1. A Culinary Paradise:

• Pistachio Perfection: Immerse yourself in the emerald glory of Iranian pistachios, the undisputed kings of the nut kingdom. Renowned for their plump kernels, vibrant green hue, and delicate, buttery flavor, these “green gold” gems elevate any dish, from simple snacks to gourmet desserts.
  

  Iranian pistachios on pistachio branches
• Saffron’s Allure: Infuse your meals with the intoxicating aroma and vibrant crimson of Iranian saffron, the world’s most precious spice. Cultivated from delicate saffron crocus flowers, this culinary gold adds a touch of luxury to rice dishes, stews, and even desserts.
  

  Iranian saffron threads and flowers
• A Symphony of Dried Fruits: From sun-kissed apricots and plump raisins to tart barberries and juicy dates, Iranian dried fruits offer a vibrant melody of flavors and textures. Naturally sweet and bursting with nutrients, these delicacies are perfect for healthy snacking, baking, and adding a touch of Persia to any dish.
  

  Iranian dried fruit assortment

2. Where Art Meets Utility:

• Carpets that Captivate: Step onto a canvas of woven dreams with Persian carpets, where intricate knots dance across vibrant hues, and timeless designs whisper tales of generations past. More than just floor coverings, these exquisite masterpieces are works of art, woven with passion and passed down as cherished heirlooms.

  

  traditional Persian carpet with intricate patterns

• Metalwork Marvels: Witness the magic of Iranian metalwork, where skilled artisans transform copper, brass, and silver into mesmerizing objects of utility and beauty. From ornate tableware to decorative vases, each piece is a testament to centuries of tradition and meticulous craftsmanship.

• Ceramics that Tell Stories: Let your fingertips trace the delicate hand-painted designs of Minakari or the geometric patterns of Yazdi pottery, each a canvas showcasing Iran’s vibrant artistic heritage. These functional works of art, from tableware to decorative pieces, add a touch of Persian charm to any space.

  

  traditional Iranian ceramic plate with Minakari handpainted designs

3. Beyond the Bazaar:

• Petrochemical Powerhouse: Iran’s vast oil and gas reserves fuel its booming petrochemical industry, making it a leading producer and exporter of versatile materials used in various fields, from plastics and medicines to textiles and fertilizers.
  

  Iranian petrochemical plant
• Textile Tapestry: From the luxurious shimmer of silk scarves to the warmth of handwoven woolen rugs, Iran’s textile industry offers a rich tapestry of textures and designs. Skilled weavers blend traditional techniques with modern sensibilities to create unique and high-quality fabrics that adorn homes and bodies worldwide.
  

  collection of Iranian textiles, including silk scarves and woolen rugs
• Automobiles on the Rise: Buckle up for Iran’s burgeoning auto industry, churning out a diverse range of cars, trucks, and buses. Balancing affordability with quality, these vehicles are making waves in budget-conscious markets, offering reliable transportation solutions.

The post Unveiling the Treasures of Persia: A Deeper Dive into Iranian Exports appeared first on OrigIran.

By bus

Tehran has an expansive but confusing bus network. Some require prepaid contactless card (min 20000 rials), which can be bought from booths beside the bus stops and Metro Stations used when you get off the bus, and some should be paid by cash (ranging from 350-600 Toman). Note that the buses are partitioned in two sections, men-only (the front section) and women-only(the back section).

Note that in the BRT lines, the women-only section is at the front. Also, the fee is paid on the station, using the prepaid contactless card (shared with Metro), or paying to the guard.

Since bus numbers, route descriptions and other information is in Persian, your best bet is to look confused at a bus terminal; a local will surely stop to help. Each bus line has a certain and almost invariable path but only people know exactly which bus stations exist for a certain road. You shouldn’t expect a map or guides even in Persian showing the bus network or bus stations. Even asking the bus driver wouldn’t be a great help for you to find your way either. If you get in a bus and looking for a certain station to alight, ask one to help you – you will find many people wish to help you to find your way, most of the time.

BRT (Bus Rapid Transportation)

The BRT buses are colored in red. BRTs has special lines and travels very quickly from Azadi square (west of Tehran) directly to the East (Terminal-e-Shargh). Railway square (South of Tehran) directly to the North (Tajrish square). Azadi square to free university(northwest). Azadi square to south Terminal and parkway bridge(north of tehran) to jomhuri square. Costs between 1,000-3,000 rials. In high-traffic hours (7AM-9AM & 4PM-8PM) it is the best way to traveling . BRT has too many stations near main streets. Although you may not find an empty seat on the bus because of the crowds, people give their place to you if they know you are a tourist. The women’s and men’s seats and queues are separate.

By metro

Tehran’s new metro system is comprised of five lines that will whisk you quickly from one end of the city to the other without having to deal with the noise, pollution and chaos of Tehran traffic. However, many residents decided to leave their cars and commute by metro, so expect huge crowds during rush hours.

There are five lines available (1, 2, 3, 4 and 5) (some stations on line 3 are still under construction) but the two most useful are lines 1 (north to south- from northern most Tajrish Station to Kahrizak Station) and 2 (east to west) which connect at the central Imam Khomeini station. All stations have signs in both Persian and English. Trains run every 10 minutes or less on rush hours (15 minutes on Fridays and holidays) from around 5:30AM-11PM every day. line4 (yellow line) recently extended eastward to Kolaahduz station and westward to Eram-e-sabz Station. It’s really crowded since it is connecting some of most important points like University of Tehran in Enqelab Sq. and an interconnection to line5 (green); line5 is going to Karaj, which is a 3 million population suburb!

Tickets valid for 1 trip (including change of lines) cost 650 Toman. A go and return ticket costs 1100 Toman. There are ticket booths at every station. You can also buy a contactless fare card which is the best option if you are going to use metro a lot, or simply want to have less hassle by paying 20,000 rials (10 Rials=1Toman) for a card and use it on both metro and most of city buses (note that if you use this card, you usually pay less than any other tickets, since they charge for the longest trip on the network), to charge minimum cost in metro with this chargeable tickets you should use the card in exit station. There are three dedicated women-only carriages at two end of the train, one and half in each side. Women can anyway choose to travel aboard the other carriages.

There are a few apps for Android and iOS devices to assist passengers on using the metro. You can try downloading the Tehran Metro app which is made specially for foreign travelers. First you can find yourself on Google map (with stations marked on it) and your destination to decide which station you can get in and to which you want to arrive. After it you can select them on the stations map to get a textual explanation on taking directions and line changes along with a travel time estimation.

