Arash the Archer is a heroic archer of the Persian mythology. As a warrior of King Manuchehr (the legendary king of Ancient Persia, who reigned over a period of 120 years, and the descendant of Fereydun, the Hero King, who did battle against Zahhak, the incarnation of the evil dragon, who was referred to as the last king of the Age of Gods in West Asia, and as the strongest archer, he brought an end to the war between Persia and Turan that had spanned for 60 years. The brave warrior of salvation, who bestowed peace and tranquility to the people of both countries. He accomplished the great feat of saving thousands of people during the battle. And being celebrated by poets as Ferdowsi, the name Arash is one of the most popular in the Persian speaking world. When the bloody and long-lasting war between Iran and Turan came to an end, the rulers of both countries decided to make peace and to fix the boundary between their kingdoms. The defeated Iran was ordered to shoot an arrow towards Turan. Where the arrow landed was to mark the border between the two countries.While they were dealing this agreement, Sepandarmaz, the earth's angel, appeared and ordered to bring a bow and an arrow. Arash was the most powerful and professional Iranian man in shooting an arrow, and due to his unique power, he could fire the arrow furthest away. The earth's angel told Arash to take the arrow and shoot it. Arash the Archer knew that the width of chaste pure land of Iran, would depend on the power of his arrow and he had to put all his power in that. He got ready, took off his shirt and showed his body to the king and the army and said: " Look, I'm healthy and there's no
Arash the Archer is a heroic archer of the Persian mythology. As a warrior of King Manuchehr (the legendary king of Ancient Persia, who reigned over a period of 120 years, and the descendant of Fereydun, the Hero King, who did battle against Zahhak, the incarnation of the evil dragon, who was referred to as the last king of the Age of Gods in West Asia, and as the strongest archer, he brought an end to the war between Persia and Turan that had spanned for 60 years. The brave warrior of salvation, who bestowed peace and tranquility to the people of both countries. He accomplished the great feat of saving thousands of people during the battle. And being celebrated by poets as Ferdowsi, the name Arash is one of the most popular in the Persian speaking world.
When the bloody and long-lasting war between Iran and Turan came to an end, the rulers of both countries decided to make peace and to fix the boundary between their kingdoms. The defeated Iran was ordered to shoot an arrow towards Turan. Where the arrow landed was to mark the border between the two countries.While they were dealing this agreement, Sepandarmaz, the earth’s angel, appeared and ordered to bring a bow and an arrow. Arash was the most powerful and professional Iranian man in shooting an arrow, and due to his unique power, he could fire the arrow furthest away. The earth’s angel told Arash to take the arrow and shoot it. Arash the Archer knew that the width of chaste pure land of Iran, would depend on the power of his arrow and he had to put all his power in that. He got ready, took off his shirt and showed his body to the king and the army and said: ” Look, I’m healthy and there’s no flaw in me, but I know that the moment I release the arrow, all my power will leave my body and it will go with the arrow.
An Iranian super hero, Arash the Archer, agreed to shoot the arrow from the peak of the Damavand (The highest mountain in Iran in Alborz string mountains). One morning of Tir (July), Arash climbed Mount Damavand and faced the direction of Turan lands, and with all his strength pulled his bow. Hormoz, the God, ordered to the angel of wind to take care of the arrow and preserve it from harm. The arrow flew the whole morning and fell at noon – 2250 kilometers on the bank of the Oxus River in what is now Central Asia. The river remained the boundary between Iran and Turan for centuries. When Arash let his bow go, he fell to the ground on Mount Damavand and passed away.
Arash’s body was not found. There are still stories from travelers who were lost on the mountain. They say that they heard Arash’s voice which helped them find their way and saved their lives.
Every year, Iranian people celebrated the memorial to that day. It is said that the “Tirgan” festival has been born since then.
Arash the Archer in recent literature: *SIYAVASH KASRAEE, the Iranian poet has a poem by name, Arash the Archer *TOURAN SHAHRIYARI, the Iranian poetess has a poem by name, ARASH and TIRGAN
Here some parts of Arash poem By Siavash Kasrai the Iranian Contemporary poet.
Arash e Kamangir (Arash the Archer)
Told or untold here are so many points The open sky The rosy sun The gardens of flowers The planes all wide and open The rise of flower from under the snow The soft dance of the fish in the crystal glass The smell of rainy soil in the highland The sleeping of the wheat farms in the moonlight To come, to go, to run To love To feel sorrow Or to dance when people are delighted To work, to act Yea, Yea, Life is beautiful Life is an everlasting fire-temple
If you lighten it, you’ll see the flames dancing in every border And if not, it will be quiet, and that will be our fault The Iranian army was so worried Tow by tow were mumbling Children standing on the roofs Girls sitting in the alleys Mothers standing beside the doors sadly People were like a wild sea It was windy, angry And a man like a pearl was born out of the sea It’s me, Arash He began like this to talk to the enemy It’s me Arash, the free army man I’m ready now Don’t ask about my ancestor I’m the child of working and trying Running like a shooting-star from the sky Like a morning ready to meet The earth was quiet, the sky was quiet As if all the world was listening to Arash Little by little sun appeared from behind the mountains Thousands of golden spears were thrown to the sky’s eyes
Arash took a look at the city, calmly Children on the roofs Girls sitting in the alleys Mothers sad, sitting beside the doors The men were in the way A song with no words, with painful sorrow What song can be composed? For the firm sold steps For the steps which know their destination well His enemies opened the road in a mocking silence Children called him from above the roofs Mothers prayed for him Girls holding the necklaces in hands, pushing hard Accompanied him with love and power Arash, but he was still silent He climbed up Alborz Mountain And tear drops would follow him At night Those who were looking for Arash on the mountains They were back Without any sign of Arash’s body With a bow and no arrow Yea, yea…. Arash put his life and soul in the arrow He did the job of thousands and thousands of arrows
“Turn yourself not away from three best things: Good Thought, Good Word, and Good Deed.” Zoroaster Zoroaster (active 1st millennium B.C.) was a prophet of ancient Iran and the founder of the Iranian national religion. Zoroastrianism is ranked with Judaism, Christianity, and Islam among the higher religions originating in the Middle East. The dates given for Zoroaster by ancient and modern writers differ considerably. The more sober authors have placed him between 1000 and 600 B.C. The latter date conforms to the tradition of the Zoroastrians themselves, who regard Zoroaster as having revealed his religion 258 years before Alexander the Great conquered Iran in 331 B.C. The main sources for the life and career of Zoroaster are the Avesta, the sacred book of the Zoroastrians, the oldest and most reliable source; later Zoroastrian literature, among which Denkart, an encyclopedic work in Middle Persian, stands out; and non-Zoroastrian works, which include Persian, Arabic, Armenian, and classical histories. Zoroaster was known among the classic writers chiefly as the initiator of the Magian belief and was regarded as a great sage. The Magians were a priestly class of ancient Iran and were the repository of Persian religious lore and learning. Zoroaster is first mentioned by a Lydian historian of the 5th century B.C. Plato mentions Zoroaster in Alcibiadesin connection with Magian teachings, and Plutarch gives a summary of Zoroaster's religious doctrine and cosmology. The Gathas Only the earliest part of the Avesta was composed by the prophet himself. This portion is called Gathas (Hymns). The other parts, which include hymns, prayers, litanies, and religious law, were written over a period of perhaps several centuries. The dialect of the Gathas is slightly different from the rest of the Avesta and somewhat more archaic. The language of the Avesta has long been dead. Ambiguities in a
“Turn yourself not away from three best things: Good Thought, Good Word, and Good Deed.” Zoroaster
Zoroaster (active 1st millennium B.C.) was a prophet of ancient Iran and the founder of the Iranian national religion. Zoroastrianism is ranked with Judaism, Christianity, and Islam among the higher religions originating in the Middle East.
The dates given for Zoroaster by ancient and modern writers differ considerably. The more sober authors have placed him between 1000 and 600 B.C. The latter date conforms to the tradition of the Zoroastrians themselves, who regard Zoroaster as having revealed his religion 258 years before Alexander the Great conquered Iran in 331 B.C. The main sources for the life and career of Zoroaster are the Avesta, the sacred book of the Zoroastrians, the oldest and most reliable source; later Zoroastrian literature, among which Denkart, an encyclopedic work in Middle Persian, stands out; and non-Zoroastrian works, which include Persian, Arabic, Armenian, and classical histories.
Zoroaster was known among the classic writers chiefly as the initiator of the Magian belief and was regarded as a great sage. The Magians were a priestly class of ancient Iran and were the repository of Persian religious lore and learning. Zoroaster is first mentioned by a Lydian historian of the 5th century B.C. Plato mentions Zoroaster in Alcibiadesin connection with Magian teachings, and Plutarch gives a summary of Zoroaster’s religious doctrine and cosmology.
