Takht-e Soleyman: A City Full of Treasure + Legend

Takht-e Soleyman Located 45 km northeast of Takab, it is an ancient site that has been building holy structures around it since 1600 years ago. The fifth Bahram Vassan Sassanid built the site as a city and 70 years after it, Ghobad first expanded its buildings until it reached its peak at the time of Khosrow Anoshirvan Sassanid.

The discovery of the signs and remnants of human presence from the first millennium BC to the 11th century AH in this 12-hectare area reveals the mysteries of the city to experts. For a long time, humans used this collection as a habitation, and religious beliefs about it illustrate the importance of the city throughout history.

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Takht-e Soleyman is believed to be the birthplace of Zoroaster, and the construction of Azargoshnasb Fire Temple in this area as the most respected Zoroastrian temple during the Sassanian period can be a confirmation of this belief. This temple was important in the socio-political life of the Sassanids, and its immortal flames were not extinguished for seven centuries, as a symbol of the authority of Zoroastrianism.

Some people believe that the city has been the site of the holy grail of Christ, which he drinks on its last night of life. This cup is famous for the Grail Cup, but no trace of it has been seen on Takht-e Soleyman.
The folk belief of this city is considered to be the location of Solomon’s prophet, and points out that extraterrestrial forces, based on the orders of Hazrat Solomon, built massive structures that human beings cannot afford to create.

This collection was registered in 1316 with the number 318 in the National Iranian Book List. The name of this work is also on the UNESCO World Heritage List.

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Takht-e Soleyman; A City Full of Treasure in the Depths of the Lake

The myths of this mysterious lake are not one in two. There are many stories in many language circles that reveal this phenomenon much more complex than a typical lake. The most famous legend is the existence of countless treasures in the depths of the lake. Endless treasures that have been thrown to the lake throughout history. Stories that have led many to the lake, but it should be noted that access to such treasures does not look so safe.

This legendary city (Takht-e Soleyman) underneath the lake contains many objects with signs of them. It is interesting to know that in none of the historical periods there is no finding of these treasures

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Ring of Solomon the Prophet

The most controversial treasure that may exist on the lake floor is Solomon’s ring. According to folk beliefs, the whole collection of Takht-e Soleyman was made by super powers who Solomon commanded them. He had a ring that took all his power from it. There is a story telling that the Devil was able to reach the ring and put it into the lake to rely on the throne of Solomon. After this incident, Satan sat down on the throne of Solomon. Some believe that Suleiman the prophet never achieved this ring, but there are other interpretations that says that Solomon was able to remove the ring from the stomach of a fish that had eaten it and defeat Satan.

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Treasure Search on Takht-e Soleyman

Efforts have been made to discover this treasure and answer the questions that are there, but the depth of the lake and its deposits are an important obstacle for explorers. It’s as if this treasure trove has a very strong bodyguard, so that nobody has been informed of its secret until this time. Even European explorers came to the lake, but no diving could penetrate more than 31 meters deep into the lake. Water pressure in the lake and heavy and heavy liquids are major obstacles to this.

For the first time, German divers came into the lake. According to their observations, which were later published, a lake was found at a depth of 112 meters. Also, 10 water channels were discovered on the edge of the lake, but due to their large water deposits and their limitation of vision, they could not discover a particular effect in the depths of the water.

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Death, Gift of the Soleyman Lake

Around Takht-e Soleyman, there are several “Banned Swimming” themes, which can indicate that this beautiful lake is also equally scary. In addition to this tranquility, Takht-e Soleyman only serves the without experience guests with death; guests who like to lay their hands on the water of the lake, but do not report the anger within it. This lake brutally swallows every creature that enters it, deep down. Next to this lake, you can see the tomb of some of our compatriots who have gone to the lake and never returned. Of course, the lake returned only a corpse where it was buried there.

The site also has many important symbolic relationships, being associated with beliefs much older than Zoroastrianism as well as with significant biblical figures and legends.

