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Archive for category: Iran cultural

You are here: Home1 / Iran Travel Blog2 / Iran cultural

Notizie culturali

The Persian carpet- introduction

Iran cultural, Iran Culture, Iran History, Isfahan, Kashan

A glimpse on the Persian Carpet

Persian Carpet (Quali) has been considered as a sublime embodiment of timeless beauty and elegance over thousands of years in human history and it has constantly evolved into a more elegant and artistic creation throughout its existence. It has always been an essential part of Persian culture and a staple of each Iranian home. For centuries, Persian Carpets have been appreciated for their high quality, uniqueness and the fact that they are handwoven. The variety of Persian Carpets is somewhat impressive if you put some thought into it; from large carpets knotted in workshops to lively patterned village carpets and charming nomadic carpets. These hand-woven arts are not only limited to carpets. There are other relative structures with different materials, design executions and techniques, that have also made a special place for themselves in Persian culture such as Gabbeh, Kilim and Palas. 

The journey through the world of antique Persian Rugs is not only a treat for the eyes, but also a journey through culture. The patterns, the sizes and the colors are all rooted in deeper meanings and sometimes, possibly stories. Stories of past generations and their traditions.

Theoretically, it is implied that a Persian Rug would have to be at least 80 years old to be considered “antique”.

Persian Carpets

Hand-woven Persian Carpets

As the Persian carpet has been a subject of interest amongst many people including us, Kalout team has taken the elaborate decision to present this historical and cultural legacy through our eyes. We are beyond ourselves to be able to share this gem with our international friends and clients.

Brief History

A significant part of the movement of the Persian floor covering lies related to the different leaders of the nation all through time. By vanquishing Babylon in 539 BC, Cyrus the Great was struck by its quality, which led him to present the craft of rug making into Persia. Numerous history specialists credit Cyrus for this cultural and artistic impression. It is said that the burial chamber of Cyrus the Great, at Pasargadae close to Persepolis, was secured with valuable rugs.

Renowned conventional Iranian floor coverings caused some zones to incorporate Mashhad, Tabriz, Arak, Isfahan, Kashan and Kerman. Notable assortments of Persian carpets, some from the previously mentioned cities and provinces include Khorasan, Herat, Shiraz and Hamedan.

Through history, until the 19th century, people from nomads to kings, only utilized the rugs from Persia as floor coverings and decorations. Generally, the word carpet was used for any cover, such as a table cover or wall hanging. However, afterwards it has been seen with a fresh pair of eyes, as a genuine art form.

Nowadays, these carpets are appreciated not only as artworks but also as investment worthy pieces. The experience of seeing and feeling a genuine antique Persian rug in person, can be truly powerful.

Iranian Carpet

Antique Persian Rug

The orientation of carpet weaving in Persia goes back to more than 2,500 years ago. At first, carpets and rugs were made as simple necessities to cover the floors, protecting people from the cold and damp and provided them with warmth and comfort. However, through time, the skill and craft of weaving carpets gradually evolved to the creation of art works that passed down from generation to generation over the centuries.

In the past, it was believed that the geometric designs and symbolic figures protect the Persian rug’s owner from misfortune and evil. As for the tribal rug designs, the pattern of animals, people, and everyday objects, are a classic example of art imitating life. Persian antique rugs are one-of-a-kind masterpieces and luxury design items, which can make a house, feel like a home. Not to mention they have been quite popular amongst Europeans aristocrats like England and Germany, especially during the 1850’s. Due to their timeless elegance, hand woven Persian rugs are an unbeatable, must-have piece among designers.

During the Safavid Period, Persia was an ancient and powerful empire embracing lands from Africa to India. The largest flourishing carpet producing areas were the now modern-day cities of Tabriz, Herat, Kashan and Kerman. The Safavid Dynasty encouraged many other kinds of arts as well, which stepped into the original foot prints of the art of carpet weaving, including painting, calligraphy and intricate weaving. Nowadays these patterns have made their way onto the nomads traditional clothing, table cloths and animals’ saddlebags. There are also certain woven curtains, which are mainly used to divide a room from another. These detailed weavings and pattern are not only bound down to nomadic areas. Modern day fashion is no stranger to intricate weaving or crosshairs. Many hand-made rugs with intricate designs, which passed down from one generation to another, have survived for hundreds of years, as they were so well crafted and cherished. These specific rugs are evidence of a rich heritage and culture.

Iranian Rugs

A local woman hand weaving a Persian carpet

Persia is considered one of (if not the most) varied carpet producing regions of the Middle East. However, the “golden era” of Persian Carpets really began after the foundation of the Safavid Dynasty and during the 16th and 17th centuries, Persia produced many of the great masterpiece carpets, which are still in existence today.

The display of Persian carpet from outside in & International legacies

As briefly mentioned, the rugs from Persia also made their way west to Europe. Persian Carpet started a long journey of display from Spain, which was initially introduced to the art from Northern Africa and Morocco and ended up in Southern Europe.

As of today, the most famous Persian carpets came from Tabriz, which are referred to as the Twin Ardabil Carpets. These carpets have made it in the permanent collections of the Victoria & Albert Museum and Los Angeles Country Museum.

Sheikh Safi Persian carpet at the Victoria and Albert museum

Sheikh Safi Persian carpet at the Victoria and Albert museum

It is only fit to introduce some of these fine carpets to paint a picture of how mesmerizing they actually are. Let’s not forget that with Kalout international tours, all these treasures would be personally introduced to our visitors.

A beautiful rug belonging to Northwest Persia is the “animal” carpet, half of which is in Kraków Cathedral, Poland, and half in the Museum of Decorative Arts, Paris. Another legacy of antique Persian carpet is the great “hunting” carpet, which now is in the Museo Poldi Pezzoli in Milan. A deep blue field, where hunters dash after their prey, covered with a compelling network of blossoming stems surrounds a scarlet and gold medallion which brings this magnificent design to finish. The words inscribed with the museum display read: “It is by the efforts of Giyath-ud-Din ʿJami that this renowned carpet was brought to such perfection in the year 1521.”

The world’s oldest hand-woven carpet is the Pazyryk Rug, which dates back to 2,500 years ago. This piece includes Iranian and Achaemenid motifs. The carpet is currently kept at the Hermitage Museum in St. Petersburg.

And lastly, Silk carpets woven to surround the shrine of Shah Abbas the second in Qom were the last superior achievements in Persian Carpet weaving. The pattern is beautiful, the colors are varied and in harmony with each other. The piece is dated and signed by Nimat Allah of Joshaqan.

Silk Persian carpet

Silk Persian carpet

The market and value of Persian carpets

Hand-woven Carpet is one of Iran’s key non-oil exports, considering Iran makes three quarters of the world’s hand-woven carpets.

The Persian Carpet is pretty popular among European (Germany for instance) and American Aristocrats and interior design or art connoisseur in general.    

The value of the Persian carpet is determined by various factors, including the beauty, intricacy and authenticity of designs, durability of colors, the quality of materials and the knots as well as the years of labor spent for producing each carpet.

According to estimates by the Iranian Industry, Iran annually makes around 400 tons of hand-woven carpets, the majority of which are exported to other countries.

The display of a few grand Persian carpets for an auction

The display of a few grand Persian carpets for an auction

The authentic Persian carpet has lost a part of its share in the international market as replicas with lower price and quality from China, Afghanistan, Turkey and Pakistan have flooded the market. Regardless of other countries’ replicas and Monets of the Persian Rug, real Persian art connoisseurs believe this particular Iranian handicraft still maintains its status in the world.

Moreover, the unique features of the Persian Nomadic Rug have made it impossible for other producers to copy the exact handicraft.

According to the recent reports, over the past decade, the Persian Carpet Industry has experienced one of the roughest times in its era. Nonetheless, it still stands on top of its game due to its deep roots.

Fun facts

■ Khosrow Carpet: There has been a legendary, royal silk carpet woven with an intention of nothing but magnificent beauty, dedicated to the divine role of the king, a mythical king who turned each season around and promised the return of spring and earth’s fertility. The Spring of Khosrow Carpet made for the audience hall of the Sāsānid palace at Ctesiphon. 

Khosrow Carpet  was a representation of the Garden of Eden, which in other words symbolized a promise of eternal happiness.

Unfortunately, this masterpiece has not survived throughout time. According to written records, the motifs and superior embellishments of this piece were mind blowing. Just to train your imagination, picture a royal garden with watercourses, paths, rectangular flowerbeds and blossoming shrubs and fruit trees, which were the main motifs and patters of this carpet. A literal yellow brick road, woven in gold and each flower pedal, fruit or bird was worked in with pearls and different jewels. The border was not just woven out yarn like ordinary carpets. This border was by itself, a smaller frame holding the scene of a meadow, solid with emeralds. It’s truly a shame to miss out laying our eyes on such a terrific piece. 

 Qab Qabi( Frame pattern)carpet

Qab Qabi( Frame pattern)carpet

■ It is referenced in numerous western records that Iranians stroll on nurseries, sky and suchlike that were weaved on twist and woof. Iranian heaven had seven dividers to keep evil spirits from entering inside, the example which has been seen in the arrangement of Persian Gardens too.

■ The general state of the Iranian rug is square or square shape, to help to remember the four old style components, the four fundamental headings and the example of nurseries. At the point when the circle joined the rug conspire, it has become to look like a sanctuary, keeping each consecrated thing inside it. In Islamic time the hover set in the focal point of the square shape territory, to be the uprightness of presence. The Islamic craftsmanship sought after to take earth to the sky and carry the sky to earth, and how decent rug has carried out this responsibility.

■ Gold threaded rugs (In Kashan)

Around the 17th century, the rise of lavish lifestyle and luxury, lead to the production of gold- and silver-threaded carpets. Some were even costume ordered or exported to Europe, due to the good relations between the two countries at the time. It is believed that the main producing city for these rugs were Isfahan and Kashan. As the Persian Carpets, particularly the silver and gold-threaded one were first exhibited in Paris, many believed that the rugs were actually European.

