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Naqsh-e Jahan Square

November 30, 2017 December 15, 2020
administrator
Attractions, Iran World Heritage Sites
Ali Qapu, Image of the World, Iran World Heritage Sites, Isfahan, Meidan Emam, Meidan Shah, Naqsh-e Jahan Square, Qeyssariyeh, Royal Mosque, Sheikh Lotfallah Mosque

Naqsh-e Jahan Square Built by Shah Abbas I the Great at the beginning of the 17th century, and bordered on all sides by monumental buildings linked 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.

Brief Synthesis of Naqsh-e Jahan square

The Naqsh-e Jahan Square is a public urban square in the center of Esfahan, a city located on the main north-south and east-west routes crossing central Iran. It is one of the largest city squares in the world and an outstanding example of Iranian and Islamic architecture. Built by the Safavid shah Abbas I in the early 17th century, the square is bordered by two-storey arcades and anchored on each side by four magnificent buildings: to the east, the Sheikh Lotfallah Mosque; to the west, the pavilion of Ali Qapu; to the north, the portico of Qayssariyeh; and to the south, the celebrated Royal Mosque. A homogeneous urban ensemble built according to a unique, coherent, and harmonious plan, the Naqsh-e Jahan Square was the heart of the Safavid capital and is an exceptional urban realization.

Meidan Emam is not typical of urban ensembles in Iran, where cities are usually tightly laid out without sizable open spaces. Esfahan’s public square, by contrast, is immense: 560 m long by 160 m wide, it covers almost 9 ha. All of the architectural elements that delineate the square, including its arcades of shops, are aesthetically remarkable, adorned with a profusion of enameled ceramic tiles and paintings.

Of particular interest is the Royal Mosque (Masjed-e Shah), located on the south side of the square and angled to face Mecca. It remains the most celebrated example of the colorful architecture which reached its high point in Iran under the Safavid dynasty (1501-1722; 1729-1736). The pavilion of Ali Qapu on the west side forms the monumental entrance to the palatial zone and to the royal gardens which extend behind it. Its apartments, high portal, and covered terrace (tâlâr) are renowned. The portico of Qeyssariyeh on the north side leads to the 2-km-long Esfahan Bazaar, and the Sheikh Lotfallah Mosque on the east side, built as a private mosque for the royal court, is today considered one of the masterpieces of Safavid architecture.

The Naqsh-e Jahan Square was at the heart of the Safavid capital’s culture, economy, religion, social power, government, and politics. Its vast sandy esplanade was used for celebrations, promenades, and public executions, for playing polo and for assembling troops. The arcades on all sides of the square housed hundreds of shops; above the portico to the large Qeyssariyeh bazaar a balcony accommodated musicians giving public concerts; the tâlâr of Ali Qapu was connected from behind to the throne room, where the shah occasionally received ambassadors. In short, the royal square of Isfahan was the preeminent monument of Persian socio-cultural life during the Safavid dynasty.

Criterion (i): The Naqsh-e Jahan Square constitutes a homogenous urban ensemble, built over a short time span according to a unique, coherent, and harmonious plan. All the monuments facing the square are aesthetically remarkable. Of particular interest is the Royal Mosque, which is connected to the south side of the square by means of an immense, deep entrance portal with angled corners and topped with a half-dome, covered on its interior with enameled faience mosaics. This portal, framed by two minarets, is extended to the south by a formal gateway hall (iwan) that leads at an angle to the courtyard, thereby connecting the mosque, which in keeping with tradition is oriented northeast/southwest (towards Mecca), to the square’s ensemble, which is oriented north/south.

The Royal Mosque of Esfahan remains the most famous example of the colorful architecture which reached its high point in Iran under the Safavid dynasty. The pavilion of Ali Qapu forms the monumental entrance to the palatial zone and to the royal gardens which extend behind it. Its apartments, completely decorated with paintings and largely open to the outside, are renowned. On the square is its high portal (48 meters) flanked by several storeys of rooms and surmounted by a terrace (tâlâr) shaded by a practical roof resting on 18 thin wooden columns.

All of the architectural elements of the Meidan Imam, including the arcades, are adorned with a profusion of enameled ceramic tiles and with paintings, where floral ornamentation is dominant – flowering trees, vases, bouquets, etc. – without prejudice to the figurative compositions in the style of Riza-i Abbasi, who was head of the school of painting at Esfahan during the reign of Shah Abbas and was celebrated both inside and outside Persia.

Criterion (ii): The royal square of Esfahan is an exceptional urban realization in Iran, where cities are usually tightly laid out without open spaces, except for the courtyards of the caravanserais (roadside inns). This is an example of a form of urban architecture that is inherently vulnerable.

Criterion (iii): The Meidan Imam was the heart of the Safavid capital. Its vast sandy esplanade was used for promenades, for assembling troops, for playing polo, for celebrations, and for public executions. The arcades on all sides housed shops; above the portico to the large Qeyssariyeh bazaar a balcony accommodated musicians giving public concerts; the tâlâr of Ali Qapu was connected from behind to the throne room, where the shah occasionally received ambassadors. In short, the royal square of Esfahan was the preeminent monument of Persian socio-cultural life during the Safavid dynasty (1501-1722; 1729-1736).

Integrity of Naqsh-e Jahan square

Within the boundaries of the property are located all the elements and components necessary to express the Outstanding Universal Value of the property, including, among others, the public urban square and the two-storey arcades that delineate it, the Sheikh Lotfallah Mosque, the pavilion of Ali Qapu, the portico of Qeyssariyeh, and the Royal Mosque.

Threats to the integrity of the property include economic development, which is giving rise to pressures to allow the construction of multi-storey commercial and parking buildings in the historic center within the buffer zone; road widening schemes, which threaten the boundaries of the property; the increasing number of tourists; and fire.

Authenticity of Naqsh-e Jahan square

The historical monuments at Meidan Emam, Esfahan, are authentic in terms of their forms and design, materials and substance, locations and setting, and spirit. The surface of the public urban square, once covered with sand, is now paved with stone. A pond was placed at the centre of the square, lawns were installed in the 1990s, and two entrances were added to the northeastern and western ranges of the square. These and future renovations, undertaken by Cultural Heritage experts, nonetheless employ domestic knowledge and technology in the direction of maintaining the authenticity of the property.