By taxi

As with the rest of the country private and shared taxis are abound in Tehran, although you may find flagging down a shared taxi more difficult amid the traffic and chaos, while private taxis are more expensive than in the smaller cities. See the Get Around information on Iran for details on flagging a taxi. If you want to get around by shared taxi, your best bet is to hop from square to square, as drivers will be reluctant to pick you up if your shouted destination deviates too far from their route. In each square you will find certain places where the private taxis are lined up in a queue and drivers call for passengers to a destination. (mostly happening during the times when the number of waiting taxis exceeds the number of passengers). In this case, they would wait until the car gets full of passengers (mostly one people at front and 3 people at back, excluding the driver). Otherwise the people have to line up in a queue waiting for the taxis to come. This is the case during rush hours (approximately 7AM-8AM and 5PM-8PM). All these depend upon finding their regular station in the square. You can also ask them to alight sooner than your destination wherever you like but you have to pay their total fee up to destination. The cost of such a ride from Azadi square to Vanak Square is around 150,000 rails (15,000 Tomans) (Prices accurate as of August 2015, but huge inflation means they change quickly). Most drivers are very poor at English – if your destination is anything other than an extremely popular spot (Bazaar, etc) you should bring it on a map or written in Farsi.

Snapp is also the Iranian version of Uber in Tehran which is fairly cheap and the price is calculated in advance. The app can be downloaded from Google Play Store and Apple App Store and is available in English and French but a local SIM card is required to activate it. Although the drivers may not be good English speakers, the support line speaks English well and can handle the communication problems between you and the driver.

Motorcycle taxis are a Tehran specialty and offer a way to weave quickly through the city’s traffic-clogged streets. You’ll see plenty of these drivers standing at the side of the road calling “motor” at all who pass by. Keep in mind motor taxi operators can seem even more suicidal than the average Tehran driver when driving. Agree on a price before you take off and expect to pay slightly less than chartering a private taxi.

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The complex exemplifies architectural and artistic achievements of the Qajar era including the introduction of European motifs and styles into Persian arts. It was not only used as the governing base of the Qajari Kings but also functioned as a recreational and residential compound and a centre of artistic production in the 19th century. Through the latter activity, it became the source and centre of Qajari arts and architecture.

Golestan Palace represents a unique and rich testimony of the architectural language and decorative art during the Qajar era represented mostly in the legacy of Naser ed-Din Shah. It reflects artistic inspirations of European origin as the earliest representations of synthesized European and Persian style, which became so characteristic of Iranian art and architecture in the late 19th and 20th centuries. As such, parts of the palace complex can be seen as the origins of the modern Iranian artistic movement.

The complex of Golestan Palace represents an important example of the merging of Persian arts and architecture with European styles and motifs and the adaptation of European building technologies, such as the use of cast iron for load bearing, in Persia. As such Golestan Palace can be considered an exceptional example of an east-west synthesis in monumental arts, architectural layout and building technology, which has become a source of inspiration for modern Iranian artists and architects.

Golestan Palace contains the most complete representation of Qajari artistic and architectural production and bears witness to the centre of power and arts at the time. Hence, it is recognized as an exceptional testimony to the Qajari Era. Golestan Palace is a prime example of the arts and architecture in a significant period in Persia, throughout the 19th century when the society was subject to processes of modernization. The influential role of artistic and architectural values of ancient Persia as well as the contemporary impacts of the West on the arts and architecture were integrated into a new type of arts and architecture in a significant transitional period.

Halls and Buildings

In its present form, it comprises several different buildings and halls, including the following: the Imarat-i Takht-i Marmar, (also called the Marble Throne Building, Iwan-i Takht-i Marmar, or Iwan-i Marmar, 1759), the Khalvat-i Karim Khani (Karim Khani Palace, 1759), the Talar-i Almas (Diamond Hall, 1801), the Imarat-i Badgir (Wind-Tower Building, 1813), the Talar-i Aaj (Hall of Ivory, 1863), the Shams al-Imarat (Shams-ol Emareh, or Sun Building, 1866), the Talar-i Salam (Reception Hall, 1874), the Mouze-i Makhsous (Special Museum, 1874), the Talar-i Ayeneh (Hall of Mirrors, 1874), the Imarat-i Brelian (Talar-i Brelian, or Hall of Brilliant Diamonds, 1874), the Kakh-i Ab’yaz (White Palace, 1890), and the Chador Khaneh (Tent House).

Marble Throne Building (Imarat-i Takht-i Marmar)
Marble Throne Building or Dar-ul-Hokumeh was used for Shah’s formal receptions, while Golestan Palace was used as the royal court’s interior quarters for private meetings and nocturnal feasts.

The square shaped Golestan, surrounded by various buildings and halls, was divided into two parts with the construction of a long bifurcated building known as the exterior building at the time of Fath Ali Shah. This building, constructed on an East-West axis, was destroyed at the time Nassereddin Shah and the garden regained its integrity.

At first there were two large pools, one in front of Shams al-Imarat and Wind Tower Buildings and another in front of the Mirror Hall. Two pools were connected to each other by a long duct, along the exterior building. The sensitivity of Iranian artists, aided by the skills of architecture, painting, stone carving, tile working, stucco, mirror work, enameling, wood working, and lattice work have created unforgettable masterpieces in the buildings among the old royal palaces.

Shah received people from various walks of life during official ceremonies on this throne veranda. In 1806, Fath Ali Shah ordered stone cravers from Isfahan to make a throne from the famous marble of Yazd. It was placed in the middle of the Iwan. It appears that Iwan, older than the other parts of Historical Arg, is a Zand period monument, built during the reign of Karim Khan.The architecture and ornaments of this veranda were further modified during the reigns of Fath Ali Shah and Nassereddin Shah. The coronation of the Qajar kings, as well as various other official ceremonies, was performed from this Iwan. The last of these ceremonies was the Coronation of Reza Khan in 1925.

The first foundation of the Imarat-i Takht-i Marmar was laid by Karim Khan-i Zand in 1759. During the Qajar period, this building, which was also referred to as the Divan Khana and the Dar al-Hokouma, became the administrative center of the royal government. The Imarat-i Takht-i Marmar was used in royal ceremonies in celebrations such as Eids and Norouz, and the issuance of the king’s decrees, as well as for receiving foreign ambassadors.

This two-story building is pierced by a splendid talar flanked by two side chambers. The talar faces the garden and is supported by two twisted marble columns with muqarnas capitals. These eight-meter tall columns were reputedly taken by Aqa Mohammad Khan in 1771 from Karim Khan-i Zand’s Qasr-i Vakil in Shiraz. Other parts of this building, such as its carved yellow marble dados decorated with flowers, parrots and eagles, reportedly have the same origin. The side chambers of the talar, which have mezzanine levels, are open to both the garden and the talar. Within the building, two stories of rooms wrap the talar; an iwan niche is found in the center of the rear wall of the building. The walls and ceiling of the talar are decorated with mirror-work mosaics, colored glass lattice windows, marble carvings, and oil paintings of Fath Ali Shah, princes, foreign ambassadors and war scenes. Under Naser al-Din Shah, some alterations were made to the decoration of the talar’s windows and to its mirror work; in addition, the façade of the two wings flanking the talar were covered with polychrome tileworks.