The Gathas
Only the earliest part of the Avesta was composed by the prophet himself. This portion is called Gathas (Hymns). The other parts, which include hymns, prayers, litanies, and religious law, were written over a period of perhaps several centuries. The dialect of the Gathas is slightly different from the rest of the Avesta and somewhat more archaic. The language of the Avesta has long been dead. Ambiguities in a number of Avestan passages have given rise to differences of interpretation and have made some aspects of the prophet’s life the subject of heated controversy.
Zoroastrian priests perform a fire ceremony and prayers to honor the dead at the Zoroastrian Association of Metropolitan Chicago. Adherents to the ancient Persian religion are debating whether to accept converts or to recognize the children of mixed marriages as a way to boost the waning congregation numbers.
Recent work by Martin Schwartz and Almut Hintze tends to discount this theory, as the linguists show that the Gathas are not the work of an academic writing in a dead language; they show all the signs of poetry composed and recited in an oral tradition, similar to the heroic poetry of Homer or the Rig-Vedas. These studies would confirm the earlier date for Zarathushtra.
Again, no one knows how Zarathushtra died, allegedly at age 77. Many legends, and Zoroastrian tradition, say that he was killed, while praying in the sanctuary, by a foreign enemy of the king. But there is no holiday commemorating the martyrdom of the Prophet, as there would be in other religions (Christianity, for instance) and other Zoroastrian traditions, and scholars, say that Zarathushtra died peacefully.
“Doing good to others is not a duty. It is a joy, for it increases your own health and happiness.” Zoroaster
Nowruz
His birthday is celebrated on March 21, as part of the Persian New Year Festival.
Ancient alien theorists believe Zarathustra was the son of an alien god named who went by the name Ahura Mazda in this scenario. Scholars believe Zoroaster was a priest and a prophet. Linked to the Magi, he was considered a magician. His spiritual influences have always affected human thought and reasoning; his goal, to show humans their connection to one source of light and consciousness.
Ahura Mazda (also known as Ohrmazd, Ahuramazda, Hormazd, and Aramazd) is the Avestan name for a divinity of the Old Iranian religion who was proclaimed the uncreated God by Zoroaster, the founder of Zoroastrianism. Ahura Mazda is described as the highest deity of worship in Zoroastrianism, along with being the first and most frequently invoked deity in the Yasna. Ahura Mazda is the creator and upholder of Asha (truth). Ahura Mazda is an omniscient, but not an omnipotent God, however Ahura Mazda would eventually destroy Evil. Ahura Mazda’s counterpart is Angra Mainyu, the “Evil spirit” and the creator of Evil who will be destroyed before Frashokereti (the destruction of Evil).
Ahura Mazda first appeared in the Achaemenid period under Darius I’s Behistun Inscription. Until Artaxerxes II, Ahura Mazda was worshiped and invoked alone. With Artaxerxes II, Ahura Mazda was invoked in a triad, with Mithra and Apam Napat. In the Achaemenid period, there are no representations of Ahura Mazda other than the custom for every emperor to have an empty chariot drawn by white horses, to invite Ahura Mazda to accompany the Persian army on battles. Images of Ahura Mazda began in the Parthian period, but were stopped and replaced with stone carved figures in the Sassanid period.
Zoroaster spoke of duality and ceasing balance at the end of time. He also spoke of a rival to Ahura Mazda, who was similarly uncreated. This rival was the Evil spirit, Angra Mainyu. One of Ahura Mazda’s objectives is to destroy Angra Mainyu and create a universe which is completely good. To achieve such a universe, Ahura Mazda initially offered Angra Mainyu peace, which Angra Mainyu refused. Ahura Mazda then set out to establish a spiritual army. One of his first acts was the creation of the seven Amesha Spentas, who were spirits to monitor and protect each of the seven creations
If both of these entities, or gods, were aliens, the result, as depicted in ancient writings tells the sorry of great battles in the sky by something that resembled space ships and is possibly linked to the creation of the ancient underground city Derinkuyu.
Early Years – Family
The name Zarathustra is a Bahuvrihi compound in the Avestan language, of Zarata- “feeble, old” and Usatra “camel”, translating to “having old camels, the one who owns old camels”. The first part of the name was formerly commonly translated as “yellow” or “golden”, from the Avestan “Zaray”, giving the meaning “having yellow camels”. The later Zoroastrians, perhaps embarrassed by their prophet’s primitive-sounding name, said that the name meant “Golden Light,” deriving their meaning from the word ‘Zara’ and the word ‘Ushers’, light or dawn. There is no doubt about Zarathushtra’s clan name, which is Spitama – perhaps meaning “white.” Zarathushtra’s father was named Pouruchaspa (many horses) and his mother was named Dughdova (milkmaid).
The Gathas contain allusions to personal events, such as Zoroaster’s triumph over obstacles imposed by competing priests and the ruling class. They also indicate he had difficulty spreading his teachings, and was even treated with ill-will in his mother’s hometown. They also describe familial events such as the marriage of his daughter, at which Zoroaster presided. In the texts of the Younger Avesta (composed many centuries after the Gathas), Zoroaster is depicted wrestling with the Daevas and is tempted by Angra Mainyu to renounce his faith (Yasht 17.19; Vendidad 19).
The Spend Nask, the 13th section of the Avesta, is said to have a description of the prophet’s life. However, this text has been lost over the centuries, and it survives only as a summary in the seventh book of the 9th century Denkard. Other 9th- to 12th-century stories of Zoroaster, as in the Shahnameh, are also assumed to be based on earlier texts, but must be considered as primarily a collection of legends. The historical Zoroaster, however, eludes categorization as a legendary character.
Zoroaster was born into the priestly family of the Spitamids and his ancestor Spitama is mentioned several times in the Gathas. His father’s name was Pourusaspa, his mother’s was Dughdova. With his wife, Huvovi, Zoroaster had three sons, Isat Vastar, Uruvat-Nara and Hvare Cira and three daughters, Freni, Pourucista and Triti. His wife, children and a cousin named Maidhyoimangha, were his first converts after his illumination from Ahura Mazda at age 30. According to Yasnas 5 & 105, Zoroaster prayed to Anahita for the conversion of King Vistaspa, who appears in the Gathas as a historical personage.
Zoroaster’s Career
A brief sketch of the prophet’s career, however, may be gleaned from the Gathas. In these metrical preachings Zoroaster appears as a human and plausible figure, devoid of many of the mythical and legendary details found in later literature. According to the Gathas, Zarathushtra (as Zoroaster is called in the Avesta), son of Pourushaspa and from the house of Spitama, is a preacher inspired by and in communion with his Lord, Ahura Mazda. He is distressed at the spread of wickedness and the neglect of truth. He tries to awaken his people to the importance of righteousness and warns them against following false leaders practicing animal sacrifice, mistreating the cattle, and permitting the drinking of Homa (an intoxicating drink) in the ritual. His exhortations, however, are not heeded. He meets with the indifference of his people and the opposition of the communities’ religious leaders. He puts his trust in his Lord, with whom he holds a number of discourses. He seeks the active help and guidance of Ahura Mazda and eventually succeeds in converting King Vishtaspa, who then accords him protection and support.
In later Zoroastrian literature, Zoroaster’s life becomes wrapped in marvels and miraculous events. In these sources he is presented as a native of Media in western Iran. Through Doghdova, his mother, he inherits Farnah, the Divine Glory, without which no Persian king or prophet could succeed. According to the seventh book of the Denkart, which gives an account of the miraculous birth and life of the prophet, Ahura Mazda himself intervenes in the selection of the essence of Zoroaster’s body and soul from celestial spheres.
Sorcerers and demons, perceiving Zoroaster as a threat to their interests, make several attempts on his life, but he is protected by Ahura Mazda and his aides, the Holy Immortals, who reveal to him the “Good Religion.” Harassed by his opponents, he flees to eastern Iran, where he converts the Kianid king, Vishtaspa, to his religion. He marries the daughter of Vishtaspa’s good vizier, Frashaoshtra, and gives his own daughter in marriage to Jamaspa, another good vizier of the King. A series of battles against the neighboring infidel tribes follows King Vishtaspa’s conversion, and Zoroaster is killed at an altar during one of these battles.