The gold thread Persian rug with silk from Kashan

The gold thread Persian rug with silk from Kashan

Iran Carpet Museum

As Iran is one of the major carpet producers in the world with an immaculate history attached, it would only be just to have a museum dedicated to this art. The Iran Carpet Museum, located northwest of Laleh Park in Tehran, is a visionary representation of all the rave on Persian Carpet, its evolution and history. The architecture of this building is something that your eyes won’t miss as you approach. A façade resembling a carpet weaving loom, casting shadows on the walls, is not only a visionary but also a practical shelter to cool down by. Even though this museum has many photography hot spots, it should be mentioned that flash photography in not allowed inside. You will not miss visiting this Museum, traveling with Kalout tours.

Kalout team has expert guides who will make sure that you won’t miss out on the one of a kind adventure to visit Iran Carpet Museum. Not to mention that you will be hearing all about the history and culture, right there in the moment, along with the introduction of some of Iran most famous carpets.

Iran carpet museum in Tehran

Iran carpet museum in Tehran

The building is divided into two exhibition galleries on two floors, with each exhibition displaying different styles from varies regions and backgrounds. In short, the ground floor belongs to permanent exhibitions and the upper floor is designed for temporary exhibitions and regional displays. The overall collection of Iran Carpet Museum holds more than 150 pieces, dating from the 17th century up to the current creations.

Closer

Iran has many roots and cultural authenticities to rely on when it comes to proving its originality. However, putting aside all the fuss and marketing competitors, what captures anyone’s heart regarding Iran’s cultural aspects, is the warmth, the hospitality and sheer humbleness of the people who contributed to this art.

As Kalout Tours is quite familiar with the enthusiasm regarding Persian Carpets, visiting carpet weaving workshops and traditional Bazaars are usually squeezed in most of our classical and cultural itineraries, passing through popular cities such as Tehran, Kashan, Na’in, Kerman, Shiraz and Isfahan, where you can witness the art of weaving, which open the doors to a trail of Iran’s history, culture and nature of this ancient land. Most tourists are drawn to purchase one fine piece as a souvenir to have as a memoir of their trip to the land of 1001 nights.

Ratepost
November 26, 2020
https://kalouttour.com/wp-content/uploads/2020/09/persian-carpet-6.jpg 809 1080 admin https://kalouttour.com/wp-content/uploads/2017/08/kalout-300x225-80x80.png admin2020-11-26 21:18:542021-12-05 23:26:24The Persian carpet- introduction

Taq-e Bostan,

Iran cultural, Kermanshah

Taq-e Bostan, a Must-see on Traveling to Iran

The historical architecture of every nation is the mirror of its history, art, and culture. The Sassanid inscriptions in different places of Iran manifest the glory and grandeur of Sassanid dynasty. They tried to flaunt their power and splendor by inscriptions and relics on the mountains located on main ways such as Silk Road where could attract all passersby’s attention. Taq-e Bostan in Kermanshah province is one of the most magnificent Sassanid rock reliefs displaying the power of Sassanid kings to the posterity. It is a must-see on Traveling to Iran narrating one of the most sublime parts of the history of Iran carved on the stone.

Taq-e-Bostan
Taq-e Bostan, the Sassanid rock relief in Kermanshah

Taq-e Bostan- a site with a series of rock reliefs carved on a mountain near a spring streaming into a pool at the base of the mountain in Kermanshah– consists of a rock relief and the two rock-cut arches one of them larger than the other. The larger arch is 9 m high. According to most Iranologists, it dates back to Khosrow II (around 4th century AD). This relic gives a lot about the beliefs, religious tendencies, clothes, and jewels of Sassanid era. It shows the coronation of the Sassanid king. The king is standing on a platform, his left hand on his sword and his right hand is stretching toward Ahura Mazda on his right hand side. Ahura Mazda is giving a beribboned ring to the king. On his left hand side, Anahita is standing while keeping the jar of water in her left hand and another beribboned ring in her right hand.

There are two winged female angels on both opposite sides of the arch each has a ring in one hand and a bowl in the other. At the front of the arch, the sacred tree or the tree of life is finely carved.

At the bottom, there is a figure of a man riding on a strong horse. Some Islamic historians believe that the figure is showing Khosrow Parviz over his horse named Shabdiz. The relief is about 4 m high.

Taq-e-Bostan-Large-Arch
The large arch in Taq-e Bostan, Kermanshah

On the sidewall, the royal hunting scenes have been inscribed. The king is hunting the deer while three lines of women are standing politely behind him. The last line is showing the female musicians. The mahouts are trying to direct a herd of deer to the hunting ground and some cameleers are carrying the prey over camels. The relic presents the process of hunting in three episodes: preparation for hunting, hunting, and the end of hunting. On the left wall, the king is chasing the boar.

The Sassanid king is hunting
The Sassanid king is hunting

The smaller arch, with 5 m high, is showing the figures of Shapur II and his son, Shapur III. They are standing while facing each other and their hands are on their swords. There are also two inscriptions in Pahlavi and Middle Persian languages on the upper part of the back wall identifying both kings.

Taq-Bostan-Small-Arch
The smaller arch in Taq-e Bostan

On the right side of the small arch, there is another relic (the oldest in Taq-e Bostan approximately 4 m high) depicting the coronation of Ardashir II (379-383 AD). He is taking a beribboned ring from his predecessor Shapur II or Ahura Mazda on his right. On his left, the god Mithra is standing on a lotus flower keeping Barsam (a plant used in religious rituals) in his hand. A defeated enemy, who is believed by most experts as the Roman king named Julianus Apostata- killed by Ardeshir II in 362 AD. – is laid under the feet of Ahura Mazda and the king. Some experts also say he may be Artabanus IV, the last Parthian king.

Taq-e-Bostan-Ardashir-II
The rock relief of Ardashir II in Taq-e Bostan

As it was mentioned before, all these relics can show great details about the clothes and jewels used by the kings and people in Sassanid era. As an example, the king riding over the horse is wearing colorful clothes decorated with woven golden threads and geometrical shapes. At the scene of boar hunting, the king’s clothes are ornamented with the figure of the Simurgh. All the kings depicted on the reliefs are wearing the necklace and earrings. Their clothes consist of a knee-length coat, long loose folded pants, and a belt around their waists. They have bushy hair, eyebrows, and beard. There are many details carved on their thrones too. The clothes of the entourage are decorated with the figures of plants and birds.

Taq-e-Bostan-Large-Arch
The large arch in Taq-e Bostan, Kermanshah

Traveling to Kermanshah, you can kill two birds with one stone! Not only can you visit Taq-e Bostan, a must-see that no one should miss on his or her travel to Iran, but also you can visit Bisotun, a UNESCO World Heritage Site. Moreover, do not forget about going to the traditional restaurants to try Dandeh-kebab!

4.5/5 - (2 votes)
October 28, 2019
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Narenjestan Lawn or Qavam Area in Shiraz

Iran cultural, Shiraz

Narenjestan Garden or Qavam House in Shiraz

Narenjestan Garden or Qavam House in Shiraz is one of the most beautiful and praised gardens one will love to visit. Qavam House was built during Qajar period in late 19th century. At that time, Qavam family was among the political figures of Shiraz and Qavam House was the residential place of Qavam family and the office for their administration. Since the garden has an abundance of sour orange trees, people call it Narenjestan or the orange garden as well. Today, Narenjestan-e Qavam house and museum is open to the public and it is one of the main attractions of Shiraz that hosts many tourists who travel to Iran.

Narenjestan Garden
Narenjestan Garden embraces an eye-catching monument in the heart of the garden

Narenjestan garden is a great sample of gorgeous Persian gardens of Iran. Persian gardens generally have a rectangular form consisting of four quarters abundant in trees and flowers, streams and pathways, ponds and fountains, a central pavilion, and the walls surrounding the garden. Similar to the Persian gardens registered on UNESCO World Heritage List such as Eram Garden in Shiraz, Shazdeh Garden in Kerman, and Dowlatabad Garden in Yazd, Narenjestan Garden embraces an eye-catching monument in the heart of the garden facing a stone pool and some fountains surrounded by date palms and sour orange trees that all together bring about a pleasant atmosphere.

Narenjestan complex is divided into south and north sections. Narenjestan monument as the most picturesque part of the garden catches visitors’ eyes as soon as they take a step forward within the garden. The monument has an elaborate architecture embellished with various Persian arts such as paintings, stucco, wood carving, stone carving, tile work, and mirror work. It has a magnificent iwan or porch with 2 stone columns. The porch has fabulous decorations on its ceiling and walls. On both sided of the porch, there are symmetrical decorated rooms as well.

Narenjestan-Garden-travel-to-Iran-tours-to-Iran

The basement of the monument displays a variety of colorful glasses. It was designed and built elaborately to provide a cool atmosphere throughout the hot summer days of Shiraz; however, today  it has been turned into Narenjestan museum and currently it is one of the most prominent regional and national museums of Iran. About Forty years ago, Narenjestan Garden was handed over to Shiraz University and subsequently was turned into the center for Asian studies. The Asia institute was directed by Arthur Upham Pope and Richard Nelson Frye. With the cooperation of Persian art scholars, they established Narenjestan museum in order to display newly discovered artistic and historical pieces.

Narenjestan-e-Qavam museum and garden has maintained the elegance of the 19the century lifestyle enjoyed by the upper class families in Qajar period. It is one of the luxurious attractions of Shiraz. It embraces Persian arts especially stucco, traditional painting, mirrorwork, brickwork, Moaraq, stone carving, and wood carving. Along with all the great Persian arts visible in the complex, the sound of birds chirping in the garden, and the shadow of sour orange trees and palm trees along the fountains all together bring peace and quiet to the tourists. It is quite pleasurable to have a stroll across the garden, take pictures, and admire Narenjestan elegance. Narenjestan Garden or Qavam house in Shiraz has been registered as a national heritage site and it is one of the magnificent tourist attractions that impress many national and international visitors.