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Zendan-e Soleyman, a Place to Punish Rebellious Demon

An ancient volcano, known as Zendan-e-Soleyman (meaning ‘The Prison of Solomon’) is located about 3km to the west of the site. According to folk legend, this beautiful mountain area is known as Solomon’s Prison or Demon Prison, and they believe that Solomon had imprisoned the demons who disobeyed his command. This name has been placed on this mountain in accordance with the attribution of the site to Prophet Solomon.

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Eram Garden; The entrance gate to paradise

Eram Garden (Baq-e Eram), the Garden of Paradise, is one of the most famous and beautiful Persian gardens in all of Iran. It should be noted that the word ‘Eram’ is the Persian version of the Arabic word ‘Iram’ which means heaven in Islam’s holiest of books, the Qur’an. With its beautiful grounds, lush plant life and aesthetic attractions, it’s easy to see why Eram evokes such a description.

Baq e Eram with their beautiful flowers, refreshing air, aromatic myrtles and towering cypress trees, including one tree which is said to date back to 3000 years ago (Sarv-e naz), the Eram Gardens are a major tourist destination, especially during the spring.

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History of Eram Garden

Although no one is quite sure when construction of the gardens began, historical evidence suggests that the gardens were built during the Seljuk Dynasty (11th-14th centuries) under the rule of one of its most celebrated monarchs, Ahmad Sanjar. Like many other attractions in Shiraz, the Eram Gardens (Baq e Eram) have been restored and repaired by the Zand kings of the Zand Dynasty (1750-1794), but during the later period of the Zand Dynasty, the garden changed hands to a Qashgai tribal chief, Mohammad Qoli Khan.

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Mohammad Qoli Khan ordered the construction of the original mansion that stood on the grounds in the early 18th century, and planted various trees and plants in the garden including pine, orange, cypress and persimmon trees. Later on, during the rule of King Nasser ed-din of the Qajar Dynasty (1785-1925) Mirza Hassan Ali Khan Nasir-al Mulk bought the gardens from the Qashgai tribes and began construction on the present pavilion that now stands in the gardens.

As noteworthy as the gardens themselves, the pavilion was constructed by a local Shirazi architect, one Mohammad Hassan. The beautiful three-story structure was constructed based on the Safavid and Qajar styles of architecture, and includes tiles inscribed with poems from the famed Persian poet Hafez.

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Architecture Styles of  Eram Garden

The tradition and style of Baq e Eram design represented by Persian gardens or Iranian gardens has influenced the design of gardens from Andalusia to India and beyond. The gardens of the Alhambra show the influence of Persian garden philosophy and style in a Moorish palace scale, from the era of Al-Andalus in Spain. Humayun’s Tomb and Taj Mahal have some of the largest Persian gardens in the world, from the era of the Mughal Empire in India.

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Today, Eram Garden (Baq e Eram) and building are within Shiraz Botanical Garden (established 1983) of Shiraz University. They are open to the public as a historic landscape garden. They are World Heritage Site, and protected by Iran’s Cultural Heritage Organization.

Susa Ancient City

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.

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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.

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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.

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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.

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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.

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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.

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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.

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Reference: https://whc.unesco.org/en/list/1455

Sheikh Safi Khānegāh and Shrine Ensemble

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.

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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.

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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.

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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.

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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.

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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.

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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.

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Reference: https://whc.unesco.org/en/list/1345

Soltaniyeh; The world’s largest brick dome

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’.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Reference:

https://whc.unesco.org/en/list/1188

Naqsh-e Jahan Square

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.

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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.

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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.

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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).

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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.

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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.

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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.

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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

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

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.

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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.

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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.

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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.

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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’.

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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.

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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.

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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.

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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

Persepolis: Wonder of the Ancient World

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.

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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.

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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.

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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.

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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

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.

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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.

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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.

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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.

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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.

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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:

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