“With an open mind, seek and listen to all the highest ideals. Consider the most enlightened thoughts. Then choose your path, person by person, each for oneself.” Zoroaster
Time and Place of Zoroaster
Agathius (6th century A.D.) was already facing the difficulty of determining the time of Zoroaster when he observed that the Persians said that Zoroaster lived under Hystaspes (Vishtaspa), but that it was not clear whether they meant Darius’s father or another Hystaspes. This question has continued into our own day. Whereas Samuel Nyberg placed Zoroaster in a remote period and among primitive people, Ernst Herzfeld (1947) insisted that he was related to the house of the Median kings and that his protector, Vishtaspa, was none other than Darius’s father. However, one must follow the convincing argument of W. B. Henning (1951), who upholds the authenticity of the Zoroastrian tradition and places Zoroaster in the court of a king of eastern Iran whose domain was eventually absorbed into the Achaemenid empire. This makes Zoroaster a contemporary of Buddha and Confucius.
As to the native land of the prophet, all the evidence in the Avesta, including geographical names, points to eastern Iran as the scene of Zoroaster’s activities. It is most probable that his alleged Median origin was a fabrication of the Magi.
Zoroaster’s Message
The Zoroastrian religion has gone through different phases, attracting in the course of time many elements from different sources. Among these sources are the pre-Zoroastrian religion of the Iranians and the ritualistic cult of the Magi, but the central element remains the message of Zoroaster himself. It was this message which shaped the new religion and afforded the Iranians spiritual comfort and cohesion for many centuries.
The most characteristic aspect of Zoroaster’s faith is belief in dualism. He conceived of two primeval powers active in the universe, Good and Evil. Our world is the scene of their conflict and admixture. The outcome of this conflict, upon which depends the destiny of man, is decided as much by man’s choice as by any other factor. The choice is between siding with Ahura Mazda and following the path of truth, or uniting with Angra Mainyu (Ahriman) and following the way of falsehood. In the fateful struggle between Ahura Mazda and Angra Mainyu, it is man and his deeds which hold the balance. It is through the good thoughts, good words, and good deeds of pious men and women that the forces of Good eventually triumph. There will be a day of reckoning when those who have resisted the temptations of Angra Mainyu and have followed the dictates of the “Good Religion” will be blessed.
In assigning this choice to man, Zoroaster raises him to an exalted rank in the scheme of creation. Man’s noble position and his positive contribution to the triumph of righteousness is the second important characteristic of Zoroaster’s message. His religion is not affected by a notion of original sin or by ascetic tendencies. The raising of children and the planting of trees are stressed as meritorious deeds. Zoroaster’s kingdom of God is not necessarily a vision to be realized only in the hereafter.
Zoroaster, who seems to have reacted against a form of monotheism, reveals a striking and original way of thinking. From the Gathas we gain the impression of an impassioned preacher who strives for the material and spiritual well-being of his people. The success of his faith bears witness to the pertinence of his message for his people.
“One good deed is worth a thousand prayers.” Zoroaster
Located in the south-west of Iran, in the lower Zagros Mountains, the property encompasses a group of archaeological mounds rising on the eastern side of the Shavur River, as well as Ardeshir’s palace, on the opposite bank of the river. The excavated architectural monuments include administrative, residential and palatial structures. Susa contains several layers of superimposed urban settlements in a continuous succession from the late 5th millennium BCE until the 13th century CE. The site bears exceptional testimony to the Elamite, Persian and Parthian cultural traditions, which have largely disappeared. Brief synthesis of Susa Located in the lower Zagros Mountains, in the Susiana plains between the Karkheh and Dez Rivers, Susa comprises a group of artificial archaeological mounds rising on the eastern side of the Shavur River, encompassing large excavated areas, as well as the remains of Artaxerxes' palace on the other side of the Shavur River. Susa developed as early as the late 5th millennium BCE as an important center, presumably with religious importance, to soon become a commercial, administrative and political hub that enjoyed different cultural influences thanks to its strategic position along ancient trade routes. Archaeological research can trace in Susa the most complete series of data on the passage of the region from prehistory to history. Susa appears as the converging point of two great civilizations which reciprocally influenced each other: the Mesopotamian and the Iranian plateau civilizations. Susa’s long-lasting and prominent role in the region, either as the capital of the Elamites, or of the Achaemenid Empire, or as a strategic center sought by neighboring powers (e.g., Assyrian, Macedonian, Parthian, Sassanid) is witnessed by the abundant finds, of disparate provenance and of exceptional artistic or scientific interest, and by the administrative, religious, residential and palatial, as well as functional structures and traces of urban layout that
Located in the south-west of Iran, in the lower Zagros Mountains, the property encompasses a group of archaeological mounds rising on the eastern side of the Shavur River, as well as Ardeshir’s palace, on the opposite bank of the river. The excavated architectural monuments include administrative, residential and palatial structures.
Susa contains several layers of superimposed urban settlements in a continuous succession from the late 5th millennium BCE until the 13th century CE. The site bears exceptional testimony to the Elamite, Persian and Parthian cultural traditions, which have largely disappeared.
Brief synthesis of Susa
Located in the lower Zagros Mountains, in the Susiana plains between the Karkheh and Dez Rivers, Susa comprises a group of artificial archaeological mounds rising on the eastern side of the Shavur River, encompassing large excavated areas, as well as the remains of Artaxerxes’ palace on the other side of the Shavur River. Susa developed as early as the late 5th millennium BCE as an important center, presumably with religious importance, to soon become a commercial, administrative and political hub that enjoyed different cultural influences thanks to its strategic position along ancient trade routes.
Archaeological research can trace in Susa the most complete series of data on the passage of the region from prehistory to history. Susa appears as the converging point of two great civilizations which reciprocally influenced each other: the Mesopotamian and the Iranian plateau civilizations.
Susa’s long-lasting and prominent role in the region, either as the capital of the Elamites, or of the Achaemenid Empire, or as a strategic center sought by neighboring powers (e.g., Assyrian, Macedonian, Parthian, Sassanid) is witnessed by the abundant finds, of disparate provenance and of exceptional artistic or scientific interest, and by the administrative, religious, residential and palatial, as well as functional structures and traces of urban layout that more than 150 years of archaeological investigations have revealed.
Criterion (i): Susa stands as one of the few ancient sites in the Middle East where two major social and cultural developments took place: the development of the early state, and urbanization. Susa is among the few sites in the Middle East where the dynamics and processes that led to these monumental human achievements has been documented, and still holds a huge body of important tangible evidence to understand better the early and mature stages of social, cultural and economic complexity.
In its long history, Susa contributed to the development of urban planning and architectural design. The royal ensemble of the Palace of Darius and Apadana, with its tall hypostyle hall and porticos, lofty stone columns and gigantic capitals and column bases, and the orthostatic and ceramic wall decorations, together represent an innovative contribution to the creation of a new expression, characteristic of the Achaemenid Empire.
Criterion (ii): The proto-urban and urban site of Susa bears testimony, from the late 5th millennium BCE to the first millennium CE, to important interchanges of influences, resulting from ancient trade connections and cultural exchanges between different civilizations, namely the Mesopotamian and Elamite. Susa has been identified as the focal point of interaction and intersection between the nomadic and sedentary cultures.
It played a key role in creating and expanding technological knowledge, and artistic, architectural and town planning concepts in the region. Through its sustained interaction with nearby regions, archaeological and architectural materials discovered at Susa exhibit a variety of styles and forms, shedding light on an international ancient city that both influenced and was imitated by its neighbors.
Criterion (iii): The remains of the ancient city of Susa bear exceptional testimony to successive ancient civilizations during more than six millennia, as well as having been the capital city of the Elamite and Achaemenid Empires. It contains 27 layers of superimposed urban settlements in a continuous succession from the late 5th millennium BCE until the 13th century CE. Susa is on the most ancient of the sites, where the processes of urbanization crystallized in the late 5th millennium BC. A decade of scientific excavations from 1968 to 1978, and philological works at Susa, also documented the development and changing character of this early urban center throughout the millennia.
Criterion (iv): Susa is an outstanding and rare example of a type of urban settlement representing the beginnings of urban development in the proto-Elamite and Elamite periods, from the late fifth millennium BCE. Furthermore, from the sixth century BCE, as the administrative capital city of the Achaemenid Empire, Susa contributed to the creation of a new prototype of ceremonial architecture, which became a characteristic feature of the Iranian Plateau and its neighboring lands.
Integrity of Susa
The excavated site of the ancient urban and architectural remains of Susa is included within the boundaries of the property. Even though many of the finds are today exhibited in museums, Susa still includes the essential elements to express its Outstanding Universal Value. The property covers the known part of the ancient city, which is now protected against adverse development.
Due to the high archaeological potential of the area that surrounds Susa, continuing archaeological research and documentation sustains the integrity of the property. The recent haphazard urban development of modern Shush threatens the edges and immediate setting of the property; however, strict regulations have been elaborated, integrated into the planning system and enforced. Their stringent implementation is crucial to maintaining the integrity of the property.
