Glories of Persia Culture - impreesion of Iran in 29 Days 29

: Allan,

2552-4411

The Islamic Republic of Iran )

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11 22 1979 2 11
11 22

()
(1979 )

(
)

( 432 )( 35 )(
992 )( 936 )( 909 )(
1458 )( 499 )( 650 )
( 1,770 )
90%
1,2001,000~2,000 m
Lut DesertKavir
DesertGreat Salt Desert
5000( qanat )5
360009.4
!
Alborz Mountain Range960902,400~3,000
m4000mDamavand5,671 m
Zagros Mountains2,000200
( Caspian sea ) ( Persian Gulf )

66% 25% 5%
Zagros and Elburz

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 Tigris-Euphrates Khuzestan Elamites

Aryan peoplesMedes and Persians ( Achaemenid, BC 550~330 )
98.8% 91%7.8%()
(
) Kurds, Lurs, Baluchis, and Armenians ( 15 %)
( 20~25 % ) Semitic ( 10% ) Assyrians
Syriac 90 300

4000

(
http://www.anobanini.com/forum/viewforum.php?f=9&sid=b969d67801b36dff39a24a99d1ecfc79 Cultural wonders of Iran, Iran
culture )

|3

 |4

2500 ( Achaemenid, BC 550~330 )

Seleucid Empire (312 BCE 248 BCE)
Parthian Empire (248 BCE 224 CE)Sassanid Empire (224 651 CE)549
Achaemenid Empire (Median, BC
625 )539(Cyrus The Great
(Achaemenid Dynasty)()

(Lydia)(Trace,)
( 539 B.C.)
(540 B.C.)Elam()
()"I am Cyrus the king, an Achaemenid."
()

(1)(3622-23)

(Cyrus Cylinder)6
(Akkadian)

|5

Cyrus the Great

(Cyrus Cylinder)

( Darius the Greatest, 522-486BC ) ( 28

Babylon, Susa, Persepolis, Ecbatana
20 2700km

( 521~485 )


(
)()
(Babylon)
(Susa)( )

Darius I

, 4th century BCE

2700km
( 490 )
Cambyses
Bardiya
( Dairus I ) Xerxes 480

|6

 330 ( Alexander the

Great )

( 330~170 ) : 33 25 (Macedon )

238 ()()

( 170~226 ) :

(Sassanid Empire, 224~651 ) : 224

Ardashir I
224 Ctesiphon Shahanshah, " King of Kings"

Ardashir I

Valerian ( Naqsh-e Rostam and Bishapur, as well as a monumental inscription in Persian and Greek in the vicinity of
Persepolis ) Zoroastrianism

629 642 Yazdegerd II

Peroz II 670 Narsieh (Chinese neh-shie)

1970

|7

|8

( 650~1290 ) : 633656
( Gujarat Parsis )786~809
.( Abbassid Empire )

750
9 946
1 17 ()

1037 Khorassan
1205
?

681 10 (Ali ibn Abi Talib )

( Sha Imm Imm )

Hussein ibn Ali (, 626-680 AD)( the Battle of Karbala)
( Yazid I ) 72
(Shimr Ibn Thil-Jawshan )(Umar ibn Sa'ad ) 3
Hussein ( Husayn, )
(Imam) 5000 123 10
(shr )
-
(Sunni Islam ) Umayyad Caliphate ( Sunnism) Ali Hussein (Shiism )
Shiite Shiat Ali ( Partisans of Ali, )
()

747
Tulunids Ikhshidiss ,
(Imam), Hussein(or Husayn, )
?

() 1.
( sunnah )
9-10

2.

3.

( :

()-()--
- )
( Imam ,
)( holy man, Hussein Husayn )
( )
-)( )
()

( Fiqh ) :
1.

Hanafi :

2.

, Maliki :

3.

Shafi'i :

4.

Hanbali :

(1219~1500 ) : 1219 Hulagu Khan

Ilkhanate1295 1370~1405

1405 1433

Abbasid Caliphate ( 1501~1736 )

|9

 |
10

Shah Ismail I of Persia (1487-1524)

1588

 |
11

1722

(1722~1914 ) : 1779~1925 Qajar dynasty (

(1804~13,1826~28) ( 1801 ) 1813, 1828 Treaty of Gulistan Treaty of
Turkmanchay (Caucasian ) )

1907
1921
2 (Reza Khan )
(Pahlevi Dynasty, 1925- )

(1914~1935 ) : ()(
)1921 1925
12 1927
1935 (
)

 |
12

( Pahlevi Dynasty, 1925-1979 ) : 1925~41

1941 6 (Reza Shah Pahlevi , 1925-1941)
( Muhammad Reza Shah Pahlevi ) ( 1941~79
1942 1
1943 1943 9
(Shatt al-Arab )
1945 12 (Azerbaijan)(Kurdish) 1946
5
1969 1969 4 19 1937
1971 (Persian Gulf )1975 3 6

Algiers Declaration
1979
1980 9 17 1980 9 22
80

1921 2 21 1925 1935

1941
1954 ,
(National Iranian Oil Company ,NIOC)
1953

1963
( ( peasant-landlord
agricultural system)

1958 )

Seyyed Ruhollah Mosavi Hkomeini

1964 11 4

Shah Mohammad Reza Pahlavi

: 1978~79
Khomeini
( )
1980 9 22
1988 8 20
2003

|
13

 |
14

Sayid Ali Khamenei

Ali Akbar Hashemi Rafsanjani

1978 2 1 ( 1964 )(Ayatollah

Ruhollah Khomeini) 9 1979 1 26 2 11
(Ayatollah Ruhollah Khomeini )
1979 11 4 66 1980 4

44 1981 1 20 (Ronald Reagan )

80
Saddam Hussein 1980 9 22
50 1986 11
1988 7 10 1989
300 1989 Sayid Ali Khamenei.Ali Akbar Hashemi Rafsanjani
1989~1997

 |
15

-( Mohammed Khatami)

( Mahmoud Ahmadinejad)

1990 8 1991
1993
1995 1997
-(Mohammed Khatami)
1997
1999 (Ayatollah Khamenei)
2000 2 2/3
2001 6 (Guardian Council)
2002 8 2003
6 8
2003 3 2003 12 Bam
26,000
2004 2 2/3
(Revolutionary Guards)
2004 11 2005 2

2005 6 Mahmoud Ahmadinejad

1979 (
anti-Holocaust )

2006 2 (Nuclear Nonproliferation Treaty)

30

,
""chador

Zoroastrianism
Zoroastrianism3500-
Zoroaster( Zarathustra )Ahura Mazda Avesta

Faravahar (or Ferohar), one of the primary symbols of Zoroastrianism, believed to be the depiction of a Fravashi (guardian spirit)

21
21VendidadVendidad
1. 2. 3.
4. 5. 6. 7. (-)(Ahriman )
()( Spenta Mainyn )( Angra Mainya )
()

|
16

 |
17

3
20
Chakchak

1502 1979
,(Ithnaashara Twelver Shi'ism )

Sharia
:
() 1.
( sunnah )
9-10

2. 3.

( Imam ,
)( holy man, Hussein Husayn )
12 Muhammad, Fatimah, Ali, and the two sons of Fatimah and Ali, Husayn and Hassain
Hassain Muharram and Safar Karbala,
Mashhad, or Mecca .

Part of a series on

Sunni Islam
Beliefs

Monotheism
Prophethood / Messengership
Holy books
Angels
Judgement Day
Predestination
Five Pillars

Declaration of Faith
Prayer
Charity
Fasting
Pilgrimage
Rightly-Guided Caliphs

Abu Bakr
Umar ibn al-Khattab
Uthman ibn Affan
Ali ibn Abi Talib
Schools of Law

Hanafi
Maliki
Shafi'i
Hanbali
hir
Extinct
Awza'i
Laythi

|
18

Thawri
Jariri

Schools of theology

Maturidi
Ash'ari
Athari
Political Movements

Ahl al-Hadith
Barelvi
Deobandi
Salafism

Hadith collections

Kutub al-Sittah
Sahih al-Bukhari
Sahih Muslim

Al-Sunan al-Sughra
Sunan Abu Dawood
Sunan al-Tirmidhi
Sunan ibn Majah

2006
( headscarf or veil ) Hijab, Shayla, Chada, Khimar
al-Amira ( ) , Niqab ( ),
Burk ( )
Iranian women pray during the Eid al-Fitr prayer in Tehran, Iran 2013-12-07
A woman modestly dressed is a pearl in its shell

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20

:
(
)( Bazaar Souk
)( )
)
()
()(
) stone carvings, brick work, stucco & tile
panels.

((1+5)/2
2)

Masjid Jami Jama Cami

()
manara

1.

(
()

2.

3.

()

4.

: The art of tile manufacture reached its highest point of

perfection and beauty at the end of Ilkhanid period and the beginning of Timurid in the form of Moraq tiles (mosaic style). Tile panels
created with this technique are very durable and could withstand the elements of time. Here, tiles in such colors as yellow, blue, brown,
black, turquoise, green and white were cut and carved into small pieces according to a previously prepared pattern. These pieces
were placed close together and liquid plaster poured over to fill in all the opening and gaps. After the plaster dried and hardened, a
large single piece tile panel had been created , which was then plastered onto the required wall of the building. Timurid monuments in
Herat, Samarkend and Bokhara were covered by this decorative technique. Among the most famous monuments so decorated are
Goharshad Mosque (1418 CE), Molana Mosque (1444 CE), Jame Mosque of Yazd (1456 CE), Jame Mosque of Varamin (1322 CE)
and Madrassa of Khan in Shiraz (1615 CE)

 arkn-al-Islm

Shahadah

Salat

Sawm
RamadanZakat:

2.5%Hajj

: ()
5: 90~91 :

a)., b ).
, c).

, d ).

, e).

(Ayatollah Ruhollah Khomeini)

Music dulls the mind because it involves pleasure and ecstasy, similar to drugs. It destroys our youth who become
poisoned by it. Music is like a drug, whoever acquired the habit can no longer devote himself to important activities. It changes people
to the point of yielding to vice or to preoccupations pertaining to the world of music alone. We must eliminate music because it means
betraying our country and our youth. We must completely eliminate it.()
()
( )
( )
850941
FirdawsHakim Abol-Ghasem Ferdowsi
Toosi, 9401020, Hfez13201389, Sa'ad12081292,
-10481122 Jall ad-D n ar-R m

|
21

( )
Farah Diba

( ta'zieh ) 12 dastgah Gusheh

tar ( a lute like instrument with a body shaped something like a figure eight )
thesetar (a smaller lute with three strings and a small, round body) nei ( a vertical flute )kemanche ( a small vertical fiddle with a
long neck and a small body )qanun (a larger, broader vertical fiddle ) santur (a hammer dulcimer ) dombak (a
double-headed drum) daf ( a large tambourine )

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1979 ( Islamic Republic of Iran) 5000

600 (Pars)1935
1935

(
rose 250 )

|
23

19
Under the rose

17

14

Rosa
Damascna Rosa centfolia

 |
24

There exist 8200 species of plants in Iran, 2000 of them exclusive to Iran. The Caspian region the southernmost extension of the Europe-Siberia
zone -is 800 kilometers long and enjoys annual precipitation ranging from 600 millimeters in Gorgon to 2000 millimeters at Bandar-e- Anzali. The
region is home to 80 species of tree and 50 species of shrubs, including the box tree, common alder, oak, beech, hornbeam, Siberian elm. Chestnut,
ivy, fern, buttercup, iris and several other species of palustral plants.
The Zagros Region, stretching from Azerbaijan to the Straits of Hormoz, is a long strip of mountainous terrain that reaches a width of 300 kilometers
and has ' annual precipitation in the 200-1000-millimetre range. Its resident flora includes the Persian oak, gallnut, domesticated and wild olives,
Judas tree, juniper, milk vetch, Persian turpentine and almond.
The Central Plateau has an average elevation of 1300 meters, dropping to a low as 300 meters in the Kavir-e- Lut. Average annual precipitation is
300 millimeters, though some areas may not get any rain at all during the year. The predominant plant species are those resistant to heat and high
soil salinity, such as the wormseed, milk vetch, Goose foot, tamarisk and soap-root. At higher altitudes one also comes across mountain almonds,
wild pistachios, juniper and Persian turpentine.
The Southern Coastal Plains stretch from Qasr-e -Shirin to Gavatar and are dominated by a tropical climate. Plant species that do well in such
conditions include the lotus tree, date palm, devil's pomegranate, and honeydew melon and mangrove forests. The mangrove is one of the wonders
of nature. Originally a true land plant, the mangrove eventually adopted as its habitat the banks of rivers emptying into the Persian Gulf and Sea of
Oman. Mangrove forests are especially common in Qeshm and Gavatar, and are one of the true miracles of Creation. Another interesting plant is the
'Chandal' a tree native to the island of Madagascar but a resident of the Iranian plateau for several million years. Its mode of reproduction is
described as 'viviparous' and the reader is encouraged to read further about it.

: 4 1 (1979 ) 2 11 (1979 )()

(Eid Prayer)
a ).

(Eid Al-Fitr/) 9
10 1 10 ()

b ).

(Eid al-Adha/) 12 ()

10

321()

6
3153029365365.24220.24224
12366
2912442.812354.367126301467

8106293540.367301130
11257101315182124262912
354355Norouz320321Norouz
2004

62120141393
10111229622
11320622
62262232622
3320141435
892930829
91829830929
10130

( 'Kerman' nuts, Pistacia vera )()1951 3

( BP ) 80%
(National Iranian Oil Company, NIOC)
Total ENI (Shell)(LG )
( )

6 7

( 19
)
(
> 100)

70% 30%20
3000
Farsh / Qli ( > 64 feet),Qlicheh ( , , < 64
feet ), Gelim( ; including Zilu, meaning "rough carpet").

Boteh, Gul, Herati, Mina-Khani,

Rosette, Shah Abbasi, Azari Kharchang, Islimi Floral

beluga
Osetra
OssietraSevrugaBeluga Huso huso 6
1000 100 20

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25

 25% 100
Zaafaran 80%

|
26

Tabriz Chelow kabab with both plain rice and Tah-chin.

() zulbia ()

chelow pilaf ( polow )

+ khoresht + ()

fesenjun, + + + kabab,
++ +++
ayran, lebni, Indian lassi dough gaz
( Pistachio ) sohan

Riyal1US$= 25,500 Riyals ()10 1 (tomen)

31

( 2012 )
1.

Tchogha Zanbil ( Chogha Zabbil,1979

: The ruins of the holy city of the Kingdom of Elam, surrounded by three huge concentric walls, are found at Tchogha Zanbil. Founded c. 1250
B.C., the city remained unfinished after it was invaded by Ashurbanipal, as shown by the thousands of unused bricks left at the site.
The current name of Tchogha-Zanbil corresponds with the ancient city of Dur Untash, dominating the course of the Ab-e Diz, a tributary of the Karun.
The city was founded as a religious capital during the Elamite period by Untash-Napirisha (1275-1240 BC) in a site half-way between Anshn and
Suse. Roman Ghirshman carried out the complete exploration of the site from 1951 to 1962.
The site contains the best preserved and the largest of all the ziggurats of Mesopotamia. The first enclosure contains the temenos. In origin, the
temple located at the centre was a square building, dedicated to the Sumerian god Inshushinak. This temple was then converted into a ziggurat of
which it constitutes the first storey. The solid masses of the four other storeys are in the other XX starting from the ground of the court (and not one
on top of the other as in Mesopotamia) so as to cover all the surface of the old central court
Access was by means of a vaulted staircase, invisible from outside, unlike the squatter Mesopotamian ziggurats, which were equipped with three
external staircases, Today the ziggurat is no more than 25 m high, the last two stages, which originally rose to a height of 60 m, having been
destroyed. The ziggurat is sacred not only to Inshushinak but also to Napirisha, the god of Anshn.
On the north-western side of the ziggurat a group of temples were dedicated to the minor divinities, Ishnikarab and Kiririsha. An oval wall surrounded
the temples and the ziggurat. The second enclosure, trapezoidal in form, delimits a vast, almost empty zone. In the third enclosure, only
three palaces were built and a temple, near the Royal Gate, with a large interior court. This third enclosure was to protect the town of Dur Untash, the
houses of which were never built. The Untash-Gal Palace (13th century BC) was discovered, separated from the temenos.
In spite of the destruction attributed to the Assyrians, a whole series of heads, statuettes, animals and amulets were found, and the remains of
two panels in ivory mosaic. Several vaulted tombs were discovered in the basement of the royal residence, with evidence ofcremation. Nearby was a
temple dedicated to Nusku, the god of fire.
To supply the population of the city with water, Untash-Napirisha made a channel of about 50 km long, leading to a reservoir outside
thenorthern rampart; from there, nine conduits carried the filtered water to a basin arranged inside the rampart. Dur Untash was given up by the
Elamite kings in the 12th century BC in favour of Susa. They transported all the treasures of Tchogha Zanbil to Susa where they were used to
decorate the recently restored temples. In 640 BC, Dur Untash was entirely destroyed by the Assyrian king Assurbanipal, a few years after his
conquest of Susa.