Narenjestan-Garden-travel-to-Iran-tours-to-Iran
The basement of Narenjestan Garden monument displays a variety of colorful glasses

On the west side of Narenjestan monument, pay a visit to Khane Zinat-ol-Molk (Zinat-ol-Molk house) as well. The residence was built by Qavam-ol-Molk family in late 19th century. It includes 20 decorated rooms embellished with mirrors, stucco, and paintings. The first floor of the house is a great wax museum called Fars museum of history. It is home to wax, stone, and wood statues of more than sixty dominant personalities from Fars province. The variety of statues has made Fars museum of history a popular destination for Iranians and international tourists who travel to Shiraz. Travel to Iran and visit its invaluable historical attractions.

5/5 - (1 vote)
October 28, 2019
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Saadi, the Nice Persian Poet of All Time

Iran cultural, Shiraz

Saadi Shirazi- the nom the plume for Abu-Mohammad Muslih al-Din Shirazi- the great Persian poet of all time, was born in Shiraz in the 13th century. He is one of the most influential Persian poets in the medieval period admired for his artistry in expressing deepest moral and social thoughts in the simplest words for all ages. He is well-known as “Master of speech” among Persian scholars and one of the best poets of the classical Persian literature. His two outstanding literary masterpieces are Golestan (or Gulistan) and Bustan.

The exact date of his birth is not known. According to his qasida poems, he left home to explore the world in 1225, contemporary to the invasion of Mongols to Fars. In Golestan, composed in 1258, he addresses himself as a person who has lived 50 years but he is still naïve and does not know much about life.

Saadi-Shirazi-Travel-to-Iran-Tours-to-Iran
The tomb of Saadi in Shiraz

After leaving Shiraz, he went to the Nezamiyeh University in Baghdad and studied Islamic sciences, theology, law, history, and Arabic literature. He traveled to different countries such as Anatolia, Syria, Egypt, and Iraq for thirty years. He also visited Jerusalem, Mecca and Medina. He wrote about his travels and adventurous life in both Bustan and Golestan. Joining a group of Sufis who fought against the Crusaders in Halab, the Master of Speech is said to have been captured by Crusaders at Acre and held captive there for seven years. But like many of his other stories such as traveling to India and Central Asia, it cannot be confirmed and is considered highly suspected. But with no doubt, he lived much of his life as a wandering dervish.

Saadi was a man of learning and traveling. Mingling with a diverse group of people from intellectuals, merchants, preachers, farmers, ordinary people and the survivors of the Mongol invasion to Sufi dervishes and even the thieves in remote areas far from the invaded regions, he did his best to study the society and to preach and advise people to gravitate to the wisdom and morality. He finally came back to Shiraz before 1257 CE in his late forties and it was the time that he finished the composition of his masterpiece called Bustan. Apparently, he spent the rest of his life in his birthplace Shiraz and was greatly respected by the ruler and people. He passed away between 1291 and 1294 in Shiraz. He has been titled as Sheikh because of his great knowledge.

Saadi-Shirazi-Travel-to-Iran-Tours-to-Iran

Bustan

His best-known work Bustan was completed in 1257. Bustan is quite in verse. It includes 183 stories in ten chapters about the virtues such as justice, kindness, love, modesty, liberality, generosity, satisfaction and happiness, and the ecstatic practices of dervishes addressing all people to have a better and happier life. It was called Saadi Nameh in older versions. It contains about 4000 verses.

Golestan (or Gulistan)

His masterpiece Golestan was completed in 1258, a year after composing Bustan. It is mainly composed in prose. It includes 8 chapters mainly about the kings’ morality, the dervishes’ behavior, benefits of contentment, silence and talking in proper time, love and youthfulness, weakness in old age, and education. Interspersed among the stories are short poems. It is one of the most effective books in prose in Persian literature. Saadi attempts to advise people to live freely and to improve the quality of their lives in Golestan. It contains different anecdotes, pieces of advice, and quotations. It can show the cultural and social conditions of the society at the time of Saadi very well. Some characters and stories are real and some are fictional. It is one of the first Persian books made by print machine in 1824 in Tabriz.

Saadi-Shirazi-Travel-to-Iran-Tours-to-Iran
Golestan, the masterpiece of Saadi Shirazi

Saadi’s other works include Ghazals (love poems or Lyrics; sonnets), qasidas (longer mono-rhyme poems or Odes), quatrains and short pieces in prose in both Persian and Arabic. He is known as one of the greatest ghazal-writers of Persian poetry besides Hafiz. Many scholars believe the best ghazals are Saadi’s and Hafiz’s. Saadi has about 700 ghazals mostly with the essence of love, and some about mysticism sermons. He uses irony in his works to represent and criticize the deficiencies and corruptions in the society of his time.

Saadi’s ghazals are collected in four groups: Old Sonnets (written in his youth); Tayebat and Badaye (written in his middle age); and Khavateem (written in his old days). It is believed by many experts that Saadi’s Old Sonnets are about earthy love while his Khavateem is mostly about mystical love as well as ethics and piety. According to this dichotomy, they guess Saadi practically passed the earthy love to the mystical love during the different stages of his life.

Saadi elaborately distinguishes between the spiritual and the mundane aspects of life in his works. He tries to visualize the deepest meanings of life in the most tangible contexts and close to conversational language as far as possible in such a way that even common people can get the most out of his writings. Saadi’s writing style is called Saj’ in Persian and Arabic and it is a kind of prose characterized by rhythm as well as rhyme. In fact, this artistic style of writing reaches its peak in Saadi’s Golestan. His prose style is described as simple but impossible to imitate.

Saadi-Shirazi-Travel-to-Iran-Tours-to-Iran
The tomb of Saadi Shirazi

Saadi’s writing style undoubtedly has had a great effect on the Persian language as well as many great poets at his time and after him. There is a surprising similarity between his language and modern Persian. After about 8 centuries, his works are still easy to understand and admirable in different languages. Many of the Persian proverbs have been taken from his works. Some are literally translated as “the proof of the pudding is in the eating”, “what can you expect from a hog but a grunt?”, and “Haste makes waste.”

Among the well-known western poets who translated Saadi’s works are Goethe and Andre du Ryer- the first European who presented Saadi to the west for the first time in 1634. Golestan was translated into Latin in 1651. The first complete translation of Golestan in English was done by Sir Richard Francis Burton.

In one of Saadi’s most well-known immortal poetries, he considers all humans as different parts of a whole body, regardless of social barriers and races:

Human beings are members of a whole,

In creation of one essence and soul.

If one member is afflicted with pain,

Other members uneasy will remain.

If you have no sympathy for human pain,

The name of human you cannot retain.

This poem conveys such a deep humane universal concept that is printed on the ten-thousand-Rial bill to remind everyone of the love and peace in everyday life.

Saadi-Shirazi-Travel-to-Iran-Tours-to-Iran
Saadi’s poem printed on the ten-thousand-Rial bill

His mausoleum, also called Saadieh, in Shiraz is one of the major tourist attractions. It is located in a beautiful garden beside Delgosha Garden (dating back to Sassanid era). The tomb was built in the 13th century. Unfortunately, it was destroyed in the 17th century. The present-day building was built during the years of 1950 and 1952. It was inspired by Chehel Sotoun and built by the architect Mohsen Foroughi. Many Persian elements have been used in its architecture. It is also a National Heritage Site. It is visited annually by thousands of visitors who respect him and adore the eloquence in his works. Most of the tours to Iran include Saadieh in their itineraries while visiting Shiraz during their travel to Iran. To commemorate Saadi, 21 March is celebrated as the National Day of Saadi in Iran every year.

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Hafez, the good Persian poet of the 14th century

Iran cultural, Shiraz

City of Shiraz known as the city of love, poetry, and civilization embraces many tourist attractions. Shiraz has many fascinating sites that attract many tourists and travelers. Eram garden, the picturesque Persian Garden with its lovely cherry blossoms and colorful flowers; Nasir-al-Molk mosque, the great pink mosque that creates a mesmerizing reflection of colors; Saadieh, the mausoleum of the great 13th-century poet Saadi; and Mausoleum of Hafez, the great Persian poet of the 14th century are great attractions located in Shiraz. Travel to Iran, visit Shiraz, and enjoy its many tourist attractions especially tomb of Hafez.
Tomb of Hafez is one of the cultural attractions of Shiraz visited and admired by many Iranians and tourists. It belongs to Hafez, the great Persian poet of 14th century. He was a Sufi Muslim respected and loved for his perfect personality and art of poetry.

Tomb-of-Hafez-travel-to-Iran-tours-to-Iran
Tomb of Hafez is one of the cultural attractions of Shiraz

Khwāja Shams-ud-din Muhammad Hafiz-e-Shirazi is the 14th-century poet of Iran born, lived and died in Shiraz during the time Iran was ruled by the Ilkhanate. He is one of the most beloved poets among Persians. Since he had memorized Quran at an early age, people addressed him as Hafez meaning memorizer and later, “Hafez” got his pen name. He is one of the literary wonders of the world whose poems have been translated into different languages and whose art of poetry has been appreciated by many knowledgeable figures. Hafez mingles his poems especially ghazals-sonnets- with the essence of love and joy, teaches how to live a better life, and disgraces religious hypocrisy. To commemorate Hafez, October 12 is annually celebrated as Hafez Day in Iran.

Hafez has influenced many writers and philosophers. His work translated into English by William Jones in 1771 influenced Western writers and philosophers such as Ralph Waldo Emerson and Goethe. Emerson described Hafez as a brave and thoughtful person who feared nothing. He had wished to see Hafez or to be more like him. To appreciate Hafez, Emerson declared” Hafez is the poet for poets”. Goethe had also admired Hafez and believed that Hafez had no peer.