Authenticity of Susa
More than 150 years of archaeological research and historical sources confirm that the property encompasses the site of the ancient city of Susa. The material and form of the architectural remains are historically authentic, although many of the decorative elements are now deposited in museums for protection. As a protected archaeological property, Susa is being conserved using scientific and philological methods and approaches.
Therefore, the excavated remains have been stabilized and conserved respecting their architectural and planning design as well as their building materials. From its initial formation and in the course of its development until its final decline, Susa has always remained on its present site; its environmental setting has, however, changed, with the hydraulic works carried out upstream of the Karkheh and the Shavur Rivers; however, these changes do not prevent the understanding of the role played by the environmental setting in the long-lasting prominence of Susa.
Protection and management requirements of Susa
Susa is protected as a National monument and falls under the responsibility of the ICHHTO which protects and manages the property through its Susa Base. Regulations for the property and its buffer and landscape zones have been incorporated into the planning instruments as prevailing norms. Their stringent implementation is crucial to guaranteeing the adequate protection and preservation of Susa’s buried and unburied archaeological remains. Inter-institutional cooperation and coordination among existing instruments in the management of the property, and particularly of its immediate and wider setting, is fundamental to ensuring that urban growth respects the archaeological potential of the area and makes it an asset for a compatible and equitable development of Shush within its wider region.
As Christians around the world celebrate Christmas, the holiday season is also observed in Iran. Christianity has a long history in Iran, dating back to the early years of the faith. It has been practiced in the country longer than the state religion, Islam. According to the country's statistics, today there are at least 600 churches for 300,000 – 370,000 Christians in Iran, most of whom are Armenians who are followers of the Oriental Orthodox branch of Christianity. A Walk-Through Tehran at Christmas Iran’s Christian Armenian minority has been storming the gift shops in Tehran, buying them out of all their ornaments, Santa figures and pine trees to hang in their stores and homes. Christmas trees decorated with red, green and gold gift boxes placed behind shop windows or at the entrances of different shopping malls and hotels can be seen, especially in the Christian neighborhoods of Tehran. Decorated trees, along with Nativity scenes of the Virgin Mary, Joseph and baby Jesus, can also be seen in shops along Mirza Shirazi Avenue and Ostaad Nejatollahi (Villa Avenue) and its surrounding neighborhoods in central Tehran, where many Iranian Christians reside. Some Iranian Christians celebrate Christmas on Dec. 25 and New Years’ on Jan. 1, while Armenians celebrate Christmas at the same time as the Epiphany on Jan. 6. Despite being a minority, Iran’s Christians, Jews and Zoroastrians are recognized as established religious minorities and are represented in parliament, and also enjoy freedom to practice their religions and perform their religious rituals. During Christmas, joy and merriment reigns supreme for the Christian population all over the country. Christmas in Iran is popularly known by the name of "Little Feast". Although Christmas has an official recognition in Iran, it is not a national holiday. The festival is preceded by "Little Fast", or 25
As Christians around the world celebrate Christmas, the holiday season is also observed in Iran. Christianity has a long history in Iran, dating back to the early years of the faith. It has been practiced in the country longer than the state religion, Islam.
According to the country’s statistics, today there are at least 600 churches for 300,000 – 370,000 Christians in Iran, most of whom are Armenians who are followers of the Oriental Orthodox branch of Christianity.
A Walk-Through Tehran at Christmas
Iran’s Christian Armenian minority has been storming the gift shops in Tehran, buying them out of all their ornaments, Santa figures and pine trees to hang in their stores and homes.
Christmas trees decorated with red, green and gold gift boxes placed behind shop windows or at the entrances of different shopping malls and hotels can be seen, especially in the Christian neighborhoods of Tehran.
Decorated trees, along with Nativity scenes of the Virgin Mary, Joseph and baby Jesus, can also be seen in shops along Mirza Shirazi Avenue and Ostaad Nejatollahi (Villa Avenue) and its surrounding neighborhoods in central Tehran, where many Iranian Christians reside.
Some Iranian Christians celebrate Christmas on Dec. 25 and New Years’ on Jan. 1, while Armenians celebrate Christmas at the same time as the Epiphany on Jan. 6.
Despite being a minority, Iran’s Christians, Jews and Zoroastrians are recognized as established religious minorities and are represented in parliament, and also enjoy freedom to practice their religions and perform their religious rituals.
During Christmas, joy and merriment reigns supreme for the Christian population all over the country. Christmas in Iran is popularly known by the name of “Little Feast”. Although Christmas has an official recognition in Iran, it is not a national holiday. The festival is preceded by “Little Fast”, or 25 days of fasting from animal products.
The ritual is observed, mainly by the Assyrians, from December 1 and needs one to abstain from meat, eggs and even dairy products such as milk and cheese. For devout Christians, it is a time of peace and meditation. The fasting is intended to purify the mind, body and soul to welcome Christ.
Most of the community attend church services during the time. While the “Little Fast” is observed from December 1 – December 25, the “Big Fast” occurs during Lent, the six weeks preceding Easter. It is not until the “Little Fast” ends that the Christmas feast begins.
The Christmas Eve is the last day of the “Little Fast” and even before dawn on Christmas Day, the people attend Mass to receive Communion. It is only after they receive this Communion that they are permitted to break fast.
Thereupon, preparations for the great Christmas feast begin. Plenty of meat is cooked up for the celebrations. The main dish for Christmas Day is a kind of chicken barley stew, popularly known as “Harissa”, which is cooked in large quantities and is stored and eaten for several days. For Iranian boys and girls, Christmas week is the time for happiness. It is the occasion when they can indulge in joyous celebrations and gorge on delicious recipes once again.
In recent years, municipal authorities have also put up banners celebrating the birth of Jesus on many main streets and at the St. Sarkis Armenian Church on Villa Avenue, where a service is held every year.
Unlike other countries in the region where public celebration of Christmas is limited to hotels frequented by foreigners, there is no such restriction in Tehran. The sale of Christmas ornaments, which during the first years of the Islamic Revolution was limited to Christian districts, can now be seen around town.
In fact, festive Christmas decoration and celebration take place throughout the country, specifically in major cities such as Esfahan, Shiraz, Tabriz and even religious cities such as Mashhad.
Merry Christmas to all Christians in Iran and anywhere in the world!
Yalda Night: The Longest And Darkest Night Of The Year These days, Christian countries around the world are getting ready for Christmas. All streets, stores and houses are decorated with lights for this festive season. You hear Christmas songs everywhere and some people even wear Christmas jumpers. For Iranians, all around the world, it’s different, because they are getting ready for one of their most important nights of the year: Yalda night or Shab e Chelleh. The majority of Iranians don’t celebrate Christmas, of course we do have Armenian communities and other Christian communities who do celebrate Christmas in Iran. I think Yalda is much more highlighted than Christmas in the streets of Iran. Let me explain to you what Yalda night is. What is Yalda night? Iranians around the world celebrate Yalda, which is one of the most ancient Persian festivals. On Yalda festival, Iranians celebrate the arrival of winter, the renewal of the sun and the victory of light over darkness. Considered the longest night of the year, Yalda eve is the night when ancient Iranians celebrated the birth of Mithra, the goddess of light. Yalda means birth. Yalda night is a beautiful ancient Iranian celebration. Iranians are celebrating the longest and darkest night of the year or winter solstice. This night is on 20 to 21 December according to the Georgian calendar. I should add here that we in Iran use a different calendar, the Iranian calendar. According to this calendar, Yalda night is the last evening of the autumn day or “the night opening the initial forty-day period of the three-month winter”. Let me go back to the reasons: Why we celebrate Yalda Night? Ancient Persians believed that evil forces were dominant on the longest night of the year and that the next day belonged to
Yalda Night: The Longest And Darkest Night Of The Year
These days, Christian countries around the world are getting ready for Christmas. All streets, stores and houses are decorated with lights for this festive season. You hear Christmas songs everywhere and some people even wear Christmas jumpers. For Iranians, all around the world, it’s different, because they are getting ready for one of their most important nights of the year: Yalda night or Shab e Chelleh. The majority of Iranians don’t celebrate Christmas, of course we do have Armenian communities and other Christian communities who do celebrate Christmas in Iran. I think Yalda is much more highlighted than Christmas in the streets of Iran. Let me explain to you what Yalda night is.
What is Yalda night?
Iranians around the world celebrate Yalda, which is one of the most ancient Persian festivals.
On Yalda festival, Iranians celebrate the arrival of winter, the renewal of the sun and the victory of light over darkness.
Considered the longest night of the year, Yalda eve is the night when ancient Iranians celebrated the birth of Mithra, the goddess of light.