Management and Protection requirements

Meidan Emam, Esfahan, which is public property, was registered in the national list of Iranian monuments as item no. 102 on 5 January 1932, in accordance with the National Heritage Protection Law (1930, updated 1998) and the Iranian Law on the Conservation of National Monuments (1982). Also registered individually are the Royal Mosque (Masjed-e Shah) (no. 107), Sheikh Lotfallah Mosque (no. 105), Ali Qapu pavilion (no. 104), and Qeyssariyeh portico (no. 103). The inscribed World Heritage property, which is owned by the Government of Iran, and its buffer zone are administered and supervised by the Iranian Cultural Heritage, Handicrafts and Tourism Organization (which is administered and funded by the Government of Iran), through its Esfahan office. The square enclosure belongs to the municipality; the bazaars around the square and the shops in the square’s environs are owned by the Endowments Office. There is a comprehensive municipal plan, but no Management Plan for the property. Financial resources (which are recognized as being inadequate) are provided through national, provincial, and municipal budgets and private individuals.

Sustaining the Outstanding Universal Value of the property over time will require developing, approving, and implementing a Management Plan for the property, in consultation with all stakeholders, that defines a strategic vision for the property and its buffer zone, considers infrastructure needs, and sets out a process to assess and control major development projects, with the objective of ensuring that the property does not suffer from adverse effects of development.

Reference: https://whc.unesco.org/en/list/115

Gonbad-e Qābus: The world’s highest brick tower

November 18, 2017 December 29, 2021
administrator
Attractions, Iran World Heritage Sites
Brick tower, Gonbad-e Qābus, Iran World Heritage Sites, Jorjan, Qābus Ibn Voshmgir, Ziyarid

Gonbad-e Qābus, The 53 meter high tomb built in ad 1006 for Qābus 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 monument’s intricate geometric forms constitute a tapering cylinder with a diameter of 17–15.5 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.

Outstanding Universal Value of Gonbad-e Qābus

Brief synthesis

Visible from great distances in the surrounding lowlands near the ancient Ziyarid capital, Jorjan, the 53-metre high Gonbad-e Qābus tower dominates the town laid out around its base in the early 20th century. The tower’s 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 Qābus 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.

Criterion (i): Gonbad-e Qābus is a masterpiece and outstanding achievement in early Islamic brick architecture due to the structural and aesthetic qualities of its specific geometry.

Criterion (ii): The conically roofed form of Gonbad-e Qābus 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 civilization.

Criterion (iii): Gonbad-e Qābus is exceptional evidence of the power and quality of the Ziyarid civilization 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.

Criterion (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 Qābus, 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 Qābus is protected under the Law for Protection of National Heritage (1930) and was inscribed on Iran’s 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 Qābus 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 program.

Reference: https://whc.unesco.org/en/list/1398

Jameh Mosque of Isfahan

November 17, 2017 December 15, 2020
administrator
Attractions, Iran World Heritage Sites
Friday mosque, Iran World Heritage Sites, Isfahan, Isfahan Jame Mosque, Islamic art, Masjed-e Jāmé

Jameh Mosque of Isfahan (‘Friday mosque’) located in the historic centre of Isfahan, 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 a prototype 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. Brief synthesis of Isfahan Jameh Mosque Jameh Mosque of Isfahan 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 Ayvān) 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 Ayvān) typology in Islamic architecture, as well as the textbook character of the Masjed-e Jāme’ as a compilation of Islamic architectural styles. The Masjed-e Jāme’ 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. Criterion (ii): Jameh Mosque of

Jameh Mosque of Isfahan (‘Friday mosque’) located in the historic centre of Isfahan, 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 a prototype 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.

Brief synthesis of Isfahan Jameh Mosque

Jameh Mosque of Isfahan 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 Ayvān) 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 Ayvān) typology in Islamic architecture, as well as the textbook character of the Masjed-e Jāme’ as a compilation of Islamic architectural styles. The Masjed-e Jāme’ 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.

Criterion (ii): Jameh Mosque of Isfahan is the first Islamic building that adapted the four iwan (Chahar Ayvān) courtyard layout of Sassanid palaces to 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 Jāme 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 of Isfahan Jameh Mosque

The Jameh Mosque of Isfahan 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 Jāme’.

Authenticity of Isfahan Jameh Mosque

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 Jāme’ 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 Jāme’ has to remain sensitive to its religious use, both in terms of information panel design and visitor numbers.

Protection and management requirements

Jameh Mosque 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 Jāme’ 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.

Reference: https://whc.unesco.org/en/list/1397

As mentioned in introduction of the encyclopedia of Persian Rugs: Iran is known in the world for two distinguished things: poetry and carpet. In other words, Iranian taste and Iranians’ aesthetic taste has been manifested in poetry and carpet in terms of concept and meaning, material, and form, respectively. However, the carpet art is privileged on the poetry as the hand-woven carpet is a collective art, while poetry is an individual art.”

The history of carpet is integrated with the history of human. Early human was familiar with the method of spinning vegetative fibers and bark of trees and consequently industries such as basket weaving over the centuries, and was able to produce not so much soft ground-cloth using the wool of animals that could live in the early communities. In Persian language, carpet means spreading and it refers to spreading equipment which is woven with yarn, wool or silk in different colors and patterns. Women were among those who made a lot of efforts in this art from the beginning and when other people were hunting animals, they attempt to weave baskets; rough hand-woven, animal wrappers and material carry bags. The early ground-cloths were made of animals’ soft skin and soft herbal fibers and straw; however, due to the expansion of social societies and lack of hunting, the need for more hand-woven ground-cloths is increasing day by day and their evolved weaving. Archaeological excavations reveal that using straws woven from Mesopotamian reeds was common from the 4^th and 5^th millennium and weaving Kilim rugs reached a high stage of development before the 15^th century BC. No reliable information is available regarding the process of weaving and the people who originally weaved the early rugs since rugs are damaged by moisture and insects because of their natural structure. The oldest Persian rug found by archaeologist is the rug found in the frozen grave of one of the Scythian rulers in the Pazirik valley located 80 km from foreign Mongolia and hence called “Paziric” rug. This carpet was used as a horse cover and experts consider it as an Iranian carpet. In addition, they believe that it is one of the hand-woven productions of Medes and Parthians, due to its patterns which are similar to original Achaemenid’s motifs (the old Great Khorasan).

The colors used in this rug include orange-red, yellow, light green and orange. The similarity between the motifs of riders and pedestrians who walk alongside their horses and winged creatures observed in this rug and Persepolis motifs empower the accuracy of these researchers’ opinions. The evidence shows that Iranian carpet enjoyed world reputation during this period although there is no specific example from the Sasanian era. In this regard, the Chinese calendar (Sue Sue) in this era mentions the Iranian wool carpet as goods imported to China. Further, Persian literature has repeatedly mentioned the Sasanian King as the famous Taghdis throne of Khosropartviz, in which 4 carpets were spreading on each representing a season of the year – according to some reports. During the reign of Mongols (13^th and 14^th), weaving carpet reached to a very high level of beauty and technique. The flourishing of this industry maybe was coincided with Ghazan Khan Reign (1295-1307). However, the climax of the Iranian classic carpet which refers to the Renaissance of Iranian carpet is associated with Safavid kings’ era (1499-1722), especially during the reign of Shah Tahmasb I (1524- 1587) and Shah Abbas the great (1587-1629). 3000 carpets are left over from this period, which are kept in the great museums of the world or personal collections. Some carpet weaving workshops were built next to kings’ palaces during this time and various centers which already existed in Tabriz, Isfahan, Kashan, Mashhad, Kerman, Jushqan, Yazd, Gorgan, Harat and northern states such as Shirvan, Karabakh and Gilan were further developed and prospered. Furthermore, top painters integrated the briefed and combined Medallion schemes in the middle of rugs and corners. That is, the same design that was used on the cover of precious books in the 15^th century.