The talar of the Imarat-i Takht-i Marmar houses the royal throne. This marble throne (Takht-i Marmar) was built in 1806 by the order of Fath Ali Shah to replace the valuable Takht-i Tavous (Peacock Throne) in the talar. The marble throne, designed by the royal painter Mirza Baba Shirazi and built by the royal mason Mohammad Ebrahim Esfehani, is composed of sixty-five fine pieces of yellow marble from the province of Yazd. The body of the throne is carried on the shoulders of angels and demons carved in stone, and its steps are decorated with dragons and two lions.

Hall of Mirrors (Talar-i Ayeneh)
Hall of Mirrors is located west of the Reception Hall and over the frontispiece and stone Iwan in front of lobby of the palace. It is one of the most famous hall of Golestan Palace. It was built simultaneously with Reception Hall between 1874 and 1877. This hall was dedicated to the Peacock Throne and the Kianid Crown when the objects in the old museum were taken to the new museum; and owes much of its fame to its ornamentation and even to the portrayal of it in a painting created by Mirza Mohammad Khan Kamalolmolk in 1891. The painting is now on display the Golestan Palace.

Hall of Ivory (Talar-i Aaj)
Hall of Ivory is located west of Brilliant Hall beyond Mirror Hall. It was built in Nassereddin Shah (Qajar) period. During the reign of Nassereddin Shah it was used for the safekeeping of gifts received from foreign countries. In Pahlavi period it was the venue of official parties and celebrations. Its interior has changed to a great extent and the summer chamber beneath it has been turned into an art gallery.

Dormitory Building
Between Brilliant Hall and the northeastern corner of Golestan Garden there was once a citrus plantation that was demolished early during the reign of Reza Khan. In 1959, a new dormitory and administrative building were constructed on this site, for the visit to Iran by Queen Elizabeth (Two). Thereafter this building was used to accommodate visiting heads of states. The last time it was used as such, was in 1979 during the visit by Chinese Head of State.

Hall of Brilliant Diamonds (Imarat-i Brelian or Talar-i Brelian)

There are several spectacularly beautiful halls and rooms to the east of Ivory Hall. The floors of these rooms are lower than those of the other halls. At the time of Nassereddin Shah most of the old buildings in Arg were destroyed and replaced. Crystal Building, was replaced by the current “Brilliant Building”. During Pahlavi period, it was used for official meetings with Foreign Heads of States and Major ceremonies.

Wind Tower Building (Imarat-i Badgir)

Wind Tower Building sits on the southern wing of Golestan Garden. Built during the reign of Fath Ali Shah, it was dramatically modified at the time of Nassereddin Shah. Under the hall there is a large summer chamber. Each corner bears a tall wind tower covered with blue, yellow and black glazed tiles and a golden cupola. Wind coming through these towers cools the summer chamber, hall and rooms. Among the most beautiful buildings of the complex is the Imarat-i Badgir, built by Fath Ali Shah in 1813. Remarkable for its tile-decorated wind catchers, the current Imarat-i Badgir is the result of Naser al-Din Shah’s major 1853 renovation and reconstruction. This building is comprised of a main talar and its adjoining rooms with four wind catchers at the corners of the building. The interior walls and ceiling of the building’s talar are decorated with mirror and tile work, glass and mirror paintings, and stucco carvings. The wind catchers are tiled in blue, yellow, and black. The Imarat-i Badgir also has a howz khaneh (pond house) in the basement, which worked with the four wind catchers to circulate and cool air by passing it over pools of water. The howz khaneh is now used as the Golestan Palace’s photo gallery (“aks khaneh”). Photos from the Qajar period, many were taken by Naser al-Din Shah himself, are presented in this photo gallery.

Tent-House (Chador Khaneh)

Chador-Khaneh, or tent house, is located between Wind Tower Building and Diamond Hall. It was the place where royal tents, used during the kings’ trips were stored. After restoration presently this building is used for holding temporary exhibition or for small gathering.

Reception Hall-Museum (Talar-i Salam)

Upon his return from Europe in 1869, after visiting several museum and art galleries, Nassereddin Shah decided to establish similar sites in his Arg. He had the exterior building destroyed and new ones built on the northwestern wing of Golestan Palace next to Ivory Hall. These buildings included Lobby, the Mirror Hall and Museum Room. Construction of Museum Room began in 1870 and ended in 1873. However it was not used until 1878, because of the multitude of ornaments to be completed.

This hall was intended to become a museum from the very beginning. Nevertheless, after the Peacock Throne was moved from the Mirror Hall to the museum, this hall became the venue of official court receptions and was thus named the Reception Hall. The most precious objects and works of art that were presented to the monarch of Persia, particularly the jewels, were kept in this hall. In 1966, on the occasion of the Mohammad Reza Coronation, The decoration of this hall was modified to give it, its present shape. Summer Chamber in the basement has been divided in two parts. The eastern part, called Special Hall, is dedicated to Qajar period fine arts. The western part, known as the Art Gallery, is the venue of an exhibition of Qajar period Persian paintings.

Rooms, themselves, with their high arches and ornate cravings and the numerous and large chandeliers are competitors for the eye of the beholder of the beauties that fill their spaces. Ceiling, floors and banisters also catch the eye of the visitor.

Karim Khan Veranda (Khalvat-i Karim Khani)

In the Northeastern corner of the Golestan Palace, next to Reception Hall, there is a building with columns in the form of a veranda. At its center is fountain, where water once flowed from a subterranean steam (Qanat). Named after Karim Khan Zand, this building dates back to the Zand period. It was part of the interior of Karim Khan’s residence. The building, is believed to have been constructed in 1759. At the time of Nassereddin Shah a major part of this building was destroyed, when the reception hall was being constructed. Although little of its splendor and beauty remains the artists’ legacy can still be observed in the intricate work.

Diamond Hall (Talar-i Almas)

Diamond Hall is located on the southern wing of Golestan Palace, past the Wind Tower Building. It was constructed during the reign of Fath Ali Shah but its appearance and ornaments were modified at the time of Nassereddin Shah. It is called “Diamond Hall”, because of its glittering mirror works.

The Talar-i Almas, which dates back to Fath Ali Shah, takes its name from the extensive mirror work in its main hall. It is composed of this main hall, side rooms, corridors, and a second floor. Three sides of the main hall contain three small iwans; each is elevated and ornamented with mirror muqarnas and stucco carvings. The north side of the hall is decorated with large wooden lattice windows with colored glass known as orosi.