Yalda means birth. Yalda night is a beautiful ancient Iranian celebration. Iranians are celebrating the longest and darkest night of the year or winter solstice. This night is on 20 to 21 December according to the Georgian calendar. I should add here that we in Iran use a different calendar, the Iranian calendar. According to this calendar, Yalda night is the last evening of the autumn day or “the night opening the initial forty-day period of the three-month winter”.
Let me go back to the reasons:
Why we celebrate Yalda Night?
Ancient Persians believed that evil forces were dominant on the longest night of the year and that the next day belonged to the Lord of Wisdom, Ahura Mazda.
In addition to Iran, Central Asian countries such as Afghanistan, Tajikistan, Uzbekistan, Turkmenistan and some Caucasian states such as Azerbaijan and Armenia share the same tradition and celebrate Yalda Night annually at this time of the year.
How does Iranian celebrate Yalda night?
On this night, family members get together (most often in the house of the eldest member) and stay awake all night long. Dried nuts, watermelon and pomegranate are served, as supplications to God for increasing his bounties, as well classic poetry and old mythologies are read aloud.
Iranians believe those who begin winter by eating summer fruits would not fall ill during the cold season. Therefore, eating watermelons is one of the most important traditions in this night.
Pomegranates, placed on top of a fruit basket, are reminders of the cycle of life–the rebirth and revival of generations. The purple outer covering of a pomegranate symbolizes birth or dawn, and their bright red seeds the glow of life.
As days start lengthening, ancient Iranians believe that at the end of the first night of winter which coincides with December 21 this year, darkness is defeated by light and therefore they must celebrate the whole night. As the 13th-century Iranian poet Sa’di writes in his book Boustan: “The true morning will not come until the Yalda Night is gone.”
Early Christians linked this very ancient Persian celebration to Mithra, goddess of light, and to the birth anniversary of Prophet Jesus (PBUH). In birth, sun and Prophet Jesus (PBUH) are close to each other, says one Iranian tale of Yalda.
Today, Christmas is celebrated slightly off from Yalda Night. However, Christmas and Yalda are both celebrated in a similar fashion by staying up all night and celebrating it with family and friends, and eating special foods.
In most ancient cultures, including Persia, the start of the solar year has been marked with the celebration of the victory of light over darkness, and the renewal of the sun. For example, 4,000 years ago, Egyptians celebrated the rebirth of the sun at this time of the year. Their festival lasted for 12 days to reflect the 12 divisions in their solar calendar.
The ancient Roman festivals of Saturnalia (god of agriculture, Saturn) and Sol Invicta (sun god) are amongst the best-known celebrations in the western world.
Iranians adopted their annual renewal festival from the Babylonians and incorporated it into the rituals of their Zoroastrian religion. The last day of the Persian month Azar is the longest night of the year, when the forces of evil are assumed to be at the peak of their strength.
The next day, which is the first day of the month ‘Dey’ known as ‘khorram rooz’ or ‘khore rooz’ (the day of the sun), belongs to Ahura Mazda, the lord of wisdom. Since days become longer and nights shorter, this day marks the victory of the sun over darkness. The occasion was celebrated as the festival of ‘Deygan’, which is dedicated to Ahura Mazda on the first day of ‘Dey’.
Fires would be burnt all night to ensure the defeat of the forces of evil. There would be feasts, acts of charity and prayers performed to ensure the total victory of sun–essential for the protection of winter crops. There would be prayers to Mithra (Mehr) and feasts in his honor, since Mithra is the Eyzad responsible for protecting “the light of the early morning”, known as ‘Havangah’. It was also assumed that Ahura Mazda would grant people’s wishes, especially those desiring an offspring if all rites are performed on this occasion.
One of the themes of the festival was the temporary subversion of order. Masters and servants reversed roles. The king dressed in white would change place with ordinary people. A mock king was crowned and masquerades spilled into the streets. As the old year died, rules of ordinary living were relaxed. This tradition persisted till the Sassanian rule and is mentioned by Birouni, the eminent scientist and traveler, and others in their recordings of pre-Islamic rituals and festivals.
Its origin dates back to the Babylonian New Year celebration. They believed that the first creation was order, which was born out of chaos. To appreciate and celebrate the first creation, they held a festival and all roles were reversed. Disorder and chaos ruled for a day and eventually order was restored at the end of the festival.
The Iranian Jews, who are amongst the oldest inhabitants of the country, in addition to Shab-e Chelleh, also celebrate the festival of Illanout (tree festival) at around the same time.
The celebration of Illanout is very similar to Shab-e Chelleh’s. Candles are lit and a variety of dried and fresh winter fruits are eaten. Special meals are prepared and prayers are performed. There are also festivals in parts of southern Russia, which are identical to Shab-e Chelleh with local variations. Sweet bread is baked in the shape of humans and animals. Bonfires are lit, around which people danced and made movements resembling crop harvesting.
Comparisons and detailed studies of all these celebrations will shed more light on the forgotten aspects of this wonderful and ancient festival, where merriment was the main theme of the festival.
One of the other traditions of Yalda night, which has been added in recent centuries, is the recitation of the classic poetry of Hafez, the Iranian poet of 14th century AD. Each member of the family makes a wish and randomly opens the book and asks the eldest member of the family to read it aloud. What is expressed in that poem is believed to be the interpretation of the wish and whether and how it will come true. This is called Faal-e Hafez (Hafez Omen).
Coinciding with the beginning of the winter, Yalda is an occasion to celebrate the end of the crop season. It is today an event to thank the Lord for all blessings and to pray for prosperity in the next year.
Persian Calligraphy; One of the most revered arts throughout history of Iran The art of calligraphy is one of the reputable and famous arts in Iran. The glorious art of calligraphy and its numerous decorations have always been praised by Iranologs. The importance of the art of calligraphy among Iranian arts is such that some arts seem to be imperfect, without decorative calligraphy. Iranians more than any other nation have used various calligraphy to enrich and beautify earthen-ware, metallic vessels and historic buildings. Calligraphy has been considered among the artistic symbols, letters and elements, which form the word, always bear undeniable esthetic qualities. Iranian Calligraphic Styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and decorative scripts, stands proud as charming among those of every other nation; particularly so, when those are adorned with illumination, which bestows hundred-fold prominence to their sublime forms. Most of the handwritten books of Iran specially the Holy Quran, and collections of poems such as Shahnameh, Hafez, Golestan, Boostan and Khayam have been recognized as precious artistic works because of their graceful and delicate calligraphy. Indeed, Iranian calligraphy truly deserves such illuminations, and such a reverence; its masterpieces, when framed and set upon walls, bear all the attraction of great paintings, affecting even foreigners. Thus, many of them are now lovingly collecting items of Persian Calligraphy. These books possess extraordinary value and importance for the art experts all around the world. The art of calligraphy in Iran has a long history. This history includes the opposition of writing in Iran and its process of evolution from the ancient times till the Islamic period and from this period till the present time. History of Persian Calligraphy Evolution of various styles of penmanship, esthetic changes and developments of Persian calligraphy, assess essential esthetic variations, evaluate the
Persian Calligraphy; One of the most revered arts throughout history of Iran
The art of calligraphy is one of the reputable and famous arts in Iran. The glorious art of calligraphy and its numerous decorations have always been praised by Iranologs.
The importance of the art of calligraphy among Iranian arts is such that some arts seem to be imperfect, without decorative calligraphy. Iranians more than any other nation have used various calligraphy to enrich and beautify earthen-ware, metallic vessels and historic buildings.
Calligraphy has been considered among the artistic symbols, letters and elements, which form the word, always bear undeniable esthetic qualities. Iranian Calligraphic Styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and decorative scripts, stands proud as charming among those of every other nation; particularly so, when those are adorned with illumination, which bestows hundred-fold prominence to their sublime forms.
Most of the handwritten books of Iran specially the Holy Quran, and collections of poems such as Shahnameh, Hafez, Golestan, Boostan and Khayam have been recognized as precious artistic works because of their graceful and delicate calligraphy.
Indeed, Iranian calligraphy truly deserves such illuminations, and such a reverence; its masterpieces, when framed and set upon walls, bear all the attraction of great paintings, affecting even foreigners. Thus, many of them are now lovingly collecting items of Persian Calligraphy.
These books possess extraordinary value and importance for the art experts all around the world. The art of calligraphy in Iran has a long history. This history includes the opposition of writing in Iran and its process of evolution from the ancient times till the Islamic period and from this period till the present time.
History of Persian Calligraphy
Evolution of various styles of penmanship, esthetic changes and developments of Persian calligraphy, assess essential esthetic variations, evaluate the degrees of evolution attained and discover the brilliant agility of Iranian Artist’s mind within the context of history, show that, although certain decays be more or less conspicuous in the course of history of calligraphy, this very beauty has kept it from annihilation.