2.

Persepolis 1979

: Takht-e Jamshid -Persepolis-Perspolis-Parse-Takht e Jamshid-The Throne of Jamshid-Chehel minar-Columns/Minarets(Persian:

- -)
Founded by Darius I in 518 B.C., Persepolis was the capital of the Achaemenid Empire. It was built on an immense half-artificial, half-natural terrace,
where the king of kings created an impressive palace complex inspired by Mesopotamian models. The importance and quality of the monumental
ruins make it a unique archaeological site.
The magnificent ruins of Persepolis lie at the foot of Kuh-i-Rahmat (Mountain of Mercy) in the plain of Marv Dasht about 650 km south of the
present capital city of Teheran.
Founded by Darius I in 518 BC (although more than a century passed before it was finally completed by Artaxerxes I), Persepolis was the capital of
the Achaemenid Empire. An inscription carved on the southern face of the terrace proves that Darius the Great was the founder of Persepolis.
It was built on an immense half-artificial, half-natural terrace, where the King of Kings created an impressive palace complex inspired by
Mesopotamian models. Before any of the buildings could be erected, considerable work had to be done: this mainly involved cutting into an irregular
and rocky mountainside in order to shape and raise the large platform and to fill the gaps and depressions with rubble. The terrace of Persepolis, with
its double flight of access stairs, its walls covered by sculpted friezes at various levels, contingent Assyrianesque propylaea, the gigantic winged bulls,
and the remains of large halls, is a grandiose architectural creation. The studied lightening of the roofing and the use of wooden lintels allowed the
Achaemenid architects to use, in open areas, a minimum number of astonishingly slender columns. They are surmounted by typical capitals where,
resting on double volutes, the forequarters of two kneeling bulls, placed back-to-back, extend their coupled necks and their twin heads, directly under
the intersections of the beams of the ceiling.
Persepolis was the example par excellence of the dynastic city, the symbol of the Achaemenid dynasty, which is why it was burned by the Greeks of
Alexander the Great in 330. According to Plutarch, they carried away its treasures on 20,000 mules and 5,000 camels. What remains today,
dominating the city, is the immense stone terrace (530 m by 330 m), half natural, half artificial, backed against the mountains.
It seems that Darius planned this impressive complex of palaces not only as the seat of government but also, and primarily, as a show place and a
spectacular centre for the receptions and festivals of the Achaemenid kings and their empire. Darius lived long enough to see only a small part of his
plans executed. This ensemble of majestic approaches, monumental stairways, throne rooms (Apadana), reception rooms and annex buildings is
classified among the world's greatest archaeological sites, among those which have no equivalent and which bear witness of a unique quality to a
most ancient civilization.
During the following centuries many people travelled to and described Persepolis and the ruins of its Achaemenid palaces. The ruins were not
excavated until the Oriental Institute of the University of Chicago sponsored an archaeological expedition to Persepolis and its environs under the
supervision of Ernst Herzfeld from 1931 to 1934, and Erich F. Schmidt from 1934 to 1939.
On a terrace, as if on a pedestal, the Achaemid kings, Darius (522-486 BC), his son Xerxes (486-65 BC) and his grandson Artaxerxes (465-24 BC)
built a splendid palatial complex: propylaea, formal halls and private apartments opening in to courts linked by staggered corridors, based on
Mesopotamian forerunners. The Persepolis visible today is mostly the work of Xerxes; the northern part of the terrace, consisting mainly of the
Audience Hall of the Apadana, the Throne Hall and the Gate of Xerxes, represented the official section of the Persepolis complex, accessible to a
restricted public. The other part held the palaces of Darius and Xerxes, the Harem, the Council Hall and such.
As in Mesopotamia, the principal building material was sun-dried brick; yet the ashlar, mainly used for supporting elements (jambs and lintels of
doorways, casings, window-breasts, bases and capitals, etc.), for monumental doorways and for vast sculpted surfaces, has happily survived the
vicissitudes of time.

3.

Meidan EmamEsfahan 1979

: Built by Shah Abbas I the Great at the beginning of the 17th century, and bordered on all sides by monumental buildingslinked by a series of
two-storeyed arcades, the site is known for the Royal Mosque, the Mosque of Sheykh Lotfollah, the magnificent Portico of Qaysariyyeh and the
15th-century Timurid palace. They are an impressive testimony to the level of social and cultural life in Persia during the Safavid era.
The Royal Square of Esfahan is a monument of Persian socio-cultural life during the Safawid period (until 1722). It is an urban phenomenon which is
an exception in Iran where the cities are ordinarily tightly parcelled without spatial fluidity, the exception being the interior courts of the caravanserais.
It is an example of the form of naturally vulnerable urban architecture.
The Shah of the Iranian dynasty of the Safawids, Abbas, who reigned from 1587 to 1628, chose as his capital Esfahan, which he magnificently
embellished and remodelled. The centre of the city was accented by a vast Royal Square (Meidan-e Shah) which was so beautiful and so large that it
was called 'The Image of the World'.
It is bordered on each side by four monumental buildings linked by a series of two-storey arcades: to the north, the Portia of Qeyssariyeh (1602-19),
to the south, the Royal Mosque (1612-30), to the east, the Mosque of Sheyx Loffollah (1602-18) and to the west, the pavilionof Ali Qapu, a small
Timurid palace (15th century), enlarged and decorated by the shah and his successors.
Of particular interest is the Royal Mosque, which is grafted on to the south side of the square by means of deep and immense sectioned porch. It is
crowned by a half dome, whose interior walls are dressed with enamelled faence mosaics, bound by two minarets, and prolonged to the south by an
iwan (three-sided, vaulted hall open at one end), leading to an interior courtyard that describes a right angle. Thus, it is that, although it is in part on a
north/south axis, the mosque is, in keeping with tradition, nonetheless, oriented north-east/south-east.
The pavilion of Ali'Qapu forms the monumental entrance to the palace zone and to the royal gardens which extend behind it. Its apartments, which
are completely decorated with paintings and have wide exterior openings, are renowned. On the square is a high portal (48 m), flanked by several
storeys of rooms and crowned by a covered terrace (talar), whose refined roofing is carried by thin wooden columns.
All of these architectural elements of the Meidan-e Shah, including the arcades, are adorned with a profusion of enamelled ceramic tileswith paintings,
where the floral ornamental is dominant, flowering trees, ases, without a prejudice for the figured compositions in the style of Riza-i Abbasi, renowned
both inside and outside of Persia, who was head of the school of painting at Esfahan during the reign of Shah Abbas. The Royal Mosque remains the
most celebrated example of the colourful architecture which, in Iran, reached its height under the Safaw dynasty.
The Meidan-e Shah was the heart of the Safawid capital. Its vast sandy esplanade was used for promenades, assembling troops, playingpolo,
celebrations and for public executions. On all sides, the arcades house shops. Above the portal of the large bazaar of Qeyssariyeh is a tribune that
accommodates musicians giving public concerts. The talar of Ali Qapu communicates, from behind, with the throne room where the king occasionally
received ambassadors.

4.

Takht-e Soleyman 2003

: The archaeological site of Takht-e Soleyman, in north-western Iran, is situated in a valley set in a volcanic mountain region. The site includes
the principal Zoroastrian sanctuary partly rebuilt in the Ilkhanid (Mongol) period (13th century) as well as a temple of the Sasanian period (6th and 7th
centuries) dedicated to Anahita. The site has important symbolic significance. The designs of the fire temple, the palace and the general layout have
strongly influenced the development of Islamic architecture.

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27

 i: Takht-e Soleyman is an outstanding ensemble of royal architecture, joining the principal architectural elements created by the Sasanians in a
harmonious composition inspired by their natural context.
ii: The composition and the architectural elements created by the Sasanians at Takht-e Soleyman have had strong influence not only in the
development of religious architecture in the Islamic period, but also in other cultures.
iii: The ensemble of Takht-e Soleyman is an exceptional testimony of the continuation of cult related to fire and water over a period of some
two and half millennia. The archaeological heritage of the site is further enriched by the Sasanian town, which is still to be excavated.
Criterion iv: Takht-e Soleyman represents an outstanding example of Zoroastrian sanctuary, integrated with Sasanian palatial architecture within a
composition, which can be seen as a prototype.
vi: As the principal Zoroastrian sanctuary, Takht-e Soleyman is the foremost site associated with one of the early monotheistic religions of the
world. The site has many important symbolic relationships, being also a testimony of the association of the ancient beliefs, much earlier than the
Zoroastrianism, as well as in its association with significant biblical figures and legends.

Takht-e Soleyman is an outstanding ensemble of royal architecture, joining the principal architectural elements created by the Sassanians in a
harmonious composition inspired by their natural context. The composition and the architectural elements created by the Sassanians there have
exerted a strong influence not only in the development of religious architecture in the Islamic period, but also in other cultures. The ensemble
represents an outstanding example of a Zoroastrian sanctuary, integrated with Sassanian palatial architecture within a composition, which can be
seen as a prototype.
It is an exceptional testimony of the continuation of a cult related to fire and water over a period of some two-and-a-half millennia. The archaeological
heritage of the site is further enriched by the Sassanian town, which is still to be excavated.
Takht-e Soleyman is situated in Azerbaijan province, within a mountainous region, some 750 km from Teheran. It is formed from plain, surrounded by
a mountain range and it contains a volcano and an artesian lake as essential elements of the site.
The site consists of an oval platform about 350 m by 550 m rising 60 m above the surrounding valley. It has a small calcareous artesianwell that has
formed a lake some 120 m deep. From here, small streams bring water to surrounding lands. The Sassanians occupied the site starting in the 5th
century, building there the royal sanctuary on the platform. The sanctuary was enclosed by a stone wall 13m high, with 38 towers and two entrances
(north and south). This wall apparently had mainly symbolic significance as no gate has been discovered. The main buildings are on the north side of
the lake, forming an almost square compound (sides c . 180 m) with the Zoroastrian FireTemple (Azargoshnasb) in the centre. This temple, built from
fired bricks, is square in plan. To the east of the Temple there is another square hall reserved for the 'everlasting fire'. Further to the east there is the
Anahita temple, also square in plan. The royal residences are situated to the west of the temples.
The lake is an integral part of the composition and was surrounded by a rectangular 'fence'. In the north-west corner of this once fenced area, there is
the so-called Western iwan , 'Khosrow gallery', built as a massive brick vault, characteristic of Sassanian architecture. The surfaces were rendered in
lime plaster with decorative features in muqarnas (stalactite ceiling decoration) and stucco. The site was destroyed at the end of the Sassanian
period, and left to decay. It was revived in the 13th century under the Mongol occupation, and some parts were rebuilt, such as the Zoroastrian fire
temple and the Western iwan . New constructions were built around the lake, including two octagonal towers behind the iwan decorated in glazed
tiles and ceramics. A new entrance was opened through the main walls, in the southern axis of the complex. It is noted that the surrounding lands in
the valley (included in the buffer zone) contain the remains of the Sassanian town, which has not been excavated. A brick kiln dating from the Mongol
period has been found 600 m south of Takht-e Soleyman. The mountain to the east was used by the Sassanians as a quarry for building stone.
Zendan-e Soleyman is a hollow, conical mountain, an ancient volcano, some 3 km to the west of Takht-e Soleyman. It rises about 100 m above the
surrounding land, and contains an 80 m deep hole, about 65 m in diameter, formerly filled with water. Around the top of the mountain, there are
remains of a series of shrines and temples that have been dated to the 1st millennium BCE.
The Belqeis Mountain (c . 3,200 m), is situated 7.5 km north-east of Takht-e Soleyman. On the highest part there are remains of a citadel (an area of
60 m by 50 m), dating to the Sassanian era, built from yellow sandstone. The explorations that have been carried out so far on the site indicate that
the citadel would have contained another fire temple. Its orientation indicates a close relationship with Takht-e Soleyman.
: The Persian Empire was founded by the Achaemenid dynasty (6th to 4th centuries BCE). Subsequently, a new empire was established
by the Parthians (2nd BCE to 3rd CE), who were conscious of their Persian identity, even though under strong Hellenistic influence. The following
Sasanian Empire (3rd to 7th CE), re-established the Persian leadership in the region, and was successful in forming a counterforce to the Roman
Empire. Basing on the Achaemenid heritage and the impact of the Hellenistic-Parthian period, the Sasanians developed new artistic and architectural
solutions. Their architecture had important influence in the east as well as in the west; it became a major reference for the development of
architecture in the Islamic period.
: Fire and water have been among the fundamental elements for the Iranian peoples since ancient times. Fire was conceived a divine
messenger between the visible world and the invisible (gods). Water was the source of life. Volcanic regions were thus of particular interest,
especially when there was the presence of water as it was the case of Takht-e Suleiman.
Zoroastrianism is an Iranian religion, and has its origin in Prophet Zarathustra, who probably lived in the 7th century BCE or earlier. This religion is
characterized by its monotheistic aspect related to Ahuramazda, and it recognizes the conflict between good and evil forces. Ahuramazda was
worshiped by the early Achaemenids, whose rituals took place in the open on fire altars, without any temples. With the revival of new nationalism, the
Sasanians established Zoroastrianism as a state religion, building fire temples for the cult. Zoroastrianism has had an important influence on
Christianity and Islam, and it is still a living religion, practised in Iran, India and Central Asia.
The Sasanians also recognized the cult of Anahita, the goddess of earth, associated with water. A temple of Anahita is included in the complex of
Takht-e Suleiman.
The early period: The volcanic site where the Sasanians built their sanctuary, Azargoshnasb (Fire temple of the Knights), later called Takht-e
Suleiman (Throne of Solomon), has been subject to worship for a long time. The hollow, volcanic mountain, called Zendan-e Suleiman (the prison of
Solomon) is surrounded by the remains of temples or shrines, dated to the first millennium BCE. These are associated with the Manas, who ruled the
region from 830 to 660 BCE. The crater was once full of water, but has later dried out.
The Sasanian period: With the arrival of the Sasanians (5th century CE), Zendan-e Suleiman lost its importance in favour of Takht-e Suleiman, where
construction started in mid 5th century CE, during the reign of the Sasanian king Peroz (459-484 CE). The site became a royal Zoroastrian sanctuary
under Khosrow I (531-579) and Khosrow II (591-628), and it was the most important of the three main Zoroastrians sanctuaries. The other two have
not been identified so far.
The construction of this temple site coincides with the introduction of Christianity as the main religion in the Roman Empire. The need to strengthen
Zoroastrianism can thus be seen as an effort to reinforce national identity as a counterpoint to Christianity in the Roman world. The importance of
Takht-e Suleiman was further increased with the introduction of the cult of Anahita. The royal ensemble was surrounded by an urban settlement on

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the plain. The site was destroyed by the Byzantine army in 627, a counter measure to the Sasanian attack to their territories.
Mongol period: The site regained importance in the 13th century, when the Ilkhanid Mongols rebuilt part of it as a residence for Ilkhan Aba-Qaan, then
the ruler of Iran. The reconstruction phase included the fire temple and the western Iwan, as well as new structures around the lake. The Mongol
rehabilitation shows cultural continuity, which is particularly interesting in the revival of Zoroastrian faith in the middle of the Islamic period. Due to its
natural and cultural qualities, the site has been associated with various legendary and biblical characters and issues, such as Solomon, Christ,
earthly paradise, Holy Graal, etc.
Later phases: After the Ilkhanid period, from the mid 14th century, the site was abandoned and gradually fell into ruins. It was rediscovered by the
British traveller, Sir Robert Ker Porter in 1819, followed by other explorers. In 1937, the site was photographed by Erich F. Schmidt, and surveyed by
Arthur U. Pope and Donald N. Wilber. In 1958 it was explored by Swedish archaeologists. The first systematic excavation was undertaken by the
German Archaeological Institute under R. Naumann and D. Huff, in the 1970s.

5.

