industry with fresh water, wood and necessary minerals. The demands of the Ottoman court however and its ever-growing desire for construction, design and creativity supercharged this industry.

Today Iznik tiles are recognised for their distinct patterns featuring simple geometric forms, floral designs and other natural motifs. They also take inspiration from Islamic calligraphy and the Holy Qu’ran. Initially restricted to a dark cobalt blue, lighter and brighter colours started to appear with time. Turquoise was introduced during the first decades of the 16th century followed by olive green and purple. In the mid century the palette was transformed by the addition of red, traditionally a very difficult colour to create. Made from an iron rich bole blend this colour is unique to Iznik tiles creating distinctive designs. At the same time the use of purple was faded out and green took on much brighter viridian tones. The use of black outlines also became standard.

Iznik tile production reached its pinnacle by the middle of the 16th Century, towards the close of the Sultan Suleyman’s reign before falling into slow decline in the 17th century as patronage started to wane. Despite strong influences from both the East and West Iznik potters created something unique which is highly collected today.

William De Morgan (1839-1917) leading British Arts and Crafts designer, drew deeply on Ottoman Iznik ceramics to inform his designs. He embraced Islamic colour harmonies, motifs, and geometric principles, reimagining them within the British Arts & Crafts movement. Through his work, the visual language of Islamic art entered Victorian design culture in a fresh and compelling way.

Designers & Makers

William de Morgan

British 1839 - 1917

What are ‘Dome of the Rock’ Tiles?

Suleiman the Magnificent (1494–1566) was the most powerful and influential ruler of the Ottoman Empire, presiding over its political, military, cultural, and architectural golden age. In the 16th century he played a decisive role in transforming the exterior of the Dome of the Rock, replacing its deteriorated early mosaics with the brilliant Ottoman tilework that still defines its appearance today.

His renovation introduced the blue and white ceramic panels and Qur’anic inscriptions that became a hallmark of Ottoman architectural identity. This act was more than a decorative makeover it was a deeply political and symbolic act. By adorning one of Islam’s holiest sites with exquisite Ottoman tiles, he asserted Ottoman authority in Jerusalem, forged a visible link between his empire and the earliest traditions of Islam, and showcased the artistic brilliance of Ottoman ceramic production.

Why Was Damascus an Important Centre for Tile Production?

Damascus evolved into one of the foremost centres of Islamic tile production. Under the Mamluks and Ottomans it created vivid and imaginative ceramics that wove together influences from Persia, Turkey, China, and later Europe. Its craftsmen became renowned for their artistic freedom, distinctive colour harmonies, and energetic motifs. These qualities have made Damascus tiles highly valued both within the region and, by the 19th century, eagerly sought after by collectors.

Mamluk tile production (1260–1516) developed into a distinctive artistic tradition centred in Cairo and Damascus, often on hexagonal tiles they blended local Islamic aesthetics with strong influences from Chinese ceramics. It evolved from limited architectural use to a refined decorative craft, especially flourishing in the 15th century under Sultan Qaytbay. Due to their rarity these tiles often command high prices when they come up for sale.

Ottoman tile production (1517–1918) When Damascus rose in status as a major provincial capital in the 16th century, demand for tiles surged once more. A new polychrome style of tile appeared absorbing and reinterpreting local Syrian artistic traditions, Chinese aesthetics and Ottoman Iznik floral motifs. These tiles were characterised by underglaze painting, bold colour and fluid floral designs.

The blue and white palette is dominant due to the Far Eastern influence however other colours, such as purple or turquoise occasionally appear. Apple green is the most characteristic colour of Damascus tiles throughout the Ottoman period. Whilst it was originally an innovation of the Mamluk’s it had only made a tentative appearance during the earlier dynasty.

Floral motifs lie at the heart of Damascus tile design. Gardens hold a profound place in the imagination of Middle Eastern cultures, rooted in ancient traditions and deeply entwined with ideas of paradise. In a harsh, arid landscape, the vision of lush greenery and abundant blossoms luxuries once reserved for the wealthy and powerful naturally took on an almost otherworldly allure. The Qur’an evokes gardens more than a hundred times, and for rulers, the creation of a garden was not merely an act of beauty but a powerful symbol of prestige.

Department

Islamic & Indian Art

The Tiles of Persia

The Safavids were a powerful Iranian dynasty (1501–1736) that unified Iran, made Twelver Shi‘ism the state religion, and built a major earlymodern empire. Their rise heralded the beginning of a new golden era for arts and crafts. Despite their Turkish or Kurdish origins they quickly became great Persian patriots re-invigorating Iranian national spirit after so many centuries of foreign rule. The Safavids inherited the best calligraphers, painters and bookbinders from the Timurids and employed their skills rebuilding and redesigning the cities. Safavid tilework reached its zenith under Shah Abbas I, who transformed Isfahan into a showcase of tile rich architecture.

Safavid tiles are identifiable by their mixed alkali, lowlead glazes and are best known for the haftrang (sevencolour) technique, derived from earlier mina’i and lajvardina wares and widely used in mosques, palaces, and madrasas across central Iran. Their vibrant palette includes turquoise, lapis blue, yellow, black, white, red, and green with colours carefully separated by outlining lines. Their designs blend technical precision with Persian artistic refinement through arabesques, cloud bands, floral scrolls, and geometric motifs inspired by manuscript painting. These balanced, immersive surfaces have become the hallmarks of Safavid architecture, especially in Isfahan where they were praised by European travellers for their beauty, craftsmanship, and sophistication.

The Qajar dynasty was a Turkic royal family that ruled Iran from 1789 to 1925, unifying the country after decades of postSafavid chaos and establishing Tehran as the capital. They emerged from the Qajar tribe of the Qizilbash military confederacy and became central to Iran’s political, cultural, and diplomatic transformation in the 19th century.

Qajar tiles are defined by their vivid colours, narrative figural scenes, moulded relief surfaces, and a strong blend of Persian tradition with new 19thcentury artistic influences. They mark a shift from the refined balance of Safavid tilework toward bolder storytelling, often featuring royal portraits, courtly scenes, hunting episodes, and mythical creatures alongside traditional floral and vegetal motifs. Their designs blend Persian artistic heritage with new European influences, while techniques such as underglaze painting, moulded relief tiles, and continued haftrang production give them a distinctive texture and visual richness. Produced mainly in Tehran, Isfahan, and Shiraz, these tiles adorned palaces, shrines, merchant houses, and urban façades, serving both decorative and architectural purposes. Together, their bold palettes, figural storytelling, and hybrid stylistic influences make Qajar tilework one of the most expressive and recognisable ceramic traditions in Iranian art.

“Once integral to great buildings, Islamic tiles are now collected as works of art in their own right, valued for their rarity, technical brilliance and extraordinary visual impact.”

- Neil Graham, Islamic & Indian Art Specialist

Specialist

Neil Graham

Associate Specialist, Islamic & Indian Art