User:Iranian Civilization and Culture

The General Survey of Iran
Iran, the Land of four seasons with its rich and colorful history, countless monuments, Iranian hospitality and delicious food.

Iran is one of the world’s oldest civilizations, and has been among the world’s most thoughtful and complex civilizations from the very beginning.

There are aspects of Iranian civilization that, in one way or another, have touched almost every human being on the planet.

Tehran, the capital city of Iran, is the country's largest and most populated city. Isfahan, Shiraz, Tabriz and Mashhad are other major cities of the country.

Persian (Farsi) is the official language of the country and is widely spoken. A large number of people also speak other languages/dialects namely Azeri, Kurdish, Luri, Arabic, Baluchi, Gilaki, Mazandarani/Tabari, and Turkmen.

The Islamic Republic of Iran
Iran is one of the oldest civilizations in the world. In fact, it is one of the few countries with a long recorded history. Replete with numerous incomparably unique features, this ancient nation has fascinating history unshared with others. The Iranian style of architecture is unique and creative among the many.

The country is culturally unique, and actually one of the richest in the world in terms of diversity, and natural beauties. Throughout, its culture has been influenced by others, from the Nile River to the heart of Europe. Due to the fact, and its strategic location that rings Asian, European and African civilization as interconnecting point. Iran is gifted with diverse cultures that have created a robust nation. It is a country where the people live in unity and diversity cheerfully in faith and conviction. It is also a country where works of nature have been so captivating that they are genuinely appreciated all over the world.

The Iranian history dates back to over 9,000 years and pictorial writings in the west of Iran date back to over 3,200 years before Christ .The Iranian dynasty  (the Achamenians) was founded in Fars province over 2500 years.

Iran was ruled by different monarchs (446 kings) ever since until the 1979 revolution that established the Islamic Republic of Iran by destroying the social basis of Iran.

Iran is among the few countries in the world to keep its independence and has never been fallen under colonial rule or protectorate (lbid). Furthermore, as Mackey wrote “---the core question for Iranians who as an ancient, fiercely independent people are painfully groping for a new identity defined in terms of unique Persian Shia heritage.”

However, it has experienced two coup d'état and revolutions. The coup d'état staged by Reza Shah, in 1920 led to the establishment of the Pahlavi Dynasty in 1924. The coup of 1953 backed by Britain and USA in support of Reza Shah’s son, led to the fall of the national government of Mohammed Mossadeq.

The 1906 Revolution in Iran, was known as the Constitutional revolution. It has brought an end to absolutism in Iran and opened the path for the development of parliamentary systems of monarchical constitution. The 1979 Revolution was led by Imam Khomeini, one of the great Iranian clerics.

This revolution was Islamic revolution that shook the basis of the feudal political system and its institutions where the monarch had absolute political power to exercise once and for all. The revolution created a condition for the establishment of democracy and national religious beliefs of the people

The Persian history of Iran
The Iran of today was called Persia. Persia had been in the mainstream of world history for some 2,500 years. The date of settlement on the Iranian plateau from the New Stone Age (Neolithic) until the immigration of the Aryan races is not clear. But as available evidences reveal there had been settled living long before.

The older settlement centers were around springs and rivers where living conditions were more habitable. In these centers of civilizations a number of relics have been found, some of which go back to fifth millennium B.C. The immigration of the Indo-European races to the Iranian plateau started in the second millennium B.C. A group of the Indo- European race, who had immigrated to the south, settled along Zain and Jihon rivers.

This group was known for its use of horses in wars against the Ilamits, the formerly settled people, and occupied their territories expanding down to the Persian Gulf and the Sea of Oman. This group of people called itself Aryan. The term Aryan literally is to mean genuine, noble and honest.  The Aryans settled all over Iran in tribal groups and were living as cattle breeders. The major tribes were the Medes who had settled in the west, the Perse who had settled in the South, and the Parthes in the south east.

