Techniques and Stylistic Characteristics of Stucco Decorations in Ilkhanid Architecture of Iran

Ilkhanid architecture occupies a distinctive position in the history of Islamic art through the development of highly elaborate stucco decoration. Despite their technical and artistic significance, these works have seldom been examined with respect to execution methods and design principles. That gap is addressed here through a field identification and classification of the techniques and stylistic patterns characteristic of Ilkhanid stucco in Iran. The analysis reveals that Ilkhanid craftsmen introduced several innovative methods in hand-carved stucco, such as Seh-gacha (very high relief) and Moshabbak (reticulated forms), as well as a specialized molding technique (Patta), frequently enriched with gilding—the earliest documented use of gilding in Iranian architectural stucco. These findings challenge the prevailing view of Ilkhanid stucco as merely a continuation of earlier traditions, instead demonstrating its role as a medium of experimentation and innovation. Key stylistic features include multilayered arabesques combined with inscriptions of varying scales (exemplified by the Mādar-o Farzand style), gypsum-plastered surfaces adorned with knotted Kufic and Bannāī inscriptions, complex geometric frameworks, and the earliest known trefoil arch mihrabs and muqarnas-like stucco mihrabs. Together, these results highlight the Ilkhanid contribution to the technical and aesthetic evolution of Islamic architectural ornament during the 13th–14th centuries.