Mind of the average Iranian spectator is basically familiar with calligraphy, so that, even though he (she) may not be a calligrapher Himself (herself), nevertheless has a close recollection of tradition of penmanship. This “recollection”, which bears extensive influence from the works of the immediately preceding generation, generally corresponds with the latest basics evolved by the present one, and thus has a relatively clear-cut opinion about calligraphic esthetics. Therefore, it is not so strange that this “recollection” may not deem a panel penned by Mir Ali Heravi (16th century A.D.).
Obviously, such a judgment is an unjust one; rather, to be fair, one should recognize and evaluate highs and lows of calligraphic styles by the criteria prevalent in their own time.
In the Islamic period, Iranian artists put to work in various ways the Arabic alphabet to adorn mosques and holy constructions, wooden doors, earthenware and metallic vessels. The art of calligraphy flourished even more when the Holy Quran, Shahnameh, and other books were written and reached the highest degree of perfection during the next centuries.
During the Safavid era, virtuous Iranian calligraphers, invented all diverse forms of the Persian writing. Thousands of tablets, books and attractive handwritten pieces are available among the artistic works of calligraphy in Iran.
Iranians acquired great success in the art of binding books in various ways. The leather cover of these books was enriched in the most gracious manner by geometrical and floral patterns and various landscapes.
The art of illumination has had a great role in decorating these leather covers. Some of the most valuable handwritten books of Iran, with leather bindings are being kept in the “Metropolitan” museum, the “National Library of Paris”, the “Library of Munich” and some private collections. The calligraphy in these books is mostly accomplished by the great masters of this art.
Writing is considered a tool for the comprehension of the contexts all over the world, but in Iran writing has made its way of becoming an estimable art.
Although art experts around the world are not much informed about the contents of the Persian handwriting, they tend to use Persian calligraphy work to adorn their libraries and private collections. The expertise brought forth in Persian calligraphy expresses the most gracious artistic notions.
Calligraphy has been considered among the artistic symbols, letters and elements, which form the word, always bear undeniable esthetic qualities. Iranian Calligraphic Styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and decorative scripts, stands proud as charming among those of every other nation; particularly so, when those are adorned with illumination, which bestows hundred-fold prominence to their sublime forms.
Nastaʿlīq Script
“Nas’taliq” is the most popular contemporary style among classical Persian calligraphy scripts. It is known as “Bride of the Calligraphy Scripts”. As a matter of fact, this calligraphy style has been based on such a strong structure that it has changed very little since that time. It is as if “Mir Ali Tabrizi” has found the optimum composition of the letters and graphical rules so it has just been fine-tuned during the passed seven centuries.
Nas’taliq is the most beautiful Persian Calligraphy style and also technically the most complicated. It has strict rules for graphical shape of the letters and for combination of the letters, words, and composition of the whole calligraphy piece as a whole. Even the second popular Persian calligraphy style i.e. “Cursive Nas’taliq” or “Shekasteh Nas’taliq” noticeably follows the same rules as Nas’taliq, with more flexibility of course.
It is really important to note that unlike its ancestors, Nas’taliq follows natural curves. In other words, unlike Arabic scripts that follow logical/geometrical designs, Nas’taliq follows the nature and natural curves. There are a lot of resemblances found between the curves used in Nas’taliq and natural curves and a few examples are shown here. It is interesting that it may not be the preliminary intention of Mir-Ali or the others to write the letters in such a form that they look like natural curves; but rather later these similarities have been found. Therefore, it shows that it is because of the initial spirit of Nas’taliq and its tendency toward nature that it looks so intimate and beautiful.
Officially used in Iran and Afghanistan, the Solar Hijri calendar is one of the world's most accurate calendar systems. It is also known as Persian Calendar, Iranian Calendar, and SH Calendar. The Solar Hijri calendar is not to be confused with the Hijri calendar used in many Muslim countries and by Muslims around the world. What's the difference? The Solar Hijri calendar (Persian calendar) is a solar calendar, meaning that its time reckoning is based on the Earth's movements around the Sun. Unlike the Gregorian calendar, which follows a set of predetermined rules to stay in sync with the solar year, the Solar Hijri calendar is based on astronomical observations. The year begins at midnight closest to the vernal equinox in Iran – specifically at the Iran Standard Time meridian at longitude 52.5° east, which runs about 250 miles (400 km) east of Tehran. The first day of the new year is called Nowruz, and it is celebrated around the world by Iranian people. Tying the Solar Hijri calendar so closely to the astronomical seasons makes it much more accurate than the Gregorian calendar, which, even in its modern form, deviates from the solar year by 1 day in 3236 years. When Was Year 1 in Persian Calendar? The Solar Hijri year count starts with the Islamic prophet Mohammed's migration (Hegira or Hijrah) to Medina in 622 CE. Although the Solar Hijri calendar shares this start date with the Islamic calendar (Hijri calendar), the calendar systems are not related otherwise. The Hijri calendar is a lunar calendar. Because of this, the year counts between the Solar Hijri calendar and the Hijri calendar differ substantially. For example, January 1, 2016 fell into year 1394 in the Solar Hijri calendar, which corresponds to year 1437 in the Hijri calendar. Leap Year Rules
Officially used in Iran and Afghanistan, the Solar Hijri calendar is one of the world’s most accurate calendar systems. It is also known as Persian Calendar, Iranian Calendar, and SH Calendar.
The Solar Hijri calendar is not to be confused with the Hijri calendar used in many Muslim countries and by Muslims around the world.
What’s the difference?
The Solar Hijri calendar (Persian calendar) is a solar calendar, meaning that its time reckoning is based on the Earth’s movements around the Sun.
Unlike the Gregorian calendar, which follows a set of predetermined rules to stay in sync with the solar year, the Solar Hijri calendar is based on astronomical observations. The year begins at midnight closest to the vernal equinox in Iran – specifically at the Iran Standard Time meridian at longitude 52.5° east, which runs about 250 miles (400 km) east of Tehran. The first day of the new year is called Nowruz, and it is celebrated around the world by Iranian people.
Tying the Solar Hijri calendar so closely to the astronomical seasons makes it much more accurate than the Gregorian calendar, which, even in its modern form, deviates from the solar year by 1 day in 3236 years.
When Was Year 1 in Persian Calendar?
The Solar Hijri year count starts with the Islamic prophet Mohammed’s migration (Hegira or Hijrah) to Medina in 622 CE. Although the Solar Hijri calendar shares this start date with the Islamic calendar (Hijri calendar), the calendar systems are not related otherwise.
The Hijri calendar is a lunar calendar. Because of this, the year counts between the Solar Hijri calendar and the Hijri calendar differ substantially. For example, January 1, 2016 fell into year 1394 in the Solar Hijri calendar, which corresponds to year 1437 in the Hijri calendar.
Leap Year Rules
Like in the Gregorian calendar, a common year in the Solar Hijri calendar has 365 days while a leap year has 366 days. However, because the Solar Hijri calendar is an observational calendar, there are no mathematical rules to determine leap years. Instead, it is the number of days between two vernal equinoxes that determines if Esfand has 29 or 30 days.
Rule-Based Version
A number of complex mathematical rules have been suggested to determine the distribution of leap years in the Solar Hijri calendar. One of them achieves a degree of accuracy very similar to that of the observational version, requiring about 110,000 years to accumulate an error of 1 day.
History and Background
The Solar Hijri calendar has been Iran’s official calendar since 1925. In Afghanistan, it was introduced in 1957.
The earliest forms of Iranian time reckoning date back as far as the second millennium BCE. A number of different calendar systems were used in Persia through the centuries, including the Zoroastrian calendar and the Islamic calendar. The first version of the modern Solar Hijri calendar, the Jalali calendar, was developed in the 11th century by a group of astronomers including the Persian scientist Omar Khayyam.
Iranian Month Names
The first day of the Persian calendar year is also the day of the greatest festival of the year in Iran, Afghanistan and surrounding regions, called norooz (two morphemes: no (new) and rooz (day), meaning “new day”). The celebration is filled with many festivities and runs a course of 13 days. The last day of which is called siz-dah bedar (Literal translation-”13 to outdoor”)
Days Of The Week
In the Iranian calendar, every week begins on Saturday and ends on Friday. The names of the days of the week are as follows: shambe (natively spelled “shanbeh”), yekshambe, doshambe, seshambe, chæharshambe, panjshambe and jom’e (yek, do, se, chæhar, and panj are the Persian words for the numbers one through five). The name for Friday, jom’e, is Arabic (Persian). Jom’e is sometimes referred to by the native Persian name, adineh. In most Islamic countries, Friday is the weekly holiday.