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Hafez’s ghazals target different concepts of human life; however, love is the concept one would find ever in his poems and maybe that is why his verses are still popular among people. Hafez lived during the Ilkhanid period and it was a tough time for people to express themselves or criticize the situation. As a result, He took advantage of an elaborate figurative language to express himself. In a situation that nobody dared to violate the ruling system, Hafez tactfully put his words in the language of poetry to criticize the religious hypocrisy and ruling system of the time through his ironic tone called “Rendy” in Persian. Hafez is known as the master of Persian ghazals. Divan-e-Hafez-the collection of his works- as a great example of Persian literature is found in homes of Persian speaking people around the world. Iranians believe that Quran and Divan-e-Hafez are two books that should be found in every Iranian home.  People still learn some of his poems by heart and use them as sayings in everyday life. Performing fal-e-Hafez (Hafez reading) is also an ancient tradition among Persian speakers. It is an entertaining part of different ceremonies such as Shab-e-Yalda or Iranian New Year. Some believe that Hafez would give them a piece of advice about their lives through fal-e-Hafez.

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One can enjoy the beautiful surroundings of tomb of Hafez

Hafez died in 1389 and was buried in the graveyard of Shiraz. He had a high position in people’s mind and maybe that is why all the governments ruling Shiraz paid attention to his tomb and tried to honor him in different ways. However, it was during Karim Khan Zand dynasty that a mausoleum was built to honor Hafez. Moreover, the marble stone was provided for his tomb and it was engraved with a long verse from Hafez. In 1935, the French architect- Andre Godard- was assigned to re-plan and expand the garden and make it more beautiful to attract many visitors. Therefore, more gardens surrounding the tomb were connected to the mausoleum to create more space. Regarding his design, Hafez’s tomb was elevated up to one meter above the ground level and it was reached by five circling steps. Moreover, an octagonal pavilion supported by eight stone columns holding a tiled copper dome in the shape of a dervish’s hat was constructed surrounding the marble tombstone.  Iranians love Hafez and they usually gather at the garden to visit his tomb, pray for his peace and tranquility, and perform fal-e-Hafez.

Tomb of Hafez with its splendid dome-like monument, the surrounding gardens with pleasant paths, streams, and fragrant orange trees, and the memorials to other famous figures all together make Hafezieh an attractive tourist attraction located in Shiraz. If you would like to travel to Iran, do not miss Shiraz and its many attractions especially Hafezieh.

  • Tomb-of-Hafez-travel-to-Iran-tours-to-Iran
  • Tomn-of-Hafez-Travel-to-Iran.
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Naqsh-e Rustam the Historic Necropolis of Robust Persian Kings

Iran cultural, Iran Empire, Iran History, Shiraz

Naqsh-e Rustam, the Ancient Necropolis of Powerful Persian Kings

Naqsh-e Rustam is an ancient necropolis situated northwest of Persepolis, the capital of the Achaemenid Empire. Naqsh-e Rustam (Naqsh-e Rostam) is an impressive reminder of once glorious Achaemenid Persian Empire (c. 550–330 BC) and it stands as a magnificent manifestation of ancient Persian art. Naqsh-e Rustam is the house for the immense rock tombs cut high into the cliff. The rock tombs belong to four Achaemenian kings. The ancient tombs attracted Sasanian kings as well. They wished to imitate the glory of the Achaemenian kings; maybe that is why they created huge reliefs besides the tombs. The immense rock reliefs mainly depict the investiture scenes and the equestrian fights of the Sasanian kings. However, the history of Naqsh-e Rustam is not limited to  the Achaemenid and Sassanid periods. There is evidence that the site exists from the Elamite period.  An ancient rock relief dating back to Elamite period indicates that Naqsh-e Rustam had been a sacred place during the ancient times. That might be the reason Darius I ordered to carve his monumental tomb into the cliff at the foot of Mt. Hosain (Huseyn Kuh). His rock tomb is famous for its two inscriptions known as the king’s autobiography. The inscriptions indicate that Darius the Great had been the king who ruled according to justice. Travel to Iran and enjoy visiting so many great cultural attractions especially the great ones registered on UNESCO World Heritage List or waiting to be registered. Pasargadae, Persepolis, Naqsh-e Rajab that lies a few hundred meters from Naqsh-e Rustam, and Naqsh-e Rustam, the ancient necropolis of the powerful Persian kings are the best cultural attractions of Iran located in Shiraz, Fars province,.

Achaemenid Tombs

Naqsh-e- Rustam houses four rock tombs carved out of rock face. Since the façades of the four Achaemenian tombs look like Persian crosses- chalipa- some call it Persian Crosses as well. The entrance to each tomb is located at the center of the cross and it leads to a small chamber where the king’s body lay in a sarcophagus. It is not clear whether the bodies were directly put into the sarcophaguses or the bodies were exposed to a tower of silence, and then the bones were put there. What is certain is that the tombs were closed after the burial, but the doors were smashed and the tombs were looted after the invasion of Alexander the Great in the 4th BC.

Naqsh-e-Rustam-travel-to-Iran
Darius I standing on a platform in front of an altar and the winged figure of Ahuramazda

Ka’ba-ye Zartosht 

In front of the rock tombs, there is a square tower known as the Ka’ba-ye Zartosht that means the Cube of Zoroaster (Ka’ba is the famous monument as a holy site for Muslims located in Mecca). The structure of the building is a copy of a sister building at Pasargadae known as the Prison of Solomon; however, this building is a few decades older than Ka’ba-ye Zartosht. On the wall of the tower, there is an inscription in three languages from Sasanian time and it is considered as one of the most important inscriptions of that period. It is not obvious what the purpose of the building had been. It might have been a library for the holy books, a place to keep the holy fire, or maybe a treasury.

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Ka’ba-ye Zartosht in front of the rock tombs at Naqsh-e Rustam

According to Persepolis fortification tablets, there must have been trees at Necropolis that apparently it refers to Naqsh-e Rustam. The experts believe that there must have been three lines of trees in the area between the tower and the tombs; however, it has been a long time since the trees have disappeared.

Sassanid Reliefs

Besides the tombs, there are seven over-sized stone reliefs dating from the 3rd century AD.  The huge rock reliefs mainly belong to the Sassanid period and they depict scenes of imperial conquests and royal ceremonies. What is amazing about the reliefs is that they indicate details of events carved in the heart of rough rocks. Therefore, they can give the visitors a visual insight into the spirits of the ancient times.

The most famous rock relief at Naqsh-e Rustam belongs to the Sasanian king Shapur I. The relief depicts his victory over two Roman emperors; Valerian and Philip the Arab. Shapur I is on the horseback, while Valerian is bowing to him and Philip the Arab is holding Shapur’s horse.

Naqsh-e-Rustam-travel-to-Iran
Shapur I celebrates his victory over two Roman emperors; Valerian and Philip the Arab

The investiture relief of Ardashir I as the founder of the Sassanid Empire is also depicted. The relief indicates Ohrmazd giving Ardeshir the ring of kingship. The inscription also has the oldest use of the term “Iran”.

There are also the equestrian reliefs such as equestrian relief of Hormizd II at Naghsh-e Rustam. The relief depicts Hormozid and above the relief, one would see a badly damaged relief that apparently is depicting Shapur II with his courtiers.

The relief of Bahram II depicts the king with an oversized sword. On the left, five figures stand and they seem to be the members of the king’s family. On the right, three courtiers stand and one of them is apparently Kartir- a highly prominent Zoroastrian priest.

The Oldest Relief at Naqsh-e Rustam

The oldest relief at Naqsh-e Rustam dates back to approximately 1000 BC and it dates back to the Elamite period. Though the relief is severely damaged, it depicts a faint image of a man with an unusual head-gear. He is thought to be an Elamite one.

Why Is It Called Naqsh-e Rustam?

Sassanid reliefs mainly depict equestrian fights or investiture scenes. Since the equestrian fights of the Sasanian kings represent the tales of chivalry, locals believed that the man depicted on reliefs was Rustam, the hero of Shahnameh. The epic of Shahnameh is the masterpiece of Ferdowsi, the great Iranian poet of the 10th and 11th the century. Therefore, the site is called Naqsh-e Rustam (meaning the carvings of Rustam); because the locals believed that the carved man on the reliefs was their epic hero” Rustam”.

Naqsh-e-Rustam-travel-to-Iran
Locals believed that the carved man on the reliefs was their epic hero” Rustam”
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Niavaran An entire information for guests

Iran cultural, Tehran

The history and design of Niavaran Palace

Culture tour to Iran includes visits to graceful attractions dating back to different period of Iran’s history. This article introduces one of the most splendid attractions in Tehran that should not be missed in your travel to Iran. There is a historical construction in the middle of an elegant garden in the northern part of Tehran called Niavaran Palace. Covering an area of 9000 square meters, it comprises five buildings. Niavaran Palace was in fact the famous Qajar king’s, Naser al-Din Shah, summer resort which was later expanded by Mohammad Reza Pahlavi. The main Niavaran Palace was completed in 1968, which was supposed to be a reception hall for royal guests, but changed into the royal residence later. The king and his royal family lived here until the Islamic revolution in 1979.

After the revolution, the palace was conquered by revolutionary forces, however, three years later it was transferred to Ministry of Culture and Islamic Guidance. The complex was open to public in 1986 for the first time.

Its interior design is inspired by Iranian architecture and a touch of modern technology. Although the interior decoration and furniture has been designed and implemented by a French group, a stunning combination of Iranian pre and post-Islamic art is evident in it. There are some precious paintings by Iranian and foreign artists, valuable French and German dishes and treasured Iranian carpets all over the place. The harmony of carpets and curtains is quite eye-catching.

The palace is constructed in two floors and a half; the first floor enjoys a great hall for VIP guests and several rooms including a dining room, waiting room halls and a private cinema. The bedrooms of all family members are situated in the second floor, the half floor was also allocated to Leila, the youngest family member. Its architectural design is by Mohsen Foroughi, plaster work has been carried out by Master Abdollahi, mirror work by Master Ali Asghar and tile works by Master Kazempour and Ilia.