White Palace (Kakh-i Ab’yaz )

Towards the end of the reign of Nassereddin Shah, the Ottoman Sultan Abdulhamid sent some precious gifts for the Shah of Iran. Whereas at that time almost all the royal palaces were decorated with various paintings and furniture, Shah decided to have a new palace constructed on the south-western wing of the Golestan area on the former site of the pavilion or Agha Mohammad Khan Tower to serve as a depository for the gifts. The White building, with its 18th century European style stucco, was named the White Palace for the color of the stucco and the white marble stones that covered its hall and staircase.

From the very beginning White Palace became the Prime Minister’s Office. Until 1954 Cabinet Meeting were held in Sultan Abulhamid Hall of this Palace. In 1965, the western wing and the ground floor of this building were modified, to make it suitable for Coronation of Mohammad Reza Pahlavi. This building became “Anthropology Museum” in 1968 and displays some of the most ancient artifacts to be found in Iran.

Shams al-Imarat (Shams-ol Emareh, or Sun Building)

This building is the most outstanding one in Golestan Palace and the finest on its eastern wing. Before his trip to Europe, Nassereddin Shah (that inspired by the pictures, he had seen of European Buildings) decided to construct a European Style Building in his Capital, so he could watch city’s panoramic view from its balcony. The Shams al-Imarat, the tallest building in the Golestan Palace, was designed as a private residence by Moayer al-Mamaalek. Built by the architect Ustad Mohammad-Ali Kashi from 1865 to 1867, the building fuses Persian and European architecture into a five-storey structure with two flanking towers topped with a turret. Between the two towers are two sets of rooms with a third clock tower centered above them. The building was used as the Shah’s observatory for viewing Tehran and its surroundings. The exterior of the building is decorated with polychrome tiles and arches and pierced by wooden lattice windows with colorful stained glass. On the first floor, the main talar of the building faces west to the garden. This talar and its adjoining rooms are decorated with mirror-work mosaics and carved stucco.

Tekie-i Dowlat

The Tekie-i Dowlat was the largest building in the Golestan Palace complex. Built between 1868 and 1873, it was demolished in 1946 by Reza Shah. This three-story theatrical building had a circular plan and measured 60 meters in diameter and 24 meters in height. There were three entrances to the building: the main entrance on the east for men, the women’s entrance on the west, and the Shah’s private entrance on the north, which was connected to the Golestan garden. Its half-sphere dome was supported by eight beams, which could be draped with a membrane to provide shade. Each floor of the building consisted of twenty rooms, each 7.5 meters wide. The building was used for ta’zieh theatrical plays during the festival of Ashura and other religious ceremonies.

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If we want to start from southern Tehran we reach Lalezarno Street. The presence of electrical equipment can be gradually observed from slightly higher than Tehran’s Bazar. If you need electrical equipment particularly amenable to industrial equipment, Lalehzar Street is surely your first and last destination.

You can reach the market for phones in Ekbatan Street if you come from Lalehzar Street toward Imam Khomeini Square (previously known as Toup khaneh Square which is still considered by many to be its name). You can reach the market for gaming consoles if you continue your route. This square has long been a crowded hangout for lovers of computer games and you can find the most recent gaming consoles and related accessories in this area. There are also activities about car’s players and some other electrical equipment in this area apart from gaming consoles but this area is mostly famous for the sale of gaming consoles.

imamkhomeini (toupkhaneh)

Follow Ferdowsi Street to reach Istanbul intersection and go in the direction of Jomhuri Street toward Hafez Bridge. You can see the market for small sized industrial electric parts as well as equipment such as LEDs and so on and of course electrical appliances related to music shortly before Hafez Bridge. A new part of your journey begins when you reach Hafez Bridge.

Home appliances, mobile phones and accessories related to those can be seen in abundance in this area. In fact, Hafez Bridge can be considered as the center of such appliances and their thriving market (however, Aminhozur is also considered as a pole in case of home appliances and can also be considered as the center of home appliances distribution) If you are looking for cell phones, shopping centers of Aladdin, Charsu and BazarMobile are the most famous shopping centers in this field.

If you are looking for cameras and related accessories, Hafez shopping center in front of the Aladdin shopping center is one of the best centers. Market for home appliance especially television sets starts if you continue your route from Jomhuri Street toward Vali Asr Street. Buying a donut from Khosravi donut store (which is 45 years old) accompany you on this path! Come from Vali -e – Asr Street toward north until reaching the city theater.

You can find Reza shopping center in intersection of Vali -e- Asr Street and Enghelab Street (which is Known is Vali Asr intersection) which is one of the first shopping centers for laptop and computer parts on your path. Continue the Vali -e – Asr Street until reaching Iran shopping center for computers shortly after Taleghani Street which is another one of famous shopping centers for computer parts. Even though there are several other shopping centers for computers and mobile phones near Vali Asr Square but it is better for you to increase your speed and go near Vanak Square.

Continue your route in Vali -e- Asr Street until reaching Paitakht shopping center at the beginning of Mir Damad Street. This shopping center can be considered as a suitable center for purchasing laptop especially Apple and Microsoft brands. In fact, it is better to initially visit this shopping center if you are looking for products from Apple. Paitakht shopping center in Tehran is famous as a center for new technologies. However, prices of some products in Paitakht shopping center can be considered to be slightly high compared to other shopping centers! So keep an eye on prices.
Are you tired?

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Chehel Sotun garden covers an area of 67,000 sq. m. The palace 1, occupies about 2,125 sq. m and is fronted by a pool 2,measuring 110 by 16 m. By western standards, Chehel Sotun may seem a relatively small building, but its height of about 15 m and the elegance of the slender columns increase the structure’s grandeur.
Chehel Sotun was conceived by Shah Abbas the Great as a small pleasure pavilion. This now constitutes the Throne Hall 3, of the building and several flanking rooms. Some historical books mentioned that Shah Abbas I celebrated Nouruz of the year 1614 in this palace.

The elegant porch, superb mirror hall 4, and renowned mural paintings were added to the pavilion during the reign of Shah Abbas II. At that time, the palace was used exclusively as a place for entertaining foreign dignitaries. Two historical inscriptions in verse from the Safavid period reveal the long and turbulent history of the building. Both were uncovered from under a plaster layer during archaeological research in 1949. The first, a shorter one, is carved on a pink background.

It mentions the name of Shah Abbas II and the date of the building’s completion (1647). The second, a longer  one, this time in stucco letters against a blue background, describes the restoration of the palace during the reign of Shah Sultan Hossein Safavid. It is said that during a feast the building flared up, but it was still possible to extinguish the fire. However, Shah Sultan Hossein, infamous for his excessive piety, saw divine intent in this act and let most of the building burn away. preferring to restore it later. Chehel Sotun shares many traits with Achaemenid architecture. though it seems fairly restrained compared to the excesses of its predecessors. Like the grand structures of Persepolis, it stands on an elevated platform, conforming to the ancient tradition that royal palaces have to soar above the ground. The magnificent porch of the palace also echoes a peristyle that traces its history as far back as the Achaemenid period.