Pasargadae 2004 87
: Pasargadae was the first dynastic capital of the Achaemenid Empire, founded by Cyrus II the Great, in Pars, homeland of the Persians, in the
6th century BC. Its palaces, gardens and the mausoleum of Cyrus are outstanding examples of the first phase of royal Achaemenid art and
architecture and exceptional testimonies of Persian civilization. Particularly noteworthy vestiges in the 160-ha site include: the Mausoleum of Cyrus II;
Tall-e Takht, a fortified terrace; and a royal ensemble of gatehouse, audience hall, residential palace and gardens. Pasargadae was the capital of the
first great multicultural empire in Western Asia. Spanning the Eastern Mediterranean and Egypt to the Hindus River, it is considered to be the first
empire that respected the cultural diversity of its different peoples. This was reflected in Achaemenid architecture, a synthetic representation of
different cultures.
The dynastic capital of Pasargadae was built by Cyrus the Great in the 6th century BC with contributions from different peoples of the empire created
by him. It became a fundamental phase in the evolution of the classic Persian art and architecture. With its palaces, gardens, and the tomb of the
founder of the dynasty, Cyrus the Great, Pasargadae represents exceptional testimony to the Achaemenid civilisation in Persia. The 'Four Gardens'
type of royal ensemble created in Pasargadae became a prototype for Western Asian architecture and design.
Pasargadae is located in the plain on the river Polvar, in the heart of Pars, the homeland of the Persians. The position of the town is also denoted in
its name: 'the camp of Persia'. The core zone of the site is surrounded by a large landscape buffer zone. The core area contains many monuments:
the Mausoleum of Cyrus the Great is built from white limestone around 540-530 BCE. The mausoleum chamber, on the top, has the form of a simple
gable house with a small opening from the west. In the medieval period, the monument was thought to be the tomb of Solomon's mother, and a
mosque was built around it, using columns from the remains of the ancient palaces. A small prayer niche (mihrab ) was carved in the tomb chamber.
In the 1970s, during a restoration, the remains of the mosque were removed, and the ancient fragments were deposited close to their original
location.
The Tall-e Takht refers to the great fortified terrace platform built on a hill at the northern limit of Pasargadae. This limestone structure is built from dry
masonry, using large regular stone blocks and a jointing technique called anathyrosis, which was known in Asia Minor in the 6th century. The first
phase of the construction was built by Cyrus the Great, halted at his death in 530 BCE. The second phase was built under Darius the Great (522-486
BCE), using mud brick construction.
The royal ensemble occupies the central area of Pasargadae. It consists of several palaces originally located within a garden ensemble (the
so-called 'Four Gardens'). The colour scheme of the architecture is given by the black and white stones used in its structure. The main body of the
palaces is formed of a hypostyle hall, to which are attached porticoes. The Audience Hall was built around 539 BCE. Its hypostyle hall has two rows
of four columns. The column bases are in black stone and the column shafts in white limestone. The capitals were in black stone. There is evidence
of a capital representing a hybrid, horned and crested lion. The palace had a portico on each side. Some of the bas-reliefs of the doorways are
preserved, showing human figures and monsters.
The Residential Palace of Cyrus II was built 535-530 BCE; its hypostyle hall has five rows of six columns. The Gate House stands at the eastern limit
of the core zone. It is a hypostyle hall with a rectangular plan. In one of the door jambs is the famous relief of the 'winged figure'.
In later periods, Tall-e Takht continued to be used as a fort, whereas the palaces were abandoned and the material was reused. From the 7th century
onwards, the tomb of Cyrus was called the Tomb of the Mother of Solomon, and it became a place of pilgrimage. In the 10th century, a small mosque
was built around it, which was in use until the 14th century.

6.

Bam and its Cultural Landscape 2004

: Bam is situated in a desert environment on the southern edge of the Iranian high plateau. The origins of Bam can be traced back to the
Achaemenid period (6th to 4th centuries BC). Its heyday was from the 7th to 11th centuries, being at the crossroads of important trade routes and
known for the production of silk and cotton garments. The existence of life in the oasis was based on the underground irrigation canals, the qants, of
which Bam has preserved some of the earliest evidence in Iran. Arg-e Bam is the most representative example of a fortified medieval town built in
vernacular technique using mud layers.

7.

Soltaniyeh 2005

8.

Bisotun 2006
: Bisotun (Persian: ) is located along the ancient trade route linking the Iranian high plateau with Mesopotamia and features remains
from the prehistoric times to the Median, Achaemenid, Sassanian, and Ilkhanid periods.
The principal monument of this archaeological site is the bas-relief and cuneiform inscription ordered by Darius I, The Great, when he rose to the
throne of the Persian Empire, 521 BC. The bas-relief portrays Darius holding a bow, as a sign of sovereignty, and treading on the chest of a figure
who lies on his back before him. According to legend, the figure represents Gaumata, the Median Magus and pretender to the throne whose
assassination led to Dariuss rise to power.
Below and around the bas-reliefs, there are ca. 1,200 lines of inscriptions telling the story of the battles Darius waged in 521-520 BC against the
governors who attempted to take apart the Empire founded by Cyrus. The inscription is written in three languages. The oldest is an Elamite text
referring to legends describing the king and the rebellions.
This is followed by a Babylonian version of similar legends. The last phase of the inscription is particularly important, as it is here that Darius
introduced for the first time the Old Persian version of his res gestae (things done). This is the only known monumental text of the Achaemenids to
document the re-establishment of the Empire by Darius I. It also bears witness to the interchange of influences in the development of monumental art
and writing in the region of the Persian Empire. There are also remains from the Median period (8th to 7th centuries B.C.) as well as from the
Achaemenid (6th to 4th centuries B.C.) and post-Achaemenid periods.

9.

Armenian Monastic Ensembles of Iran 2008

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: The Armenian Monastic Ensembles of Iran, in the north-west of the country, consists of three monastic ensembles of the Armenian Christian
faith: St Thaddeus and St Stepanos and the Chapel of Dzordzor. These edifices - the oldest of which, St Thaddeus, dates back to the 7th century
are examples of outstanding universal value of the Armenian architectural and decorative traditions. They bear testimony to very important
interchanges with the other regional cultures, in particular the Byzantine, Orthodox and Persian. Situated on the south-eastern fringe of the main
zone of the Armenian cultural space, the monasteries constituted a major centre for the dissemination of that culture in the region. They are the last
regional remains of this culture that are still in a satisfactory state of integrity and authenticity. Furthermore, as places of pilgrimage, the monastic
ensembles are living witnesses of Armenian religious traditions through the centuries.
The Armenian monasteries of Iran have borne continuous testimony, since the origins of Christianity and certainly since the 7th century,
to Armenian culture in its relations and contact with the Persian and later the Iranian civilisations. They bear testimony to a very large and refined
panorama of architectural and decorative content associated with Armenian culture, in interaction with other regional cultures: Byzantine, Orthodox,
Assyrian, Persian and Muslim. The monasteries have survived some 2,000 years of destruction, both of human origin and as a result of natural
disasters. They have been rebuilt several times in a spirit in keeping with Armenian cultural traditions. Today they are the only important vestiges of
Armenian culture in this region. Saint-Thaddeus, the presumed location of the tomb of the apostle of Jesus Christ, St. Thaddeus, has always been
a place of high spiritual value for Christians and other inhabitants in the region. It is still today a living place of pilgrimage for the Armenian Church.
(ii): The Armenian monasteries of Iran illustrate the Outstanding Universal Value of Armenian architectural and decorativetraditions. They
bear testimony to very important cultural interchanges with the other regional cultures, in particular Byzantine, Orthodox and Persian.
(iii): Situated at the south-eastern limits of the main zone of Armenian culture, the monasteries were a major centre for its diffusion in the
region. Today they are the last regional testimony of this culture in a satisfactory state of integrity and authenticity.
(vi): The monastic ensembles are the place of pilgrimage of the apostle St. Thaddeus, which bears an outstanding living testimony to
Armenian religious traditions down the centuries.
The State Party has made a remarkable long-term effort regarding the restoration and conservation of the Armenian monastic ensembles in Iran.
Their integrity and authenticity are satisfactory, and this includes the Chapel of Dzordzor, which (because of a dam construction project) was moved
and then rebuilt with an evident concern to retain authenticity.
The legal protection in place is adequate. The monastic ensemble is currently in a good state of conservation. The management planprovides the
necessary guarantees for the long-term conservation of the property and the expression of its Outstanding Universal Value.

10.

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Shushtar Historical Hydraulic System 2009

: Shushtar, Historical Hydraulic System, inscribed as a masterpiece of creative genius, can be traced back to Darius the Great in the 5th
century B.C. It involved the creation of two main diversion canals on the river Krun one of which, Gargar canal, is still in use providing water to the
city of Shushtar via a series of tunnels that supply water to mills. It forms a spectacular cliff from which water cascades into a downstream basin. It
then enters the plain situated south of the city where it has enabled the planting of orchards and farming over an area of 40,000 ha. known as
Mianb (Paradise). The property has an ensemble of remarkable sites including the Salsel Castel, the operation centre of the entire hydraulic
system, the tower where the water level is measured, damns, bridges, basins and mills. It bears witness to the know-how of the Elamites and
Mesopotamians as well as more recent Nabatean expertise and Roman building influence.
The Shushtar Historical Hydraulic System demonstrates outstanding universal value as in its present form, it dates from the 3rd century CE,
probably on older bases from the 5th century BCE. It is complete, with numerous functions, and large-scale, making it exceptional. The Shushtar
system is a homogeneous hydraulic system, designed globally and completed in the 3rd century CE. It is as rich in its diversity ofcivil engineering
structures and its constructions as in the diversity of its uses (urban water supply, mills, irrigation, river transport, and defensive system). The
Shushtar Historical Hydraulic System testifies to the heritage and the synthesis of earlier Elamite and Mesopotamian knowhow; it was probably
influenced by the Petra dam and tunnel and by Roman civil engineering. The Shushtar hydraulic system, in its ensemble and most particularly the
Shdorvn Grand Weir (bridge-dam), has been considered a Wonder of the World not only by the Persians but also by the Arab-Muslims at the
peak of their civilisation. The Gargar canal is a veritable artificial watercourse which made possible the construction of a new town and the irrigation
of a vast plain, at the time semi-desert. The Shushtar Historical Hydraulic System sits in an urban and rural landscape specific to the expression of
its value.
(i): The Shushtar Hydraulic System is testimony to a remarkably accomplished and early overall vision of the possibilities afforded by
diversion canals and large weir-dams for land development. It was designed and completed in the 3rd century CE for sustainable operation and is
still in use today. It is a unique and exceptional ensemble in terms of its technical diversity and its completeness that testifies to human creative
genius.
(ii): The Shushtar Historical Hydraulic System is a synthesis of diverse techniques brought together to form a remarkably complete and
large-scale ensemble. It has benefited from the ancient expertise of the Elamites and Mesopotamians in canal irrigation, and then that of the
Nabateans; Roman technicians also influenced its construction. Its many visitors marvelled at it and were in turn inspired. It testifies to the
exchange of considerable influences in hydraulic engineering and its application throughout antiquity and the Islamic period under the various
Iranian dynasties.
(v): Shushtar is a unique and exceptionally complete example of hydraulic techniques developed during ancient times to aid the occupation
of semi-desert lands. By diverting a river flowing down the mountains, using large-scale civil engineering structures and the creation of canals, it
made possible multiple uses for the water across a vast territory: urban water supply, agricultural irrigation, fish farming, mills, transport, defence
system, etc. It testifies to a technical culture dating back eighteen centuries serving the sustainable development of a human society, in harmony
with its natural and urban environment.
Integrity and Authenticity
The integrity of the hydraulic footprint is good, but its functional integrity compared with the original model is only partial and reduced, notably for
the dams; it remains good for irrigation and water supply. The authenticity of elements reduced to archaeological remains is certain, but has been
affected by 20th century works and materials so far as the civil structures and sites still in use are concerned. Efforts directed to the restoration of
attributes that demonstrate authenticity must be pursued.
Management and protection requirements
The components of the management plan are satisfactory, but they need to be improved in terms of the interpretation of the sites and the
involvement of the local population.

11.

Sheikh Safi al-din Khnegh and Shrine Ensemble in Ardabil2010

: Sheikh Safi al-din Khnegh and Shrine Ensemble in Ardabil (Persian:)

Built between the beginning of the 16th century and the end of the 18th century, this place of spiritual retreat in the Sufi tradition uses Iranian
traditional architectural forms to maximize use of available space to accommodate a variety of functions (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, separated by eight gates, which represent the eight attitudes of Sufism. The ensemble
includes well-preserved and richly ornamented facades and interiors, with a remarkable collection of antique artefacts. It constitutes a rare
ensemble of elements of medieval Islamic architecture.
Sheikh Safi al-Din Khnegh and Shrine Ensemble was built as a small microcosmic city with bazaars, public baths, squares, religiousbuildings,
houses, and offices. It was the largest and most complete khnegh and the most prominent Sufi shrine since it also hosts the tomb of the founder
of the Safavid Dynasty. For these reasons, it has evolved into a display of sacred works of art and architecture from the 14th to the 18th century
and a centre of Sufi religious pilgrimage.
The Sheikh Safi al-Din Khnegh and Shrine Ensemble in Ardabil is of Outstanding Universal Value as an artistic and architectural masterpiece
and an outstanding representation of the fundamental principles of Sufism. Ilkhanid and Timurid architectural languages, influenced by
Sufi philosophy, have created new spatial forms and decorative patterns. The layout of the ensemble became a prototype for innovative
architectural expressions and a reference for other khneghs. As the shrine of a prominent Sufi master, who also was the founder of the Safavid
Dynasty, the property has remained sacred in Iran up to the present day.
(i): The conception of the entire ensemble layout, the proportions of the internal and external spaces and of the buildings, their design and
refined decoration, together with the climax created by the sequenced path to Sheikh Safi al-Dins shrine, all combined, have concurred to create a
unique complex in which aesthetics and spirituality are in a harmonious dialogue.
(ii): The architectural spaces and features of the nominated property have integrated influences of the Ilkhnid and Timurid periods with the
religious message of Sufism and the taste for exquisite ornamentation and interior spaciousness, thus giving rise to fresh architectural and artistic
forms.
(iv): The Sheikh Safi al-Din ensemble is a prototype and an outstanding example of a 16th century religious complex, combined with
social, charitable, cultural, and educational functions, which contains all the significant elements that since came to characterize Safavid
architecture and became a prototype for other khnegh and shrines.
Integrity and Authenticity
The property contains all the elements that convey its Outstanding Universal Value. Most of the elements of the property are in good condition and,
despite several transformations, the site continues to present an image of harmonious composition, in which the material realization of the spiritual
path through the architectural design is still clearly legible. The State Party has taken steps to restore the original access to the ensemble, which
will strengthen the connection between the architecture and the Sufi spiritual messages.
The design form of the entire complex and of individual buildings has been retained and their religious functions have been maintained in most
cases. Where they have changed, the new uses are appropriate to the architectural structure in general, and the material and technical authenticity
has been retained, as well as the spiritual character of the place. It is, however, important to reduce the tendency to go too far in conservation work.
Protection and management requirements
The nominated property has been protected under the Iranian legislation since 1932. According to the law currently in force, special protection
provisions are in place for the property, the buffer zone and for a wider area called the landscape zone. These provisions, already in place, are
also being incorporated into the revised Master Plan for Ardabil, final approval of which is scheduled for September 2010.
Any project concerning protected monuments in Iran must be in accordance with the provisions of the law and must be approved by ICHHTO, the
authority in charge of the protection of Iranian monuments. The management framework established for the nominated property integrates the
regulations for Sheikh Safi al-Din Khnegh and Shrine Ensemble and the provisions of the Ardabil Master Plan.
Management of protected monuments is the responsibility of the High Technical Council of ICHHTO, which approves budgets and all major
conservation works. Minor works and day-to-day maintenance is ensured by a steering committee which can avail itself of a multidisciplinary team
(the ICHHTO Sheikh Safi al-Din Ensemble Base), which is headed by a urban planner and includes on its staff engineers, architects, conservation
architects, and archaeologists.
: Sufism (tasawwuf, from sf wool' in Arabic or saf purity') is generally considered to be the inner mystical dimension of Islam rather than
a distinct sect. It began to develop into a spiritual movement in the 9th and 10th centuries. Sufism is claimed to have been a definitive factor in the
spread of Islam and in the creation of an integrated Islamic culture in Africa and Asia. Sufism flourished between the 13th and 16th centuries
throughout the Islamic world as a vigorous religious and intellectual culture with specific directions given by the different tariqats or orders founded
by Sufi teachers. Sufism has left a number of physical artistic manifestations, particularly in central Asia.
When Iran underwent the Islamic conquest, Ardabil was the largest city in north-western Iran, and it remained so until the Mongol invasions, which
left the town shattered for three centuries until the advent of the Safavid Dynasty, of which Sheikh Safi al-Din (1252-1334) is the eponym.
Sheikh Safi al-Din followed Sheikh Zhed e-Gilni's teachings and after his master's death took his place and developed his own tariqat, which
acquired its name and from which Safavi Sufism originated. He founded a khnegh in Ardabil, which was later to become his shrine.
The ensemble functioned initially as a small, selfcontained city with bazaars, public baths and meydns, religious facilities, houses, and offices.
During the reign of the Safavi rulers, the role and function of the nominated property changed to one of political and national importance as the
important shrine of the founder of the Safavid Dynasty. Shah Ismail, Sheikh Safi al-Din's successor as Sufi leader of the khanegah, became the first
shah of the Safavid Dynasty and declared Shi'ism the state religion.
The Safavids spared no expense in enriching and decorating the structure of the shrine of their ancestor with many works of art. The shrine
became a focus for pilgrims from around the world and a religious ensemble containing outstanding works of art, ornamentation, and archaeology
from the 14th to the 18th centuries.
Four main building phases have been identified by researchers in which the most important structures were built or substantially modified:
1300-1349: In this period the layout of the shrine was laid down: Sheikh Safi al-Din Ardabili Khnegh, Haram-khn, Allh Allh Dome, Shat,
Dr al-Huffz Hall, Shhnishin, the Middle Courtyard, and the New Chilla Khn were built.
-1544: In this period Shah Ismail and Shah Ismail's mother's sepulchres, Dr al-Hadith, Jannatsar, Shahidgh, and the sepulchre yard
south of Sheikh Safi al-Din tomb were built. Most of the building activity has been dated to the 16th century.
1544-1752: The Chini-khn in its present form, the Shh Abbsi Gate, and the Garden Courtyard were created.
century.
The nominated property has maintained its role as a place of worship and pilgrimage.

