tomb of Shaykh Abd al-Samad al-Isfahani of Natanz), previous interpretations of the muqarnas plate (chiefly of experts Ulrich Harb and Mohammad-Ali Jalal Yaghan), as well as the muqarnas traditions used today directly inherited through the traditions of the Ilkhanid period (as with the muqarnas workshops of Fez, Morocco). Takht-e Soleyman Tiles Tiles found at Takht-e Soleyman are great artistic marks that demonstrate the interaction with and influence from China during the fourteenth century. There were six types of tiles: unglazed, partly glazed, monochrome glazed, luster-painting, Lajvardina (cobalt blue and white), and inglazed Lajvardina. The exterior tiles, including unglazed, partly glazed and monochrome glazed, are shaped as hexagons and composed with reddish clay, with turquoise or blue coloring. The design is inspired by Mongol and Chinese ceramics, mainly from ceramics including dragon or phoenix motifs, and an interwoven line design. On the other hand, interior tiles include the luster-painting, Lajvardina and inglazed Lajvardina. They were white and yellow glazed, and were also usually hexagonal shaped. Regarding design, these tiles included multiple objects with floral, animal and human subjects, such as a horse rider surrounded by a floral arc. Geometric patterns were very prevalent, with the inclusion of interwoven lines, hexagon shaped tiles, and eight-pointed star symbols, deriving from Chinese ceramics that were very popular with Iranian merchants during the fourteenth century. The highly skilled glazing upon the tiles with their surface patterns in blue and white can be followed back to the Islamic city of Baghdad. Takht-e Soleyman's tile decorations show a mixing of multiple cultures, using artistic traditions from Buddhism, Chinese mythology, and pre-Islam Iran, and the current Islamic world itself. For example, the lotus flower, which is adopted from the Buddhist religion, is often used in floral designs as a symbol for wealth or is viewed as sacred. Secondly, as mentioned before, the dragon was a common motif related with Taoism, Confucianism, and Buddhism. It presented notions of sovereignty, and was viewed as the ancestor of all existing animals. The reinterpretation of a dragon or a lotus flower in an Iranian-Islamic way expanded the diversity of Islamic art in the medieval period. Thirdly, birds can also be seen in the tiles, specifically the crane, symbolizing longevity and wisdom from Chinese mythology. Mongol traditions are reflected in the frequent, deep blue color of the tiles, representing the sky or eternity. Also, there are Mongol scenes of horsemen hunting, expressing their