This article delves into the historical roots, unique characteristics, and advantages of Persian rugs compared to their counterparts, offering a comprehensive understanding of what makes these rugs so special.

Historical Significance and Cultural Legacy

The tradition of Persian rug-making dates back more than 2,500 years, with its origins rooted in the ancient Persian Empire. Historical records and archaeological findings, such as the Pazyryk Carpet (believed to be over 2,400 years old), attest to the sophisticated weaving techniques and aesthetic sensibilities of ancient Persia.

Persian rugs were not merely functional items; they served as symbols of prestige and power, adorning royal courts and palaces. The art form flourished under the Safavid Dynasty (16th–18th centuries), a period often referred to as the “Golden Age” of Persian rugs. During this era, rug-making evolved into a fine art, with workshops in cities like Isfahan, Tabriz, and Kashan producing masterpieces that were traded along the Silk Road and sought after by European elites.

In contrast, the rug-weaving traditions of other countries developed later and were often influenced by Persian techniques. For instance:

• India adopted rug-making during the Mughal Empire (16th–19th centuries), incorporating Persian styles but blending them with local motifs.
• Afghanistan and Pakistan, with their tribal and nomadic cultures, produce durable and practical rugs but often rely on geometric and less intricate designs.
• Turkey, with its rich Ottoman heritage, is known for its flatweave kilims and wool-on-wool pile rugs, which emphasize functionality over artistry.

Craftsmanship and Techniques

Persian rugs are celebrated for their intricate knotting techniques, particularly the Senneh knot (asymmetric knot). This knotting method allows for greater detail and more complex designs, which can include curved lines, floral motifs, and elaborate patterns. Persian rugs often boast knot densities ranging from 200,000 to over 1 million knots per square meter, depending on the region and the intended use of the rug.

By comparison:

• Indian Rugs typically use the Turkish knot (symmetric knot), which, while durable, limits the complexity of the designs.
• Afghan Rugs feature the Persian knot in some cases but are often less densely knotted, prioritizing functionality and affordability.
• Pakistani Rugs, particularly the famous Bokhara style, are known for their soft wool and geometric motifs but lack the diverse patterns of Persian rugs.
• Turkish Rugs favor symmetrical knotting and bold, geometric patterns, focusing on practicality and vibrant colors.

Designs and Patterns

One of the hallmarks of Persian rugs is their extraordinary variety of designs, each reflecting the culture and traditions of a specific region in Iran.

• Isfahan Rugs: Known for their elegant medallion-and-vine patterns, Isfahan rugs are often woven with silk or a silk-wool blend, giving them a luxurious feel.
• Tabriz Rugs: Famous for their detailed floral and pictorial designs, these rugs showcase extraordinary craftsmanship.
• Kashan Rugs: Characterized by intricate medallion motifs and harmonious color schemes, Kashan rugs are timeless classics.
• Qashqai and Gabbeh Rugs: These tribal rugs, made by nomadic weavers, feature bold, abstract designs and vibrant colors, offering a more rustic charm.

The symbolism in Persian rug patterns is deeply rooted in Iranian culture. Motifs such as the Boteh (Paisley) symbolize eternity and life, while garden designs reflect the Persian concept of paradise.

In contrast:

• Indian Rugs often feature bold floral and geometric designs inspired by Mughal art.
• Afghan Rugs are known for their red and black color palettes and tribal motifs, which, while striking, lack the storytelling depth of Persian designs.
• Pakistani Rugs, especially the Bokhara style, are more repetitive in their patterns, focusing on geometric symmetry.
• Turkish Rugs emphasize strong geometric and floral patterns but are often less intricate than their Persian counterparts.

Material Quality and Dyeing Techniques

The materials and dyes used in Persian rugs are a testament to their superior quality and longevity. Most Persian rugs are made from:

• Silk: Used in high-end rugs, silk adds a luminous sheen and allows for intricate detailing.
• Wool: Persian rugs often use high-grade wool, including Kork wool (from lambs) and wool from sheep raised in high-altitude regions.
• Natural Dyes: Persian rug makers use plant-based and mineral dyes, creating rich, vibrant colors that age beautifully.