The name of Chehel Sotun (“Palace of Forty Columns”) was given to the building because of the multiple pillars of its elegant porch 4, (“forty” is a common term in Iran to indicate a large but imprecise number). However. by chance the twenty columns of the porch reflected in the pool in front of the building presented a clear sight of forty columns, and many believe that this is the explanation for the name of the palace. Of the twenty pillars of the porch. two are found in the recess that leads to the Throne Halle. Each of the slender pillars is formed of a tree trunk over which a thin layer of colored board has been fitted. In the 17th century. this veneer was covered with colored studs of glass and mirror. What we see today are the decorations that were added during the palace’s rebuilding after the fire of 1706 or during the Qajar period. Today the columns, stripped of their original glass cover, are painted red. They support a light wooden ceiling. With its exposed beams, wide fretwork louvers. and inlaid-work, this ceiling is probably the finest example of this kind in Iran.

Bagh e Chechel Sotun general view

In the centre of the porch is a handsome marble basin 6, highlighted by figures of four lions. These lions are engraved in such a way that every two lions have a common head. They serve as the base for four central columns and, at the same time, spout water into the tank. To preserve the fragile structure, the fountains are in operation only on special Occasions.  Before entering the opulent Throne Hall, the visitor should not miss the window above the entrance door. Until recently, the ancient Koran bearing the stamp of the third Shiite Imam was kept there. According to the Islamic tradition, luck will accompany those travelers who have passed under the Sacred Book. Today this Koran is exhibited in the museum of Chehel Sotun. The Thone Hall has glittering ceiling vaults. The walls are painted with both figurative and abstract designs and are  decorated with stucco and brightly colored inlaid rosettes. The plasterwork in low relief is colored in rich ultramarine and cobalt blue. vivid scarlet, pale emerald, and solid gold – all woven into intricate and exquisite patterns of great splendor. The hall is in a good state of preservation, and where necessary, restoration has been judiciously carried out. Like the Throne Hall of Ali Qapu, the hall of Chehel Sotun is also adorned with frescos. It is perhaps the best place to study Persian secular art, whose best samples are presented here. In contrast to the pastel and calico motifs of Ali Qapu, the murals of Chehel Sotun have been done with much bolder colors. Here portraits of kings, battle scenes, and royal festivals are depicted in bright, vivid hues on the upper parts of the walls. The lower portions exhibit small genre paintings in the traditional miniature style. All the pictures (except for two paintings known as Chaldoran and Kamal wars which belong to the Qajar era) date from the period of Shah Abbas II.

The paintings of the western wall (opposite the entrance) depict, from right to left. the following subjects:

-The feast given by Shah Abbas the Great in honor of King Vali Mohammad Khan of Turkestan. This is a clear and picturesque portrayal of the ostentation of the Esfahan court.
– The battle of Chaldoran between the troops of Shah Ismail r Safavid and the Ot-toman Janissaries.
– The reception given by Shah Tahrnasb I in honor of the Hindu prince Homayun who fled to Persia in 1543.
The eastern wall is covered, from right to left. with historical frescos on the following themes:
– The battle scene of Taherabad, in which the armies of Shah Ismail I vanquished the Uzbeks, who, headed by Shibak Khan, threatened the northern borders of Persia (dates to the time when the palace had just been completed).
– Another battle, this time set in Kamal in India and depicting Nader Shah Afshar and Sultan Mahrnud, who is shown on a white elephant.
– The reception given by Shah Abbas II in honor of King Nader Mohammad Khan of Turkestan.
Fortunately, the large frescos have remained almost intact. The small miniatures, however, are in a very dilapidated state. This is mainly because during the Afghan and Qajar periods they were bedaubed with plaster to cover the scenes which were considered to be indecent. During the rule of Zel al-Sultan, the building itself was much threatened, and only due to the interdiction of Malek al-Tojjar, builder of Angurestan-e Malek (p141) and Malek Timcheh (p109), that the governor was talked out of the demolition of the palace.

The Throne Hall is bordered by large rooms on its southeastern and northeastern sides 7, These are also lavishly adorned with beautiful paintings. The hallway leading to the south-eastern room features remarkable gilded ceilings. It is called the Chaharshanbeh-Suri room after a large painting depicting this spring festival.

The exterior galleries 8, of the building exhibit a number of paintings that show the ambassadors and famous Europeans who lived in Esfahan during the Safavid rule. Until recently, little was known about the origin of these paintings. However, it has been determined that these frescoes are the work of two Dutch painters, Angel and Lokar, who were members of the East India Company at the time of Abbas II. One of these pictures may possibly be the portrait of King Charles I of England and his Queen, Henrietta Maria. The other shows an English envoy, holding in his hand a turnip as the Persians always welcomed the gift of unfamiliar plants.

The small but interesting museum of Chehel Sotun, which opened in 1978, contains an outstanding selection of manuscripts, vessels, inlaid and marquetry work, costumes, and fine items of Persian china. The items in the Throne Hall are on permanent display, while those in the smaller rooms, flanking the main hall, are subject to change. Among the most precious objects are the Koran that was once kept above the entrance to the palace; the replica, of the pact signed between Imam ‘id Ali and the Christians; the door from the Mausoleum of Sheikh Safi al-Din in Ardabil and the restored cap of this reverend Sufi; a gilded amulet on deer skin which belonged to Amir Kabir but which seems to have been of little help to the minister who was murdered in Kashan, and the original wooden minbar of the Royal Mosque.

One of the most valuable objects in Chehel Sotun is a stucco window that was brought here from Darb-e Imam (p122). Carved of plaster and studded with stained glass, this unique window is one of the great artistic marvels of Esfahan. Sadly, it is not exhibited to public view and is kept in the museum’s repository.

The garden of Chehel Sotun is also delightful and constitutes part of the museum complex. Remains of some Esfahan’s buildings have been transferred from their original sites to be preserved here. Among them are the portal of the Qotbiyeh Mosque 9, and the portal of Darb-e Kushk 10, Four column bases depicting human and lion figurines, marking the four corners of the large pool, have been relocated from the now demolished Sarpushideh Palace . Another relic includes a dried plane tree, the only remains of Bagh-e Zereshk .

