Isfahan

is a metropolis surrounded by desert and semi-desert districts from east and Zagros Mountains from the west. The distance between the south of the capital of Iran and this city is about 414km and it is located at the height of 1575 m above the sea level and enjoys a moderate climate and partly regular seasons. Isfahan consists of 6 districts, 14 cities and 19 rural districts with many historical heritages and natural landscapes, which made Isfahan to be the 3^rd biggest city in Iran, after Tehran and Mashhad. Isfahan is a district with Iranian civilization and culture which contains many heritages from all historical eras that registered in the list of historical monuments.

This city is one of the valuable archaeological centers, parallel to world-class areas, and many of its artifacts has been registered in the list of monuments and it has a high universal position for art, economy, science, industry, commerce and tourism. The name of Isfahan comes always along with Zayanderud River; also, it is properly called Nesf-e Jahan (means “half of the world”) as one of the most spectacular places in Iran. Isfahan has been always a significant and glorious city in transportation and commodity exchanges because of its strategic axis along the Silk Road in the past and its heritage of ancient art, commerce and industry, at this time.

According to the history, Isfahan has been the industrial pole of the country. What placed Isfahan in this economical position is big industries such as iron foundry, automotive, military, aircraft, gas accessories and installations, Mobarakeh steel complex, refinery, polyacrylic , and different ceramic, tile making, stone, mine and stone cutting and textile factories. Also, this city is the center of Iran’s handicraft on which a great part of the province’s economy depends. Tourism has also prospered in this city. Isfahan is always a living place for different ethnics and religions and one of the most significant centers for immigration of different religions’ believers including Islam, Christian, Jewish and Zoroastrian. People in Isfahan speak in Esfahani accent, a tonal accent with some differences in pronounce, vocabulary, and even structure in comparison with Persian standard language.

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”.

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.

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.

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

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

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 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

■ 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

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

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 17^th 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.

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November 26, 2020

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.

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.

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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October 28, 2019

The most historic monuments of Iran

Isfahan, Islamic Iran, Shiraz

The most historic monuments of Iran
If Iran’s history is divided into three part, prehistoric periods, ancient Iran and Islamic period.The temples of Choghazenbil, Persepolis and Jame Mosque of Isfahan are the best of the architecture of this era.

Chogha Zanbil

Dur Untash or Chogha Zanbil an ancient Elamite temple in the Khuzestan province south of Iran. It is one of the few ziggurats outside of Mesopotamia. It is about 30 km south-east of Susa and 80 km north of Ahvaz.In 1979, this structure was the first Iranian monument to be listed on the UNESCO World Heritage List.
The ancient city of D?r Untash or the historic site of Choghaznbil in the 13th century BC was built by “Ontas Nepirisha”, the king of Ilam.
The “ziggurat” is an Akkadian name used in Mesopotamia and Ilam for temporal temples.
The Chogha Zanbil ziggurat has a square shape with a length of about 105 meters.This building is made entirely of bricks and mud and sometimes baked bricks.The temple was built on seven floors, which now has 5 floors.The monuments were decorated with glazed bricks, gypsum, and ornaments of faience and glass.
Thousands of baked bricks bearing inscriptions with Elamite cuneiform characters were hand-engraved.Glazed terracotta statues such as bulls and winged griffins guarded the entrances to the ziggurat.
Orientalists consider this building the first religious building in Iran.

Persepolis

Takht-e-Jamshid or Persepolis the capital of Achaemenid Empire(550–330 BC) is located 80 Km from Shiraz city in Fars province.It exemplifies the Achaemenid style of architecture. UNESCO declared the ruins of Persepolis a World Heritage Site in 1979.In 518 BCE, the construction of Persepolis began as the new capital of the Achaemenids in Pars.The founder of Persepolis was great Darius, after whom his son Xerxes and his grandson, Ardeshir I, expanded to expand it.Historians believe that Alexander the Great, Macedonian commander in the 330 BC, invaded Iran and set fire to Persepolis.The Sassanid kings also have inscriptions on Persepolis at Tacher Palace.After the entrance of Islam to Iran, they also considered this place worthy of a thousand pillars or forty minars, and linked them with characters such as Suleiman Nabi and Jamshid.
Another historical monument related to the Achaemenid is Naghsh-e-Rostam.These Achaemenid temples are located 6 km from Persepolis.The Naghsh-e-Rostam includes the shrines of the kingdoms like Darius the Great / Xerxes / Ardeshir I and Darius II.

