Introduction: During the Timurid Period, Various execution and decorative techniques, such as mo‘arragh (mosaic tilework), haft-rang (seven-colored tiles), underglaze painting, gold-leafing (Gilded Tiles), were employed in tilework decorations. However, one of the tiling techniques that saw minimal application during this era was Lusterware. Evidence of its use appears to be absent for several decades following the Ilkhanid era, leading to the assumption that its production ceased after that period, which was considered one of the most significant eras for Luster tile production. Nevertheless, by examining extant examples of Luster tiles—particularly Tablets (Lawh)—the continuity of this art form can be traced through the Timurid period.
Purposes & Questions: Therefore, the primary objective of this research is, first to introduce and identify these tablets, and subsequently, to examine and evaluate them in terms of structure (overall form), motifs (Plant and geometric), and the content of the inscriptions. In this regard, the research questions are formulated as follows: Where were the surviving Timurid Luster tile Tablets produced, and which specific period of the Timurid era do they belong? Furthermore, What are the defining characteristics of these tablets in terms of their structure, motifs, and content of the inscriptions?
Methods: To achieve the research objectives, an interpretive framework is required; thus, a historical - interpretive method has been applied to the case studies. Data collection was conducted through documentary methods and empirical (field) observations, including visits to historical sites and museums, examining extant lustre tablets, photographing the studied works, searching international museum databases, private collections, and auction catalogs, as well as digital reconstruction of certain specimens using software such as CorelDRAW and Photoshap. The statistical population of this study, comprising 28 cases, includes tablets found in historical buildings, other-era tiles in museums and private collections, and various tile decorations from the period, such as rectangular tiles. From this population, 23 specimens were selected using purposive (non-probability) sampling in alignment with the research goals. The data analysis method is qualitative, utilizing an inductive approach (from specific instances to general conclusions).

Findings & Results: The findings of this research are derived from the examination of 23 dated or attributed lustre tablets from this period. Following a multi-year hiatus in the production of exquisite lustre tiles, tablets, and mihrabs during the Khwarezmid and Ilkhanid eras, we observe a resurgence of these forms, particularly tablets, during the Timurid period. A Significant number of the discovered specimens data back to the second half of the 9^th century AH, specifically the final decades of this century, while some belong to the early decades of the 10^th century AH. The oldest dated specimen belongs to 860 AH, and the latest to 905 / 911 AH. Based on available evidence, most specimens are attributed to the city of Kashan and its surrounding villages, some of which remain in their original installation sites. Only one specimen is attributed to the Panjeh-e-Ali Mosque in Qom, a region proximal to Kashan, which was also a major center for Lustreware production. The locations of the remaining specimens are unidentified, but they were likely produced in the workshops of the Kashan region. It is noteworthy that Kashan has been a primary center for Lustreware production throughout various Islamic eras, playing a crucial role in the dissemination of this technique. The productions of this period primariy consist of lustre tablets desiged and executed in small dimensions. These tablets served various functions, most commonly as funerary covers. Some were components of a mihrab, while others served as foundation tablets (for mosques or buildings) or endowment (waqf) tablets. Structurally, they are categorized into rectangular and polygonal froms, both following similar compositional principles. The motifs utilized include limited geometric motifs and plant motifs, such as various Eslimi and Khatta'i motifs, and depictions of vases and Qandil (lamps). Various inscription scripts, including Kufic, Thuluth, Naskh, Tawqi', Riqa', Nasta'liq, were employed in the inscription. Importantly, the use of the Nasta'liq script in certain tablets is considered an innovation of the late Timurid period. Regarding content, Shiite tendencies were more prevalent in the the inscriptions of Timurid tablets. Furthermore, the application of endowment (waqf) tablets represents another innovation in the content of late Timurid Lusterware, a practice that continued into early Safavid examples, such as the tablet of the Jameh Mosque of Kohpayeh in Isfahan. the Lustre tiles of Sultan Abu Sa'id Bahadur Khan follow a largely common pattern in terms of their design style, execution technique, inscription content, and decorative motifs, and are regarded as among the finest surviving examples of Timurid Lustreware. In general, during this period, artists involved in the production of Luster tablets adhered to two distinct artistic styles. The first category comprised exquisite and customized works, which were produced with exceptional precision and finesse within specialized workshops, involving collaborators with diverse expertise. In contrast, another group of artists produced simpler and less elaborate tablets, where the design of motifs, calligraphy, and other decorative elements were typically executed solely by the tablet maker themselves.