12.

Tabriz Historic Bazaar Complex 2010

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: Tabriz has been a place of cultural exchange since antiquity and its historic bazaar complex is one of the most important commercial centres
on the Silk Road. Tabriz Historic Bazaar Complex consists of a series of interconnected, covered, brick structures, buildings, and enclosed spaces
for different functions. Tabriz and its Bazaar were already prosperous and famous in the 13th century, when the town, in the province of Eastern
Azerbaijan, became the capital city of the Safavid kingdom. The city lost its status as capital in the 16th century, but remained important as a
commercial hub until the end of the 18th century, with the expansion of Ottoman power. It is one of the most complete examples of the traditional
commercial and cultural system of Iran.
Tabriz Historic Bazaar Complex, located along one of the most frequented east-west trade routes, consists of a series of interconnected, covered
brick structures, buildings, and enclosed spaces for a variety of functions - commercial and trade-related activities, social gatherings, and
educational and religious practices. Closely interwoven with the architectural fabric is the social and professional organization of the Bazaar, which
has allowed it to function over the centuries and has made it into a single integrated entity.
Tabriz Historic Bazaar Complex has been one of the most important international places for commercial and cultural interchange, thanks to the
centuries-old east-west trading connections and routes and to a wise policy of endowments and tax exemptions.
Tabriz Historic Bazaar bears witness to one of the most complete socio-cultural and commercial complexes among bazaars. It has developed over
the centuries into an exceptional physical, economic, social, political, and religious complex, in which specializedarchitectural structures, functions,
professions, and people from different cultures are integrated in a unique living environment. The lasting role of the Tabriz Bazaar is reflected in the
layout of its fabric and in the highly diversified and reciprocally integrated architectural buildings and spaces, which have been a prototype for
Persian urban planning.
(ii): Tabriz Historic Bazaar Complex was one of the most important international trade and cultural centres in Asia and the world between the
12th and the 18th centuries, thanks to the centuries-old east-west trade routes. Tabriz Bazaar is an exceptional example of an architectural-urban
commercial area, which is reflected in its highly varied and integrated architectural buildings and spaces. The bazaar is one of the most sustainable
socio-economic structures, and its great complexity and articulation attests to the wealth in trade and cultural interaction of Tabriz.
(iii): Tabriz Historic Bazaar bears witness to one of the most complete socio-cultural and commercial complexes among bazaars. It is an
exceptional physical, economic, social, political, and religious complex that bears an exceptional testimony to a civilization that is still living. Over
the centuries, thanks to its strategic location and to wise policies of endowments and tax exemptions, Tabriz Bazaar has developed into a
socio-economic and cultural system in which specialized architectural structures, functions, professions, and people from different cultures are
integrated into a unique living environment.
(iv): Tabriz Historic Bazaar is an outstanding example of an integrated multi-functional urban complex in which interconnected architectural
structures and spaces have been shaped by commercial activities and related necessities. A large number of specializedbuildings and structures
are concentrated and reciprocally connected in a relatively compact area to form what is almost a single integrated structure.
Integrity and Authenticity
The nominated property contains all the elements that are necessary to convey its significance. The integrity of the 18th century Tabriz Bazaar is
well preserved and its architecture conserves a rich repertoire of commercial buildings; the connection between the physical structure and its
functioning is still clearly legible, and in many cases alive.
The rich historical sources bear credible witness to the importance of the Tabriz Bazaar over history and to the permanence of its layout. The fabric
of the Bazaar still exhibits the design, workmanship, and materials of the period when it was constructed after the 1780 earthquake. The Bazaar is
still a lively and economically active place, attesting to its rich and long-lasting economic, social, and cultural exchanges.
Protection and management requirements
The Tabriz Historic Bazaar Complex was officially protected in 1975 and since then has been covered by special stewardship measures. Three
different protection areas have been established (a nominated area, a buffer zone, and a landscape zone), which are subject to special regulations,
incorporated into the planning instruments. Within these areas any kind of activity needs authorization by the Iranian Cultural Heritage, Handicraft
and Tourism Organization (ICHHTO), which is the institutional body in charge of the protection of protected monuments.
The management framework for the property is based on the integration of existing planning instruments (the Master Plan and the detailed Plan for
Tabriz), administrative and technical bodies (the steering committee for Tabriz Bazaar and the ICHHTO Tabriz Bazaar Base), conservation
objectives, SWOT analysis, implementation strategies, and operational programmes that are included in the management plan.
Historical Description
Archaeological evidence bears witness to human occupation of the area corresponding to Tabriz since the Bronze Age. However, this occupation
did not assume a continuous nature until the Iron Age.
In the 9th century Tabriz was an important military base. In this period Tabriz began to develop as an economic and business centre, and in the
12th and 13th centuries it was the capital of the country, although not uninterruptedly. The destruction of Baghdad by the Mongols in 1258
increased the importance of Tabriz as a trading centre.
Between 1316 and 1331 Tabriz experienced the high point of its economic and social life. Travellers such as Marco Polo and Ibn Battuta described
it as one of the richest trading centres in the world. During the 14th and 15th centuries the town's prosperity increased thanks to its strategic
location, where much used west-east and south-east routes crossed, to the development of highly regarded manufactured products (e.g. cotton
and silk textiles, arms, pottery), and to a wise policy of tax exemption. The first vast official and ceremonial space, the Sahib-abad, was created in
1258, around which the most important public buildings were built and where the army could be paraded, but which could also be used as a
meeting place.
In the early 16th century the Safavid dynasty chose Tabriz as the capital city of their kingdom and the town became a powerful government centre,
even though the capital was moved, first to Qazvin in 1548 and then to Isfahan, which were considered safer from Ottoman threat. In the 16th and
17th centuries manufacturing grew and diversified (weaving, copper metallurgy, weapon and tile production, leatherworks, tanning, soap making)
and the volume of trade expanded.
In the last quarter of the 17th century Tabriz entered into a period of economic depression. Nonetheless, accounts by travellers from this period of
decline still depicted Tabriz as an important trading centre.
The 18th century brought a period of political instability owing to Ottoman attempts at expansion. In 1780, at the beginning of the Qajar dynasty, the
most destructive earthquake in the dense seismic history of Tabriz completely destroyed the town; it was, however, rapidly rebuilt.
Another earthquake in 1817 caused a great deal of damage to the mosques and to the town. In 1826 Tabriz was occupied by the Russians, but it
was regained by the Qajar rulers two years later. During the 19th century several changes were made in the town. The governmental centre moved
from the Sahib-abad, where public buildings were arranged around a vast square north of the Mehranroud River, to its present location, south of
the river, close to the Aala Gate. Sahib-ul-Amr square was built in the historical area of Sahib-abad, and the Jami Mosque was restored, which
helped restore its central role to the Bazaar. In 1871 a flood caused extensive damage to the bazaars, which were mapped and evaluated by
means of a field survey. These records provide information about the condition of the Bazaar at that time. Repair works were undertaken in the

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years that followed to various structures: for example, the Mozaffarieh Timcha was completed in 1905.
In 1906 Tabriz became the centre of the Iranian Constitutional Revolution: the Bazaar was closed and the people demonstrated against the
government since the Constitution was signed by the king and the first Parliament was established.
During the 20th century several wide roads were opened, leading to certain parts of the Bazaar becoming separated from its core.
Over the last thirty years a number of restoration projects have been carried out on the Jami and Goi Machids as well as on several commercial
structures, whilst the Pol-bazaar has recently been completely reconstructed.
13.
The Persian Garden 2011 9 9 6

Ancient Pardis Garden of Pasargadae

Bagh-e Eram Shiraz Garden of Paradise Seljuk DynastyIram

During the late Zand Dynasty, the garden was owned by Qashqai tribal chiefs. A Qashqai tribal chief, Mohammad Qoli
Khan ordered the construction of the original mansion in the earlyeighteenth century, planting the garden with different trees
including cypress, pine, orange and persimmon trees.
During the reign of King Nasser ed-din of the Qajar Dynasty, Mirza Hassan Ali Khan Nasir-al Molk bought the gardens from the
Qashqai tribes and constructed the present pavilion which was designed by a famous Shirazi architect, Mohammad Hassan.
The decoration of the pavilion was completed by Hassan Ali Khan's son Abol Qassem Khan who inherited the garden after his
father. The garden finally went to Abol Qassem Khan's son Abdullah Qavami who sold it to Qashqai tribes once again.
The beautiful three-story pavilion of the garden was constructed based on Safavid and Qajar style of architecture. The lower story
of the mansion has an impluvium especially designed for relaxation during the hotdays of summer. The ceiling of this structure is
beautifully adorned with colorful tiles. A small stream also passes through it, connecting to a large pool in front of the building.
The middle storey has a large veranda erected on two pillars behind which stands a magnificent hall. On the two sides of the hall
there are two corridors each having 4 rooms and two small terraces. The front sides of the pillars are decorated with tiles showing
the images of horsemen and flowers. The upper story consists of a large hall whose windows open to the main veranda. It is also
surrounded by two corridors leading to two terraces. On the entablature of the building there are three arched (semi-circular,
crescentic) pediments ornamented with tile work.
The middle pediment, being larger than the other two, shows Nasser ed-din Shah (a famous Qajar king) on the back of a white
horse. Around this picture, some scenes based on storied from the works of Ferdowsi and Nezami (two famous poets) can be seen.
One of the small pediments represents an image of Darius the Great (the founder of the Achaemenid Dynasty) as represented in
Persepolis monuments.
And finally the third pediment illustrates a deer being hunted by a panther.
The garden with its beautiful flowers, refreshing air, tall cypresses (a stately, beautiful cypress tree there known as sarv-e naz
which is said to go back to 3000 years ago) and fragrant myrtles () is a major tourist destination especially in the spring.
The lower sections of the buildings exterior are formed of 2 - meter - high plain and carved stones and on the eight columns there
is the exhibit of two Qajar soldiers and six inscriptions. The inscriptions have been inscribed by Mirza Ali Naghi Khoshnevis in
Nastaligh style of writing. In the portal of the building there are three large and two small sessions. The spring, which flows in the
waterfronts, right in the middle of the building pours into ponds and grants Eram garden a great appeal. The cypress tree in this
garden is quite famous.
After the coup detat of 1332 (1953) and the exile of the Qashqa`i brothers, who in the meantime had regained ownership of the
Bag-e Eram, the government confiscated the garden and later on gave it to the University of Shiraz.
During this period the former mud walls were replaced with iron railings, old trees were cut down to make room for lawns, and a
broad street named Eram Boulevard was laid out on the northwest side. Early during the revolution of 1357 (1978-79), the
Qashqa`is repossessed the garden; shortly afterward its owner Khosrow Khan dedicated it to the people of Shiraz.
Now a property of Shiraz University, it has been turned into a botanical garden and is open to the public as a museum. The
mansion has also been assigned to the Faculty of Law of the university.
It has been named after a legendary garden called Eram in southern Arabia, built by order of Shaddad, an Arab king, to compete
with Paradise.
Bagh-e Chehel Sotun Esfahan
Bagh-e Fin Kashan
Bagh-e Abas Abad Behshahr -
Bagh-e Shahzadeh Kerman
Bagh-e Dolat Abad Yazd
Bagh-e Pahlavanpur Mehriz
Bagh-e Akbariyeh Birjand
The property includes nine gardens in as many provinces. They exemplify the diversity of Persian garden designs that evolved and adapted to
different climate conditions while retaining principles that have their roots in the times of Cyrus the Great, 6th century BC. Always divided into four

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sectors, with water playing an important role for both irrigation and ornamentation, the Persian garden was conceived to symbolize Eden and the
four Zoroastrian elements of sky, earth, water and plants. These gardens, dating back to different periods since the 6th century BC, also feature
buildings, pavilions and walls, as well as sophisticated irrigation systems. They have influenced the art of garden design as far as India and Spain.
The Persian Garden consists of a collection of nine gardens, selected from various regions of Iran, which tangibly represent the diverse forms that
this type of designed garden has assumed over the centuries and in different climatic conditions. They reflect the flexibility of the Chahar Bagh, or
originating principle, of the Persian Garden, which has persisted unchanged over more than two millennia since its first mature expression was
found in the garden of Cyrus the Great's Palatial complex, in Pasargadae. Natural elements combine with manmade components in the Persian
Garden to create a unique artistic achievement that reflects the ideals of art, philosophical, symbolic and religious concepts. The Persian Garden
materialises the concept of Eden or Paradise on Earth.
The perfect design of the Persian Garden, along with its ability to respond to extreme climatic conditions, is the original result of an inspired and
intelligent application of different fields of knowledge, i.e. technology, water management and engineering, architecture, botany and agriculture. The
notion of the Persian Garden permeates Iranian life and its artistic expressions: references to the garden may be found in literature, poetry, music,
calligraphy and carpet design. These, in turn, have inspired also the arrangement of the gardens. The attributes that carry Outstanding Universal
Value are the layout of the garden expressed by the specific adaptation of the Chahar Bagh within each component and articulated in the kharts or
plant/flower beds; the water supply, management and circulation systems from the source to the garden, including all technological and decorative
elements that permit the use of water for functional and aesthetic exigencies; the arrangement of trees and plants within the garden that contribute
to its characterisation and specific micro-climate; the architectural components, including the buildings but not limited to these, that integrate the
use of the terrain and vegetation to create unique manmade environments; the association with other forms of art that, in a mutual interchange,
have been influenced by the Persian Garden and have, in turn, contributed to certain visual features and sound effects in the gardens.
(i): The Persian Garden represents a masterpiece of human creative genius. The design of the Persian Garden, based on the right angle and
geometrical proportions, is often divided into four sections known as Chahar Bagh (Four Gardens). The creation of the Persian Garden was made
possible due to intelligent and innovative engineering solutions and a sophisticated water-management system, as well as the appropriate choice
of flora and its location in the garden layout. Indeed, the Persian Garden has been associated with the idea of earthly Paradise, forming a stark
contrast to its desert setting.
(ii): The Persian Garden exhibits an important interchange of human values, having been the principal reference for the development
of garden design in Western Asia, Arab countries, and even Europe. It is the geometry and symmetry of the architecture, together with the complex
water management system, that seem to have influenced design in all these gardens. The word Paradise entered European languages from the
Persian root word "Pardis", which was the name of a beautiful garden enclosed behind walls.
(iii): The Persian Garden bears exceptional, and even unique, testimony to the cultural traditions that have evolved in Iran and the Middle East
over some two and a half millennia. Throughout its evolution, the Persian Garden has had a role in various cultural and social aspects of society,
becoming a central feature in private residences, palaces and public buildings, as well as in ensembles associated with benevolent or religious
institutions, such as tombs, park layouts, palace gardens, Meidans, etc.
(iv): The Persian Garden is an outstanding example of a type of garden design achieved by utilising natural and human elements and
integrating significant achievements of Persian culture into a physical and symbolic-artistic expression in harmony with nature. Indeed, the Persian
Garden has become a prototype for the geometrically-designed garden layout, diffused across the world.
(vi): The Persian Garden is directly associated with cultural developments of Outstanding Universal Value. These include literary works and
poetry for example by Sa'di, Hafez and Ferdowsi. The Persian Garden is also the principal source of inspiration for the Persian carpet and textile
design, miniature painting, music, architectural ornaments, etc. In the Avesta, the ancient holy book of the Zoroastrians, the Persian Garden and its
sacred plants are praised as one of the four natural elements (earth, heavens, water, and plants). The Chahar Bagh is a reflection of the mythical
perception of nature, and the cosmic order in the eyes of the ancient Iranian peoples.
Integrity
The Persian Garden comprises a sufficient number of gardens from across Iran and each garden contains sufficient elements to concur to express
the Outstanding Universal Value of the series. The component gardens are in good condition and well maintained.
Authenticity
The Persian Garden, through its components, has developed alongside the evolution of the Persian society, while adhering to its early geometric
model, the Chahar Bagh. Pasargadae and Bagh-e Abas Abad may be read as fossil landscapes while the other seven gardens retain their active
role within their physical and social contexts.
Protection and Management requirements
Each garden is registered in the National Heritage List and therefore protected according to the Iranian legislation. Protection provisions
established for the gardens and their 'buffer zones', defined according to the Iranian law in force, are also included in the Master Plans, the
approval of which is issued by the Higher Council for Architecture and Urban Planning, in which sits also the Head of the Iranian Cultural Heritage,
Handicrafts and Tourism Organisation (ICHHTO).
The existence of the National ICHHTO Base for the Persian Garden ensures that the management framework is one for the whole series, granting
the coordination and harmonisation of strategies and objectives. The Management Plan includes objectives common to all component gardens of
the series and a programme for strengthening presentation and promotion to the public has been developed.