With the occupation of the country by Afghans in the 19^th century (1721-1722), this industry and art were downgraded. Persian Rugs, especially the exquisite carpets of Tabriz area were exported to Europe. During this time, representatives from European countries were sent out to all eastern countries which collected all the old and antique Persian rugs with a very intense competition and sent to Constantinople, which was still the most important market for the eastern carpets. When the source of the old carpets was finished, British (Zigler, 1883), American and German indefinitely set up workshops in Tabriz, Arak and Kerman. This routine continued until World War I, when the carpet production underwent a significant change. Currently, Persian rugs are regarded as the representation of the art history of this land, because they are the symbol of the Iranian art, which comes from a genuine and long lasting culture which embodies the ethnic, historical, geographical and religious identity of Iran. Shirin Souresrafil, as a carpet designer and writer, believe that the original patterns of Iranian carpets will never fall into oblivion and destruction due to their close relationship with the history, culture and other traditional art of Iran. As we do not observe any sign of aging on the motifs of the turquoise domes of Isfahan mosques, the designs of the rocks and pillars of the Persepolis and traditional paintings (miniature) of Reza Abbasi. The Iranian carpet industry with its world reputation is still the world’s first market leader despite rivals like Chinese carpets, export downward trend and the lower price of the carpet of the rival countries compared to Iranian carpet and given its coordination with the tastes of the global markets. This unmatched Iranian art is exported to about 32 countries, and although the traditional Iranian carpet markets like America, Italy, United Arab Emirates, Lebanon and Japan are regarded as the major target markets, the dramatic growth of the Iranian carpet is exported to Brazil, Africa and China.

Weaving process of Persian Rug

The steps which should be considered to begin weaving a carpet are as follows:

Preparing instrument (carpet loom) and tools
Preparing the intended design
Warping ( installing warp threads or warps on the carpet loom)
Kilim rug weaving, the beginning of the carpet
Plain weaving of the beginning of the carpet, knotting on the warps using pile
Design reading, knitting based on the colored houses of the design
Wefting (under weft or thick weft, over weft or thin weft) and punching wefts
Selvedge runners
Punching wales and cutting extra top piles
Trying to avoid potential flaws when weaving
Taking the carpet off the loom: Finishing the work of a woven carpet

There are two kinds of knots which are common in Iranian carpet weaving including Turkish knot (Giordes-symmetrical) used in Tabriz, Haris in Hamadan and by Fras tribesmen an Persian knot (Senneh, asymmetrical) used in Fars language areas, Arak, Isfahan, Mashhad, Birjand, Kerman, Nain, Kashan and Qom. A common number of wales in Iranian carpets range from 20 to 90 wales. Coarse woven carpets usually include 20 and 25, and coarse woven tribe carpets include about 30 wales. The average good carpets consist of 40, 45 and 50 wales and good carpets have 50 to 90 carpets.

Design Types of Persian Rugs

Different kinds of Iranian designs are as follow:

Shah Abbasi (Palmetto flower design)

This design is based on certain designed flowers, which is known as “Shah Abbasi”. These abstracted flowers, along with the branches and leaves, and often with Eslimis and Khataeis in the background and margin of the carpet, constitute the main design of the carpet. The subgroups of the main design are named as Afshan (Overall flower design), medallion-corner design, medallion design, tree design, animal design, Sheikh Safi design, series edged, captured Shah Abbasi, edged medallion, Butteh and plain weave medallion-corner design.

Eslimi (Arabesque)

The main form of this design consists of curved branches among the leaves. These branches are abstracted form of the tree design. Slimi design includes different kinds and is usually repeated in most of the formats, but in some carpets this is the dominant design. The most famous Slimi design is the torpedo mouth Slimi, in which the end of each branch is split into two symmetric sections and is displayed in the form of the jawbone of a dragon and some buds are decorated in different parts of the stems of the branches, most of which are called Slims. This design is also divided into different subgroups due to changes and confiscations including Slimi, Slimi Bandi, Broken Slimi, Torpedo Mouth Slimi, medallion-corner Slimi, Mrdallion Slimi and Snake Slimi.

Afshan (Overall flower design)

Based on this design, flowers, leaves and branches are dispersed in the background of the carpet without any connection to each other and a lot of different sub designs such as Afshan Slimi, Afshan Khataei, Afshan Bandi, Broken Afshan, pomegranate flower Afshan, Shah Abassi Afshan, Branch wrapped Afshan, bouquet Afshan, animal Afshan and medallion Afshan.

Afshan (Overall flower design)

Botteh-Jeghegh (Paisley)

The Botteh design is the abstracted form of Cypress tree. The most famous Botteh designs include Botteh-Jeghegh, Botteh-antler, Botteh-Termeh, Botteh-Sarabandi, Botteh-Khergheie, Botteh- Ghalamkar Isfahan, eight flower, Botteh Kurdistan or eight Botteh, Botteh-Mirshekasteh, Botteh medallion-corner, Sanandij-Botteh, Afshari-Botteh, Bazoobandi-Botteh and Almond-Botteh.

Tree design

Although this design is based on branches and leaves, a lot of attempts has been made to maintain a high level of similarity with the nature. Small and large trees and shrubs, especially in individual forms, form the main components of the most designs of this group and are combined with other components. The famous tree designs are named as animal-tree, Sabzikar-tree or fountain, medallion-tree, Cedar-tree and vase-tree.

Hunting ground

The characteristics of the mentioned tree designs are available in the Hunting ground designs, but most of the Hunting ground designs demonstrate wild animals being hunted. The subgroups to this design include tree-Hunting ground, medallion-Hunting ground, panel- Hunting ground, medallion-corner Hunting ground and overall- Hunting ground.

Panel design

This design is made up of polygon panels and its sub-groups include Slimi-panel, Kerman Quranic-panel or pillar design.

In and out fish design

This design is among the native-tribe designs and its weaving method is similar to other imaginary-geometric designs and is not created from a design. Harati-fish, Farahan-fish and bee, Senneh or Kurdistan-fish, tiny or small fish and in and out fish are regarded as the subgroups to this design.