Jameh Mosque of Isfahan

This mosque is one of the most important and oldest religious buildings in Iran.The Mosque of Isfahan is a reflection of Byzantine and classical art in the form of a traditional Islamic building.This mosque is a complete collection of Iranian architecture from the early Islamic centuries to the Safavid era.This mosque is a collection of the best of Iranian architecture that includes the most beautiful tile, the most beautiful Minbar and the most magnificent altar.The mosque has 4 Ivans and 8 entrances, each of them has been constructed in different periods of history.The four porch of the mosque identifies the method of Iranian mosques, which has become popular in other mosques after its construction.The entrances around the mosque indicate the extensive connection of the mosque with the old urban fabric.

It is one of the oldest mosques still standing in Iran, and it was built in the architectural style of four-iwan, placing four doors face to face. An iwan is an open vaulted room. The qibla iwan on the south side of the mosque was vaulted with muqarnas in the 13th century.

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September 12, 2018

Isfahan MASJED JAME

Iran Culture, Isfahan

CONGREGATIONAL MOSQUE (MASJED JAME)

In Islamic countries there is a congregational mosque in every city. In fact, the most important mosque in any city is called the Jame Mosque. Friday preaching or prayer is recommended to the Shiites and community mosques in cities are used for the Friday preachers. Large areas were allocated in the large cities.
Masjede Jame in Isfahan is the most notable mosque in Isfahan. It is an encyclopedia of Iranian and Islamic art and architecture. Step by step development of Iranian art and architecture can be seen in this complex. It takes at least half a day to visit different parts of it. The complex shows different structures from different centuries, which date back to the 10th century to the 18th century.
The oldest part was built on a Sassanid fire temple, which belonged to the Zoroastrians. The first part of the mosque dates back to the 8th century. The second mosque or part belonged to 1030.
During the Buyid Dynasty in 908-932 one of the oldest parts was built. In Buyid, a court of several prayer halls was built. In later centuries changed in the mosque.
Saheb Ibn Ebad was a learned minister of the Buyid dynasty who lived in Isfahan and played a major role in the development of Isfahan. The Seljuk Dynasty extended the mosque in the 11th century.
The jame mosque shows specifications of Iranian mosques. It has a courtyard and there are four large Eivan (Grand Arches). It has one of the largest courtyards in Iran.
Four Eivans are connected by two storey arcades. Eivans are from the 15th to 17th century. These arcades are decorated with tiles. Some of these tiles are glazed and some are inlaced. There are two marble pools in the courtyard. One of these basins is covered by a structure that reminded Saint Kabeh of Mecca. Muslims were able to practice the Hajj rites before they traveled to Mecca.

View Masjede Jame

THE SOUTHERN EIVANS

This Eivan is known as Soffe Saheb Ibn Ebad. The present Eivan dates back to Seljuk period. There are two beautiful minarets on the top of Eivan, which are 35 meters high, and belong to Aq- Qunlu era.
Interior and exterior parts of Eivan are beautifully decorated with tiles and tile mosaics. The inscription comes from the Safavid dynasty. On the back of this Eivan there is a wonderful sanctuary called “Nezam Al Molk” dome.
Nezam Al Molk was a popular vizier of the Seljuk dynasty. This dome was built in 1030. The dome reminds us of Sassanid architecture.
There is fantastic calligraphy in Kufic script, which dates from the 11th century around the dome. The name of Nezam Al Molk can be seen in the calligraphy. The dome is one of the most glorious domes of Iranian mosques.
The base of the dome is in a rectangular shape, which is transformed into a circular dome. This is a pre-Islamic technique, but the size of the dome can not be compared with pre-Islamic domes, which were much smaller than this high monument. Ornaments of the Mehrab (prayer benches) and also marble stone of the lower part belong to the Safavid era.

NORTHERN Eivan

HYPOSTYLE HALLS & TAJ AL MOLK DOME.
Sofe – ye Darvish (Eivan) is from Seljuk dynasty. Fabulous ornamentations of this Eivans belong to later period. Specifications of ornamentation are different from other parts of the mosque. The magnificent stuccoworks are from Shah Soleiman Safavid.
Behind the Eivan, there are successions of hypostyl halls, which come from different times. At the far end is the tall dome of the Taj Al Molk. Taj Al Molk was a Vizier from the Seljuk Dynasty. He competes with Nezam Al Molk. This magnificent dome was built by the command of Taj – Al Molk.
Interior decoration of Taj Al Molk dome is unique in all Iranian mosques. It is a single shelled dome. Fortunately the dome and its decoration have not been damaged. Great varieties of designs are made of plaster and small pieces of bricks are a splendid sample of huge artistic work. In fact there is a collection of designs which have survived for more than 900 years. The dome is without any Mehrab (prayer- niche).
One of the entrances to the mosque is located next to the dome. For those architects who are seeking traditional adornment, the dome is considered a museum of decorative designs. The Kufic calligraphy around the dome’s base dates back to 1080 and covers the name of Taj Al Molk. The Khaki dome is about 18 meters high and about 9 meters in diameter.