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The palace’s name was also widely interpreted as [Imam] Ali’s Gate. Indeed, Shah Abbas I greatly venerated Imam Ali. To express his humility, he always signed his letters as “the dog at the threshold of Ali’s door”. During Shah Abbas’s rule, 110 cannons were installed on both sides of the entrance to Ali Qapu. This was another tribute to the Shiite Imam, whose name, Ali, corresponded to the number 110, according to the abjad alphabet. The final act was Shah Abbas’s relocation of the door of Imam Ali’s mausoleum in Najaf in Iraq to Esfahan. Instead, the richly adorned, gold – and silver – plated door, which was made by Esfahans craftsmen, was installed on the original site. Such an act further enhanced the sanctity of the Ali Qapu Palace. From then on, any person passing through the gate had to dismount from the horse, and even the Shah was not exempt from this duty. Moreover, those who sought the royal favor had to kiss the gate as a plea, while those who were granted the royal approval had to kiss the gate in gratitude. Sometimes criminals and fugitives sought refuge behind the palace’s gate, and no force, even the Shah himself, could drag them out from it except by starvation.
Ali Qapu served multiple purposes. Part of the building was occupied by administrative quarters and sentinel’s headquarters; this section could be visited by the common people, who often brought their petitions here. Ali Qapu was also a sort of stronghold that divided the public area of Naqsh-e Jahan from the harem and the enclosure of royal palaces, which were scattered in a vast park that stretched from behind Ali Qapu as far as Chahar Bagh Avenue. The palace also housed shah’s private bedrooms, elaborately hidden from the view of strangers (the arrangement of the bedrooms was greatly praised by Shah Abbas who always suspected plots against him – and often not without a reason). Ali Qapu also functioned as a place for royal audiences to greet ambassadors and heads of states. The lavishly decorated reception areas were intended to demonstrate for foreign guests the strength and authority of the Safavid monarchs and to dazzle them with the opulence of decoration of their dwellings.

Today the entrance, to Ali Qapu emphasizes the overall magnificence of the structure. While the entries to the three other major buildings of the square are recessed into the surrounding walls, Ali Qapu steps actively into space. The door is more than 5 m high, and opens onto a hallway 64 sq. m and topped by a cupola 11 m high. The hallway features the loveliest plaster decorations and paintings of Reza Abbasi. Here visitors can entertain themselves with the curious acoustic effect of the hallway in front of the ticket of fice. Two people with their faces pressed against two opposite corners can  clearly hear each other, even if they talk in the lowest voices possible.
The upper stories of the building can be climbed by two sets of stairways: the upper to the top, the narrower the steps. This was perhaps a security measure: not more than one person could climb the stairs at the same time. The recesses at the turns of the stairs seem to have been occupied by guardsmen. On the west side of the building, the stairs led to the  balconies, where a person could rest and enjoy the view of the royal compound. The balcony 2, on the fifth floor provides a fine view of the Towhid-Khaneh, where dervishes performed their rituals (it is currently occupied by the  Faculty of Fine Arts of Esfahan University).

The royal staircase, added during the rule of Shah Abbas II, is 1.4 m wide and has 118 steps; this staircase was used during the monarch’s public receptions. The first two floors of the present structure totally lack the ornamentation because little has survived the vandalism of visitors to the palace immediately after the Islamic Revolution. Only a pattern of the fine curtains – the conspicuous feature of all Safavid palaces – is discernible on the dados. However, visitors might try to imagine how beautiful the palace was when the niches of its walls were filled with china and porcelain wares (indispensable features of the interior decor during the Safavid period). when each room had a fireplace, and when the windows were curtained with heavy cloths to prevent cold air from penetrating the palace.
Another flight of stairs brings the visitor to the veranda, definitely one of the main highlights of Ali Qapu. Apart from its beauty. it offers a superb view of the city, including the best vista of the Royal Mosque. The veranda is 28 m long. 16 m wide. and about 12 m high. Its wooden ceiling. which is gilded and painted, is divided into rectangles as if to mirror the pool underneath. It is supported by eighteen slender columns with elaborately carved capitals. The columns are organized in three rows, each with six columns. Each pillar is cut from a single trunk of a plane tree. During the Safavid period, the pillars were sheathed in mirrors to give the impression that the roof was floating in the air. During the last restorations, the columns were reinforced with metal rods and clamps. A remarkable pool in the middle of the veranda is faced with copper plates and has a fountain. During the Safavid festivities, the pool was filled with water. which was raised here by means of hydraulic machines if for some reason, the pumping system failed, the water was brought here by a bucket-wheel).

From the veranda – often shut off at the sides by sumptuous curtains – the Safavid kings and their foreign guests used to watch the polo games. fireworks, and the military shows going on in the square below. Just above the entrance to the veranda. the only original window that has survived in the palace exhibits very attractive fretwork.
Leading away from the veranda is the Throne Hall 4, the most sumptuously decorated room of the building. The paintings, executed by Reza Abbasi and his skilled students, are magnificent, particu-lady on the ceiling. where brilliantly plumed birds are depicted. Some of the European-style miniatures here (unfortunately, they have been badly damaged) are attributed to Sir Robert Shirley. an English freelance diplomat in the service of Shah Abbas J.
The upper story of the palace is occupied by the Music Chamber 5, What makes this hall particularly remarkable is the amazing stuccowork aimed to enliven the area and perhaps even to enhance the acoustics of the room. The walls of this hall are lined with a partition-wall of plaster curiously pierced (as if fret-sawed) in the shapes of common utensils – dishes. Plates, bottles and flasks. The small ceiling cupolas, the keystones of the vault that separate them, and the pendentives that connect them to the walls have been pierced in the same manner. The Music Chamber reminds one of the Mausoleum of Sheikh Safi al-Din in Ardabil. However, if in Ardabil the plaster niches served as shelves for chinaware, the hollow plasterwork in the Music Chamber was made to created echoes for the musical instruments, thus improving the acoustics.

The balconies in the corners of the Music Chamber were occupied by the musicians who performed music for royal guests. Whereas most of Ali Qapu’s decorations have been badly mutilated, the balconies, which were inaccessible to barbarous hands, have preserved their remarkable paintings completely intact.
The building was slightly remodeled during the reign of Shah Sultan Hossein Safavid. In the late 19th century, most of the building’s remarkable decorations were puttied with a layer of plaster. Fortunately, the restorers uncovered the original, painted layer of the surfaces and were able to repair the decorations, at least on the building’s upper floors. However, though largely stripped of its embellishments, Ali Qapu is still one of the most charming of all the city’s architectural treasures.

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A native of Lebanon, Sheikh Lotfollah came to Iran to seek the patronage of Shah Abbas the Great who, as a part of the Safavid policy of fostering the Shiite faith, not only encouraged the Sheikh to take up residence in Iran, but also put him in charge of the Royal Mosque and a theological school. In Shah Abbas, the venerated Sheikh, in addition to a patron, found also a son-in-law.