14.

Gonbad-e Qbus 2012

: The 53 m high tomb built in ad 1006 for Qbus Ibn Voshmgir, Ziyarid ruler and literati, near the ruins of the ancient city of Jorjan in north-east
Iran, bears testimony to the cultural exchange between Central Asian nomads and the ancient civilization of Iran. The tower is the only remaining
evidence of Jorjan, a former centre of arts and science that was destroyed during the Mongols invasion in the 14th and 15th centuries. It is an
outstanding and technologically innovative example of Islamic architecture that influenced sacral building in Iran, Anatolia and Central Asia. Built of
unglazed fired bricks, the monuments intricate geometric forms constitute a tapering cylinder with a diameter of 1715.5 m, topped by a conical
brick roof. It illustrates the development of mathematics and science in the Muslim world at the turn of the first millennium AD.
Visible from great distances in the surrounding lowlands near the ancient Ziyarid capital, Jorjan, the 53-metre high Gonbad-e Qbus tower
dominates the town laid out around its base in the early 20th century. The towers hollow cylindrical shaft of unglazed fired brick tapers up from an
intricate geometric plan in the form of a ten pointed star to a conical roof. Two encircling Kufic inscriptions commemorate Qbus Ibn Voshmgir,
Ziyarid ruler and literati as its founder in 1006 AD.
The tower is an outstanding example of early Islamic innovative structural design based on geometric formulae which achieved great height in
load-bearing brickwork. Its conical roofed form became a prototype for tomb towers and other commemorative towers in the region, representing
an architectural cultural exchange between the Central Asian nomads and ancient Iranian civilisation.

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15.

(i): Gonbad-e Qbus is a masterpiece and outstanding achievement in early Islamic brick architecture due to the structural
andaesthetic qualities of its specific geometry.
(ii): The conically roofed form of Gonbad-e Qbus is significant as a prototype for the development of tomb towers in Iran, Anatolia and
Central Asia, representing architectural cultural exchange between the Central Asian nomads and ancient Iranian civilisation.
(iii): Gonbad-e Qbus is exceptional evidence of the power and quality of the Ziyarid civilisation which dominated a major part of the region
during the 10th and 11th centuries. Having been built for an emir who was also a writer, it marked the beginning of a regional cultural tradition of
monumental tomb building including for the literati.
(iv): The monument is an outstanding example of an Islamic commemorative tower whose innovative structural design illustrates the
exceptional development of mathematics and science in the Muslim world at the turn of the first millennium AD.
Integrity
The property expresses its value as an exceptional geometric structure and icon in the small town of Gonbad-e Qbus, clearly visible from many
directions. It continues to express features of an Islamic commemorative monument combining traditions of Central Asia and Iran. The exterior
flanges and inscription bands are in good condition, but the insertion of the ramp and the design of the retaining wall on the hillside have slightly
damaged the form of the mound on which it stands.
Authenticity
The monument retains its form and design, materials, visual dominance in the landscape, and continues as a holy place visited by local people and
foreigners, and as a focus for traditional events.
Protection and management requirements
Gonbad-e Qbus is protected under the Law for Protection of National Heritage (1930) and was inscribed on Irans list of national monuments in
1975 as number 1097. Regulations pertaining to the property provide that damaging activities are prohibited and any intervention, including
archaeological investigation, restoration and works to the site must be approved by the Iranian Cultural Heritage, Handicrafts and Tourism
Organisation (ICHHTO). The tomb tower and surrounding area are managed jointly by the Municipality and ICHHTO in accordance with the Master
Plan for Gonbad-e Qbus town (1989) and the detailed plan (2009), which aim to preserve the historic and visual characteristics of the city.
Protection measures controlling heights in the buffer zone and landscape zone are supported by the Master Plan. The management plan should be
extended to include a conservation programme.

Musoleum of Oljaytu

: The mausoleum of Oljaytu was constructed in 130212 in the city of Soltaniyeh, the capital of the Ilkhanid dynasty, which was founded by
the Mongols. Situated in the province of Zanjan, Soltaniyeh is one of the outstanding examples of the achievements of Persian architecture and a
key monument in the development of its Islamic architecture. The octagonal building is crowned with a 50 m tall dome covered in turquoise-blue
faience and surrounded by eight slender minarets. It is the earliest existing example of the double-shelled dome in Iran. The mausoleums interior
decoration is also outstanding and scholars such as A.U. Pope have described the building as anticipating the Taj Mahal.
(ii): The Mausoleum of Oljaytu forms an essential link in the development of the Islamic architecture in central and western Asia, from the
classical Seljuk phase into the Timurid period. This is particularly relevant to the double-shell structure and the elaborate use of materials and
themes in the decoration.
(iii): Soltaniyeh as the ancient capital of the Ilkhanid dynasty represents an exceptional testimony to the history of the 13th and 14th centuries.
(iv): The Mausoleum of Oljaytu represents an outstanding achievement in the development of Persian architecture particularly in the Ilkhanid
period, characterized by its innovative engineering structure, spatial proportions, architectural forms and the decorative patterns and techniques.
: As the ancient capital of the Ilkhanid dynasty, Soltaniyeh represents an exceptional testimony to the history of the 13th and 14th centuries.
The Mausoleum of Oljaytu forms an essential link in the development of Islamic architecture in central and western Asia, from the classical Seljuk
phase until the Timurid period. This is particularly relevant to the double-shell structure and the elaborate use of materials and themes in the
decoration. It is outstanding by virtue of its innovative engineering structure, spatial proportions, architectural forms and the decorative patterns and
techniques
Soltaniyeh is located some 240 km from Tehran in north-western Iran. There is archaeological evidence that the site had been occupied at least
from the 1st millennium BC. The construction of the settlement was only started by the Ilkhanid dynasty, around 1290. The fourth Mongol ruler in
Persia, Arqun Khan, decided to build a summer residence in this region, because it offered good hunting grounds and rich pastures for horse
breeding. His son, Qazan Khan, had a mausoleum built over his tomb, now known as Tappeh Nur. There is little information about the beginnings
of the new settlement until Oljaytu (later Sultan Muhammad Khodabandeh) came in to power in 1304 when he decided to enlarge the city and
make it his capital, naming it Soltaniyeh (Imperial). Together with Tabriz, Soltaniyeh became a major trading centre on the route between Asia and
Europe. In the 16th and 17th centuries, Soltaniyeh gradually declined and remained in ruins. Only a rural village was built over the remains.
The Mausoleum of Oljaytu, the principal monument of the city, constructed in 1302-12, stands in the middle of a rural settlement, surrounded by
fertile meadows. The building is octagonal in form, rising to a stunning high-profile dome, covered with turquoise-blue faience tiles. This structure
represents the earliest existing example of the double dome in Iran. The dome has no buttresses nor any additional thickness, and it is surrounded
by eight slender minarets as a decorative feature. A wide band of square Kufic around the drum makes a transition between the light blue and the
lapis lazuli blue of the main stalactite cornice. The second-storey galleries of the mausoleum open outwards, anticipating buildings such as the. Taj
Mahal. Structurally the building is considered a masterpiece. The interior walls were originally faced with light golden-toned bricks and dark blue
faience tiles to form large inscriptions in Kufic. However, in 1313, it was redecorated with plaster, using a rich variety of fine ornaments, often
worked in low relief. The second phase of the decoration belongs to the period when the use of the monument as a Shi'a shrine was given up. The
decoration of the exterior belongs to the first phase.
The immediate surroundings of the mausoleum consist of a stone terrace in the form of a citadel (Arg). Originally, the citadel was surrounded by a
30 m wide moat. Today this is an archaeological site.
Other monuments and sites in the World Heritage site include the Old City of Soltaniyeh, founded as the capital of Oljaytu in succession to Tabriz;
the Mausoleum of Sultan Chelebi Oghlu, a brick structure from the 1330s with an octagonal tower; The Mausoleum of Mullah Hassan Kashi, a
religious figure and poet at the court of Oljaytu; and the remains of Ghazan's tomb at Tappeh Nur, which, together with its adjacent remains known
as the Tappeh Nur Kuchak, form an archaeological monument.
In historic texts the area of Soltaniyeh was called the 'Prairie of the Alezans' or the 'Falcon's Hunting Ground'. The special nature of
thesemeadows is due to the soil, which prevents the entire absorption of rain water. As a result, it was especially fertile pasture, particularly
appropriate for horse breeding. This was also one of the reasons for the establishment of the city in this location.

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 :
In the 13th century, Persia was devastated by the Mongol invasions. They captured Baghdad in 1258, terminating the Abbasid caliphate there.
They also founded the Ilkhanid Empire in Persia with the capital in Tabriz, in the northwestern part of present-day Iran. The title "ilkhan" indicated:
subordinate or peaceful khan' in deference to the Great Khan in China. After Kublai Khan died in 1294, and the Ilkhanids converted to Islam, the
links with China became weaker. The Ilkhanid dynasty governed Persia until 1335.
There is archaeological evidence that the site of Soltaniyeh had been occupied at least from the first millennium BC. The construction of a
settlement however only started by the Ilkhanid dynasty around 1290. The fourth Mongol ruler in Persia, Arqun Khan, decided to build a
summer residence in this region, because it offered good hunting grounds and rich pastures for horse breeding. His son, Qazan Khan, had a
mausoleum built over his tomb, now known as Tappeh Nur. There is little information about the beginnings of the new settlement until Oljaytu (later
Sultan Muhammad Khodabandeh) came to power in 1304 and decided to enlarge the city and make it his capital, naming it Soltaniyeh, the
"Imperial". Together with Tabriz, Soltaniyeh became a major trading centre on the route between Asia and Europe. The principal phase of
construction was completed by 1313.
The Ilkhans had converted to Shi'ism, and they are believed to have wanted to transfer the relics of Calif Ali and his son, Hussein, from Baghdad to
Soltaniyeh. This never happened, though, and the shrine became the mausoleum of Oljaytu instead. After the death of Oljaytu in 1316, the city
started losing in importance, and later it fell in the hands of small local dynasties. In 1384, Tamerlan's army seized the city and sacked it, but spared
Oljaytu's mausoleum. In the following years, the city suffered, though it continued to function as a commercial centre comparable to Tabriz. In the
16th and 17th centuries, Soltaniyeh gradually declined and remained in ruins. Only a rural village was built over the remains. Some restoration was
undertaken in Oljaytu's Mausoleum in the 19th century. At the same time, the plain served as an instruction camp for the army of Qajar kings.

16.

Masjed-e Jm of Isfahan 2012

: Located in the historic centre of Isfahan, the Masjed-e Jm (Friday mosque) can be seen as a stunning illustration of the evolution of
mosque architecture over twelve centuries, starting in ad 841. It is the oldest preserved edifice of its type in Iran and aprototype for later mosque
designs throughout Central Asia. The complex, covering more than 20,000 m2, is also the first Islamic building that adapted the four-courtyard
layout of Sassanid palaces to Islamic religious architecture. Its double-shelled ribbed domes represent an architectural innovation that inspired
builders throughout the region. The site also features remarkable decorative details representative of stylistic developments over more than a
thousand years of Islamic art.
Masjed-e Jme is the oldest Friday (congregational) mosque in Iran, located in the historical centre of Isfahan. The monument illustrates a
sequence of architectural construction and decorative styles of different periods in Iranian Islamic architecture, covering 12 centuries, most
predominantly the Abbasid, Buyid, Seljuq, Ilkhanid, Muzzafarid, Timurid and Safavid eras. Following its Seljuq expansion and the characteristic
introduction of the four iwans (Chahar Ayvn) around the courtyard as well as two extraordinary domes, the mosque became the prototype of a
distinctive Islamic architectural style.
The prototype character is well illustrated in the earliest double-shell ribbed Nezam al-Molk dome, the first use of the four iwan (Chahar Ayvn)
typology in Islamic architecture, as well as the textbook character of the Masjed-e Jme as a compilation of Islamic architectural styles. The
Masjed-e Jme of Isfahan is an outstanding example of innovation in architectural adaptation and technology applied during the restoration and
expansion of an earlier mosque complex during the Seljuq era, which has been further enlarged during later Islamic periods by addition of high
quality extensions and decoration.
(ii): Masjed-e Jme is the first Islamic building that adapted the four iwan (Chahar Ayvn) courtyard layout of Sassanid palacesto Islamic
religious architecture and thereby became the prototype construction for a new layout and aesthetic in mosque design. The Nezam al-Molk Dome
is the first double-shell ribbed dome structure in the Islamic empire, which introduced new engineering skills, allowing for more elaborate dome
constructions in later mosque and burial complexes. On the basis of these two elements, the Masjed-e Jme is a recognized prototype for mosque
design, layout and dome construction, which was referenced in several later eras and regions of the Islamic world.
Integrity
The Masjed-e Jme contains a continuous sequence of Islamic architectural styles, the most prominent of which date from the Seljuq period. The
remains from the Seljuq era, especially the key elements of the ground plan, the four iwans, and the two domes are sufficient to illustrate
the advances in mosque and dome architecture made at the time. The boundaries of the property are adequate to encompass the entire mosque
complex with all its extensions and significant functions over time. However, the integrity of the property is highly vulnerable to development
projects in its vicinity. For this reason, any project proposed should be carefully assessed on the basis of comprehensive Heritage Impact
Assessments and respect the historic setting and urban proportions around the Masjed-e Jme.
Authenticity
Most elements of the mosque, in particular the four iwans and the Malek al-Molk and Taj al-Molk domes, are authentic in material, design and
location. Restorations and a reconstruction, which became necessary following an air raid in 1984, were carried out to an adequate standard, using
traditional craftsmanship and materials. One of the most important aspects of authenticity is the function of the Masjed-e Jme of Isfahan, both as
a mosque, which continues to be used for prayers, and as a component of the Isfahan historic bazaar fabric. Attached to and accessed from the
street network of the bazaar area, the mosque has a significant setting, the authenticity of which is highly vulnerable to changes in urban character.
To respect the authenticity of spirit and feeling, the museum function of Masjed-e Jme has to remain sensitive to its religious use, both in terms of
information panel design and visitor numbers.
Protection and management requirements
Masjed-e Jme of Isfahan is designated as a national monument (no. 95 of 1932) following article 83 of the Constitution Law of the Islamic
Republic of Iran (1920). Likewise its buffer zone is protected by regulations set up by the Iranian Cultural Heritage, handicraft and Tourism
Organization (ICHHTO), following a cabinet decision adopted in 2001, which stipulates that buffer zones fall under national law. Yet, it is essential
that the designated property and buffer zone is integrated in the zoning bylaws and the Isfahan urban master plan, as well as a continuous
cooperation between the ICHHTO and the responsible municipal authorities is established.
The management of the property is coordinated by three bodies, a Steering Committee, a Technical Committee and the site management office.
The Steering Committee consist of representatives of the ICHHTO, the Vaqf authorities, the governor and mayor of Isfahan, as well as reputable
experts, and it is responsible for supervising the protection and conservation of the site. The Technical Committee has the authority to review and
approve detailed project plans and schedules of activities and monitors work progress at regular intervals. The site management office is
responsible for the day-to-day coordination and supervision of activities. At the time of inscription it is located in the vicinity of the Masjed-e Jme
but is in the process of moving into a permanent base in the mosque complex.
An integrated conservation and management plan for the property, which includes sections on sensitive visitor management and risk-preparedness
strategies, should be developed and adopted with high priority.