Sheikh Safi Khānegāh and Shrine 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 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 artifacts. It constitutes a rare ensemble of elements of medieval Islamic architecture. Outstanding Universal Value of Sheikh Safi Khānegāh Brief synthesis Sheikh Safi al-Din Khānegāh and Shrine Ensemble was built as a small microcosmic city with bazaars, public baths, squares, religious buildings, houses, and offices. It was the largest and most complete khānegāh 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 Khānegāh and Shrine Ensemble is one of the Ardabil Attractions which 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 khānegāhs. As the shrine of a prominent Sufi master, who also was the founder of
Sheikh Safi Khānegāh and Shrine 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 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 artifacts. It constitutes a rare ensemble of elements of medieval Islamic architecture.
Outstanding Universal Value of Sheikh Safi Khānegāh
Brief synthesis
Sheikh Safi al-Din Khānegāh and Shrine Ensemble was built as a small microcosmic city with bazaars, public baths, squares, religious buildings, houses, and offices. It was the largest and most complete khānegāh 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 Khānegāh and Shrine Ensemble is one of the Ardabil Attractions which 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 khānegāhs. 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.
Criterion (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-Din’s shrine, all combined, have concurred to create a unique complex in which aesthetics and spirituality are in a harmonious dialogue.
Criterion (ii): The architectural spaces and features of the nominated property have integrated influences of the Ilkhānid 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.
Criterion (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 khānegāh 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 Khānegāh 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.
The mausoleum of Oljaytu was constructed in 1302–12 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 mausoleum’s interior decoration is also outstanding and scholars such as A.U. Pope have described the building as ‘anticipating the Taj Mahal’. Outstanding Universal Value of Soltaniyeh In north-western Iran’s city of Soltaniyeh, which was briefly the capital of Persia’s Ilkhanid dynasty (a branch of the Mongol dynasty) during the 14th century, stands the Mausoleum of Oljaytu, its stunning dome covered with turquoise-blue faience tiles. Constructed in 1302-12, the tomb of the eighth Ilkhanid ruler is the main feature remaining from the ancient city; today, it dominates a rural settlement surrounded by the fertile pasture of Soltaniyeh. The Mausoleum of Oljaytu is recognized as the architectural masterpiece of its period and an outstanding achievement in the development of Persian architecture, particularly in its innovative double-shelled dome and interior decoration. The Mausoleum of Oljaytu is an essential link and key monument in the development of Islamic architecture in central and western Asia. Here, the Ilkhanids further developed ideas that had been advanced during the classical Seljuk phase (11th to early 13th centuries), during which the arts of Iran gained distinction in the Islamic world, thereby setting the stage for the Timurid period (late 14th to 15th centuries), one of the most brilliant periods in Islamic art. Particularly relevant are the mausoleum dome’s double-shell structure
The mausoleum of Oljaytu was constructed in 1302–12 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 mausoleum’s interior decoration is also outstanding and scholars such as A.U. Pope have described the building as ‘anticipating the Taj Mahal’.
Outstanding Universal Value of Soltaniyeh
In north-western Iran’s city of Soltaniyeh, which was briefly the capital of Persia’s Ilkhanid dynasty (a branch of the Mongol dynasty) during the 14th century, stands the Mausoleum of Oljaytu, its stunning dome covered with turquoise-blue faience tiles. Constructed in 1302-12, the tomb of the eighth Ilkhanid ruler is the main feature remaining from the ancient city; today, it dominates a rural settlement surrounded by the fertile pasture of Soltaniyeh. The Mausoleum of Oljaytu is recognized as the architectural masterpiece of its period and an outstanding achievement in the development of Persian architecture, particularly in its innovative double-shelled dome and interior decoration.
The Mausoleum of Oljaytu is an essential link and key monument in the development of Islamic architecture in central and western Asia. Here, the Ilkhanids further developed ideas that had been advanced during the classical Seljuk phase (11th to early 13th centuries), during which the arts of Iran gained distinction in the Islamic world, thereby setting the stage for the Timurid period (late 14th to 15th centuries), one of the most brilliant periods in Islamic art.
Particularly relevant are the mausoleum dome’s double-shell structure (an inside shell and an outside shell), and the materials and themes used in its interior decoration. The very large 50-m-high dome is the earliest extant example of its type, and became an important reference for the later development of the Islamic dome.
Similarly, the extremely rich interior of the mausoleum, which includes glazed tiles, brickwork, marquetry or designs in inlaid materials, stucco, and frescoes, illustrates an important movement towards more elaborate materials and themes. The Mausoleum of Oljaytu thus speaks eloquently to the Ilkhanid period, which was characterised by innovations in structural engineering, spatial proportions, architectural forms, and decorative patterns and techniques.
Excavations carried out in the 790-ha Mausoleum of Oljaytu property have revealed additional vestiges of the old city, and a large part of this property has retained its archaeological character. As the ancient capital of the Ilkhanid dynasty, Soltaniyeh represents an exceptional testimony to the history of the 13th and 14th centuries in Iran.
Criterion (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.
Criterion (iii): Soltaniyeh, as the ancient capital of the Ilkhanid dynasty, represents an exceptional testimony to the history of 13th and 14th centuries.
Criterion (iv): The Mausoleum of Oljaytu represents an outstanding achievement in the development of Persian architecture, particularly in the Ilkhanid period, characterised by its innovative engineering structure, spatial proportions, architectural forms, and the decorative patterns and techniques.
Integrity
Within the boundaries of the property are located all the elements and components necessary to express the Outstanding Universal Value of the property, most importantly the Mausoleum of Oljaytu. The exterior decorations of the mausoleum have suffered severe decline, which has affected its integrity. Nevertheless, the internal decorations have remained intact to a large degree. Urban development around the property represents a potential threat, though such development is slow.
Authenticity
The historical monument of the Mausoleum of Oljaytu at Soltaniyeh is authentic in terms of its form and design, materials and substance, and location and setting. Restoration work has carefully respected the authenticity of the monument, utilizing traditional technology and materials in harmony with the ensemble.
Protection and management requirements
Soltaniyeh is state owned, and protected as a national monument on the basis of the Iranian Law on the Conservation of National Monuments (1982) and the Law on City Properties (1982). Parts of the buffer zone are in private ownership. 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 in Zanjan. There is a management plan with short-term (1-year), mid-term (3-year), and long-term (5-year) objectives related to equipment, research, restoration and conservation, and development of tourism at Soltaniyeh. Financial resources for the property are provided through national budgets.
Sustaining the Outstanding Universal Value of the property over time will require continuing to respect scientific standards and to properly safeguard the monument when undertaking conservation and restoration projects; controlling the effects of urban development around the property by devising and executing appropriate management strategies in this regard; and directing studies of the Mausoleum of Oljaytu (including, among others, studies of the decorations, reinforcement projects, and scientifically justified tourist attraction programs) toward specific, detailed outcomes that maintain and/or enhance the Outstanding Universal Value, integrity, and authenticity of the property.
We have a lot of emails from women travelers who like travel alone, Always they start with these questions: Is it safe to travel to Iran as a solo female?Women in Iran have safety?How is the women's situation in there? So, we at Welcome to Iran Team decided to provide an article about women passengers from one of them who has gone through this experience. Here a guide about female travel in Iran: So, I went to Iran alone. Most people think I’m stupid or crazy, or both. But am I really? I must admit I had some doubts and couple of minor panic attacks before going, mostly due to my uncertain visa situation, but also because I haven’t traveled to such an exotic, unknown destination before, the one I didn’t really know how to prepare for. But the whole “solo female travel in Iran” thing turned out to be really cool and easy there and I enjoyed every single bit of it! For the 10 days I’ve spent in Iran I haven’t met another woman traveling alone (but I’ve heard from others there’re 2 more doing the same thing as me at the same time). There were tourists, surprisingly many of them, few guys traveling solo but not a single woman. That just meant to me that the stereotype that Iran is a dangerous place to visit, especially for independent (female) travelers are as strong as always. When I was telling my friends, I’m going to Iran some 90% of them were seriously concerned about me and asked me to think over my chosen destination. People keep confusing Iran and Iraq, thinking it’s a country torn by war and now under the ISIS rule. I kept explaining that it is a perfectly safe place, that I haven’t heard of anyone having
We have a lot of emails from women travelers who like travel alone, Always they start with these questions:
Is it safe to travel to Iran as a solo female?
Women in Iran have safety?
How is the women’s situation in there?
So, we at Welcome to Iran Team decided to provide an article about women passengers from one of them who has gone through this experience. Here a guide about female travel in Iran:
So, I went to Iran alone. Most people think I’m stupid or crazy, or both. But am I really?