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The Royal Mosque (today called the Imam Mosque) dominates the Southern side of Naqsh-e Jahan

Square and is indeed, the most focal point of it. It is the largest and the most magnificent monument of the Safavid reign and is a splendid example of the extravagant architecture that Constituted the glory of Esfahan at that time. We do not Know whether the mosque was called “Royal after its patron, Shah Abbas the Great, or it was just the word to emphasize the mosque’s size and splendor. Both versions are reasonable, all the more so because the Royal Mosque of Esfahan can be claimed the final perfection of the art of mosque building in Iran. The work on this majestic structure was begun in 1611 and lasted for eighteen years. The Sumptuous portal was finished prior to the rest of the building in 1615, completing the imposing Square and offering a counterpart to the Qeysariyeh Portal On the opposite side. Shah Abbas I saw his mosque finished in 1629, the last year of his reign, but the decoration of  the building continued even after his death. In 1630 and 1666, some ornamental touches were added to the mosque, but as a whole, the Royal Mosque was an example of a grandiose building created at the behest of One man in One continuous operation. This accounts for the remarkable unity of the decorations, colors, and motifs. Shah Abbas, as if feeling the approach of his death, persistently gave orders for the Work on the building to be sped up. some stories, concerning the construction of the mosque, reflect the haste that accompanied it. One of them tells that Shah Abbas ordered the work on the walls to be started when the foundations had not yet Set. The architect, Ali Akbar Esfahani, refused, and, to avoid the Shah’s anger, went into hiding. When he judged that the time reached to prove his point, he reappeared, demonstrated the accuracy Of his forecast, and was granted the royal pardon. Another story claims that Shah Abbas wanted to save time and money by removing integral blocks from the Congregational i Mosque in Yazd and installing Them in the new building. Fortunately, the clergy, who had a strong impact on the Shah, Were able to persuade him that creating Such a precedent might one day result in his own mosque being similarly desecrated. An important laborsaving innovation employed in the Royal Mosque was the vast usage of polychrome tiles in place of mosaic tilework. In the portal, tesselated faience is applied, but the rest of the surfaces are clothed with polychrome tiles. Except for some sparse use of marble from Ardestan, all the surfaces of the mosque are covered With tiles. The concentration on tile decorations is peculiar to Safavid art, in Contrast to the Seljuk tradition that emphasized the form rather than the decoration. The color of tiles is blue and yellow, contrasting agreeably with the warm tones of marble panels and the stones of the courtyard. It is quite unlike the bright ultramarine of preceding Timurid structures. All in all, there is no other mosque in the city decorated with Such a magnificent blanket of tiles as the Royal Mosque The mosque occupies a total area of 12,264 sq. m. It has been estimated that as many as 18 million bricks and 472,500 tiles were used in the construction of this Safavid marvel. The mosque is based on a four-eivan plan, and consists of multiple sections.

Entrance Portal
The mosque is fronted by a forecourt 1, bordered on three sides by a majestic portal 2, embellished with handsome moqarnas, and the flanking arcades. The area is clearly charged with symbolic meaning: it is a transition from the outer world to a temporal paradise (the forecourt creates the horizontal transition of space, while a portal accomplishes the vertical transition).

The forecourt originally had a pool, but this was closed over at a later date. With two soaring minarets 42 m high and the arch itself being almost 27 m high, the overwhelmingly sumptuous entrance was destined first and foremost to fit in with the square it fronted rather than the mosque itself. A cable ornament, rising from large marble vases, decorates the arch. Flanking the portal are two niches containing reduced versions of the honeycomb decoration

of the vault of the main portal. Above the entrance gateway is a The panel, showing two heraldic peacocks framing a flower vase filled with luxuriant branches. This motif also occurs in the shrines at Ardabil and Mashhad and must have had some special significance, although it is no longer ascertainable. The great calligraphic frieze in Tholth on the portal (dated 1616) specifies that the mosque was built with the personal revenue of Shah Abbas the Great and dedicated to his ancestor, Shah Tahmasb; this is the work of Alireza Abbasi. Below this inscription is another lettering in Tholth, executed by Mohammad Reza Imami, another famous calligrapher of the Safavid period. It testifies to Shah Abbas’s acknowledgement of the architect, Ali Akbar Esfahani, and the construction’s supervisor, Mohib Ali Beikollah. The majestic gold – and silver – plated doors, ornamented with poems written in Nastaliq script, were commissioned by Shah Safi and installed in 1636.

Anteroom
The anteroom 3, as a spatial pivot, interlocks the forecourt and interior courtyard, while making a 45-degree turn. This arrangement allows the aligning of the mosque with Mecca while maintaining the integrity of the square. The plan is similar to the earlier Sheikh Lotfollah Mosque, and like there, the visitor hardly notices the change in direction. The effect is contrived by the following architectural trick. The northern eivan 4, instead of having a rectangular ground plan like the other three, ends in a pentagon. It is linked to the anteroom by an arch, a passage through which, however, is blocked by a stone bench that obliges the visitor to make a detour around the north eivan through two vaulted corridors, one on each side, that lead to the court. The right corridor 5, is short; the left 6 is long due to the alteration of the direction. In the anteroom stands a handsome engraved stone vase of great size.

Courtyard

The courtyard 7, measures 3,910 sq. m and is perfectly symmetrical with respect to the axis that points towards Mecca. It is enclosed with twos tory arcades 8, broken in the centers by towering eivrll1s. The ablutions pool 9, in the center measures 240 sq. m. A sense of soaring space strikes the visitor on entering the great court. Once inside, it becomes apparent that the grandeur and scale of the mosque’s layout in no way interferes with the essential doctrinal simplicity of Islam: all the faithful are assured clear and unmediated access to Divine Mercy, and nowhere do they encounter restricted areas, steps or railings.
The Southern Eivan and the Sanctuary
The southern eivan, is usually the most articulated section of Iranian mosques, as it often leads to the main sanctuary. The Royal Mosque also demonstrates a very marked emphasis on the south side. The southern eivan surpasses the other eivans in size and decorative splendors. It is marked by two flanking minarets 11, 48 m high and repeats the decorative motifs of the portal: ogives and stars in lavish gold tones. Behind the eivan is the mosque’s principal sanctuary 12, a square 22.5 m on the side. At its back wall, there are a marble mihrab decorated with mosaics and a fine minbar 4 m high. The minbar is made of a single marble piece and has fourteen steps symbolizing fourteen Shiite saints. The original wooden minbar that was installed here in Safavid times is now kept in the museum of Chehel Sotun. The wall above the mihrab has a niche with the sandalwood doors. Locals believe that the Holy Koran written by Imam Reza and a blood-stained shirt of Imam Hossein are kept there.