Rugs from other countries may use similar materials, but their quality can vary significantly:

• Indian, Afghan, and Pakistani rugs sometimes incorporate synthetic dyes, which may fade or lack the depth of natural dyes.
• Turkish rugs often use wool of good quality but may lack the same level of refinement found in Persian silk rugs.

Market Value and Investment Potential

Persian rugs are highly valued in the global market for their beauty, craftsmanship, and cultural significance. They are often considered long-term investments, with authentic antique Persian rugs appreciating in value over time. Some antique pieces fetch millions at auctions and are regarded as collectibles or family heirlooms.

By contrast:

• Rugs from India, Afghanistan, and Pakistan, while more affordable, generally do not hold the same level of prestige or resale value.
• Turkish rugs, particularly kilims, are popular for their affordability and practicality but are not typically viewed as investment pieces.

Why Persian Rugs Are Peerless

Persian rugs stand out due to their:

1. Unmatched Artistry: Intricate patterns, curvilinear designs, and symbolic motifs.
2. Regional Diversity: Over 40 major weaving regions, each offering unique designs.
3. Longevity: With proper care, Persian rugs can last for generations.
4. Cultural Significance: Persian rugs are a testament to Iran’s rich history and craftsmanship.
5. Investment Value: Their rarity and artistry make them highly sought-after collectibles.

Conclusion

Persian rugs are more than just textiles—they are cultural artifacts that embody the rich history, artistry, and traditions of Iran. While rugs from countries like India, Afghanistan, Pakistan, and Turkey bring their own unique appeal, Persian rugs remain the gold standard in the industry.

For those seeking a rug that combines timeless beauty, exceptional craftsmanship, and cultural significance, Persian rugs are the ultimate choice. Whether as a statement piece for a home or an heirloom to pass down through generations, a Persian rug is an investment in both art and history.

The post The Timeless Elegance of Persian Rugs: A Legacy Beyond Comparison appeared first on OrigIran.

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.

Afghanistan (Herat Province) has a cultivation area of 7,557 ha, followed by India (Jammu and Kashmir regions) with 3,674 ha (Ganaie and Singh, 2019), Greece (Krokos Kozani, Karyditsa, Agia Paraskevi, Ano Komi, Kato Komi, Pefkopigi and Petrana) with 1000 ha, Morocco with about 850 ha (730 in Taliouine and 120 in Taznekht with a production of 4 t) (FAO, 2018), Spain with 150 ha (88 in Castilla-La Mancha, Albacete, Toledo, Cuenca and Ciudad Real), Italy with 70 ha and France with 37 ha. In Italy, saffron is more widespread in Sardinia (37–40 ha in San Gavino Monreale, Turri, Villafranca), Abruzzo (6 ha in L’Aquila), Sicily (5 ha in Enna). Other small cultivations are situated in Umbria (Perugia, Cascia), Tuscany (San Gimignano, Arezzo and Maremma Grossetana) and other regions of South Italy.

According to the available statistics, in European countries there was a drastic reduction in saffron production. In Spain, saffron dropped from 6,000 ha in 1971 to 150 ha, in Greece it decreased from 1,600 ha in 1982 to 860 ha, and in central Italy (Abruzzo) it fell from 300 ha in 1910 to 6 ha. Also, in India (Kashmir), there is now a rapid decline of the saffron industry: from 5707 ha with an annual production of 15.95 t in 1997 to 3,674 ha with an annual production of 9.6 t in 2015 (Daawar and Yadvinder, 2019). Despite Iran being one of the oldest historical saffron producing areas, saffron yield per unit area has significantly fallen from 5.1 kg ha−1 in 1982 to 3.5 kg ha−1 in 2017. Saffron yield loss can be caused by several factors, i.e.: poor soil fertility, the lack of availability of good quality corms as propagation material, and assured irrigation, infestation by rodents and diseases (Fusarium oxysporum f.sp gladioli, Penicillium spp, Rhizoctonia violacea), poor postharvest management, improper marketing facilities, adulteration and the adverse effect of climate change as well as the recent droughts.