Golfarang

Golfarang is a combination of original Iranian designs with natural flowers, especially rose. Warm and light colors, especially red, are used in this kind of carpet. The subgroups of this design include rose flower (medallion-corner), Bijar Golfarang, Mostofi Golfarang, medallion Golfarang, Dasteh Gelo- Golfarang and flowers and nightingales-Golfarang.

Mehrabi (Prayer-niche design)

The original Mehrabi design is inspired by the Prayer-niche design and ornamentations such as cresset, pillars and capitals, flowers as well as the leaves added to. The subgroups of this design are known as tree-Mehrabi, vase-Mehrabi, pillar-Mehrabi, cresse-Mehrabi and landscape-Mehrabi.

Vase design

Vases in different sizes are often observed in this design and sometimes a large vase filled with flowers covers the whole area of the carpet. Occasionally, some small vases cover symmetrically the margin of the background or across the whole background. The subgroups of this design include Khataei-vae, two-way vase, Mehrabi-vase, overall-vase, Zel-al-Soltan vase (Flowers and nightingales), Haj Khatmi-vase, repetitive-vase, medallion-corner vase and one way-vase.

Moharamat

In this design, the entire background of the carpet is divided into several parallel rows longitudinally and which are decorated with patterns such as Botteh-Jeghegh, different kinds of Slimis and Khataei, and other flowers and leaves. In other words, the carpet background is stripped. The famous design of this group is Botteh-Jeghegh-Moharamat, which is known as Ghalamdani in some parts of Iran. The subgroups of this design include overall-Ghalamdani, tiny flowers with single colored background and Botteh with colorful background.

Tribe design

This design is the oldest and the most original carpet design in Iran which is the product of the imagination of native carpet weavers and reflects the nature and the environment of their habitat in the simplest form. This design does not follow regular and codified designs and has a delightful beauty. The sub-groups of these designs are often attributed to regions where the design has first become prevalent. The famous and old names of this group include Heybat Loo (related to Fars and Abadeh), Ghashghaee-Botteh, Afshari, Khatoni, Ardabil, Mazlaqan, Khamseh, Saveh, Tafresh, Heris, Mehrban, Gowaravan, Zanjan and Meshghinshahr, Bakhtiari, Kurdish, Yalameh, Gabbeh (self-colored), Sistan, Ferdows, Salar Khani, Ya’qub Khani, wood stone, AliMirzaee, Jon Beigi, Janamazi, Jowayin, Musa Abad, Balochistan, Veys, Ghorjeh, Senneh and bouquet.

Geometrical design

As the names of these groups of designs suggest, all motifs are formed geometrically by using angular lines. The major sub-groups of this design include Panel-geometry, medallion-Geometric, Moharamat-Geometric, Medallion-corner Geometric (Broken branch), plain-geometric, Khataei-Geometric, star-geometric (Mosaic), Khatam Shirazi-geometric and Joshaghani-geometric.

Vagireie designs

The purpose of using this term is to repeat a small piece of a design throughout the carpet, either along the length or the width. Because these parts join together in the repetition phase, it is called “BanBandi or Vagireh”. The sub-names of this group include Bandi-Slimi, Bandi-pichak, broken-Bandi, Inscription-Bandi, Mostofi-Bandi, Varamin-Bandi or Minakhani, diamond-panel Bandi or Lozenge, medallion-Bandi, tree-Bandi, Multiple – panel Bandi, Shir-Shekari Bandi or BazoBandi, Cedar-Bandi, caricature-Bandi or Molla Nasreddin, Bakhtiari-Bandi, Majlesi-Bandi, Bunch of grapes Bandi, animal antler-Bandi, Khatam Shrazi-Bandi and bouquet-Bandi.

Adoptive group

Most of the designs of this group such as Ghafghazi and Goebelen designs are very similar to the carpet designs of the border regions of Iran and neighboring countries and even other countries and hence are called “adoptive”.

Golestan Palace

October 28, 2017 December 15, 2020
administrator
Iran World Heritage Sites
Golestan Palace, historic, Persian architecture, Persian crafts, Qajar, Tehran

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 Tehran, became the seat of government of the Qajar family, which came into power in 1779 and made Tehran the capital of the country. Built around a garden featuring pools as well as planted areas, the Palace’s 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.

Outstanding Universal Value of Golestan Palace

Brief synthesis

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 center 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.

Criterion (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 and building technology, which has become a source of inspiration for modern Iranian artists and architects.

Criterion (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.

Criterion (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 façade 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 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.

References:

Golestan Palace – http://whc.unesco.org/en/list/1422

Persepolis: Wonder of the Ancient World

October 19, 2017 December 15, 2020
administrator
Attractions, Iran World Heritage Sites
Achaemenid Empire, Fars Province, Iran World Heritage Sites, Persepolis, Persian City, Shiraz

Persepolis, the ruined monuments of the acropolis of the city of Pārsa, the dynastic center of the Achaemenid Persian kings, located in the plain of Marvdašt, some 57 km northeast of Shiraz. One of the best-known sites of the ancient world, Persepolis was registered by the UNESCO as one of the Iran World Heritage sites in 1979.

Wonder of the Persepolis

One of the great wonders of the ancient world, Persepolis embodies not just a grand architectural scheme but also a grand idea. It was conceived by Darius the Great who, in 520 BC, inherited the responsibility for ruling the world’s first known empire founded by his predecessor, Cyrus the Great. Embracing tenets such as cultural tolerance and fair treatment of all subjects, Darius sought to reflect these concepts in the design of the magnificent palace complex at Persepolis, inviting architects from the furthest corner of the Persian Empire to contribute to its construction. The result is an eclectic set of structures, including monumental staircases, exquisite reliefs and imposing gateways, that testified to the expanse of Darius’ domain.

Name of Persepolis

Persepolis is the Greek name (from persepolis for ‘Persian City’) for the ancient city of Parsa, located seventy miles northeast of Shiraz in present-day Iran. The name Parsa meant ‘City of The Persians’ and construction began at the site in 518 BCE under the rule of King Darius the Great (who reigned 522-486 BCE). Darius made Parsa the new capital of the Persian Empire, instead of Pasargadae, the old capital and burial place of King Cyrus the Great. Because of its remote location in the mountains, however, travel to Parsa was almost impossible during the rainy season of the Persian winter when paths turned to mud and so the city was used mainly in the spring and summer warmer seasons. Administration of the Achaemenian Empire was overseen from Susa, from Babylon or from Ecbatana during the cold seasons and it was most likely for this reason that the Greeks never knew of Parsa until it was sacked and looted by Alexander the Great in 330 BCE (the historian Plutarch claiming that Alexander carried away the treasures of Parsa on the backs of 20,000 mules and 5,000 camels).