THE WESEREN EIVAN
The western Eivan is called Soffe – ye – Ostad. The original construction belongs to Seljuk dynasty. The beautiful tile and tile- mosaic work belong to era of Shah Sultan Hossein.
This Eivan is considered a wonderful museum of Iranian and Islamic calligraphy. Various types of calligraphy such as Solth, Nastaliq, Bannaeis and geometrically designed calligraphy have decorated inner parts of Eivans. For those artists who have selected calligraphy as their field of art, this Eivan has a lot to teach. Next to the Eivan, there is a door that opens to another part of the mosque built by Sultan Oljeitu. One of the most fantastic mehrabs is in this part. Many Iranians consider this Mehrab has a unique structure. It shows an excellent stucco work from the year 1310.
Unfortunately, it was damaged at bombing of Isfahan. There is an old wooden minbar in this part.
The Mehrab’s design shows a combination of calligraphy, imaginary flowers, blossoms and leaves which is a masterpiece in Islamic world. Such a fantastic work can be created by a unique faithful stucco work artist.

THE WINTER GALLERY (BEIT AL SHETA)

Each part of the Jameh mosque is a masterpiece of art and architecture. This winter gallery from Timurid era is one of the beauties of Iranian architecture, dates back to 1447.
Every part of it looks like tents used by Timurid. This part is quite cool and warm during the hot summer season during the cold days of the winter season. The style of the winter gallery is almost self-sufficient for heating and cooling systems. Daylight is reflected to Beit Al Sheta through small windows covered with slices of marble stone. The architect has made ideas from tents to create this part.

EIVAN SHAGERD (SOFFEH- YE SHAGERD)
It was originally built during the Seljuk period. Ornamentation is from Seljuk and IL – Khanid periods. Fortunately his ornamentation from Seljuk and IL Khanid has not been damaged. The calligraphy of this Eivan is from Shah Soleiman Safavid.
The central part of Eivan has a structure which is similar to Eivane Ostad, on the opposite side. Next to this Eivan there is a corridor leads us to a Madreseh (Theological School) from Mozafarid era.

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September 10, 2018

Holy mystery of Isfahan | city of ancient culture

Iran Culture, Isfahan, Islamic Iran, Modern Iran

travel trip adventure pictures photographer fotografo fotografia viajes periodismo periodista aventura viaje oliver munoz phototempus retrato portrait muñoz tehran isfahan yazd farsi khaju iran persa iman jomeini shahrekord bakhtiari Naqsh-e Jahan hakim kashan abyaneh kurdistan garmeh zurkhaneh shiraz Mashhad Shah Cheragh Nasir al-Mulk qeshm howraman uraman marivan palangan sanandaj bandar abbas Paiposht Laft minab

Reaching Nisf Jahan with limited time and unlimited wishes, setting aside all worries of this or that world, fully living in those moments

Treasure remains hidden in distant lands. I can’t exactly describe how and when the idea got stuck in my imagination. I feel a curious combination of mysteriousness and sacredness associated with the wordtreasure. Things like vessels, gold pots, jars, stones, carpets and never-deciphered writings do not come to my mind when I think of the word treasure. Instead, whenever I come to imagine some distant land, a vague yet strongly moving idea of ‘holy mystery’ weighs in on me.

Isfahan epitomised that distant land for me. So when a few years back, I sat in the bus destined to Isfahan from Tehran, I was under the spell of the idea of a treasure that was going to be uncovered in the next few hours. I looked through the window and wondered at Isfahan Nisf Jahan (half the world) and the half-hidden sun.

I dropped the curtain abruptly. Secrets should not be revealed so fast.

It took us almost six hours to reach Isfahan, a city of 17^th century Safavids, capital of Persia in the 16^th and 17^th centuries, city of Hasht Bahisht, Maidan e Naqsh-e-Jahan, Imam Mosque, Chehel Satoon, Chahar Bagh Boulevard, mosques, bridges and of Zinda Rood (Zayanderood).

In Isfahan, one strongly notices Iranians’ unwavering love for their ancient culture. They have preserved, maintained and promoted old texts, monuments and even rituals.

