The sound of hammer and burin is heard from the engraving workshop of Imam Mall and the craftsman is busy working. He first fills inside or under the object with melted tar to be cool and firm later. Then the plan is prepared and placed on the brass drill to make some holes; then the surface of the metal is oiled in order for the map to fit on it and a figure is drawn with a charcoal powder. The charcoal powder passes through the holes on the map and sits on the metal surface and the shape of the figure is brought on it. When the engraving begins, the craft is done in several ways; in the embossing style (jondekari), the difference between the subject and the background is high, and the craftsman hits the back and front of the metal. In another method, qalamgiri, by creating the shadow and line in the background, the subject is represented and there is no level difference between the subject and the background. In the rizekari, by creating the context in the background, the original figure is shown, again with no level difference between the background and the figure; still in another method, i.e. monabbat, by creating at most two centimeters level difference between the subject and the background, the figure is realized on the metal. Also, by removing the background, the method moshabbak is done to realize the figure. The craftsman decorates the metal in the qalamgiri method by creating a scratch and groove on it. At the end of the engraving process, the tar is melted and removed from the inside, rinsing the surface with such materials as petrol to completely remove the remaining tar.
