13Orosi (sash) windows in the Shrine of Shah Cheragh at Shiraz

Iran, ca. late 19^th or early 20^th century Wood, colored glass, plaster Photograph by Reza Daftarian, 2024

The orosi (ارسى, sash) windows in the Shrine of Shah Cheragh (map), a significant architectural and religious site in Shiraz (see no.12), embody the delicate interplay between light, geometry, and spirituality (fig. 1). These windows were likely installed during the Qajar period (1789–1925), in the late nineteenth or early twentieth century. They serve not only as functional architectural elements that mediate the flow of light into the interior but also as profound symbolic features that enhance the spiritual atmosphere of the shrine and create an environment conducive to reflection and prayer.

The windows feature wooden frames with intricate geometric patterns filled with colored glass. They were crafted by master artisans well-versed in the traditional techniques of gireh (knot) geometric patterning and glass-work. Plaster, often finely carved and detailed, serves as the adhesive that holds the colored glass pieces securely in place within the wooden screen (fig. 2). Artisans would carefully shape the plaster to create small, precise openings that align with the geometric patterns of the gireh design. Once the plaster was set, the pieces of colored glass were meticulously fitted into these openings. Each piece of glass was cut to match the exact shape and size required by the pattern, ensuring a seamless integration with the plaster framework. The glass was then fixed in place, often using a mixture of plaster or other binding materials, creating a sturdy yet delicate window that could withstand the test of time while allowing light to filter through in a brilliant display of color.

Within the shrine, the orosi windows contribute significantly to the overall aesthetic and spiritual ambiance. The geometric patterns, often consisting of stars, polygons, and other interlocking forms, symbolize the unity and infinity of the Divine. The colored glass, typically in shades of red, blue, green, and yellow, transforms the incoming sunlight into a spectrum of colors that dance across the shrine’s interior surfaces. This interplay of light and color creates a dynamic, ever-changing environment that evokes a sense of the presence of Ahmad ibn Musa (d. ca. 819), the main saint entombed in the Shah Cheragh shrine (fig. 3).

One of the most striking aspects of the orosi windows in Shah Cheragh is their interaction with the shrine’s ayeneh-kari (mirror-work) (see no.12). The ayeneh-kari covering the walls and ceiling of the shrine consists of thousands of small mirror fragments arranged in intricate patterns. When light passes through the colored glass of the orosi windows, it refracts and reflects off the mirrored surfaces, amplifying the light and creating a dazzling effect that envelops the entire space (fig. 4).

The use of orosi windows in conjunction with ayeneh-kari demonstrates the architects’ and artisans’ sophisticated understanding of light manipulation. The refracted and reflected light from these elements fills the shrine with a radiant glow that changes with the time of day and the intensity of the sunlight, creating a living, breathing space that feels both ethereal and intimate. This dynamic quality of light within the shrine reinforces the spiritual experience of the visitors, as they are bathed in an environment that reflects the beauty and infinity of the Divine.

Reza Daftarian PhD Researcher, Courtauld Institute of Art, University of London

Citation: Reza Daftarian, “Orosi (sash) windows in the Shrine of Shah Cheragh at Shiraz.” Catalog entry in The Emamzadeh Yahya at Varamin: An Online Exhibition of an Iranian Shrine, directed and edited by Keelan Overton. 33 Arches Productions, January 15, 2025. Host: Khamseen: Islamic Art History Online.