As I was about to reach Isfahan, I tried to unpack the meaning of Nisf Jahan. People have put this single city against the rest of the world because of its sheer splendid beauty. I too had read and listened about the unmatched beauty, the splendour of its gardens, palaces, mosques, historical buildings, bazaars etc. Suddenly, an idea flashed into my mind: this mundane and the world hereafter both makeJahan-e Mukkamal (the whole world). This particular Islamic interpretation seemed more valid. Muslim Kings have been in pursuit of emulating and creating the Heavenly Paradise as it has been described in the Holy Scripture. Isfahan might have been a copy of Bahisht, the other yet complementing half of the Jahan.

As I got out of the bus, I felt tired, as were the seniors accompanying me. Contrary to my expectations, first impression of Isfahan was more of an ordinary city. The first people who ‘warmly’ welcomed us in the ‘paradise’ were not Hoors or Ghilman but taxi drivers, not speaking Arabic or our mother tongue but Persian. They were looking for good fortune among foreign people while we too were in search of a treasure in a foreign land. A clash of interest was apparent.

Imam Mosque.

Airports, railway stations and bus stands of all major cities of the world offer a unique opportunity to understand how two strands of worldliness (on the part of taxi drivers) and disinterestedness (on the part of travellers) collide as well as cooperate. Anyhow, we did hire a taxi and arrived at a hotel. It is a long story how we shopped for hotels, bargaining and finally succeeding in getting a room in a comparatively low-rent hotel.

After having a cup of black tea, we left the hotel. I must admit how much I loved the ‘black tea’ in Iran. I couldn’t enjoy Doogh-e-Goshfil and Burgers. Chulo Kababs were delicious but, unfortunately, weren’t for me since I am allergic to rice.

We had limited time — we had to leave for Tehran the next evening — but wishes unlimited. We decided to see all what we could on foot. We started our journey from the main tree-lined boulevard that wasn’t not too far from our hotel. I was reminded of Agar Firdos Bar Roo e Zameen Ast/ Hameen Ast o Hameen Ast Hameen Ast.

It was May which is not hot in Isfahan. It was as mildly cold as Lahore is in February. Cool shadows of breezy trees standing in a symmetrical order along both sides of the wide metallic main road were soothing. Chirping of birds deluded us into a world that is discoloured by globalisation. There were shops on both sides of the boulevard but the bustle of big cities was absent.

Si-o-Seh Pul.

The markets on both sides of the road made it seem like a western city. Most people wore western clothes, except perhaps the headscarf which has been made compulsory after Inqilab for women in Iran. Iranian women seem to have carved a way to assert their freedom by putting on tight jeans and shirts and with an unflinching love for cosmetics.

In Isfahan, one strongly notices Iranians’ unwavering love for their ancient culture. They have preserved, maintained and promoted old texts, monuments and even rituals. They have also incorporated ancient cultural values and ‘world-view’ in their ‘new’ architecture. This we observed while visiting Hasht Bahisht, Maidan e Naqsh-e-Jahan, its adjacent bazaars, Imam Masjid, Chehel Satoon, bridges of Zinda Rood and reliquaries.

Converting to Islam has not made them skeptical, disdainful or disrespectful to their earlier history and its texts and heroes. We in Pakistan need to learn from Iran in this regard.

The most exciting experience was visiting the three red bridges — Pol-e-Khaju, Si-o-Seh Pul, Pol-e-Chobi — built in 17^th century by the Safavids on Zinda Rood. They seem to redefine the meaning and purpose of bridging the brinks. If you really want to connect the two shores, you will have to create a kind of ambience that could make the act of crossing a true, deep experience of bridging two different worlds and diverse perspectives.

Crossing Si-o-Seh Pul (bridge having 30 arches) was a marvellous experience. We literally stopped at every step, praising the wonders of architecture.

In the evening, we spent an hour at a café built under a bridge. I could never forget the moments while sipping black tea, listening to the whispering of slow waters of Rood mixed with the twitter of evening birds and radiant faces of Iranian people. In those moments, I was able to set aside all kinds of worries of this or that world, fully living in those moments. I felt fortunate to have finally grasped the ‘holy mystery’ of Isfahan.

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May 21, 2018

Mesr Desert

Iran Desert, Isfahan

Mesr Desert

The Mesr Desert is located in the far east of Isfahan province in central Iran, 420 km far from Isfahan, and 371 km far from Yazd. Mesr is a desert and also an oasis in the central desert of Iran, Dashte-Kavir.

Reaching the Mesr Desert is easy, although you need to change directions several times from the major cities of Iran, around 250 kilometers drive onto the Naein-Tabas road from Isfahan west to east. After passing Farokhi and Nasrabad villages, there is a sign showing off-road direction:” Toward Mesr.” Upon 43 kilometers drive from the sign across the sand hills, three green spots will appear from far, similar to three emeralds next to each other.