The global market size of the saffron sector was 213 million US $ in 2016 (imports). Since 2013 exports in value have continuously increased, but since 2014, the exported quantity has decreased due to the exchange rate fluctuations faced by the Islamic Republic of Iran. The top exporters of saffron are Iran (48 %), Spain (27 %), Afghanistan (7.7 %), Greece (2.9 %), France (2.7 %) Hong Kong (2.5 %) and Portugal (2%). The top importers are Spain (23 %), Hong Kong (8.7 %), the United States (7.6 %), India (7.0 %), Italy (7.0 %), China (6.2 %), France (5.2 %), Saudi Arabia (4.2 %) followed by Sweden (3.8 %), Argentina and the United Arab Emirates (2.5 %) (https://oec.world/ en). In general, global imports of saffron grew 7% annually between 2012 and 2016, indicating that the industry has long-term sustainable growth potential. Saffron demand is increasing (+23 %) in South Asia. India is the fourth-largest saffron importer, where the explosive economic growth has made saffron accessible for an ever-increasing number of middle- and high-income households. Between 2012 and 2016, Afghanistan and Hong Kong (China) became fast and large exporters of saffron, and thus could be a serious competitor against other major exporters. In particular, Italy exports only 0.38 % of global export to Switzerland (18 %), United States (16 %), Germany (15 %), United Kingdom (10 %), Brazil (7.0 %), Spain (4.2 %), Russia (3.8 %) and imports 7.0 % of global import from Spain (39 %), Iran (30 %), Hong Kong (11 %), Greece (8.7 %) and China (3.3 %) (https://oec.world/en/).

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The Bazaar has beautiful courtyards, caravansarais, bath houses, and old shops which are deemed among the best places in Shiraz to buy all kinds of Persian rugs, spices, copper handicrafts and antiques. All the financial, business, internal and external exchanges have been taken place in this bazaar and it had been the financial heart of Shiraz and now it still serves people’s demands and one can buy Shiraz souvenirs and handicrafts out here.
It has three pass ways (for costumers), the shop frontage (two stairs upper than the ground) and shop space (place of selling), and 5 grand doors in its 4 corners and like other middle eastern Bazaars there are a few numbers of mosques and Imamzadehs constructed adjacent or behind the Bazaar.

Also 74 multiple arches of this bazaar with more than 11 meter height are higher than the other bazaars’. This bazaar has 5 grand doors in the corners. It has also two north-south and east-west strings which are crossed.The North-south part of bazaar begins from Darvaze-Ispahan and continues to southern alley of Sara-ye-moshir. In both parts of this section there are 41 pairs of shops in front of which there exist stone made stages engraved with Toranj. For avoiding moisture, the stores are built about 1 meter upper than the ground. Each if the stores have storerooms and two floors.

Also in north eastern part of the bazaar there are some old caravansaries such as Roghani, Gomrok, Ahmadi which have doors to the bazaar. Each of them has many stores. North-south part of the bazaar is called Bazazan Bazaar (Bazaar of drapes).
East-west part has two sections:

1- Eastern part of Chahar-Soogh which is called Alaghe-Bandan bazaar and belongs to herbal medications stores.

2- Western part of Chahar-Soogh which is called Tarkesh-Dooz-Ha bazaar and is the center of Iranian carpet stores.

Cultural Heritage association has recorded Bazaar-E-Vakil in June of 1927 with the number of 924.

Address: Bazaar-E-Vakil, Shohada Square, Shiraz, Fars province, Iran

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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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