I must admit I had some doubts and couple of minor panic attacks before going, mostly due to my uncertain visa situation, but also because I haven’t traveled to such an exotic, unknown destination before, the one I didn’t really know how to prepare for. But the whole “solo female travel in Iran” thing turned out to be really cool and easy there and I enjoyed every single bit of it!
For the 10 days I’ve spent in Iran I haven’t met another woman traveling alone (but I’ve heard from others there’re 2 more doing the same thing as me at the same time). There were tourists, surprisingly many of them, few guys traveling solo but not a single woman.
That just meant to me that the stereotype that Iran is a dangerous place to visit, especially for independent (female) travelers are as strong as always.
When I was telling my friends, I’m going to Iran some 90% of them were seriously concerned about me and asked me to think over my chosen destination. People keep confusing Iran and Iraq, thinking it’s a country torn by war and now under the ISIS rule.
I kept explaining that it is a perfectly safe place, that I haven’t heard of anyone having a single issue there, that everyone I know just loved their visit in that country. But still people were not convinced and that eventually made me feel pretty nervous about my trip to, I started having the thoughts of what I’m getting myself into…
Safety in Iran
For the whole time I’ve spent there I didn’t encounter even one situation when I would have felt in danger or even uncomfortable. Unlike other countries that are top tourist destinations but can be challenging for solo women (I’m looking at you Morocco) Iran was completely safe!
Of course, people were staring at me, both men and women, young and old but it was only because they were curious and didn’t have any bad intentions. Some braver one tried to talk to me and every day I repeated the word “Lachestan” (“Poland” in Farsi language) countless times. Usually the question where I am from and how do I like Iran were the only ones I was asked.
Just the other day I saw a list of the safest cities in the world and I was not surprised to see Tehran there. Iran really was probably the safest country I’ve ever visited! (click to read more about safety in Iran)
Iranian people
I heard so many things about the incredible Iranian hospitality I was really curious to see how it really is. I usually divide such stories by four and don’t expect much but surely on my second day in Iran (or was it a night?) I experienced it as well.
I took the night bus from Tehran to Shiraz (the journey was supposed to last between 12 and 15 hours) and at 5 in the morning I was woken up by the driver – it turned out he lives in the random town we were passing by and since at that point there was only me and two more passengers – a mother with a teenage daughter – he invited us over for a breakfast.
Normally I wouldn’t have accepted such an offer (and I refused few times before finally agreeing) but since I was accompanied by other women I figured out nothing bad can happen.
No one spoke English so for two hours we all did our best to communicate with hands, speaking loud and slow in our languages or using the short phrasebook at the end of Lonely Planet. Still it was a really lovely time, I felt very welcomed, ate much more than I’ve wanted and even got some extra food for the onward journey.
And stories like this do happen in Iran, a lot. People there are incredibly generous and hospitable and don’t have any bad intentions! As soon as you step out of the tourist route someone will talk to you and you never know how it might end! Just be open and say “yes” – that’s where the adventure in Iran starts!
Traveling around
You probably have heard about the Tehran metro that has separate carriages for women. Well, it’s true. I was slightly afraid I will end up in a wrong car but as it turned out there was nothing to worry about.
At the platform it is clearly marked where the women-only zone starts and those specific carriages are located at the front and back of the train. The stations are full of posters showing why men shouldn’t enter these parts of the metro, how uncomfortable the women would feel.
Traveling around Tehran was quite an experience anyway! There was always something going on, on every station the new show was starting, women were selling and buying all necessary things: from kitchen equipment to make up and bras!
The buses between the cities didn’t have the specific areas for women but when buying a ticket you get a seat reservation too. It happens that a guy gets a place next to you – it then takes some creativity from the driver to rearrange the passengers so no woman sits next to an unknown man. During my journey from Kashan to the airport (3 hours) I changed the seat 3 times!
Trying to figure out the transportation between the cities was slightly challenging. Fortunately now you can book everything beforehand at 1st Quest website! I wish it was possible during my trip…
Accommodation in Iran
I’m the kind of person that likes to have everything organized and when I travel I always book the place to stay in advance as I prefer to know there’ll be a bed waiting for me at the end of the day. Well, this wasn’t the case with Iran.
Due to my uncertain visa situation I wasn’t sure if I will be let in to the country and so I only booked my first night in Tehran (it was required to get a visa anyway) and it wasn’t easy anyway as back then there was only one pretty bad website that allowed you to book hotels in Iran (fortunately now there’s 1stQuest where you get the confirmation right away and they have over 500 hotels all over Iran to choose from!).
The next nights I spent in various places: a random hotel with only Iranian guests (I was a big attraction for them), 8-bed dorm in the basement of the most touristic hotel in Yazd (both nights I was the only women in the room), a private room in another hotel popular among foreign tourists and CouchSurfing with a lovely Iranian couple. And every time it was all fine!
The only issue I had was in Yazd where the bathroom was located few steps away from the dorm and to get there I had to cross the patio with the restaurant – with wet hair, wearing a pajama, a tunic and a scarf on my head I must have looked funny.
As for Couchsurfing – officially it is illegal in Iran but it is not blocked (unlike Facebook) and it is working really well in the country, every city has a lot of hosts to choose from. I heard only amazing things about CS in Iran and I knew I have to do it too!
Of course, I followed the rules like anywhere else: looked only for women or couples, preferable with some references, those I felt we’d click with. I tried CS in Isfahan, where I stayed with a really lovely couple – I got my own room, we spent pretty much time together and the most I learnt about the life in Iran was from them.
But if you look at their home or listen to our conversation you’d never guess they’re Iranian – they could as well live in any European country! Another prove that Iran is a normal place just like any other!
Eating out
That’s usually the most difficult part for solo travelers as let’s face it, we do feel uncomfortable sitting alone in the restaurant. But it was surprisingly good in Iran.
When I visited a place with Iranian clientele there was always someone trying to talk to me, whether a person working there or a fellow customer (and again the same questions were asked, where I am from and how I like Iran). In the tourists-oriented places there was also always someone chatting to me, just the topics of the conversation were different.
I don’t think in these 10 days I ate alone even once! The most challenging thing was eating with the headscarf on!
Clothes in Iran
That’s the most controversial part of solo female travel in Iran. For all the time you’re outside in the public (so even in the common areas of the hotel) you need to have your hair covered and to wear a manteau (a coat or tunic). You cannot have bare arms (everyone was wearing long sleeves) and your legs should be covered till ankles however the feet can be bare.
I was wearing skinny jeans and it was totally fine.
Also it’s not like the hair need to be all hidden, when I was looking at some girls I was wondering how their headscarf doesn’t fall (every journey by Tehran metro left me with jaw dropped as I couldn’t stop staring at beautiful women around, with all these clothes they really know how to show best features).
It’s also a stereotype that you need to wear black color only!
You need to follow these rules from the moment you step out of the plane till the moment you board the plane again.
There were days when it was pretty challenging to wear all that clothes when it was really hot outside but well, there was nothing I could do about that, I just accepted these rules. And honestly, I expected it will be much worse!
The headscarf kept me cool from the sun and it fell down only few times (but, surprisingly enough not when I was sleeping in the bus). When by accident my arm was seen helpful women on the streets rearranged my outfit so I looked fine again.
For next two days after leaving Iran I kept checking if my headscarf is on, you get used to it pretty fast and become somehow obsessed with keeping it on your head.
How to get to Iran?
I flew from Tbilisi to Tehran and then back to Berlin, with a stopover in Doha, with Qatar Airways. I booked my ticket some 3 weeks before the departure and it was just 300USD which I think is a really good deal, considering the short notice.
Qatar Airways has another advantage – while the majority of flights arrive to Tehran in the middle of the night and the queue to visa on arrival is rather long and time consuming my flight from Doha landed around midday and there were two people in line ahead of me.
You can also check and book flights via SkyScanner. I always use it when looking for flights as it has this cool option of choosing “anywhere” destination or “anytime” date.
There is no public transport from Tehran airport to the city, you have to use the taxi. There’s an official price list and how much you pay depends on the car you use.
So, that’s more or less my experience with solo female travel in Iran. I really enjoyed it, felt very safe for all the time and can only recommend it to everyone! If you think of visiting Iran now is the time to go as the country and especially its politics is changing and soon might become just another tourist destination. And you don’t want to miss the real Iran!
Would you like to visit Iran? Would you dare to travel solo there? If you have any questions about solo female travel in Iran (or about the country in general) feel free to contact us!
You can find a lot of women like her such as: Kristina Paltén, Alessia Ramponi, Veronika, Anna Everywhere, Ethel Karskens, Silvia, Carlys, Naomi, and etc.