Though building began under Darius, the glory of Parsa which Alexander found when he invaded was due mainly to the latter works of Xerxes I and Artaxerxes III, both of whose names have been found (besides that of Darius) inscribed on tablets, over doorways and in hallways throughout the ruins of the city.

THE GREAT CITY OF PERSEPOLIS WAS BUILT IN TERRACES UP FROM THE RIVER PULWAR TO RISE ON A LARGER TERRACE OF OVER 125,000 SQUARE FEET.

Architecture of Persepolis

The great city of Persepolis was built in terraces up from the river Pulwar to rise on a larger terrace of over 125,000 square feet, partly cut out of the Mountain Kuh-e Rahmet (“the Mountain of Mercy”). To create the level terrace, large depressions were filled with soil and heavy rocks which were then fastened together with metal clips; upon this ground the first palace at Persepolis slowly grew. Around 515 BCE, construction of a broad stairway was begun up to the palace doors. This grand, dual entrance to the palace, known as the Persepolitan stairway, was a masterpiece of symmetry on the western side of the building and the steps were so wide that Persian royalty and those of noble birth could ascend or descend the stairs by horseback, thereby not having to touch the ground with their feet. The top of the stairways led to a small yard in the north-eastern side of the terrace, opposite the Gate of all Nations.

The great palace built by Xerxes I consisted of a grand hall that was eighty-two feet in length, with four large columns, the entrance on the Western Wall. Here the nations which were subject to the Empire gave their tribute to the king. There were two doors, one to the south which opened to the Apadana yard and the other opening onto a winding road to the east. Pivoting devices found on the inner corners of all the doors indicate that they were two-leafed doors, probably made of wood and covered with sheets of ornate metal. Off the Apadana yard, near the Gates of all Nations, was Darius’ great Apadana Hall, where he would receive dignitaries and guests which, by all accounts, was a place of stunning beauty (thirteen of the pillars of the Hall still stand today and remain very impressive).

Limestone was the main building material used in Persepolis. After natural rock had been leveled and the depressions filled in, tunnels for sewage were dug underground through the rock. A large elevated cistern was carved at the eastern foot of the mountain to catch rain water for drinking and bathing.

Destruction of Persepolis

The terraced plan of the site around the palace walls enabled the Persians to easily defend any section of the front. The ancient historian Diodorus Siculus recorded that Persepolis had three walls with ramparts, all with fortified towers, always manned. The first wall was over seven feet tall, the second, fourteen feet, and the third wall, surrounding all four sides, was thirty feet high. With such fortifications opposing him it is an impressive feat that Alexander the Great managed to overthrow such a city; but overthrow it he did. Diodorus provides the story of the destruction of Persepolis:

Alexander held games in honor of his victories. He performed costly sacrifices to the gods and entertained his friends bountifully. While they were feasting and the drinking was far advanced, as they began to be drunken, a madness took possession of the minds of the intoxicated guests. At this point one of the women present, Thais by name and Athenian by origin, said that for Alexander it would be the finest of all his feats in Asia if he joined them in a triumphal procession, set fire to the palaces, and permitted women’s hands in a minute to extinguish the famed accomplishments of the Persians.

This was said to men who were still young and giddy with wine, and so, as would be expected, someone shouted out to form up and to light torches, and urged all to take vengeance for the destruction of the Greek temples [burned by the Persians when they invaded Athens in 480 BCE]. Others took up the cry and said that this was a deed worthy of Alexander alone. When the king had caught fire at their words, all leaped up from their couches and passed the word along to form a victory procession in honor of the god Dionysus.

Promptly many torches were gathered. Female musicians were present at the banquet, so the king led them all out to the sound of voices and flutes and pipes, Thais the courtesan leading the whole performance. She was the first, after the king, to hurl her blazing torch into the palace. As the others all did the same, immediately the entire palace area was consumed, so great was the conflagration. It was most remarkable that the impious act of Xerxes, king of the Persians, against the acropolis at Athens should have been repaid in kind after many years by one woman, a citizen of the land which had suffered it, and in sport.

The fire, which consumed Persepolis so completely that only the columns, stairways and doorways remained of the great palace, also destroyed the great religious works of the Persians written on “prepared cow-skins in gold ink” as well as their works of art. The palace of Xerxes, who had planned and executed the invasion of Greece in 480, received especially brutal treatment in the destruction of the complex. The city lay crushed under the weight of its own ruin (although, for a time, nominally still the capital of the now-defeated Empire) and was lost to time. It became known to residents of the area only as ‘the place of the forty columns’(for the still-remaining columns standing among the wreckage) until, in 1618 CE, the site was identified as Persepolis. In 1931 excavations were begun which revealed the glory which had once been Persepolis.

Reference:

https://www.ancient.eu/persepolis/

https://www.lonelyplanet.com/iran/central-iran/persepolis-takht-e-jamshid

http://www.iranicaonline.org/articles/persepolis

Bisotun Inscription

October 4, 2017 December 15, 2020
administrator
Attractions, Iran World Heritage Sites
Achaemenid, Bisotun, Darius, Iran World Heritage Sites, Kermanshah, Persian Empire

Bisotun Inscription 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 Darius’s 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 Great. 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.

Brief Synthesis of Bisotun Inscription

On the sacred mountain of Bisotun in western Iran’s Kermanshah province is a remarkable multilingual inscription carved on a limestone cliff about 60 m above the plain. Located along one of the main routes linking Persia with Mesopotamia, the inscription is illustrated by a life-sized bas-relief of its creator, the Achaemenid (Persian) king Darius I, and other figures. It is unique, being the only known monumental text of the Achaemenids to document a specific historic event, that of the re-establishment of the empire by Darius I the Great. Moreover, Bisotun is an outstanding testimony to the important interchange of human values on the development of monumental art and writing, reflecting ancient traditions in monumental bas-reliefs. The inscription, which has three versions of the same text written in three different languages, was the first cuneiform writing to be deciphered in the 19th century.

The inscription at Bisotun (meaning “place of gods”), which is about 15 m high by 25 m wide, was created on the orders of King Darius I in 521 BC. Much of it celebrates his victories over numerous pretenders to the Persian Empire’s throne. The inscription was written in three different cuneiform script languages: Old Persian, Elamite, and Babylonian. Once deciphered in the 19th century, it opened the door to previously unknown aspects of ancient civilizations. In that sense, the inscription at Bisotun has had a value for Assyriology comparable to that of the Rosetta Stone for Egyptology.

The monumental bas-relief associated with the text includes an image of King Darius holding a bow as a sign of sovereignty, and treading on the chest of a figure which lies on his back before him. According to legend, the figure represents Gaumāta, the pretender to the throne whose assassination led to Darius’ rise to power. This symbolic representation of the Achaemenid king in relation to his enemy reflects traditions in monumental bas-reliefs that date from ancient Egypt and the Middle East, and which were subsequently further developed during the Achaemenid and later empires.
The 187-ha site of Bisotun also features remains from prehistoric times to the Median period (8th to 7th centuries BCE) as well as from the Achaemenid (6th to 4th centuries BCE) and post-Achaemenid periods. Its most significant period, however, was from the 6th century BCE to the 6th century CE.