Niavaran

Sahebqaraniyeh Palace

Sahebgharaniyeh is the oldest building of Niavaran palace which was constructed as a summer resort for Naser al-Din Shah, it became his favorite resort later; although, however, he never chose to live there permanently. His son Mozafar al-Din Shah made slight changes to the building later. And, the building underwent greater changes during Mohammad Reza Pahlavi reign.

Sahebgharaniyeh is a white building with green gable roof. Graceful Persian architectural elements such as mirror work, colorful glasses and delicate gypsum are noticeable in this construction. There are magnificent paintings everywhere in this palace, most of them portraying Qajar kings and landscapes in Iran.

One of the most magnificent parts of this building is the mirror hall, which is also known as “Jahan Nama” hall. The mirror works in this huge hall is extraordinary. The northern and southern windows of the palace overlook a view of Shemiran mountains in Tehran. Mirror hall was mainly used for formal parties a meeting and its reputation is primarily due to the

“Persia Constitution of 1906” signed by Mozafar al-Din Shah in this palace.

Sahebqaraniyeh-Palace

Ahmad shahi Pavilion

Ahmad Shahi pavilion is a two-story building with an area of approximately 800 square meters. The architectural design is especially unique and graceful compared to the other buildings in this complex. There is no concrete evidence of its construction date, some attribute it to Ahmad Shah’s summer resort, the last Qajar king who ruled for a short time. Therefore, it might be about a hundred years old which turns out to be a popular photography subject.

During Reza Shah Pahlavi, Niavaran palace was abandoned until Mohammad Reza went married and the young couple decided to live here, however it did not take long.

During Mohammad Reza reign, this building was used as the residence of the crown prince, Reza, after restoration and some changes in decoration by a group of French designers.

Ahmad Shahi pavilion was closed for ten years after the revolution, until 1989 which was open to the public, following a recovery. Today, the pavilion is one of the most outstanding buildings in Niavaran palace. Reza’s properties including his stone collection and model planes impress many visitors.

Ahmad-shahi

Jahan Nama Museum

Jahan Nama is a museum in Niavarn which was added to the complex in 1977 to host the international gifts of Farah Diba, the queen, and also the various objects she had bought from different parts of the world. Today, ancient objects of great civilizations are displayed in this museum. Among these, works of distinguished artists of 20th century such as Andy Warhol, Pablo Picasso, Salvador Dali, Marc Chagall, George Braque, Amedeo Modigliani, Paul Gauguin and many contemporary Iranian artists are remarkable.

jahan_nama_museum

Private Library

On the northeast of Niavaran complex, there is a two-floor building including a basement, altogether with an area of 770 meters, dating back to 43 years ago to be served as a private library. The interior design had been completed by Aziz Farmanfarmayan, design and composition of glass and mirrors has been done by American artist, Charles Sevigny.

The library lacks general standards of a library, since it was built as a private library. Evidence such as the piano and sound equipment shows that the place was used as a music room as well. Using elements of interior design like paintings, furniture and statues has given the atmosphere of a museum to the places.

There are about 23000 volumes of books including 16000 Persian books and some from non-Iranian authors. Excellent travelogues written by famous people traveling to Asia and Iran, collection of paintings particularly by artists of 20th century are only parts of these prosperous library.

Private-Library

Museum of Royal Family’s Vehicles

In 2011, Iranian authorities decided to make a collection of royal family vehicles in Niavaran palace. A few months later the museum, was open to visitors, following particular aims:

  • Displaying vehicles to the public
  • Organizing vehicles of the collection
  • Optimizing conservation system and protecting the heritage
  • Attracting more visitors

The construction allocated to vehicle museum covers an area of 200 square meters. However, being used as garage, it lacks decorative arts. Rather than being worked as a specialized museum, the focus is on conservation of royal family vehicles as a national treasure and historical storytelling.

Two Rolls Royce Phantom 5 and 6 are displayed right in the middle of the hall, surrounded by Formula racing car and eight motorcycles belonged to royal family children. Looking around, you can also see some maquettes in this gallery and some photos of the royal family with these vehicles.

Vehicles

Museum of Royal Clothes & Fabrics

The first glance at this gallery, brings to mind the harmony of Iranian clothes with beauty of nature and surrounding environment. It also presents Iranian artists’ skill in textile production.

The museum of clothes is one of the permanent treasures of the complex.

Niavaran palace Opening hours

The complex is open to visitors, Monday to Sunday from 9 am to 7 pm during spring and summer and from 8 am to 5 pm during fall and winter. To buy the ticket, visitors should arrive there an hour before the closing time.

On important national holidays, the complex is closed. So, do not forget to check before visiting.

How to arrive to Niavaran Palace

If you are looking for public transport rout, you have to get to Tajrish metro station, on Line 1, then take a cab to Niavaran square, it is a five-minute walk to the palace.

Another possible option would be “Tap30”, either from Tajrish metro station or anywhere you are in Tehran. It is quite affordable, however trying public transportation would save your money.

Niavaran palace café and restaurant

Imagine sitting in a restaurant surrounded by tall trees, only 500 meters from a historical building! If you like the peaceful atmosphere, then you are welcomed to have a drink or food in “Karzin” cafe and restaurant. However, on the weekends and holidays you should expect some crowd. The café is famous for its brunch, the brunch buffet is open until 1 PM.

Opening hours

Spring and summer: Every day from 9:00 a.m. to 18:00 p.m. except public mourning holidays

Fall and winter: Every day from 8:00 a.m. to 16:00 p.m. except public mourning holidays

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Vank Cathedral A should see appeal in Iran

Iran cultural, Isfahan

Introduction

As a lovely and amazing city, Isfahan has embraced three UNESCO world heritage sites, plenty of cultural and architectural attractions and friendly hospitable local people. However, walking into Jolfa district would fascinate every visitor in a different way; it feels as if you have traveled back in time and you are in a different period of history. Let’s not forget to mention that there are 13 churches in this district right now but Vank is undoubtedly shining as the most gorgeous one. Vank Cathedral is a must-see attraction in Iran, a masterpiece representative of artistic expression of Christians in Iran and Armenian living place in 400 years ago.

History

About 400 years ago, the Armenians migrated from Azerbaijan to settle in Jolfa district of Isfahan in search of a haven, due to the Armenian genocide occurred in Yerevan during Ottoman war. Jolfa is still famous as a quiet area with European setting and architecture.

Vank is a historic church dating back to Shah Abbas the second period (1642 – 1666) having the reputation of training high rank priests in Christian world; that is why Vank is considered as one of the most noticeable churches among Armenians. Besides being an impressive Cathedral, Vank is the largest museum in Isfahan due to possessing an outstanding collection of historic documents during the last 400 years which makes it one of the most well-known Armenian centers in the world.

 

Vank
Vank

Architecture and Design

Displaying a mix of Islamic and Armenian architecture, this church covers an area of approximately 4000 square meters including the main church and its courtyard, monastery, belfry, library, museum, clock tower, Bishops’ room, community halls and tea house; considering the Vank garden and green spaces around, it is about 9000 square meters.

The height of the walls from the yard to the roof of the second floor is about 11.75 meters. Unlike many other Armenian churches in Iran which are made of stone, the main construction material in Vank Cathedral is clay.

The exterior walls are covered with brick and tiles designed with winged angels can be seen everywhere while the interior walls are covered with plaster and eye-catching paintings which is the most splendid feature of this building. The magnificent artistic decorations in different parts of the church, such as inside the dome, walls and arches are mainly originated from the holy Christian book. These paintings mainly represent stories from the Holy Bible, Jesus Christ from the birth to the ascension, day of resurrection and the judgment, heaven and hell. A combination of Persian floral ornaments and Armenian national motifs are also evident on the ceilings and walls. The display of frescos on tiles with glorious gold and blue frames has created a pleasant and lovely setting inside the church. The cost of all paintings and decoration of the church was provided by “Avdic Stepanos” which are unique among Armenian churches.

Vank

Museum

Vank museum is a not to be missed place in Isfahan. One of the most significant and most  comprehensive collections of biblical manuscripts are kept and displayed here. The museum keeps 700 handwritten books, a variety of objects related to Armenian community in Isfahan such as Safavid costumes, European paintings brought back by Armenian merchants, tapestries, embroidery, and other ethnological exhibits related to Armenian culture and religion.

Visiting various collections in this museum would be one of the most interesting parts of your tour. The precious paintings related to Safavid period, painted by Armenian and European artists are unexampled. There are stunning collections of porcelain and clay dishes, collections of wooden works consisting of instruments, furniture, clock, etc. and eye-catching metal objects including gold and silver jewelries, belts, frays, etc.

The exhibition of Armenian textiles, traditional hand woven and embroidery are quite appealing to any visitor’s taste.

Vank Cathedral enjoys possessing 170 sheets of crucial historical commands, 22 of which are depicted in this museum today. Belonging to 17th to 19th century, these political orders are mostly related to the emigration of Armenians, offering religious and commercial privileges to them and tax rules for residents of Jolfa district.

And last but not least, the most highlighted object at Vank museum is a piece of hair, belonged to an 18-year-old girl on which a sentence from old testament has been written with a diamond pen in 1974. You can read the sentence through a microscope kept by the side.

Opening hours

9:00 am till 6:30 pm

Location

Vank Church alley, Jolfa District, Isfahan, Iran

Contact

(+98) 3136243471

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Malek historic mansion | The Malek House

About Iran, Iran Architecture, Iran cultural

Malek historic mansion

Malek historic mansion

This large mansion was built with command of malek o-tojar, a great merchant , in bushehr, in Qajar era. during one of his trips to Paris he loved one of his friend’s house , then decided to have the same one in bushehr, so he hired the architecture of the house in Paris and added his own ideas to the site plan and built this beautiful house. This house has four parts : the first one is Pishkhan, an open space in front of the house, the second part is Platform and the third part is facade and entrance , and the last part is the main building in two floors and has painted walls. The first floor was for official meetings and the second floor was for private parties. In addition to the said parts , there were nested gardens that were separated with some rows of walls . each garden has its own erntance to connect to the other parts or out side . each garden had their own Decorations and atmosphere.