The Dome
The dome is the most remarkable part of the southern sanctuary. It is 52 m high (the inner shell is 38 m) and about 21 m in diameter.

in diameter. Such dimensions make it the largest twin-shelled dome of Esfahan. The space between the dome’s two coverings is approximately 13 m. This empty space serves as an extraordinary “echo chamber” – since a speaker in the minbar can be distinctly heard in all other parts of the mosque. Check the effect yourself: by stamping on the floor exactly under the dome’s center (marked by dark-colored paving stone) one can hear up to seven clear echoes. The superb dome is an outstanding architectural achievement of Ali Akbar Esfahani. Indeed, if the interior of the sanctuary had been extended to the level of the upper dome, it would have been totally out of proportion. That is why the lower shell was indispensable. On the other hand, had not been this latter crowned by the upper shell, the mosque would have lacked the splendid elevation to which it owes its monumental perfection. The dome has a characteristic bulbous shape and rests on a high drum pierced with eight magnificently partitioned windows. Remarkably, when observed from the interior, the windows seem to open in the curve of the dome; viewed from the outside, they look as if cut in the drum – the ex-planation is that you see two superposed domes. The dome’s interior is dominated by a medallion of a large golden star delicately decorated with roses. The dome features a number of inscriptions; the one around its perimeter, ending with the date 1627, is made by the famous calligrapher Abd al-Baqi Tabrizi. He is also responsible for the inscriptions in the south, north, and west eivans.

Hypostyle Halls
Two prayer halls, topped with small cupolas flank the sanctuary. The cupolas mainly repeat the ornament of the main dome: large golden star and large stylized motifs on a sumptuous carpeting of golden flowers. In the western hypostyle hall stands a huge stone vase with some nicely engraved patterns and a verse in Nastaliq. It was put here in 1683 during the reign of Shah Solei man Safavid.

Eastern

Western Eivans Compared to the south eivan, the facades of the east 14, and west 15, eivans reveal more subtle decoration. The west eivan has a lofty arch surmounted by a maazeneh, from which the faithful are summoned for prayer.
This eivan leads to a large prayer hall that features the mihrab commissioned by Shah Abbas II. This mihrab, perhaps the most beautiful in the mosque, bears an inscription by Mohammad Reza Imami. The walls and ceiling of the western hall are covered with polychrome tiles. Floral motifs n the shades of yellow, blue, mauve, and gold predominate. Almost similar decoration and a similar layout are employed in the eivan and the small hall on the east side.
Madresehs
The Royal Mosque has two madresehs at its southwest and southeast ends. The southwest madreseh 16, known as the Soleimaniyeh Madreseh, was laid out in the end of Shah Abbas’s reign or perhaps during the reign of his successor, Shah Safi. It is, however, named after Shah Soleiman Safavid, who is responsible for repairs, which took place here during his reign. In the courtyard of the Soleimaniyeh Madreseh a triangle stone 17, is placed along the northern wall.
It acts as a sundial for the noon prayer during all days of the year. It is said that, if slightly removed, it would not show the right time. This stone is attributed to Sheikh Bahai, the Safavid scholar.
The southeastern Naseriyeh Madreseh 18, dating from the time of Shah Abbas II, is named after Naser al- Din Shah Qajar, who conducted the repairs of this seminary. The students’ chambers distinguish this madreseh from its counterpart in the western corner. They stretch along one side of the courtyard and overlook the platforms on the opposite side where the students studied.

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Photo by : Bahare Beheshti

Housing Some of the most majestic structures of the Islamic world, Naqsh-e Jahan is designated by UNESCO as a universal heritage site. (For a short While, the square was removed from the UNESCO list because the World Heritage Committee maintained that the neighboring Jahan Nama tower intruded the aerial buffer zone of the square. The 500 thousand dollar project provided by the Iranian president and actions of the Modification Committee helped to resolve the problem.) The square dates from 1602.

Naqsh-e Jahan Square by Pascal Coste

Prior to the Safavid period, the ground on which it was laid out was occupied by the spacious Nagsh-e Jahan garden. At that time, Meydan-e Kohneh (“Old Square”), opposite the Congregational Mosque (pp. 12-120), formed the city’s centre. However, when Esfahan was chosen a capital, Shah Abbas’s ambitions prompted him to Create a new axis for the city’s development. The new square was laid out on the site of the former garden to the southwest of Old Square. It was designed by Ali Akbar Esfahani, the celebrated architect at Shah Abbas’s court. The new architectural masterpiece was arranged in a north-south direction. Due to this orientation, both mosques — the Royal (Imam) Mosque along the square’s south side and the Sheikh Lotfollah Mosque on its east side – had to be angled so that their qibla walls would be aligned toward Mecca.

The orientation of the square was determined by pre-existing patterns; the rest derived from the genius of its architect. Two other majestic buildings complete the magnificence of the square: the palace of Ali Qapu and the Qeysariyeh Portal of the Great Bazaar. The square is surrounded by arcaded structures two stories high. In the past, they housed trade sites, public places, and Service quarters for the palace. At present, ground floor of the buildings around the square is allocated to the handicrafts market, while the upper floor is planned to accommodate the museum of Esfahan’s history. In the past, the Square could be entered through twelve gates, the most important of which was the Qeysariyeh – that of the bazaar. The present entrances to the square are located at the corners. Since the time of its founding, the Square has fortunately experienced only minor alterations. Among the structures that have disappeared are the clock tower to the north of the Sheikh Lotfollah Mosque and the Drum House on top of the Qeysariyeh Portal. On the other hand, there have been several later additions: formal lawns and a pool in the middle of the square. These come from the Pahlavi period.

Although now Naqsh-e Jahan still has particular importance in the city’s life, during the Safavid period the square was even more significant. In the days of its glory it was always crowded with people. During the daytime it was occupied by peddlers who spread out their wares on the ground. The space near Ali Qapu, however, was always kept clear to preserve access to the palace. Once a week peasants from the surrounding villages gathered to sell their goods. Beside the buyers and the sellers, there were also story-tellers, jugglers, and acrobats, without whom no picture of an oriental market could be complete.

In the lower galleries near the entrance to the bazaar were the coffee-houses always full of coffee-drinkers and tobacco-smokers. To these men a clergyman usually delivered lectures on history, poetry, and law. The upper galleries were mostly occupied by shops. Round the square, water flowed in a canal lined with a row of plane trees. In the evenings, the square was cleared so that it could be used for polo or for some form of pageantry. It was then lit with as many as 50,000 lamps.

A pair of marble polo goalposts at either end of the square and a all mast were the only permanent structures in its central part. The goalposts (though somewhat educed) have survived. Their capping resembles the headgear fashionable during the Safavid rule. The courtiers were always willing to practice active sports. Shah Abbas I himself was an excellent polo player. Whenever he hit the ball, the trumpets in the Drum House sounded a fanfare. When the shah was not playing himself, he usually watched the game from the balcony of Ali Qapu. Sadly, in Iran that was once a motherland of the sport, polo is now totally neglected. The mast in the middle of the square served for archery practice. At a later date it was replaced by an execution pole. Another event which began and ended in the square was the cross country race held periodically for those who wanted to qualify as shatirs, or – Royal runners.

Although magnificent at any time, Naqsh-e Jahan Square is particularly awesome in the evening when the buildings and fountains are illuminated.

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