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Nishapur Turquoise: Deep in the arid mountains of northeastern Iran, where the ancient Silk Road once carried precious goods between East and West, lies one of humanity’s oldest continuously operated mines. The turquoise mine of Nishapur (Neyshabur) has been active for over 7,000 years, making it not only the oldest active turquoise mine in the world but also a testament to the enduring allure of this celestial blue stone. Located 48 kilometres from the historic city of Nishapur in Iran’s Razavi Khorasan Province, this remarkable mine has been supplying the world with the finest turquoise for millennia.
Archaeological discoveries from the Deh Luran Plain in western Iran indicate that turquoise was first utilised around 7000 BCE, with the quantity of turquoise artifacts discovered in burial sites suggesting the importance of this mineral in ancient civilisations’ traditions. The Nishapur mine, situated in the village of Maaden Olia within the central district of Bozghan County, represents the heart of this ancient tradition.
What makes Persian turquoise extraordinary is not merely its antiquity but its unparalleled quality. Arguably, the world’s finest specimens of turquoise have come from this deposit, particularly the prized varieties known as “Ajami” (smooth, vein-free stones) and “Shajari” (beautifully veined stones). The mine boasts reserves of approximately 1,000 tons and maintains an annual production capacity of 50 tons. From each ton of raw turquoise stone extracted, between 3 to 50 kilograms of gem-quality turquoise can be obtained for use in jewellery, decorative objects, and other applications.
The superior quality of Nishapur turquoise is distinguished by its vibrant sky-blue colour, which represents the highest grade and is extremely rare. While green or pale blue varieties, which have less value, are more abundant, the deep blue Persian turquoise from Nishapur commands premium prices in international markets. Other Iranian locations produce turquoise, including areas south of Mashhad, Damghan, Quchan, Kashmar, Tabas, and Kerman, but their output tends to be greenish rather than the coveted blue and is primarily used for decorative objects and sculptures rather than fine jewellery.
The transformation of raw turquoise into finished gems requires exceptional skill and traditional techniques passed down through generations. Turquoise is rarely faceted like other gemstones; instead, it is typically cut into cabochons (smooth, rounded shapes) or fashioned into beads and decorative forms.
The traditional cutting process begins with expert craftsmen separating the raw turquoise extracted from the mine. Using grinding stones, they remove excess clay and debris from the stones, a process called “cleaning” or “graining.” The shaping phase, known as “rough cutting,” is followed by smoothing and polishing using electric grinding wheels.
Historically, turquoise cutting employed wheels made from a mixture of grinding material and resin. The abrasive material was imported from Badakhshan (in present-day Afghanistan), while the resin came from India. The craftsman would turn the wheel with his right hand while holding the turquoise against it with his left, protecting his fingers with leather, cloth, or wooden guards. Before the advent of these specialised wheels, turquoise was shaped on rough mountain stones through a purely abrasive process—a method still used today for small pieces.
After cutting, turquoise receives its final polish using polishing stones with leather pieces and turquoise dust created during the cutting process. The shape of the final cut depends on the size and original form of the raw stone. Two shapes are particularly prized: the pointed, conical “arrow” cut and the flat, smooth “planar” cut.
While Iran’s turquoise mines are ancient, the decorative art form known as “Firoozeh Koobi” (turquoise inlay) is surprisingly recent. This exquisite handicraft began only about seventy to eighty years ago, representing a fascinating example of how traditional materials can inspire new artistic expressions.
The art of turquoise inlay migrated from Khorasan to Isfahan, though the turquoise mines remain concentrated in the northeast, particularly near Nishapur’s incomparable deposits. Isfahan is known as the centre for this art, and artists of this city have created unrivalled works in turquoise inlay.
The origins of this craft can be traced to an artisan named Yusuf Hakiman (known as Mohammad Reza), who introduced the technique of turquoise setting from Russia to Iran around 1940. He established his workshop in Mashhad, creating turquoise-inlaid jewellery and decorative objects, including vessels, ornaments, bracelets, brooches, and earrings.