Haj Hossein Agha Malek House

The Haj Hossein Agha Malek’s House is a monument that belongs to the Malek National Library and Museum. It is located within the Bazar of Tehran and at the center of Tehran’s old urban complex, halfway between two great religious monuments: the Emam Khomeini Mosque (formerly called the Shah Mosque) and the Jame’ Mosque of Tehran. The Malek House is a quiet place surrounded by a crowded Bazar. It reflects the serenity of its former owner, who lived there for decades. This house was recorded as a National Monument by the National Cultural Heritage of Iran in Dec 7, 1997.

malek-mansion

The original building, which Hossein Agha inherited from his father “Mohammad Kazem” was built in the Qajar period, with an extension added in the Pahlavi era. This building first housed the Malek National Library and Museum.

malek-mansion

The two parts of the building incorporate architectural elements and decorations from the Qajar and Pahlavi periods, including brick work, tile work, plaster work, wooden decoration, stone carvings, wood carvings, metal works and wallpapers.

malek-mansion-4

 

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Iran World Heritage Sites

About Iran, Iran cultural, Iran History

Persepolis:

Persepolis was the ceremonial capital of the Achaemenid Empire (ca. 550–330 BC). It is situated 60 km northeast of the city of Shiraz in Fars Province, Iran. The earliest remains of Persepolis date back to 515 BC. It exemplifies the Achaemenid style of architecture. UNESCO declared the ruins of Persepolis a World Heritage Site in 1979.
The site includes a 125,000 square meter terrace, partly artificially constructed and partly cut out of a mountain, with its east side leaning on Rahmet Mountain. The other three sides are formed by retaining walls, which vary in height with the slope of the ground. Rising from 5–13 meters (16–43 feet) on the west side was a double stair. From there, it gently slopes to the top. To create the level terrace, depressions were filled with soil and heavy rocks, which were joined together with metal clips.
Archaeological evidence shows that the earliest remains of Persepolis date back to 515 BC. André Godard, the French archaeologist who excavated Persepolis in the early 1930s, believed that it was Cyrus the Great who chose the site of Persepolis, but that it was Darius I who built the terrace and the palaces.
Since, to judge from the inscriptions, the buildings of Persepolis commenced with Darius I, it was probably under this king, with whom the scepter passed to a new branch of the royal house, that Persepolis became the capital of Iran proper. As the residence of the rulers of the empire, however, a remote place in a difficult alpine region was far from convenient. The country’s true capitals were Susa, Babylon and Ecbatana. This accounts for the fact that the Greeks were not acquainted with the city until Alexander the Great took and plundered it.
Darius I ordered the construction of the Apadana and the Council Hall (Tripylon or the “Triple Gate”), as well as the main imperial Treasury and its surroundings. These were completed during the reign of his son, Xerxes I. Further construction of the buildings on the terrace continued until the downfall of the Achaemenid Empire.

Around 519 BC, construction of a broad stairway was begun. The stairway was initially planned to be the main entrance to the terrace 20 meters (66 feet) above the ground. The dual stairway, known as the Persepolitan Stairway, was built symmetrically on the western side of the Great Wall. The 111 steps measured 6.9 meters (23 feet) wide, with treads of 31 centimeters (12 inches) and rises of 10 centimeters (3.9 inches). Originally, the steps were believed to have been constructed to allow for nobles and royalty to ascend by horseback. New theories, however, suggest that the shallow risers allowed visiting dignitaries to maintain a regal appearance while ascending. The top of the stairways led to a small yard in the north-eastern side of the terrace, opposite the Gate of All Nations.
Grey limestone was the main building material used at Persepolis. After natural rock had been leveled and the depressions filled in, the terrace was prepared. Major tunnels for sewage were dug underground through the rock. A large elevated water storage tank was carved at the eastern foot of the mountain. Professor Olmstead suggested the cistern was constructed at the same time that construction of the towers began.

The uneven plan of the terrace, including the foundation, acted like a castle, whose angled walls enabled its defenders to target any section of the external front. Diodorus Siculus writes that Persepolis had three walls with ramparts, which all had towers to provide a protected space for the defense personnel. The first wall was 7 meters (23 feet) tall, the second, 14 meters (46 feet) and the third wall, which covered all four sides, was 27 meters (89 feet) in height, though no presence of the wall exists in modern times.

Persepolis-Iran-Shiraz

Persepolis-Iran-Shiraz

Naqsh-e Jahan Square:
Naghsh-e-Jahan Square is a huge rectangular square in Isfahan, Iran, which is surrounded by monuments from Safavid period. Naghsh-e-Jahan Square was built during the reign of Safavid Shah Abbas. There are other historical monuments in the square including Ali Qapu Palace, Imam Mosque, Sheikh Lotf Allah Mosque, Qeisarieh Gate. In addition to these monuments, there are 200 chambers around the square, in which Isfahan’s handicrafts are presented.
In comparison with “Place de la Concorde” in Paris, Naghsh-e-jahan Square is historically superior, and after “Tiananmen Square” in Beijing, it is the second largest square in the world.
Due to the harmony existing in the construction of it, Naghsh-e-Jahan Square has surprised Europeans during centuries.
The square was registered in Iran’s National Heritage on January 28, 1935 under the registration number of 102. Also, it was among the first Iranian monuments, which was registered in UNESCO World Heritage in April, 1979 under the registration number of 115.
The square was named “Shah Square” after it was built, and it was registered in World Heritage list under this name. Currently, however, it is also known as “Imam Square” in that list.

Naqsh-e Jahan

Naqsh-e Jahan

Yazd city:
Yazd city is the center of Yazd province, Yazd is considered to be of the old cities of Iran and one of the best desert cities. It’s the first raw adobe city and the second historical city in the world after Venice in Italy. This region has been considered as one of the main and historical path and passageways of Iran and has always been noted by governments. Yazd is known as the “City of Wind Tower”. Also, “Bride of the Desert”, “Dar al Elm”, “City of Bicycles” and “the City of Sweets” are considered to be its other titles. Yazd is the city of different cultures and religions and its cultural inhabitants live peacefully together. This city is sister to the cities of Homs in Syria, Jaszbereny in Hungary, Nizwa in Oman, Jakarta the capital of Indonesia, Holguin in Cuba and Yeosu in South Korea.Yazd city was Just registered in UNESCO World Heritage in July, 2017

Yazd city

Yazd city

Tabriz Bazaar:

The Bazaar of Tabriz (Romanized as Bāzār-e Tabriz) is a historical market situated in the city center of Tabriz, Iran. It is one of the oldest bazaars in the Middle East and the largest covered bazaar in the world. [Citation needed] and is one of Iran’s UNESCO World Heritage Sites.
Tabriz has been a place of cultural exchange since antiquity. Its historic bazaar complex is one of the most important commercial centers on the Silk Road. A bazaar has existed on the same site since the early periods of Iranian urbanism following Islam.

Located in the center of the city of Tabriz, Iran, the structure consists of several sub-bazaars, such as Amir Bazaar (for gold and jewelry), Mozzafarieh (a carpet bazaar, sorted by knot size and type), shoe bazaar, and many other ones for various goods such as household items. The most prosperous time of Tabriz and its bazaar was in the 16th century when the town became the capital city of the Safavid kingdom. The city lost its status as a capital in the 17th century, but its bazaar has remained important as a commercial and economic center. Although numerous modern shops and malls have been established nowadays, Tabriz Bazaar has remained the economic heart of both the city and northwestern Iran.

Tabriz Bazaar has also been a place of political significance, and one can point out its importance in the Iranian Constitutional Revolution in the last century and Islamic Revolution in the contemporary time.

The bazaar was inscribed as a World Heritage Site by UNESCO in July 2010.

Tabriz-bazaar

Tabriz-bazaar

Traditional water sources of Persian antiquity (Qanat):

Most rivers in Iran are seasonal and have traditionally not been able to supply the needs of urban settlements. Major rivers like the Arvand, Aras, Zayandeh, Sefid and Atrak were few and far between in the vast lands of Persian antiquity.
With the growth of urban settlements during the ages, locally dug deep wells (up to 100 meters deep) could no longer keep up with the demand, leading to the systematic digging of a specialized network of canals known as Qanat.
Persia’s Qanat system dates back many centuries, and thousands of years old. The city Zarch in central Iran has the oldest and longest qanat (over 3000 years and 71 km long) and other 3000 years old qanats have been found in northern Iran. The Qanats mostly came in from higher elevations, and were split into a distributing network of smaller underground canals called Kariz when reaching the city. Like Qanats, these smaller canals were below ground (~20 steps), and were built such that they were very difficult to contaminate. These underground aqueducts, built thousands of years ago suffer no evaporation loss and are ideally suited for drinking water since there is no pollution danger.
But with the further growth of the city in Persian lands, even the Qanats could not respond to the needs of residents. That is when some wealthy inhabitants started building private reservoirs called Ab Anbar.
This Qanat surfacing in Fin is from a spring thought to be several thousand years in running, called The Spring of Solomon (“Cheshmeh-ye Soleiman”). It is thought to have been feeding the Sialk area since antiquity.
In the middle of the twentieth century, it is estimated that approximately 50,000 qanats were in use in Iran, each commissioned and maintained by local users. Of these only 25,000 remain in use as of 1980.
One of the oldest and largest known qanats is in the Iranian city of Gonabad which after 2700 years still provides drinking and agricultural water to nearly 40,000 people. Its main well is more than 360 meters deep and the qanat is 45 kilometers long. Yazd, Khorasan and Kerman are the known zones for their dependence with an extensive system of qanats.