Criterion (ii): The monument created by Darius I the Great in Bisotun in 521 BCE is an outstanding testimony to the important interchange of human values on the development of monumental art and writing. The symbolic representation of the Achaemenid king in relation to his enemy reflects traditions in monumental bas-reliefs that date from ancient Egypt and the Middle East, and which were subsequently further developed during the Achaemenid and later empires.

Criterion (iii): The site of Bisotun is located along one of the main routes linking Persia with Mesopotamia and associated with the sacred Bisotun mountain. There is archaeological evidence of human settlements that date from the prehistoric times, while the most significant period was from the 6th century BCE to the 6th century CE. The Bisotun inscription is unique, being the only known monumental text of the Achaemenids to document a specific historic event, that of the re-establishment of the empire by Darius I the Great. It was the first cuneiform writing to be deciphered in the 19th century.

Integrity of Bisotun Inscription

Within the boundaries of the property are located all the elements and components necessary to express the Outstanding Universal Value of the property, most notably the multilingual inscription in three different cuneiform script languages and the related monumental carved bas-relief. The property covers a reasonable area enclosing the most important monuments of the site as well as part of the mountain. While there has been some erosion, the text and bas-relief are still intact and comprehensible. The monument’s integrity is threatened, however, by water infiltration behind the bas-relief.

Authenticity of Bisotun Inscription

The inscribed and carved monument created by Darius I the Great at Bisotun is authentic in terms of its form and design, material and substance, and location and setting.

Protection and management requirements

Bisotun is a state-owned property, and is under protection as a national monument on the basis of the Iranian Law on the Conservation of National Monuments (1982), the Purchase Law on historical properties, and the Law of City Halls. The principal management authority of the property is the Iranian Cultural Heritage, Handicraft and Tourism Organization (which is administered and funded by the Government of Iran) through its local office at Bisotun, Kermanshah. An initial management plan for the property, approved in 2004, set out the managerial mechanisms for a 6-year period. The current management plan, which was adopted in 2010, defines programmes related to equipment, research, conservation work, and repairs, as well as educational activities. This plan was prepared by the steering committee that replaced the National Board of Trustees of Bisotun World Heritage property, which had been established in 2008 to ensure the long-term conservation and sustainable development of the property.

Sustaining the Outstanding Universal Value of the property over time will require transforming the emergency actions taken to counteract the effects of water infiltration behind the bas-relief into a permanent solution for safeguarding the monument; and continuing to manage the development pressures that exist in the region.

References:

Bisotun WHS – http://whc.unesco.org/en/list/1222

The Simplicity of Iranian Architecture’s Complex Geometry

September 27, 2017 December 15, 2020
administrator
About Iran
design concepts, geometrical treasures, Iranian Architecture, Iranian handicraft, textiles

Iranian architecture is associated with its geography like many cultural elements. The geography consists largely of a central desert plateau, surrounded by mountain ranges. Due to the country being mostly covered by earth, sand, and rock, Iranian architecture makes fantastic use of brick or adobe elements. Most of the buildings seen in larger cities such as Tehran and Isfahan are constructed using similar brick-laying methods as can been seen in other parts of the world, but certain constructions, usually ones that date further back, contain incredible geometrical treasures. And it doesn’t stop there – old Iranian architecture often contains a layer of tiles over the brick constructions that can create just as mesmerizing geometrical wonders. The art of creating complexity by using many incredibly simple elements is one that has been mastered in Iranian architecture . In an architectural world where construction has become hidden by layers of plaster and plywood, we could learn a lot from the beauty of Iran’s structural geometry, where skin and structure are (almost always) one and the same.

Iranian architecture elements

The common brick is something we are all quite familiar with; fired clay in the shape of a rectangular cuboid. Adobe, which most people are less familiar with, is the name for a compressed mixture of sand, silt, clay, water, and sometimes straw, to form the shape of an extruded square that is often seen in Iranian architecture. Different combinations are used to create different forms such as arches or ornamentation. Sometimes the adobe or brick is covered in plaster as protection, creating the impression of a single carved form.

Most commonly Iranian architecture elements seen in mosques, the brick or adobe domes, arches and decorative entrances are occasionally covered in brightly colored tiles. The tiles, like the clay elements, are small individual pieces that come together to form a complex, organic geometry. From afar they appear to be one continuous facade, but up close one can easily see the gaps in between each crooked tile.

Before architects began installing glass, windows and doors were often made up of beautiful geometric wooden webs, constructed of hundreds of small, wooden sticks, cut to fit together perfectly – another example of the skilled ways in which Iranian craftsmen took a simple element, multiplied it and arranged it in order to create something incredibly intricate.

At Persepolis, a site estimated to be over 2500 years old, exists another example of the complexity achieved by building up a series of elementary components. Along the stone walls of the ruins are carvings of people, soldiers, kings, queens, and animals all very nearly perfect in relation to one another. The ability to carve the exact same solider over 10 times in a row without using a template or an automatic machine was achieved by carving them out step by step, just like building a wall brick by brick. One craftsman carved out the general form, another defined it, a third carved out the details, and a fourth focused on the beard and hair.

At the architecture school in the desert city of Yazd, students have explored contemporary ways of combining simple elements with a goal of creating a final structure that is geometrically advanced. Examples include textiles, string, and wires, using the design concepts of traditional Persian arts to produce something just as exciting within modern architecture.

References:

About Iranian Architecture – http://www.archdaily.com/805060/the-simplicity-of-iranian-architectures-complex-geometry

Iranian People

September 27, 2017 December 29, 2021
administrator
About Iran
Baloch, Fars, Iranic peoples, Kurds, Ossetians, Pashtuns, Tajiks

The Iranian peoples are a collection of ethnic groups defined by their usage of Iranian languages and discernable descent from ancient Iranian peoples. The Iranian peoples live chiefly in the Middle East, Central Asia, the Caucasus, and parts of the Indian subcontinent, though speakers of Iranian languages were once found throughout Eurasia, from the Balkans to western China. As Iranian peoples are not confined to the borders of the current state of Iran, the term Iranic peoples is sometimes used as an alternative in order to avoid confusion with the citizens of modern Iran.