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17.

18.

Anobanini
: The Cultural Heritage and Tourism Department of Sar-e Pole Zahab is determined to clarify the vicinity of the 4500-year-old
Anobanini relief.
In the near future the Cultural Heritage and Tourism Department of Sar-e Pole Zahab will start the operation for separating the wall of a school
which is located on the way of the 4500-year-old Anobanini historical relief.
Cultural heritage experts believe that Anobanini is one of the most ancient Persian releifs which dates back to 4500 years ago and can be
inscribed in list of UNESCO's World Heritage sites as the adjacent relief of Bisotun inscription.
Anobanini bas relief belongs to Anobanini, king of the Lolobi tribes. To choose Bisotun as the site for his triumphal rock relief, Darius, the
Achaemenid king, was presumably inspired by a relief from Anobanini, king of the Lolobi tribes (3rd millennium BC) at Sar-e Pole Zahab and
has portrayed himself and his allies Gobryas and Arta Phernes clearly distinguished from the small size rebels. Lolobi tribes inhabited in Zagros
area and their existence goes back to 4500 years ago and before the formation of Aryan tribes (Medes and Parthian).
According to Saeed Farmani, director of the Cultural Heritage and Tourism Department of Qasr-e Shirin and Sar-e Pole Zahab, since Anobanini
relief is currently located in the vicinity of a school, tourists face some problems to visit this historical site. "The visitors have to get certificate from
the Education Department for visiting this bas relief. Therefore, 40,000 dollar is dedicated to the project to clarify the vicinity of the relief and
separate the wall of the school from the visiting area of this historical site," said Farmani.
Farmani explained that preparing the moulage of Anobanini relief, restoration and preservation operations, and documenting this relief are the
other programs of this department, however he has not announced an exact time for starting the Anobanini bas relief salvation project. "With the
approval of Iran's Cultural Heritage and Tourism Organization to pay the expenses the project will be started as soon as possible," added
Farmani.
While 30 percent of Anobanini bas relief has damaged during the 8-year-old war between Iran and Iraq, no restoration activity has been started
yet for reviving this relief.
Anobanini bas relief is located 120 kilometers of Kermanshah in city of Sar-e Pole Zahab. This relief was carved during the third millennium BCE
at the height of 16 meters from the ground. The relief is consisted of the figures of Anobanini, Nini Goddess and nine prisoners. The surface on
which the relief was carved is divided into two parts. The figure of Anobanini with his left leg on the chest of a war prisoner can be seen on the left
part of the relief.
Many historians believe that Darius, the Achaemenid king, was inspired by Anobanini relief in creating Bisotun inscription in the heart of
isotun Mountain.

The lavish Golestan Palace

The lavish Golestan Palace is a masterpiece of the Qajar era, embodying the successful integration of earlier Persian crafts and architecture with
Western influences. The walled Palace, one of the oldest groups of buildings in Teheran, became the seat of government of the Qajar family,
which came into power in 1779 and made Teheran the capital of the country. Built around a garden featuring pools as well as planted areas, the
Palaces most characteristic features and rich ornaments date from the 19th century. It became a centre of Qajari arts and architecture of which it
is an outstanding example and has remained a source of inspiration for Iranian artists and architects to this day. It represents a new style
incorporating traditional Persian arts and crafts and elements of 18th century architecture and technology.
Golestan Palace is located in the heart and historic core of Tehran. The palace complex is one of the oldest in Tehran, originally built during the
Safavid dynasty in the historic walled city. Following extensions and additions, it received its most characteristic features in the 19th century,
when the palace complex was selected as the royal residence and seat of power by the Qajar ruling family. At present, Golestan Palace complex
consists of eight key palace structures mostly used as museums and the eponymous gardens, a green shared centre of the complex, surrounded
by an outer wall with gates.
The complex exemplifies architectural and artistic achievements of the Qajar era including the introduction of European motifs and styles into
Persian arts. It was not only used as the governing base of the Qajari Kings but also functioned as a recreational and residential compound and
a centre of artistic production in the 19th century. Through the latter activity, it became the source and centre of Qajari arts and architecture.
Golestan Palace represents a unique and rich testimony of the architectural language and decorative art during the Qajar era represented mostly
in the legacy of Naser ed-Din Shah. It reflects artistic inspirations of European origin as the earliest representations of synthesized European and
Persian style, which became so characteristic of Iranian art and architecture in the late 19th and 20th centuries. As such, parts of the palace
complex can be seen as the origins of the modern Iranian artistic movement.
(ii): The complex of Golestan Palace represents an important example of the merging of Persian arts and architecture with European
styles and motifs and the adaptation of European building technologies, such as the use of cast iron for load bearing, in Persia. As such Golestan
Palace can be considered an exceptional example of an east-west synthesis in monumental arts, architectural layout andbuilding technology,
which has become a source of inspiration for modern Iranian artists and architects.
(iii): Golestan Palace contains the most complete representation of Qajari artistic and architectural production and bears witness to
the centre of power and arts at the time. Hence, it is recognized as an exceptional testimony to the Qajari Era.
(iv): Golestan Palace is a prime example of the arts and architecture in a significant period in Persia, throughout the 19th century when the
society was subject to processes of modernization. The influential role of artistic and architectural values of ancient Persia as well as the
contemporary impacts of the West on the arts and architecture were integrated into a new type of arts and architecture in a significant transitional
period.
Integrity
The delimitation of the palace compound includes all elements which convey the Outstanding Universal Value of the property. Although the Qajari
architectural heritage of Golestan Palace has been much richer in the past and a considerable proportion of the palace complex has been
demolished and replaced under successive rulers, all elements which have survived until the present time are included within the property
boundaries.
At present the property is free of any acute threats, especially those which could compromise the visual perspectives into the wider landscape
from within the palace compound. To ensure that this situation is retained in the future, emphasis should be given to the protection of visual
perspectives from the inside of Golestan Palace and Gardens.
Authenticity
The characteristic architectural structures of the Qajari era retain authenticity in design and layout and have preserved the exceptional interior
and exterior faade decorations. All conservation activities carried out have paid due respect to authenticity of material, design and workmanship.
In addition, the palace complex has partly retained its use and function, in particular those galleries and wings that were created
as museums during Qajari times. Many of the residential, representative and administrative rooms have changed purpose but the palace is still

|
37

used as a location for contemporary state activities. It is probably the setting of the Qajari monuments that has changed most significantly during
Pahlavi times and the authenticity of which is only retained in fragmented form. While this situation is acceptable in light of the demonstrated
authenticity in material and design, it is essential that all remaining references to the historic Qajari setting of the property are carefully managed
and preserved.
Protection and management requirements
Golestan Palace is classified as a national monument according to the Law for Protection of National Heritage (1930). It has further been
transferred into government ownership according to the Law Concerning the Acquisition of Land, Building and Premises for Protection of Historic
Properties (1969) and is accordingly protected by both legislative means and property ownership. The buffer zone is protected by legal
regulations, which were approved by ICHHTO. These limit construction and infrastructure developments, the cutting of trees, create a pedestrian
zone and suggest a variety of measures for the improvement of facades and structures. It is important that the height restrictions in the buffer
zone and wider surroundings of the historical district of Tehran are strictly observed to protect the sightlines from inside Golestan Palace
complex.
The management of the property is guided by short, medium and long-term objectives which emphasize the conservation and restoration of the
palace complex. Management responsibility lies with the Golestan Palace Base, a subsection of ICHHTO exclusively responsible for the property
and functioning as a site management office. While management objectives have been presented, it would be desirable to develop a full
management plan for the property, in which risk preparedness and risk response procedures should be given adequate attention.

~ : (

1.

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2.

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100
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4.

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5.

1302-1312

6.

Susa : Daniel

7.

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8.

~ : -

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9.

11. 14 :

UNESCO,2010

UNESCO,2008UNESCO,2008UNESCO,2010
UNESCO,2003
UNESCO,2005
UNESCO,2006
UNESCO,1979

UNESCO,2009
UNESCO,1979
UNESCO,2004

UNESCO,1979
UNESCO,2012
UNESCO,2011

5/05

01

22:55/04:10

TPE/ DXB

EK367

9 15

5/06

02

07:45/10:25

DXB/ IKA

EK971

2 10

6/01

28

11:40/13:10

IKA/ DXB

EK972

2 00

|
38

6/02

29

05/05() 01

04:05/16:40

DXB / TPE

EK366

8 35

TAIPEI -> DUBAI

EK367 22:55/04:10
05/06() 02 DUBAI-> TEHRAN []
EK971 0745/1025 : 02h10m

( Imam Khomeini )
Tehran (Ray)70
15%
1779 QajarAgha Muhammad
1926Pahlavi Dynasty
70
()

Archeological Museum()

|
39

 |
40

The National Museum of Iran (Tehran, Iran).

NATIONAL JEWELS MUSEUM

182SEA OF LIGHT

The Pahlavi Imperial Crown

182Darya-e-Noor Diamond

The Kiani Crown

When Mahmud Afghan invaded Iran in 1722, he plundered the treasury and sent its contents to India. On ascending the throne in 1736, Nader Shah
Afshar despatched courtiers to ask for the return of the jewels. When their powers of persuasion proved unequal to the task, he sent an army to prove
that he was serious. To get the soldiers off his back, Mohammed Shah of India was forced to hand over the Darya-ye Nur (Sea of light )and Kuh-e
Nurdiamonds,aPeacockThrone(thoughnottheoneyoullseehere)andassortedothertreasures.AfterNaderShahsmurderin1747,AhmedBeg
plundered the treasury and dispersed the jewels. The Kuh-eNur,theworldslargestcutdiamond,founditswayintothestickyfingersofthecolonial
British and has been locked up in the Tower of London since. The Qajar and Pahlavi rulers enthusiastically added to the jewels collection, which grew
to be so valuable that in the 1930s it was transferred to the National Bank of Iran (now the Central Bank of Iran) as a reserve for the national currency.

www.pinterest.com/ladyheather13/royal-jewels-iran/

 |
41

Iranian Crown Jewels Emerald Necklace

Farah Diba Iran

Coronation Necklace - Iran

1978( Carpet Museum of Iran )16-19

 |
42

 |
43

Ardair's Investiture Relief on a carpet by Khasem Kermani.

early 20th century carpet from Kerman by master designer Ali Kermani depicting Garden of Eden,

 |
44

52500

1949 Pazyryk carpet, 5th century BC. Discovered in Pazyryk, Siberia

16~20

TEHRAN

1200 1500 1100

05/07() 03 TEHRAN152KM( 2 ) QAZVIN215KM( 3 ) BANDAR-E-ANZALI

(CASPIAN SEA) Safavids QAZVIN

Mesjed Koucheek, Qazvin, in 1921

|
45

 |
46

Tahmasb I
Salam, Solum,al-Qiya, and Sohuli Ubayd Zakani
( figh)( hadith ) ( tasqwwuf )

(Qjr Dynasty, 1794-1925) : (Tehran Gate)

 |
47

-Al-Nabi Mosque

05/08() 04 109KM( 1 50 ) MASOOLEH

KENAR HOTEL

VILLAGE OF MASOOLEH ( )
( 700 )
adobe, rods & bole

 |
48

ANZALI
SWAMP 450

CASPIAN SEATurkmenistanKazakhstan
30%1,025 m
209 m28m1,054m
6,380
05/09() 05 150KM( 2 ) ASTARA261KM( 4 15 ) ARDABIL

ASTARA
()1813(GOLESTAN TREATY)()
()(ZOROASTER)

 |
49

HEIRAN STRAITARDABIL( )
ARTAVILHoly Place

Mohammad Tajik, Sheikh Safi al-din Khanegah Shrine Ensemble, in the City of Ardabil, Iran

 |
50

Courtyard and Iwan Sheykh Safi's tomb

 |
51

Shia Safavid dynasty (1501-17221729-1736)

14 Safaviyeh( sufi order ) --( Safi Al-Din Ardabili
1252-1334 ) Dervish Brotherhood
Ismail I15021524
Shah of Iran ( )Tabriz( Shah of Persia)5
1502
( Sunni )ulama (a religious council of wise men)
1509( Ardabil, Azerbaijan )
Ashura, when Shia Muslims mark the death of Husayn. Ali
was also venerated

()
15081524Sadr,

1507
1514(Chaldiran)(Selim I )

 |
52

Statue of Shah Ismail

1532
1629
1598( Isfahan)
17251828

800

7 8

 7
10

()
Suhrawardiyya as-Suhrawardi
Qadiriyya Abdul Qadir al-Jilani
Chishtiyya Mu'iniddin Chishti Ajmer
Shadhiliyya Mawlawiyya Jalaluddin Rumi
Konya Naqshabandiyya
2010

SSheikh Safi-Ad-Din KHNEGH AND SHRINE

ENSEMBLE in Ardabili
UNESCO,2010
mausoleum 1334 Sheikh Sadr aldin Musa
16 18
mausoleums of Sheikh Safi and Shah Ismail I, Chini khaneh (meaning the house of chinaware),
a mosque, Jannat Sara (meaning the house of paradise), Khanaqah (the house of Dervishes), Cheragh Khaneh (the house of lamps), Shahid
khaneh (the house of martyrs) and Chelleh Khaneh (the place where devotees shut themselves up during the forty days of Lent). The
mausoleum of Sheikh Safi, the dome of which is called "Allah-Allah" has an octagonal interior.

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53

 |
54

() Sheikh Safi al-din Khnegh and Shrine Ensemble in Ardabil

17

05/10() 06 395KM( 4 50 ) TABRIZ

-GOLI PARS HOTEL

TABRIZ
SARAB TOWN PLUTONIAN MOUNTAIN OF SABALAN SHIRVAN
PASS SAHAND
MOUNTAIONS 3,750

 |
55

SAHAND mountain

Fritillaria crassifolia

Papaver spec., Astragalus cf. lydius, Tulipa

polychroma, Tulipa spec. aff. systola, Colchicum szovitsii , Rosa canina, Lathyrus sativus , Ornithogalum narbonense, Eremostachys laciniata,
Eremurus spectabilis, Muscari comosum, Berberis integerrima, Rhagonycha fulva, Onosma cassium, Astragalus spec, Corydalis verticillaris,
Puschkinia scilloides, Puschkinia scilloides, Allium derderianum, Salvia limbata, Alyssum cf. peltarioides ssp. virgatiforme, Crataegus spec,
Crambe orientalis, Tragopogon graminifolius, Aethionema spec., Hesperis persica, Centaurea ispahanica, Campanula spec., Geranium spec.,
Fritillaria persica, Onosma bulbotrichum , Iris barnumae, Iris aucheri, Allium cf. derderianum, Salvia limbata, Salvia cf. spinosa, Euphorbia rigida,
Gentiana verna ssp. pontica, Lamium album , Diphelypaea boissieri (syn. Phelypaea boissieri) , Eminium heterophyllum, Diphelypaea boissieri
(syn. Phelypaea boissieri), .....( http://photos.v-d-brink.eu/Flora-and-Fauna/Asia/Iran-Elburz-mountains-Western/i-vMth4nS Marijn
van den Brink Elburz )

TABRIZ1,450m

TabrizTabriz
rikhtan
Tabriz

3 7
Parthian Empire13-16
Ilkhanate Ak Koyunlu DynastyKara Koyunlu
Dynasty(SAFAVID)

(OTTOMAN)

Azari
15Ardabil

19~20Qajar

20

20083,00090%

1780

2010 UNESCO

( 858, 1041, 1721 )

05/11() 07 268KM( 3 10 ) MAKU163KM( 2 10 ) KHOY

MAKU THE ARMENIA

MONASTIC ENSEMBLE IN IRAN : ST.THADDEUS CHURCH THE CHAPEL OF
DZORDZOR

3
St. Tado St. Stepanos Monastery The Chaper of Dzordzor
7

ST.THADDEUS Monastery (Qareh Kalisa) : Saint Jude

ST.BARTHOLOMEW
68 1319 1329 1810
Kara Kilise
Polygonal drums & cornical roof of its two domes

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56

 5 3

THE CHAPEL OF DZORDZOR(Maryam-e Moghadas : 12 1319

1719

|
57

Saint Thaddeus monastery

The Dzordzor chapel

05/12() 08 KHOY96KM( 1 25 ) JULFA[]141KM( 2 )

-GOLI PARS HOTEL

Azerbaijan JOLFA17
CHURCH
OF ST. STEPHANOSUNESCO,2008

Saint Stepanous Cathedral, Jolfa, Iran

14 62
Honatanian ARAS

 12

Shah Abbas ( )

05/13() 09

-GOLI PARS HOTEL

Lake Urmia
Sahand
TOMB OF SHAHRIARSHAHRIYAR
400 BAZAARUNESCO,20102010

1015
JAMEAND KABOOD MOSQUES

1868 Haj Vali Me'mar-e Tabrizi the Constitution House of Tabriz,

|
58

 |
59

AZERBAIJAN AND CONSTITUTION REVOLUTION MUSEUMS (Khaneh Mashrutiyat )

Mount Sahand Kandovan

Garden
of Edenbaghs36
Cappadocia Kandovan 700 Kandovan
Kandovan

BAZAAR
UNESCO,2010

Historic Bazaar Complex, Tabrix

13 16
18

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60

Cones of Kandovan

05/14() 10 388KM( 4 30 ) TAKHT-E SULEIMAN139KM( 2 30 ) ZANJAN

ZANJAN LAKE Orumia ( URMIA)

Azerbaijan
TAKHT-E SULEIMANUNESCO,2003

Zoroastrian
sanctuary Ilkhanid Mongol13 Sasanian 6~7
Anahita

Tomb of Cyrus the Great at Pasargadae.