Approximately twenty years later, another craftsman named Haj Dadash brought this art from Mashhad to Isfahan, where it underwent significant development and innovation. The technique evolved into the distinctive style of Firoozeh Koobi using fragments of turquoise stones, creating what is now recognised as one of Isfahan’s signature handicrafts.
Among the master craftsmen of Isfahan’s turquoise inlay tradition, several names stand out: Rubin and Rahim Yerushalmi, Eliahu and Suleiman Sadighpour, Akbar Bahrami, Mohsen Ghorbani, Mohammad Hassan Jafari, and Zeinab Kiyani, along with other skilled artisans who have preserved and advanced this relatively young but treasured art form.
Turquoise inlaying is an Iranian art of combining turquoise with metals such as copper, brass, silver, nickel, or bronze. A turquoise inlay product, whether vessel or jewellery, consists of a metal object—typically copper, brass, silver, or bronze—onto which small fragments and pieces of turquoise stone are arranged in mosaic-like patterns, creating a distinctive and captivating appearance.
The traditional process involves several intricate steps:
The classical technique employs completely traditional adhesives, including lac (shellac) and rosin, that, when heated, become liquid adhesive to bond the stones to the metal substrate.
The contemporary approach uses chemical adhesives (typically two-part epoxy resins like ARAKS 531), which have made the craft more accessible and durable. This method eliminates the need for heating, reduces the risk of stone loss, and provides greater structural integrity to finished pieces.
Today’s turquoise inlay art encompasses both functional and decorative applications. Traditional items include candy dishes, sugar bowls, vases, rosewater sprinklers, mirrors, candlesticks, boxes, and various vessels. Modern applications have expanded to include decorative panels, calligraphy pieces, and sculptural works.
In Mashhad, artisans create turquoise-inlaid calligraphy panels by either applying stones to fabric-based calligraphy or using laser-cut wooden bases filled with turquoise fragments. The combination of turquoise inlay with other traditional techniques, such as metal filigree work, creates striking visual contrasts between the weight and density of turquoise and the lightness and open spaces of metalwork.
Cultural and Symbolic Significance
Beyond its aesthetic appeal, turquoise holds deep cultural significance in Iranian tradition. The stone was originally called “Pirouzeh,” meaning victory in Persian, reflecting its symbolic importance. Persian artisans have long believed that turquoise possesses spiritual and physical properties, incorporating this precious mineral into objects and jewellery not only for beauty but also to benefit from its supposed metaphysical qualities.
The story of Persian turquoise represents one of humanity’s longest continuous relationships with a single gemstone. From the ancient mines of Nishapur, where archaeological evidence suggests that turquoise mining dates back to at least 5000 BCE, with ancient civilisations such as the Persians, Egyptians, and Mesopotamians valuing the gemstone for its beauty and symbolic significance, to the sophisticated inlay workshops of modern Isfahan, this celestial blue stone continues to captivate and inspire.
The persistence of traditional mining and crafting methods alongside modern innovations demonstrates the enduring appeal of authentic craftsmanship. As global appreciation for handmade, culturally significant art forms continues to grow, Persian turquoise and the exquisite art of Firoozeh Koobi stand as brilliant examples of how ancient traditions can adapt and thrive in the contemporary world, carrying forward seven millennia of human creativity and cultural expression.
Whether adorning a simple copper vessel or forming intricate patterns in a masterwork of decorative art, Persian turquoise remains what it has always been: a tangible connection to the earth’s beauty and humanity’s endless capacity for transforming natural materials into objects of lasting wonder and meaning.
If you are interested in the Persian art of “Inlaid Turquoise”, watch the following video at Amitis Art Youtube channel below:
Part 1: Introduction and Hermeneutical Foundations of Persian turquoise This article is a three-part series exploring the deep cultural significance of turquoise in Persian literature
How a humble mineral from Nishapur became heaven’s messenger on earth Persian Turquoise: In the ancient city of Nishapur, where the Silk Road once carried
The relationship between the Persian poet Attar of Nishapur and turquoise runs deeper than mere artistic preference. Born in the city of Nishapur—literally “the city
Discover the Beauty of Natural Persian Turquoise: Handmade Jewellery Collection