The series of ethnic groups which comprise the Iranian peoples are traced to a branch of the ancient Indo-EuropeanAryans known as the Iranians or Proto-Iranians. Some scant information about the way of life of these early people has been elucidated through archaeological finds in Russia, Central Asia and the Middle East. The Iranian peoples have played an important role throughout history: the Achaemenid Persians established the world’s first multi-national state, and the Scythian- Sarmatian nomads dominated the vast expanses of Russia and western Siberia for centuries and gave birth to the infamous Amazons. In addition, the various religions of the Iranian peoples, including Zoroastrianism and Manichaeism, were important early philosophical influences on Judeo-Christianity. Early Iranian tribes were the precursors to many diverse modern peoples, including the Persians, the Kurds, the Pashtuns, and many other, smaller groups. The southern Iranian peoples survived Alexander the Great’s conquests, Muslim Arab attempts at cultural dominance, and devastating assaults by the Mongols, whereas the Iranians of the north were largely assimilated by the Slavs and other European peoples.

Etymology and usage

The term Iranian is derived from Iran (lit: “Land of the Aryans”). The old Proto-Indo-Iranian term Arya, meaning “noble”, is believed to have been one of a series of self-referential terms used by the Aryans, at least in the areas populated by Aryans who migrated south from Central Asia and southern Russia. Their ancient homeland was referred to as Airyanem Vaejah and varied in its geographic range, sometimes referring to Fars (according to Eratosthenes), sometimes to the area around Herat (Pliny’s view), sometimes to the entire expanse of the Iranian plateau ( Strabo’s designation).

From a linguistic standpoint, the term Iranian peoples is similar in its usage to the term Germanic peoples, which includes various peoples who happen to speak Germanic languages such as German, English and Dutch, or the term Slavic peoples, which includes various speakers of Slavic languages including Russians, Bosniaks, and Serbs. Thus, along similar lines, the Iranian peoples include not only the Persians, or Tajiks, of Iran, Afghanistan and Tajikistan, but also the Pashtuns, Kurds, Ossetians, Baloch, and a number of other groups. The academic usage of the term Iranian peoples, or Iranic peoples, is thus distinct from the state of Iran and its various citizens (who are all Iranian by nationality, and thus popularly referred to as Iranians), in the same way that Germanic peoples is distinct from Germans. Many citizens of Iran are not necessarily “Iranian peoples”, by virtue of not being speakers of Iranian languages, and may not have discernable ties to ancient Iranian tribes.

Roots

Having descended from the Aryans (Proto- Indo-Iranians), the ancient Iranian peoples separated from the Indo-Aryans,Nuristanis and Dards in the early 2nd millennium BCE. The Iranian languages form a sub-branch of the Indo-Iranian sub-family, which is a branch of the family of Indo-European languages. The Iranian peoples stem from early Proto-Iranians, themselves a branch of the Indo-Iranians, who are believed to have originated in either Central Asia or Afghanistan circa 1800 BCE. The Proto-Iranians are traced to the Bactria-Margiana Archaeological Complex, a Bronze Age culture of Central Asia. The area between northern Afghanistan and the Aral Sea is hypothesized to have been the region where the Proto-Iranians first emerged, following the separation of Indo-Iranians tribes.

By the first millennium BCE, Ancient Iranian peoples such as the Medes, Persians, Bactrians and Parthians populated the Iranian plateau, while Iranian peoples such as the Scythians, Sarmatians, and Alans populated the steppes north of the Black Sea. TheSaka and Scythian tribes remained mainly in the north, and spread as far west as the Balkans and as far east as Xinjiang. Later offshoots, related to the Scythians, included the Sarmatians, who vanished following Slavic and other invasions into southern Russia, the Ukraine, and the Balkans, presumably due to having been assimilated by other tribes.

There are only scant references to these early Proto-Iranian invaders in the early writings of the ancient Assyrians and Babylonians. Two of the early offshoots of the Proto-Iranians are known: Avestan speakers in Afghanistan, and Old Persian speakers in Fars in southeastern Iran. The Avestan texts known as the Gathas are believed to have been written by Zoroaster, the founder of Zoroastrianism, while Old Persian appears to have been established in written form following the adoption of cuneiform from the Sumerians. The Yaz culture (ca. 1500-1100 BC) may mark the development of Eastern Iranian and the emergence of Avestan culture.

The first mentioning by an Iranian tribe of their “Aryan” lineage is from an early inscription known as the Behistun Inscription, recording a proclamation by Darius I of Persia that he was of Aryan ancestry and that his language was an Aryan language. The inscription thus provides a link in the Iranian languages to the usage of the term Arya in early Indo-Aryan texts. These ancient Persians recognized three official languages (Elamite, Babylonian, and Old Persian), which suggests a multicultural society. It is not known to what extent other Proto-Iranian tribes referred to themselves as “Aryan”, or if the term has the same meaning in other Old Iranian languages.

Demographics

There are an estimated 150 million native speakers of Iranian languages. Currently, most of these Iranian peoples live in Iran, Afghanistan, Tajikistan, western-Pakistan, parts of Uzbekistan (especially Samarkand and Bukhara), the Caucasus (Ossetia and Azerbaijan), and the Kurdish areas (referred to as Kurdistan) of Turkey, Iraq, Iran and Syria. Smaller groups of Iranian peoples can also be found in western China, India and Israel.

Due to recent migrations, there are also large communities of speakers of Iranian languages in Europe and theAmericas.

Diversity

It is largely through linguistic similarities that the Iranian peoples have been linked, as many non-Iranian peoples have adopted Iranian languages and cultures. However, other common traits have been identified as well, and a stream of common historical events have often linked the southern Iranian peoples, including Hellenistic conquests, the various empires based in Persia, Arab Caliphates, and Turkic invasions.

Although most of the Iranian peoples settled in the Iranian plateau region, many expanded into the periphery, ranging from the Caucasus and Turkey to the Indus and western China. The Iranian peoples have often mingled with other populations, with the notable example being the Hazaras, who display a distinct Turkic- Mongol background that contrasts with most other Iranian peoples. Similarly, the Baloch have mingled with the Dravidian-speaking Brahui (who have been strongly modified by Iranian invaders themselves), while the Ossetians have invariably mixed with Georgians and other Caucasian peoples. Moreover, the Kurds are an eclectic Iranian people who, although displaying some ethnolinguistic ties to other Iranian peoples (in particular their Iranian language, and some cultural traits), are believed to have mixed with Caucasian and Semitic peoples. Modern Persians themselves are also a heterogeneous group of peoples descended from various ancient Iranian and indigenous peoples of the Iranian plateau, including the Elamites. Thus, not unlike the aforementioned example of Germanic peoples including the English, who are both of Germanic and Celtic origin, Iranians are an ethno-linguistic group, and the Iranian peoples display varying degrees of common ancestry and cultural traits that denote their respective identities.

Culture and assimilation

Many of the cultural traits of the ancient Iranians were similar to other Proto-Indo-European societies. Like other Indo-Europeans, the early Iranians practiced ritual sacrifice, had a social hierarchy consisting of warriors, clerics, and farmers, and poetic hymns and sagas to recount their deeds.