 UNESCO
The site consists of an oval platform about 350 m by 550 m rising 60 m above the surrounding valley. It has a small calcareous artesian well that
has formed a lake some 120 m deep. From here, small streams bring water to surrounding lands. The Sassanians occupied the site starting in
the 5th century, building there the royal sanctuary on the platform. The sanctuary was enclosed by a stone wall 13m high, with 38 towers and
two entrances (north and south). This wall apparently had mainly symbolic significance as no gate has been discovered. The main buildings are
on the north side of the lake, forming an almost square compound (sides c . 180 m) with the Zoroastrian Fire Temple (Azargoshnasb) in the
centre. This temple, built from fired bricks, is square in plan. To the east of the Temple there is another square hall reserved for the 'everlasting
fire'. Further to the east there is the Anahita temple, also square in plan. The royal residences are situated to the west of the temples.
The lake is an integral part of the composition and was surrounded by a rectangular 'fence'. In the north-west corner of this once fenced area,
there is the so-called Western iwan , 'Khosrow gallery', built as a massive brick vault, characteristic of Sassanian architecture. The surfaces
were rendered in lime plaster with decorative features in muqarnas (stalactite ceiling decoration) and stucco. The site was destroyed at the end
of the Sassanian period, and left to decay. It was revived in the 13th century under the Mongol occupation, and some parts wererebuilt, such as
the Zoroastrian fire temple and the Western iwan . New constructions were built around the lake, including two octagonal towers behind
the iwan decorated in glazed tiles and ceramics. A new entrance was opened through the main walls, in the southern axis of the complex. It is
noted that the surrounding lands in the valley (included in the buffer zone) contain the remains of the Sassanian town, which has not been
excavated. A brick kiln dating from the Mongol period has been found 600 m south of Takht-e Soleyman. The mountain to the east was used by
the Sassanians as a quarry for building stone.
Zendan-e Soleyman is a hollow, conical mountain, an ancient volcano, some 3 km to the west of Takht-e Soleyman. It rises about 100 m above
the surrounding land, and contains an 80 m deep hole, about 65 m in diameter, formerly filled with water. Around the top of the mountain, there
are remains of a series of shrines and temples that have been dated to the 1st millennium BCE.
The Belqeis Mountain (c . 3,200 m), is situated 7.5 km north-east of Takht-e Soleyman. On the highest part there are remains of a citadel (an
area of 60 m by 50 m), dating to the Sassanian era, built from yellow sandstone. The explorations that have been carried out so far on the site
indicate that the citadel would have contained another fire temple. Its orientation indicates a close relationship with Takht-e Soleyman.
: The Persian Empire was founded by the Achaemenid dynasty (6th to 4th centuries BCE). Subsequently, a new empire was
established by the Parthians (2nd BCE to 3rd CE), who were conscious of their Persian identity, even though under strong Hellenistic influence.
The following Sasanian Empire (3rd to 7th CE), re-established the Persian leadership in the region, and was successful in forming a
counterforce to the Roman Empire. Basing on the Achaemenid heritage and the impact of the Hellenistic-Parthian period, the Sasanians
developed new artistic and architectural solutions. Their architecture had important influence in the east as well as in the west; it became a
major reference for the development of architecture in the Islamic period.

: Fire and water have been among the fundamental elements for the Iranian peoples since ancient times. Fire was conceived a divine
messenger between the visible world and the invisible (gods). Water was the source of life. Volcanic regions were thus of particular interest,

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61

especially when there was the presence of water as it was the case of Takht-e Suleiman.
Zoroastrianism is an Iranian religion, and has its origin in Prophet Zarathustra, who probably lived in the 7th century BCE or earlier. This religion
is characterized by its monotheistic aspect related to Ahuramazda, and it recognizes the conflict between good and evil forces. Ahuramazda was
worshiped by the early Achaemenids, whose rituals took place in the open on fire altars, without any temples. With the revival of new
nationalism, the Sasanians established Zoroastrianism as a state religion, building fire temples for the cult. Zoroastrianism has had an important
influence on Christianity and Islam, and it is still a living religion, practised in Iran, India and Central Asia.
The Sasanians also recognized the cult of Anahita, the goddess of earth, associated with water. A temple of Anahita is included in the complex
of Takht-e Suleiman.
The early period: The volcanic site where the Sasanians built their sanctuary, Azargoshnasb (Fire temple of the Knights), later called Takht-e
Suleiman (Throne of Solomon), has been subject to worship for a long time. The hollow, volcanic mountain, called Zendan-e Suleiman (the
prison of Solomon) is surrounded by the remains of temples or shrines, dated to the first millennium BCE. These are associated with the Manas,
who ruled the region from 830 to 660 BCE. The crater was once full of water, but has later dried out.

The Sasanian period: With the arrival of the Sasanians (5th century CE), Zendan-e Suleiman lost its importance in favour of Takht-e Suleiman,
where construction started in mid 5th century CE, during the reign of the Sasanian king Peroz (459-484 CE). The site became a royal
Zoroastrian sanctuary under Khosrow I (531-579) and Khosrow II (591-628), and it was the most important of the three main Zoroastrians
sanctuaries. The other two have not been identified so far.
The construction of this temple site coincides with the introduction of Christianity as the main religion in the Roman Empire. The need to
strengthen Zoroastrianism can thus be seen as an effort to reinforce national identity as a counterpoint to Christianity in the Roman world. The
importance of Takht-e Suleiman was further increased with the introduction of the cult of Anahita. The royal ensemble was surrounded by an
urban settlement on the plain. The site was destroyed by the Byzantine army in 627, a counter measure to the Sasanian attack to their
territories.
Mongol period: The site regained importance in the 13th century, when the Ilkhanid Mongols rebuilt part of it as a residence for Ilkhan Aba-Qaan,
then the ruler of Iran. The reconstruction phase included the fire temple and the western Iwan, as well as new structures around the lake. The
Mongol rehabilitation shows cultural continuity, which is particularly interesting in the revival of Zoroastrian faith in the middle of the Islamic
period. Due to its natural and cultural qualities, the site has been associated with various legendary and biblical characters and issues, such as
Solomon, Christ, earthly paradise, Holy Graal, etc.
Later phases: After the Ilkhanid period, from the mid 14th century, the site was abandoned and gradually fell into ruins. It was rediscovered by
the British traveller, Sir Robert Ker Porter in 1819, followed by other explorers. In 1937, the site was photographed by Erich F. Schmidt, and
surveyed by Arthur U. Pope and Donald N. Wilber. In 1958 it was explored by Swedish archaeologists. The first systematic excavation was
undertaken by the German Archaeological Institute under R. Naumann and D. Huff, in the 1970s.

|
62

 |
63

The Thron of Solomon, Takab

13 SASSANID FIRE TEMPLE

LAKE URMIA Wermy Urmia

140 55
16 4500 (
)

 |
64

05/15() 11 ZANJAN56KM( 1 ) SOLTANIYEH283KM( 3 20 ) HAMADAN

( charoogh & malileh ) SAFAVID

BAZAAR RAKHTSHOI KHANEH AND ZANJAN SALT MAN MUSEUM 2004

2005 GONBAD-E SOLTANIYEHUNESCO,2005

Soltaniyeh Dome

.. -. .. 1162 .. 1205
.. 1206 . -.. 1219 .. 1224 . -..
1227 . . -.. 1236 .. 1243 -. -.. 1253

.. 1258 . -.. 1271 . -.. 1279 .. 1369

-().. 111
. .. -..
-. -.. Oljaytu 1302 1312
.. . -..
.. -. .
-.. 2005 . 1188
-. . 8 (- 6 ..)..
.. . . 50 .
. 700 .. .. ..

. .
.. -. 700 . . .
Soltaniteh ( Mausoleum of Oljaytu ) Santa Maria and Hagia Sophia,
1302-12 50

GANJNAMEH
Darius the Great (521-485 BC) Xerxes the Great (485-65 BC)
Neo-Elamite Neo-Babylonian
Ahura Mazda

|
65

 |
66

Darius I's
trilingual inscription in old persian, elamite and babylonian, at Ganj Nameh, near Hamadan, Iran.

 |
67

Xerxes I's trilingual inscription in old persian, elamite and babylonian, at Ganj Nameh, near Hamadan, Iran. " The Great
God [is] Ahuramazda, greatest of all the gods, who created the earth and the sky and the people; who made Xerxes king, and outstanding king
as outstanding ruler among innumerable rulers; I [am] the great king Xerxes, king of kings, king of lands with numerous inhabitants, king of this
vast kingdom with far-away territories, son of the Achaemenid monarch Darius."

05/16() 12

HAMADAN ( Ecbatana or Hamedan or Hegmatanah or Ecbatan )

Meds Aryan
SHRINE OF
ESTHER & MORDECAI ( Hadassah Ester/Esther BC486~465
Xerxes Purim )
SHIRE SANGI (THE STONE LION) Hamedans Stone Lion of Ecabtana Tomb of Hephaestion
Eyn ol-Qozat Square Kuffic Thulth MONASTERY OF GONBADE ALAVIAN

 |
68

Ancient place in hamadan (gonbad alavian)

1952 MAUSOLEUMS OF THE PHILOSOPHER/MATHEMATICIAN IBN SINA ( Avicenna,
Ibne Sina AAvicenna

BABA TAHER

Canon of Medicine (980 1037), The first page of a manuscript, authored by Ibn Sina.

Portrait of Ibn Sina (Avicenna)

 |
69

Khamsah-i Nizami [Nizami's Quintet (Five Stories)], by Nizami Ganjavi, Nizam al-Din Abu Muhammad Ilyas ibn Yusuf , 1140
Nizami (1140-1202) is widely considered one of the greatest poets of Persia and his most important work is the Khamsah (Quintet), a collection
of five epic poems, written between 1165 and 1189. Nizami's importance in Persian literature is due to his supreme skill and influence as well as
his role in presenting the archaic style of the epic poem in a lyrical form that emphasized the psychological characterization over the heroic
character. The present manuscript dates from the early Safavid period and is a fine example of Safavid calligraphy, handsomely illustrated with
nine miniatures. In Persian.

 |
70

ALI SADER CAVE

1011

:



(Purim )
05/17() 13 168KM( 1 50 ) BISTOON189KM( 2 30 ) KERMANSHAH

BISTOONUNESCO, 2006

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71

100
8 5 ()
1835 12 1845
( 330
)

50 Kangavar
ANAHITA TEMPLE
SAHNEH OSTAD KHALIL ALINEJAD
TAGH-E-BOSTAN ()
( 3 )

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Ardeshir II investiture Mithra, Shapur II, Ahura Mazda

05/18() 14 390KM( 5 30 ) SUSA

SUSAKHORAM ABAD
(FALAK-OL-AFLAK CASTLE) Elamite
Parthian
TOMB OF DANIEL
2600
605
6000
APADANA PALACE m2

Shush Castle
SUSA CASTLE

SUSA

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647BC

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Archers frieze from Darius' palace at Susa., Achaemenid era, ca. 510 BC, Louvre Museum
224 339
374 638 1259

(
)
(APADANA) m2

19

05/19() 15 197KM( 2 40 ) AHWAZ

1,425,000
CHOGHA ZANBIL TEMPLE
SHOOSHTAR WATERFALLS AND HISTORICAL BRIDGES

() CHOGHA ZANBIL TEMPLE : Elamite

, King Untash- Napirisha 1250 Susa Inshushinak 640 Assyrian
Ashurbanipal. 1935
1979
UNESCO

SHOOSHTAR WATERFALLS AND HISTORICAL BRIDGES :

5

Shapur I Valerian Shadravan Bridge

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05/20() 16 610KM( 8 20 ) SHIRAZ

SARAB-E-BAHRAM BISHAPOORCHOGAN
SASSANID ROCK RELIEVES

SARAB-E-BAHRAM Audience scene of Sasanian king Bahram II

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Ka'ba-ye Zartosht (cube shaped construction in the foreground) against the backdrop of Naqsh-e Rustam.

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Erich Schmidt Naqsh-e Rostam, Shiraz, Iran

BISHAPOOR CHOGAN : SHAPUR'S CITY(226 ~650

) 6
TANGE CHOGAN

1930

05/21() 17

SHIRAZ

Fars56
Kuh-e Rahmat
1979

(Saadi )( Hafez )
1,700,000
1,450

2 6
(ISTAKHR) 67

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13 18
20

HAFEZ & SAADI AND HISTORICAL SITES

Aramgah-e Hafez (Tomb of Hafez) Aramgah-e Sadi (Tomb of Sadi)

ARG OF KARIM KHAN 1750-1779
Zand Karim Khan 12800 m2
12m 14m
ARAMGAH-E SHAH-E CHERAGH
VAKIL MOSQUE 18
48

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79

VAKIL BAZAAR 1876 Qjr

Nasr al-Mulk

Western portico and courtyard of the Nasr ol Molk mosque at Shiraz

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80

A Muqarna decorated vault at the Nasr ol Molk Mosque

Rosace ceramic tile decorating the ceiling of the praying room

ALI-EBN-E-HAMZEHHfezShamsoddin Mohammad , 13201389

20
1387
JAHAN NAMA GARDEN()ERAM
GARDEN DELGOSHA GARDEN KHAJOY-E-KERMANI TOMB

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81

 Hafez Sa'di
Hafez
Hafez
( )
Hafez
() (The Persian GardenLe jardin persan)
(
) Hafez
Hafez
14

Shiraz Shiraz
///
/////

UNESCO Pasargad Persian Garden at Pasargadae, Chehel Sotoun at Isfahan, Fin Garden
at Kashan, Eram Garden at Shiraz, Shazdeh Garden at Mahan, Kerman, Dolatabad Garden at Yazd, Abbasabad Garden at
Abbasabad, Mazandaran, Akbarieh Garden in South Khorasan Province, Pahlevanpour Garden Taj
Mahal, Agra, Humayun's Tomb, New Delhi, Shalimar Gardens, Lahore, Generalife, Granada,
4 600

30

Bagh-e Eram( Garden of Paradise )

(Yazd)

05/22() 18 75KM( 1 10 ) PERSEPOLIS85KM( 1 10 ) PASARGAD

155KM( 1 40 )

2,500 PERSEPOLIS2500

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 polis Takht-E-Djamshid { Throne

of Djamshid the Great Djamshid } Persepolis
Capital of Persia.

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509 ( Achaemenid )( Darius I )

200 15 m2

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18 (),
( )
() 76m
36 (18.6m) 1/12 5%

" The cedar timber from there (a mountain by name Lebanon) was
brought, the yaka timber was brought from Gandara and from Carmania. The gold was brought from Sardis and from Bactria . . . the precious
stone lapis-lazuli and carnelian . . . was brought from Songdiana. The turquoise from Chorasmia, the silver and ebony from Egypt, the
ornamentation from Ionia, the ivory from Ethiopia and from Sind (Pakistan) and from Arachosia. The stone-cutters who wrought the stone, those
were Ionians and Sardians. The goldsmiths were Medes and Egyptians. The men who wrought the wood, those were Sardians and Egyptians.
The men who wrought the baked brick, those were Babylonians. The men who adorned the wall, those were Medes and Egyptians."