In traditional Persian architecture, a Kariz is a small Qanat, usually within a network inside an urban setting. Kariz is what distributes the Qanat into its final destinations.
Qanats of Gonabad also is called kariz Kai Khosrow is one of the oldest and largest qanats in the world built between 700 BC to 500 BC. It is located at Gonabad, Razavi Khorasan Province, Iran. This property contains 427 water wells with total length of 33113 meters. This site were first added to the UNESCO’s list of tentative World Heritage Sites in 2007, then officially inscribed in 2016 with several other quants under the World Heritage Site name of “The Persian Qanat.

Qanat

Qanat

Shushtar:

Shushtar is located in Khuzestan province. This region is situated on the slope of Zagros mountains and has unparalleled historical and tourist attractions. This county is known as one of the most important tourist areas of Iran and its mills and hydraulic systems, which have been registered in World Heritage, attracts many Iranian and foreign tourists.

shushtar-historical-hydraulic-system

shushtar-historical-hydraulic-system

Susa:

Susa is of the northern counties of Khuzestan province and its center is the city of Susa. The ancient Susa city has been of the centers of old civilization, of the most famous cities in the world, several thousand year old capital of Elam civilization and also the winter capital of the Achaemenian empire. Of its valuable historical monuments Chogha Zanbil ziggurat and the historical site of Susa can be mentioned; which are all registered as world heritage. Susa county, due to its special geographical location and valuable and unique historical and religious monuments, has a special place in the area of tourism

Susa

Susa

Gonbad-e Qabus Tower:

Tower of Gonbad-e Kabus is a historical and glorious construction and it is one of the attractions of Gonbad-e Kabus town in Gulistan province and it is located in a vast and beautiful park and attracts the eye of any observer from kilometers long. The Tower of Gonbad-e Kabus is a valuable relic left from the fourth Hijri century and is a remnant of Ziyarid dynasty in this land of Iran. This tower used to be the guide and landmark of travelers who used to pass this land. Tower of Gonbad-e Kabus is the largest brick tower of Iran and is one of the longest towers of the world.
Tower of Gonbad-e Kabus was registered in the 36th UNESCO conference as a world heritage.

Gonbad-e Qabus Tower

Gonbad-e Qabus Tower

Jameh Mosque, Isfahan:

Isfahan is one of the famous cities in the world due to its ancient history and numerous ancient monuments. According to Andre Malraux, it is only comparable to two cities of Beijing and Florence. The major part of this city is related to the period after the advent of Islam, especially Seljuks and Safavid eras and precious monuments have remained among the mosques, inns, squares, bridges and streets from those periods.
Isfahan has sister city relationship with ten cities of Freiburg in Germany, Kuala Lumpur in Malaysia, Florence in Italy, Xi’an in China, St. Petersburg in Russia, Havanna in Kuba, Yash in Romania, Kuwait City and Barcelon in Spain.
Jom’e Mosque or Jameh Mosque of Isfahan is one of the most important and oldest religious monuments in Iran. This mosque presents a vast historical complex of 170 × 140 meters in dimension in the north east of Isfahan and beside the old square and today it includes different parts such as Nezam al-Molk Dome, Taj ol-Molk Dome, four-porch yard and its circle chambers, Mozaffari School and Aljayto Altar, each of which represents the process of Islamic architecture over different periods. Architecture of this mosque is admirable and it has a unique altar. Based on historical evidences, Jameh Mosque of Isfahan has been built on the ruins of an even older mosque which was built in Judea by resident Arabs of Tehran in the second Hijri century. The first mosque was established on the ruins of buildings related to the late Sassanid period.
The most important development plans took place in Buyids and Safavid era. The architecture of the mosque is in Razi Style. Jameh Mosque of Isfahan reflects Byzantine and classic art in the form of a traditional and Islamic building.
This mosque is one of the monuments registered in UNESCO World Heritage.

Jameh Mosque

Jameh Mosque

Pasargadae:

Pasargadae was the capital of the Achaemenid Empire under Cyrus the Great who had issued its construction (559–530 BC); it was also the location of his tomb. It was a city in ancient Persia, located near the city of Shiraz (in Pasargad County), and is today an archaeological site and one of Iran’s UNESCO World Heritage Sites.
Cyrus the Great began building the capital in 546 BC or later; it was unfinished when he died in battle, in 530 or 529 BC. The remains of the tomb of Cyrus’ son and successor Cambyses II have been found in Pasargadae, near the fortress of Toll-e Takht, and identified in 2006.

Pasargadae remained the capital of the Achaemenid Empire until Cambyses II moved it to Susa; later, Darius founded another in Persepolis. The archaeological site covers 1.6 square kilometres and includes a structure commonly believed to be the mausoleum of Cyrus, the fortress of Toll-e Takht sitting on top of a nearby hill, and the remains of two royal palaces and gardens. Pasargadae Persian Gardens provide the earliest known example of the Persian chahar bagh, or fourfold garden design (see Persian Gardens).

The Gate R, located at the eastern edge of the palace area, is the oldest known freestanding propylaeum. It may have been the architectural predecessor of the Gate of All Nations at Persepolis.

Pasargadae

Pasargadae

Arg-e Bam:

The Arg-e Bam was the largest adobe building in the world, located in Bam, a city in Kerman Province of southeastern Iran. It is listed by UNESCO as part of the World Heritage Site “Bam and its Cultural Landscape”. The origin of this enormous citadel on the Silk Road can be traced back to the Achaemenid Empire (sixth to fourth centuries BC) and even beyond. The heyday of the citadel was from the seventh to eleventh centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments.

The entire building was a large fortress containing the citadel, but because of the impressive look of the citadel, which forms the highest point, the entire fortress is named the Bam Citadel.

On December 26, 2003, the Citadel was almost completely destroyed by an earthquake, along with much of the rest of Bam and its environs. A few days after the earthquake, the President of Iran, Mohammad Khatami, announced that the Citadel would be rebuilt.

Arg-e Bam

Arg-e Bam

Takht-e Soleyman:

Takht-e Soleyman, also known as Azar Goshnasp, literally “the Fire of the Warrior Kings”, is an archaeological site in West Azarbaijan, Iran. It lies midway between Urmia and Hamadan, very near the present-day town of Takab, and 400 km (250 mi) west of Tehran.

The originally fortified site, which is located on a volcano crater rim, was recognized as a World Heritage Site in July 2003. The citadel includes the remains of a Zoroastrian fire temple built during the Sassanid period and partially rebuilt during the Ilkhanid period. This site got this Semitic name after the Arab conquest. This temple housed one of the three “Great Fires” or “Royal Fires” that Sassanid rulers humbled themselves before in order to ascend the throne. The fire at Takht-i Soleiman was called ādur Wishnāsp and was dedicated to the arteshtar or warrior class of the Sasanid.

Folk legend relates that King Solomon used to imprison monsters inside the 100 m deep crater of the nearby Zendan-e Soleyman “Prison of Solomon”. Another crater inside the fortification itself is filled with spring water; Solomon is said to have created a flowing pond that still exists today. Nevertheless, Solomon belongs to Semitic legends and therefore, the lore and namesake (Solomon’s Throne) should have been formed following Arab conquest of Persia. A 4th century [citation needed] Armenian manuscript relating to Jesus and Zarathustra, and various historians of the Islamic period, mention this pond. The foundations of the fire temple around the pond is attributed to that legend. Takht-E Soleyman appears on the 4th century Peutinger Map.

Archaeological excavations have revealed traces of a 5th-century BC occupation during the Achaemenid period, as well as later Parthian settlements in the citadel. Coins belonging to the reign of Sassanid kings, and that of the Byzantine emperor Theodosius II (AD 408-450), have also been discovered there.

Takht-e-Solyman-Iran

Takht-e-Solyman-Iran

The Armenian Monastic Ensembles:

The Armenian Monastic Ensembles of Iran, located in the West Azerbaijan and East Azerbaijan provinces in Iran, is an ensemble of three Armenian churches that were established during the period between the 7th and 14th centuries A.D. The edifices—the St. Thaddeus Monastery, the Saint Stepanos Monastery, and the Chapel of Dzordzor—have undergone many renovations. These sites were inscribed as cultural heritages in the 32nd session of the World Heritage Committee on 8 July 2008 under the UNESCO’s World Heritage List. The three churches lie in a total area of 129 hectares (320 acres) and were inscribed under UNESCO criteria (ii), (iii), and (vi) for their outstanding value in showcasing Armenian architectural and decorative traditions, for being a major centre for diffusion of Armenian culture in the region, and for being a place of pilgrimage of the apostle St. Thaddeus, a key figure in Armenian religious traditions. They represent the last vestiges of old Armenian culture in its southeastern periphery. The ensemble is in a good state of preservation.

Armenian Monastic Ensembles

Armenian Monastic Ensembles

The Bisotun Relief:

The Behistun Inscription (also Bisotun, Bistun or Bisutun ‎‎, Old Persian: Bagastana, meaning “the place of god”) is a multilingual inscription and large rock relief on a cliff at Mount Behistun in the Kermanshah Province of Iran, near the city of Kermanshah in western Iran. It was crucial to the decipherment of cuneiform script.

Authored by Darius the Great sometime between his coronation as king of the Persian Empire in the summer of 522 BC and his death in autumn of 486 BC, the inscription begins with a brief autobiography of Darius, including his ancestry and lineage. Later in the inscription, Darius provides a lengthy sequence of events following the deaths of Cyrus the Great and Cambyses II in which he fought nineteen battles in a period of one year (ending in December 521 BC) to put down multiple rebellions throughout the Persian Empire. The inscription states in detail that the rebellions, which had resulted from the deaths of Cyrus the Great and his son Cambyses II, were orchestrated by several impostors and their co-conspirators in various cities throughout the empire, each of whom falsely proclaimed kinghood during the upheaval following Cyrus’s death.

Darius the Great proclaimed himself victorious in all battles during the period of upheaval, attributing his success to the “grace of Ahura Mazda”.

