This spectacular panel of tiles epitomises some of the most fundamental traits of Timurid art, which was the pinnacle of Islamic art in Central Asia, and developed a particular taste for polychromy tilework. These tiles were used to decorate the facades of buildings, almost like colossal vertical carpets. The intricate linear and geometric patterns, along with floral motifs are clearly inspired by earlier Seljuq traditions. The ability of the Timurids to draw on earlier iconographic traditions and make synthesis of a plurality of cultural inputs dates to the conquest of Samarkand by Timur Leng in 1369, when he summoned craftsmen from different conquered lands and oversaw the fusion of different artistic traditions to create a new international architectural style, initiating one of the most brilliant periods in Islamic art.
On either side, a lateral double band in light blue decorated with small floral motifs encloses a wide central section with flowers rendered in yellow and calligraphic motifs. The decoration of this panel of tiles constitutes a perfect example of Islamic an-iconic decoration, which is to say the prominent use of repeating geometric and calligraphic motifs as opposed to any pictorial depiction. This is due to the depiction of human and animals being banned in Islamic religious texts.