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85

Golden rhyton from Iran's Achaemenid period, excavated at Ecbatana (Tell Hagmatana). Kept at National Museum of Iran.

500 ( Darius I )
()

()

68.6 100 11.3m

100

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86

Charter of Freedom: by Cyrus The Great who ruled Persia from 559 B.C.E. to 529 B.C.E:
My numerous troops moved about undisturbed in the midst of Babylon. I did not allow anyone to terrorise the land of Sumer and Akkad.
I kept in view the needs of Babylon and all its sanctuaries to promote their well being. I lifted their unbecoming yoke. Their dilapidated
dwellings I restored. I put an end to their misfortunes.
I am Cyrus, King of the world, great king, mighty king, king of Babylon, king of the land of Sumer and Akkad, king of the four quarters,
son of Camboujiyah (Cambyases), great king, king of Anshn, grandson of Kourosh (Cyrus), great king, king of Anshn, descendant of
Chaish-Pesh (Teispes), great king, king of Anshn, progeny of an unending royal line, whose rule Bel and Nabu cherish, whose kingship
they desire for their hearts, pleasure. When I well -disposed, entered Babylon, I set up a seat of domination in the royal palace amidst
jubilation and rejoicing. Marduk the great god, caused the big-hearted inhabitations of Babylon to ... ... ... ... ... me, I sought daily to
worship him.
At my deeds Marduk, the great lord, rejoiced and to me, Kourosh (Cyrus), the king who worshipped him, and to Camboujiyah
(Cambyases), my son, the offspring of (my) loins, and to all my troops he graciously gave his blessing, and in good sprit before him we
glorified exceedingly his high divinity. All the kings who sat in throne rooms, throughout the four quarters, from the Upper to the Lower
Sea, those who dwelt in ... ... ... ... ..., all the kings of the West Country, who dwelt in tents, brought me their heavy tribute and kissed my
feet in Babylon. From ... ... ... ... ... to the cities of Ashur, Susa, Agade and Eshnuna, the cities of Zamban, Meurnu, Der as far as the
region of the land of Gutium, the holy cities beyond the Tigris whose sanctuaries had been in ruins over a long period, the gods whose
abode is in the midst of them, I returned to their places and housed them in lasting abodes.
I gathered together all their inhabitations and restored (to them) their dwellings. The gods of Sumer and Akkad whom Nabounids had,
to the anger of the lord of the gods, brought into Babylon. I, at the bidding of Marduk, the great lord, made to dwell in peace in their
habitations, delightful abodes.
May all the gods whom I have placed within their sanctuaries address a daily prayer in my favour before Bel and Nabu, that my days
may be long, and may they say to Marduk my lord. May Cyrus the King, who reveres thee, and Camboujiyah (Cambyases) my son...
Now that I put the crown of kingdom of Persia, Babylon, and the nations of the four directions on the head with the help of God (Ahura
Mazda), I announce that I will respect the traditions, customs and religions of the nations of my empire and never let any of my
governors and subordinates look down on or insult them until I am alive. From now on, till God grants me the kingdom favor, I will
impose my monarchy on no nation. Each is free to accept it , and if any one of them rejects it , I never resolve on war to reign. Until I am
the king of Persia, Babylon, and the nations of the four directions, I never let anyone oppress any others, and if it occurs , I will take his
or her right back and penalize the oppressor.
And until I am the monarch, I will never let anyone take possession of movable and landed properties of the others by force or without
compensation. Until I am alive, I prevent unpaid, forced labor. To day, I announce that everyone is free to choose a religion. People are
free to live in all regions and take up a job provided that they never violate others rights.
No one could be penalized for his or her relatives faults. I prevent slavery and my governors and subordinates are obliged to prohibit
exchanging men and women as slaves within their own ruling domains. Such a traditions should be exterminated the world over.
I implore to God to make me succeed in fulfilling my obligations to the nations of Persia, Babylon, and the ones of the four directions.

Cyrus The Great

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87

Presence of fravashi (fravahar) as the symbol of spiritual evolution (passage through six Amshaspand) and attainment of holiness and eternal
life next to Iris
(
525)

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88

Persepolis Main Hall (a) The battle of the king with a devil in the form of a horned lion (shirdal) (b) The entrapped devil in the form of column
capital. The column capitals.

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89

Persepolis Main Hall (a) The battle of the king with a devil in the form of a bird (b and c) The entrapped devils in the form of column capital.

Persepolis Main Hall (a) The battle of the king with a devil with the head of a horned lion and his victory (b) The devil entrapped in the form of
column capital. (A Collection of Traditional Iranian Architecture, Geographic Organization) (c) The column head in the shape of a lion

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90

Persepolis , Main Hall (a) The battle of the king with a devil with the head of a cow and his victory (b) The devil entrapped in the form of column
capital.

20 ( ) ( )

Parsa518( 521- 486 BC)King Xerxes

the Great (Khashayar, 486-65 BC)Artaxerxes I (465-24 BC) 70
515~490 BCApadana490~480 BCTripylon
( 500x 400 x 10~13m , LxWxH)480~470 BC470~450 BC
360~338 BC32( 13 )
Achaemenid Empire (ca. 550330 BC)Darius I
,518 BC
" God protect
this country from foe, famine and falsehood." 331BC( Alexander, the King of
Macedonia )

25,000Ekbatana ( Medes
Parthian )
1501930 Andr Godard,
Ernst Herzfeld , Erich F. Schmidt 13
1979

the Great Stairway, the Gate of Nations ( Xerxes the Great), the Apadana Palace of
Darius, the Hall of a Hundred Columns, the Tripylon Hall and Tachara Palace of Darius, the Hadish Palace of Xerxes, the palace of Artaxerxes III,
the Imperial Treasury, the Royal Stables, and the Chariot House.

Achaemenid "Eternal Soldiers" at Persepolis

KOH-E-RAHMAT NECROPOLIS
( NAQSH E ROSTAM)

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 15
( Darius I Xerxes
Artaxerxes Darius II ) ( Artaxerxes II, III
) Darius I " It's not my desire that a man should do
harm, nor is it my desire that he goes unpunished when he does harm " PASARGAD
87 Cyrus the Great (559530 BC)
546

Pthragda 1.6
(Artaxerxes II Mnenon 405~358 BC, Artaxerxes III Ochus, 358~338 BC )
2

Cyrus tomb in Pasargades, the oldest base-isolated structure in the world

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The Audience Hall of the Pasargadae Palace

05/23() 19 566KM( 6 50 ) KERMAN

Kavir-e Lut (Lut Desert) KERMAN

|
570,000 MAHARLOO SALT LAKE () 93
BAKHTEGAN LAKE

Maharloo Lake

Lake Bakhtegan ( )
NEIRIZ 10 Buyid, Seljuk and Il-Khanid NEIRIZ
JAMEMOSQUE

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94

Neyriz, Jameh Mosque

05/24() 20 190KM(2 30 ) BAM190KM(2 30 )

BAM 77
BAM AND ITS CULTURAL LANDSCAPE

Chineh Khesht
2003 12 26 6.6 80% 26,200
(
http://www.earth-auroville.com/bam_and_arg_e_bam_en.php )

The Bam Citadel

TOMB OF SHAH NEEMAT OLLAH-E-VALI SHAZDEH GARDEN
ARG-E-BAM(BAM CITADEL) RAIIN CASTLE GANJALI KHAN COMPLEX
KERMAN BAZAAR

ARG-E-BAM (BAM CITADEL) 2004 :

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95

The citadel of Arg-e Bam: The world's largest adobe structure, dating to at least 500 BC.
579~3230 Ardeshir Babakan
224 637 645 Al Rasoul
1850
Qajar Dynasty Agha Mohammad Khan Baluchi 1932
( 38 )

SHAZDEH GARDEN :
1850 Mohammad Hasan Khan Qajar Sardari Iravani 1870 Abdolhamid Mirza Naserodollehand
FIN GARDEN

pine and cedar

wild wych-elm, rowan, sycamore and aspen Ornamental plants including ornamental cedars, and ornamental juniper,
Shirkhesht ash, salsify, and pine

KERMAN BAZAAR : 4

 the Congregational Mosque, the Mirza Naim ensemblethe Mir House

|
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Arg-E-Bam

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97

Ice House Kushk Rahim Abad Summer Pavillion

Caravanserai

Nartij Village

GANJALI KHAN COMPLEX

17 GANJALI KHAN

05/25() 21

360KM( 4 15 ) YAZD

YAZD

ZEINODDIN CARAVANSERAI

 YAZD
05/26() 22 YAZD

YAZD
1,215
Sassanid DynastyYazdegerd II
YazdYad
642

2
1415

ZOROASTRIAN()
( badgir
Pigeon Tower )

1271
OLD TOWNBADGIR WATER MUSEUM
DAKHMEH(TOWER OF SILENCE)()FIRE TEMPLE OF THE ZOROASTRIANS
Masjed-i Jame mosqueDOULAT ABAD GARDENAMIR
CHAKHMAGH COMPLEXNAREIN CASTLE

DAKHMEH(TOWER OF SILENCE ) :

WATER MUSEUM : QANAT

qanats 45

JAMEMOSQUE : 14 800

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99

Masjed-e Jomeh, Yazd, Iran

Interior of Jame Mosque of Yazd, Iran

Back entrance of Jame Mosque of Yazd, Iran

DOULAT ABAD GARDEN MOHAMMAD TAGHI KHAN BAFGHI

2 DOWLAT ABAD

NAREIN CASTLE :

 |
100

Amir Chakhmagh Mosque & Square in Yazd, Iran

AMIR CHAKHMAGH COMPLEX : Timurid

dynasty (15th-16th century CE) Amir Jalaleddin Chakhmaq MASJID-E AMIR

CHAKHMAQ HAJI QANBAR SETI FATHEMEH
05/27() 23

173KM( 2 30 ) NAIN143KM( 2 ) ISFAHAN

NA'IN MOSQUES
Seljuk 906

ISFAHAN
NAIN 1,560 27
05/28() 24 ISFAHAN

3 6 0Zayandeh
200
Esfahan nesf-e jahan

17Iskandar Munshi

Esfahan

|
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20RobertByron

|
102

Isfahan was conquered by the Ghilzay Afghans in 1722.

86Median Empire
45Achaemenid Empire330
640
1112
Selijug EmpireSafavid Dynasty
Abbas I15871629Tabriz
17

2006
Robert Byron: Isfahan among those rarer places, like Athens and Rome, which are common refreshment of
humanity
Seljuq ( 1038~1194 )and Safavid dynasties
1979 Naqsh-e Jahan
Iman Square ( NAQSH-E-JAHAN)(the Shah Mosque), (the Mosque of Sheikh
Lutfallah), (the Imperial Palace), (Qaisariya Bazaar) 160 508
Masjed-e Sheikh Lotfollah() Masjed-e Shah

 |
103

"Design of the World" Maidan (Maidan-i Naqsh-i Jahan)

1612 Shah Abbas
(Ali Qapu Palace)Ali Qapu (Safavid dynasty/ , 1501-1736)
(Tabriz)15
1555 (Qazvin)1598 (Esfahan)
Ali QapuAli Qapu 16
(Imam Ali)
(Qeysarieh Portal)
()(Bazar-e Bozorg/
) ( )
1.7(Masjed-e Jameh)

 |
104

(Bazar-e Bozorg )
( Masjid-e Shah (1611~66 , Mosque Masjid
( ))1979 (Imam Khomeini Mosque) Imam ( Naqsh-e
Jahan ) Mosque (i.e. curvilinear arabesques, floral designs, kufic inscriptions, and imitation tile "carpets" )
Rials

( Isfahan)(Imam Khomeini Mosque): 1612 1638

Masjid-e Shah

 |
105

Masjid Shah, view of the courtyard, Painting by the French architect, Pascal Coste in 1841.

 |
106

Imam Mosque Isfahan

 |
107

30
42
48

38 52

17000
15
54

43 17

 54
(
SHEIEKH LUTFULLAH MOSQUE Shaykh Bahai 1603~19 )Sheikh Lutfallah
an Arabic-speaking Shiite, animam and teacher of Islamic law, whom Abbas
made part of the imperial household (king's mosque)
(mausoleums, not mosques)

(Sheikh Lotfollah Mosque/ )(

Qeysarieh Portal )

|
108

 |
109

ALIQAPU PALACE

( BAZAAR-E BOZORG )
1647 (Shan Abbas
) CHEHEL SOTUN PALACE

1706 1937
20 40
Bagh-e Chehel Sotun
HASHT BEHESHT PALACE()

 |
110

Aqa Sadegh( Naqqash-Bashl)(Karnal Battle) : 1737-1738 Safavid

()(Nder Shh Afshr/) Mohammad Shah Gurkani 1756

1550 Zanjan Qeydarnabi

Homayun (1548 Mirza Asgari )

|
111

(Shah Abbas) Vali Mohammad Khan

1518 Chaldoran Shah Esmaeel

|
112

1511 Esmaeel Uzbek Merv Sheibak Khan Sheibak Khan

1621 Shah Abbas I Vali Mohammad Khan Uzbek

 |
113

05/29() 25

ISFAHAN

Masjid-i JAMI MOSQUE (Jameh () jm ( )

Jame (minbar)(mihrab)(minbar)
Jama ()
Friday Mosque ) 841 1086
Seljuq ( 1038~1194 )(Nizam al-Mulk)

 maqsura iwan mihrab niche

(IMAM MOSQUE)

2012

JOLFA VANK CATHEDRAL 17

JOLFA (
) NEW JOLFA

1316 Baha' al-Din al-'Amili (also known as Shaykh Bahai) Amu Abdoullah
Ebne Mohammad Ebne Mahmmoud () MONAR JONBAN

Menar Jonban (The Swinging Minaret )

( Si-o-se Pol Bridge , Allah-Verdi Khan Bridge )

( Zayandeh River)( Si-o-se Pol Bridge ,

Allah-Verdi Khan Bridge, ) KHAJU BRIDGE Zayande 11 5
11 1602 Shah Abbas
I Allahverdi KhanUndiadze 300 m 33
33

|
114

 |
115

Khaju Bridge
Shah Abbas II 1650 133 m 24

05/30() 26

210KM( 2 30 ) KASHAN273KM( 3 15 ) TEHRAN

KASHAN
5

TABATABAIHA HOUSE BOROJERDIHA HOUSE

Ustad Ali Maryam 1857 Haji Mehdi Borujerdi Khaneh Borujerdi ha

 |
116

16 SOLTAN AMIR AHMAD HAMMAM

1778 1102m2 Sarbineh
Garmkhaneh

 |
117

Soltan Amir Ahmad Bath House, Kashan, Iran

Ustad Haj Sa'ban-ali Maryam 18 AGHA BOZORG MOSQUE AND MADRASAH

 |
118

Agha Bozorg Mosque, Kashan, Iran

A Caligraphic Tile from Kashan ca. 1225 CE

FIN GARDEN 2011
1590 (Abbas I)
140QomKume

Shia Islam
9
150

Imam RezaFatima Masumeh Shrine

Mashhad

14

chador

Grand Ayatollah
Ruhollah KhomeiniAli Khamenei
Hashemi RafsanjaniMohammad Khatami
1979
600
Mawla

1964

Imam

Mujtahids

Hojatoleslam
Ayatollah
Grand Ayatollah

Tehran
05/31() 27

REY

400 180 14

1931 8

|
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 REZA ABBASI MUSEUM GLASS & CERAMICS MUSEUM

20
KHOMEINI MEMORIAL HALL MAUSOLEUM OF AYATOLLAH KHOMEINI
( Ruhollah Khomeini ,

, Ayatollah Khomeini ) 1979

Behesht-e Zahra (the Paradise of Zahra) Mausoleum of Ayatollah KhomeiniI Ruhollah Khomeini,
Khadijeh Saqafi Ahmad Khomeini Hassan Khomeini

8.5 m2 230

2500 1971
AZADI TOWER 45 63 42 2500
2500

|
120

 |
121

8
5000

1300

14 15
70
50 John Alexander Pope
:

63.6cm 8

9~10

14

40cm

8 8 3 ;

29

Mashhad
1518Timurid DynastySafavid Dynasty
1840Afsharid DynastyNader Shah17271739

Shrine of Imam Ali al-Ridha

817
9

817 (765818)
20
()

(
)400

( )

|
122

Kish

|
123

27121
3000
Darius2313
8Harireh
19911071

1979
1982
1989
199315

30

06/01()+02()
EK972

28+29

TEHRAN-> DUBAI-> TAIPEI

11:40/13:10 :02h +

EK366

04:05/16:40 : 08h35m

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