The inscription includes three versions of the same text, written in three different cuneiform script languages: Old Persian, Elamite, and Babylonian (a variety of Akkadian). The inscription is to cuneiform what the Rosetta stone is to Egyptian hieroglyphs: the document most crucial in the decipherment of a previously lost script.

The inscription is approximately 15 metres high by 25 metres wide and 100 metres up a limestone cliff from an ancient road connecting the capitals of Babylonia and Media (Babylon and Ecbatana, respectively). The Old Persian text contains 414 lines in five columns; the Elamite text includes 593 lines in eight columns, and the Babylonian text is in 112 lines. The inscription was illustrated by a life-sized bas-relief of Darius I, the Great, holding a bow as a sign of kingship, with his left foot on the chest of a figure lying on his back before him. The supine figure is reputed to be the pretender Gaumata. Darius is attended to the left by two servants, and nine one-meter figures stand to the right, with hands tied and rope around their necks, representing conquered peoples. Faravahar floats above, giving his blessing to the king. One figure appears to have been added after the others were completed, as was Darius’s beard, which is a separate block of stone attached with iron pins and lead.

bisotun

bisotun

Meymand Village:

Meymand (Romanized as Maymand, Meimand and Maimand) is a village in Meymand Rural District, in the Central District of Shahr-e Babak County, Kerman Province, Iran. At the 2006 census, its population was 673, in 181 families.

Meymand is a very ancient village which is located near Shahr-e Babak city in Kerman Province, Iran. Meymand is believed to be a primary human residence in the Iranian Plateau, dating back to 12,000 years ago. Many of the residents live in the 350 hand-dug houses amid the rocks, some of which have been inhabited for as long as 3,000 years. Stone engravings nearly 10,000 years old are found around the village, and deposits of pottery nearly 6,000 years old attest to the long history of settlement at the village site.

Regarding the origin of these structures two theories have been suggested: According to the first theory, this village was built by a group of the Aryan tribe about 800 to 700 years B.C. and at the same time with the Median era. It is possible that the cliff structures of Meymand were built for religious purposes. Worshippers of Mithras believe that the sun is invincible and this guided them to consider mountains as sacred. Hence the stone cutters and architects of Meymand have set their beliefs out in the construction of their dwellings. Based on the second theory the village dates back to the second or third century A.D. During the Arsacid era different tribes of southern Kerman migrated in different directions. These tribes found suitable places for living and settled in those areas by building their shelters which developed in time into the existing homes. The existence of a place known as the fortress of Meymand, near the village, in which more than 150 ossuaries (bone-receptacle) of the Sassanid period were found, strengthens this theory.

Living conditions in Meymand are harsh due to the aridity of the land and to high temperatures in summers and very cold winters. [citation needed] The local language contains many words from the ancient Sassanid and Pahlavi languages.

In 2005, Meymand was awarded the UNESCO-Greece Melina Mercouri International Prize for the Safeguarding and Management of Cultural Landscapes (about $20,000).

On 4 July 2015, the village was added to the UNESCO World Heritage Sites list.

meymand

meymand

The Golestan Palace:

The Golestan Palace (‎‎Kākh-e Golestān) is the former royal Qajar complex in Iran’s capital city, Tehran.

One of the oldest historic monuments in the city of Tehran, and of world heritage status, the Golestan Palace belongs to a group of royal buildings that were once enclosed within the mud-thatched walls of Tehran’s arg (“citadel”). It consists of gardens, royal buildings, and collections of Iranian crafts and European presents from the 18th and 19th centuries.

Golestan-Palace-Tehran

Golestan-Palace-Tehran

Sheikh Safi al-Din Khānegāh and Shrine Ensemble:

Sheikh Safi al-Din Khānegāh and Shrine Ensemble is the tomb of Sheikh Safi-ad-din Ardabili located in Ardabil, Iran. In 2010, it was registered on the UNESCO World Heritage List.
Sheikh Safi, an eminent leader of an Islamic Sufi order established by the Safavids, was born in Ardabil where this complex is located. The Safavids valued the tomb-mosque form, and the tomb with its mausoleum and prayer hall is located at a right angle to the mosque. The buildings in the complex surround a small inner courtyard (31 by 16 meters). The complex is entered through a long garden.
The Mausoleum of Sheikh Safi, in Ardabil, was first built by his son Sheikh Sadr al-Dīn Mūsā, after Sheikh Safi’s death in 1334. It was constructed between the beginning of the 16th century and the end of the 18th century. The mausoleum, a tall, domed circular tower decorated with blue tile and about 17 meters in height; beside it is the 17th-century Porcelain House preserving the sanctuary’s ceremonial wares. Also part of the complex are many sections that have served a variety of functions over the past centuries, including a library, a mosque, a school, mausolea, a cistern, a hospital, kitchens, a bakery, and some offices. It incorporates a route to reach the shrine of the sheikh divided into seven segments, which mirror the seven stages of Sufi mysticism. Various parts of the mausoleum are separated by eight gates, which represent the eight attitudes of Sufism.

Several parts were gradually added to the main structure during the Safavid dynasty. A number of Safavid sheikhs and harems and victims of the Safavids’ battles, including the Battle of Chaldiran, have been buried at the site.

safiodin-ardebili

safiodin-ardebili

The Lut Desert:

The Lut Desert, widely referred to as Dasht-e Lut (“Emptiness Plain”), is a large salt desert located in the provinces of Kerman and Sistan and Baluchistan, Iran. It is the world’s 27th-largest desert, and was inscribed on UNESCO’s World Heritage List on July 17, 2016. The surface of its sand has been measured at temperatures as high as 70 °C (159 °F), making it one of the world’s driest and hottest places.

lut-desert

lut-desert

Soltaniyeh Dome:

Soltaniyeh (Romanized as Solţānīyeh, Solţāneyyeh, Sultaniye, and Sultānīyeh; also known as Sa‘īdīyeh; Latin: Soltania/ Sultania) is the capital city of Soltaniyeh District of Abhar County, Zanjan Province, Azerbaijan, northwestern Iran.
Soltaniyeh, located some 240 kilometres (150 mi) to the north-west of Tehran, was built as the capital of Mongol Ilkhanid rulers of Iran in the 14th century. Its name which refers to the Islamic ruler title sultan translates loosely as “the Regal”.

In 2005, UNESCO listed Soltaniyeh as one of the World Heritage Sites. The road from Zanjan to Soltaniyeh extends until it reaches to the Katale khor cave.

William Dalrymple notes that Öljaitü intended Soltaniyeh to be “the largest and most magnificent city in the world” but that it “died with him” and is now “a deserted, crumbling spread of ruins.

Soltaniyeh-dome-zanjan

Soltaniyeh-dome-zanjan

Persian Gardens:

The tradition and style of garden design represented by Persian gardens or Iranian gardens has influenced the design of gardens from Andalusia to India and beyond. The gardens of the Alhambra show the influence of Persian garden philosophy and style in a Moorish palace scale, from the era of al-Andalus in Spain. Humayun’s Tomb and Taj Mahal have some of the largest Persian gardens in the world, from the era of the Mughal Empire in India.
Persian gardens may originate as early as 4000 BCE. [dubious – discuss] [verification needed] Decorated pottery of that time displays the typical cross plan of the Persian garden. The outline of Pasargadae, built around 500 BCE, is viewable today.

During the reign of the Sasanian Empire (third to seventh century), and under the influence of Zoroastrianism, water in art grew increasingly important. This trend manifested itself in garden design, with greater emphasis on fountains and ponds in gardens.

During the Islamic period, the aesthetic aspect of the garden increased in importance, overtaking utility. During this time, aesthetic rules that govern the garden grew in importance. An example of this is the chahār bāgh, a form of garden that attempts to emulate the Garden of Eden, with four rivers and four quadrants that represent the world. The design sometimes extends one axis longer than the cross-axis, and may feature water channels that run through each of the four gardens and connect to a central pool.

The invasion of Persia by the Mongols in the thirteenth century led to a new emphasis on highly ornate structure in the garden. Examples of this include tree peonies and chrysanthemums. [clarification needed] The Mongols then carried a Persian garden tradition to other parts of their empire (notably India).

Babur introduced the Persian garden to India. The now unkempt Aram Bagh, Agra was the first of many Persian gardens he created. The Taj Mahal embodies the Persian concept of an ideal paradise garden.

The Safavid dynasty (seventeenth to eighteenth century) built and developed grand and epic layouts that went beyond a simple extension to a palace and became an integral aesthetic and functional part of it. In the following centuries, European garden design began to influence Persia, particularly the designs of France, and secondarily that of Russia and the United Kingdom. Western influences led to changes in the use of water and the species used in bedding.

Traditional forms and style are still applied in modern Iranian gardens. They also appear in historic sites, museums and affixed to the houses of the rich.

Elements of the Persian garden, such as the shade, the jub, and the courtyard style hayāt in a public garden in Shiraz.
Sunlight and its effects were an important factor of structural design in Persian gardens. Textures and shapes were specifically chosen by architects to harness the light.

Iran’s dry heat makes shade important in gardens, which would be nearly unusable without it. Trees and trellises largely feature as biotic shade; pavilions and walls are also structurally prominent in blocking the sun.

The heat also makes water important, both in the design and maintenance of the garden. Irrigation may be required, and may be provided via a form of underground tunnel called a qanat, that transports water from a local aquifer. Well-like structures then connect to the qanat, enabling the drawing of water. Alternatively, an animal-driven Persian well would draw water to the surface. Such wheel systems also moved water around surface water systems, such as those in the chahar bāgh style. Trees were often planted in a ditch called a juy, which prevented water evaporation and allowed the water quick access to the tree roots.

The Persian style often attempts to integrate indoors with outdoors through the connection of a surrounding garden with an inner courtyard. Designers often place architectural elements such as vaulted arches between the outer and interior areas to open up the divide between them.

Eram-Garden-Shiraz-HD

Eram-Garden-Shiraz-HD

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September 6, 2017
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