Following the Iranian split from the Indo-Iranians, the Iranians developed an increasingly distinct culture. It is surmised that the early Iranians intermarried with and assimilated local cultures over a long period of time, and thus a caste identity was never needed or created by the Iranians—in sharp contrast with the Indo-Aryans.

Various common traits can be discerned amongst the Iranian peoples. For example, the social event Norouz is an Iranian festival that is practiced by nearly all of the Iranian peoples as well as others in the region. Its origins are traced to Zoroastrianism and pre-historic times.

Some Iranian peoples exhibit distinct traits that are unique unto themselves. The Pashtuns adhere to a code of honor and culture known as Pashtunwali, which has a similar counterpart amongst the Baloch, called Mayar, that is more hierarchical.

Religion

The early Iranian peoples may have worshipped various deities found throughout other cultures where Indo-European invaders established themselves. The earliest major religion of the Iranian peoples was Zoroastrianism, which spread to nearly all of the Iranian peoples living in the Iranian plateau.

Modern speakers of Iranian languages mainly follow Islam. Some follow Judaism, Christianity and the Bahá’í Faith, with an unknown number showing no religious affiliation. Of the Muslim Iranian peoples, the majority overall are followers of the Sunni sect of Islam, while most Persians and Hazaras are Shi’a. Shi’a Islam and Sufism in Iran are both thought to be affected by Persianism. The Christian community is largely represented by the Russian Orthodox denomination, followed by Ossetians and Nestorians. Judaism is followed mainly by Persian Jews, Jews of Afghanistan, Kurdish Jews, and Mountain Jews (of the Caucasus), most of which are now found in Israel. The historical religion of the Persian Empire was Zoroastrianism and it has some followers. They are known as the Parsis in India, or Zoroastrians in Iran and Pakistan.

References:

http://cs.mcgill.ca/~rwest/wikispeedia/wpcd/wp/i/Iranian_peoples.htm

Armenian Monastic Ensembles of Iran

September 26, 2017 December 15, 2020
administrator
Attractions, Iran World Heritage Sites
Armenian Monastic Ensembles, Chapel of Dzordzor, Iran World Heritage Sites, St Stepanos, St Thaddeus

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 center 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.

Outstanding Universal Value

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 civilizations. 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.

Criterion (ii): The Armenian monasteries of Iran illustrate the Outstanding Universal Value of Armenian architectural and decorative traditions. They bear testimony to very important cultural interchanges with the other regional cultures, in particular Byzantine, Orthodox and Persian.

Criterion (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.

Criterion (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 plan provides the necessary guarantees for the long-term conservation of the property and the expression of its Outstanding Universal Value.

History of Thaddeus

It can be argued that Thaddeus was the least well-known of all of the Apostles. The Bible says virtually nothing of him beyond his inclusion in the list of Apostles. Even in the Apocryphal Gospels, which has more extensive, if non-canonical, stories of the Apostles, he is barely mentioned. To make matters worse, even his identity is enigmatic. He is only mentioned in two of the gospels, though he is usually identified as the Apostle Jude who does appear in the other two gospels. And yet, for all of the mystery surrounding this little-known companion of Jesus, a great tradition has grown up around him.

According to legend, Thaddeus and his brethren preached throughout Palestine following the Ascension of Jesus. Later he moved on to Libya, and then to Syria and Mesopotamia. He eventually found his way to Armenia, perhaps in the company of either Simon the Zealot, the Apostle Bartholomew or both, where he spent the final years of his life until his martyrdom sometime around the year 65 AD. Unfortunately, there is no way to verify this tradition, even through the use of questionable Apocryphal or even Gnostic documents.

Nevertheless the belief is very strong that Thaddeus did evangelize in Armenia, and that he died there; and of the lesser-known Apostles, the tradition of Thaddeus’ tomb is possibly the most plausible. Actually, the largest question concerning the authenticity of the holy site is that it was actually the tomb of Thaddeus of Edessa, one of the Seventy Disciples of Jesus, who traveled into the east with the Apostle Thomas, rather than that of Thaddeus the Apostle. Either way, it is the resting place of a very important early church figure.

According to tradition, the first church was built on the site around 68 AD, a few years after Thaddeus’ death. Over the centuries this was replaced by a series of larger churches, including one from the 10th century and one from the 14th century. The entire site was completely rebuilt in the 19th century thanks to the generosity of a local Muslim prince. However, in the wake of the 1979 Iranian revolution, the local Christians were driven from the site and told not to return. A special dispensation was permitted for pilgrims to visit only on St. Thaddeus’ feast day. Because of this, and because of its geographic isolation, the St. Thaddeus Monastery is perhaps the world’s least visited major Christian site.

STORY OF SAINT STEPANOS

Stephen often given as a title rather than as a name), traditionally venerated as the Protomartyr or first martyr of Christianity, was according to the Acts of the Apostles a deacon in the early church at Jerusalem who aroused the enmity of members of various synagogues by his teachings. Accused of blasphemy, at his trial he made a long speech denouncing the Jewish authorities who were sitting in judgment on him and was then stoned to death. His martyrdom was witnessed by Saul of Tarsus, a Pharisee who would later himself become a follower of Jesus and known as Paul the Apostle.

The only primary source for information about Stephen is the New Testament book of the Acts of the Apostles. Stephen is mentioned in Acts 6 as one of the Greek-speaking Hellenistic Jews selected to participate in a fairer distribution of welfare to the Greek-speaking widows.

The Catholic, Anglican, Lutheran, Oriental Orthodox, Eastern Orthodox Churches, and the Church of the East venerate Stephen as a saint. Stephen’s name in the original Greek of the Acts of the Apostles is given as Stephanos, meaning “crown”. Traditionally, Stephen is invested with a crown of martyrdom; artistic representations often depict him with three stones and the martyr’s palm frond. Eastern Christian iconography shows him as a young, beardless man with a tonsure, wearing a deacon’s vestments, and often holding a miniature church building or a censer.

Saint Stephen is first mentioned in Acts of the Apostles as one of seven deacons appointed by the Apostles to distribute food and charitable aid to poorer members of the community in the early church. According to Orthodox belief, he was the eldest and is therefore called “archdeacon”. As another deacon, Nicholas of Antioch, is specifically stated to have been a convert to Judaism, it may be assumed that Stephen was born Jewish, but nothing more is known about his previous life.

Hovhannes Erznkatsi

It was built by the Archbishop of Saint Thaddeus, Zakaria, Under the supervision of the Archbishop Hovhannes Erznkatsi, one of the celebrities of the Armenian literature, he was residing in this church in 1341, and therefore he is also called ” Tsortsoretsi”.

Reference: http://whc.unesco.org/en/list/1262

Author: administrator

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Hovhannes Erznkatsi