A Comparative Study of Manufacture Technique of Niello (Black Enamel) in Iran and the Bidri Art of India

Document Type : Original Article

Authors

1 Ph.D. of Comparative and analytical history of Islamic art, Faculty of Art, Shahed University, Tehran, Iran

2 Associate Professor, Faculty of Art, Shahed University, Tehran, Iran.

3 Assistant Professor, Faculty of Arts craft, Tabriz Islamic Art University, Tabriz, Iran

Abstract

Introduction: The art of inlaying is called the art of placing metals and precious stones on other metals and it is considered one of the richest and ancient artistic methods in the history of Iranian and Indian art. Niello art in Iran and Bidri art in India are methods of inlay in metalwork, and the final results of both methods produce a black color on the surface of the base metal. This similarity in the final products of the Niello and Bidri methods in both countries necessitated the need to conduct the present study. Familiarity with different artistic methods and styles is also essential for researchers in the fields of applied arts and traditional arts, as well as artisans and this research has attempted to provide artisans with the necessary technical and empirical knowledge to introduce the practical technical points of Niello or Black Enamel metalworking techniques and the Indian Bidri art. Therefore, the objectives of the present study are to identify the characteristics of the creation and execution of the Iranian Niello and Indian Bidri artistic styles, as well as to recognize the similarities and differences between the styles.
Background: Searches show that no study with the exact title "A Comparative Study of the Manufacture Technique of Niello (Black Enamel) in Iran and the Bidri Art of India" has been found. But numerous studies have been conducted on Niello and the present research is considered an original and innovative study in terms of its comparative approach in the technical study as well as the construction and execution of Iranian Niello metalwork (black enamel) and Indian Bidri art. This point distinguishes the present research from existing studies.
Research methodology: In the present study, Iranian Niello art and Indian Bidri art have been studied in two different geographies using library, documentary, and field information with a descriptive-analytical and comparative approach and the choice of Iranian Niello and Indian Bidri art techniques was purposeful, and the data analysis method is qualitative.
Discussion and analysis: The results of the research show that the Iranian Niello metalworking method is a combination of metal sulfides and an alloy of the elements silver, copper, lead, and sulfur and the Armenians of Tabriz and the Mandaean Sabeins of Ahvaz manufacture and produce it with differences in the amount of these elements. Engraving is also the most important method used to create grooves on the surface of gold and silver metals to create decorative motifs. In the case of Indian Bidri art, engraving is also an important method of creating grooves and decorative motifs on metal made of zinc and copper alloy and Silver and gold inlay is applied to the engraved parts and the main factor in blackening is the oxidation process, and artists blacken the final work by immersing it in a paste-like mixture of ammonium chloride, potassium nitrate, sodium chloride, copper sulfate, and native Bidar clay. Also, the final product in both countries consists of a two-tone silver and black or gold and black; while the blackening agent in Niello art is an alloy of silver, copper, lead, and sulfur and in the Bidri art, oxidation and a paste mixture of ammonium chloride, potassium nitrate, sodium chloride, copper sulfate, and native clay are used as blackening agents. The basic material of the work among the Armenians is silver, the Mandaeans use gold and silver, and the Indian Bidri art uses an alloy of zinc and copper or an alloy of zinc, copper, lead, and tin.
The differences and similarities between the two artistic styles are presented in Table 1:

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Interdisciplinary Researches of Art
Volume 3, Issue 2 - Serial Number 5
December 2025
Pages 41-68

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History

  • Receive Date: 06 May 2025
  • Revise Date: 04 July 2025
  • Accept Date: 05 July 2025
  • Publish Date: 22 November 2025

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