The Aryans were renowned house riders and robust fighters. During this time the king of the Aryans was called Jamshid. He called on his tribesmen to worship Ahuramazda, literally to mean God in ancient Persian. He was also the founder of Nourouz

Nourouz is the New Year that marks the beginning of spring in Iran. As the situation was moving in the direction to unite the tribes in custom and religious identification, a person called Zoroaster declared his prophecy. He aimed to unite all Aryans and ameliorate their beliefs. Except Sokahas, by and large all Aryan tribes believed in Zoroastrianism. But a Touranis group of the Sokahas tribe opposed the prophecy of Zoroaster and fought against his followers. In one of the battles Zoroaster was killed. Meanwhile the chieftain of the Medes tribe who was called Dia-Eko called on his tribesmen to unite and protect their sovereignty in the west against the attack of the Ashurs. Thus, a king of Medes called Cyaxares ordered his tribes men to build well prepared contingent forces.

He completely defeated the Assyrians and expanded his realm up to Asia Minor. This was the prelude to the establishment of the Median Dynasty. Its capital was Ecbatana In 550 B.C., Cyrus, a member of the Passargad tribe revolted against the Median monarch called Astyages who was the ruler of the time in protest against the oppression of the aristocratic class. Cyrus was a sub-king of Persa or Persis.

He organized ten Persian tribes and overthrew the Median Dynasty and founded the Achaemenian Dynasty which was the first world empire in 553 B.C..

The Achaemenian Dynasty
Cyrus ruled over the Persian Empire until 530B.C. He expanded his territory and by 546 B.C. controlled Armenia, Asia Minor, and the Greek colonies along the Mediterranean shore:  He led an army east to conquer regions such as Parthia, Chorasmia, and Bactria.

In 539 B.C. Babylon was besieged and finally taken through the stratagem of diverting the Euphrates River.

Cyrus died in 529B.C; he was not only a world conqueror and effective organizer, but the first to display the spirit of tolerance which is unique to Iranian character. .

Cyrus was succeeded by his son Combyses who conquered Egypt, and later fell insane  and killed himself during a revolt led against him by a priest called Gaumata, who later ruled the country for a brief period and killed by the heads of the noble families. Darius I, the leader of the avengers, sprang from a different branch of the Achaemenid family was made king in 521B.C.

He subdued all internal oppositions and put down a wave of rebellions throughout the empire. He crossed the Bosphorous in 512 B.C., subdued Thrace, and crossed the Danube, but withdrew without consolidating his success.

He also led two campaigns against the revolting Greek colonies in Asia Minor in 492 and 490 B.C. that ended unsuccessful

Darius I also constructed the Parseh palaces complex (Perespolis) in the northern part of Shiraz. The epigraph of Ganjnameh in Hamedan, which was written on it in three languages (Old Persian, Illami and Babylonian), belongs to his period

Xerxes I succeeded his father Darius I in 485B.C. He followed his father’s policy and led a Third Campaign against Greece with a force of 900,000 men that culminated in the capture and burning of Athens in 480 B.C. However, the Persian fleet was defeated in the Battle of Salamis and Platea and was forced to withdraw to Asia Minor.

His son Artaxerxes I succeeded him in 465B.C. and ruled up to 424B.C. His period was witnessed by the internal decay of the empire and eruption of revolts in Egypt and other Satrapies (province), until the accession of Artaxerxes III, who ruled from 359 - 338B.C.

The Persian Empire finally came to an end under the time of Durius III. The history of Persia in Achaemenid times and the details of its political, economic, social and military structure were driven from the Greek sources, particularly from Herodotus. Politically the empire was divided into twenty administrative provinces, each under a governor that was recruited from Royal families and the post tended to be hereditary. The basic political system was centered on the establishment of monarchical absolutism while there were semi-independent provincial rulers that continued in Iran until the end of the 19th century.

The ruling aristocracy claimed to be divine and to have retained a chivalrous spirit. The royal inscriptions were limited to recording briefly the family line and religious faith of the ruler, the names of the provinces, the suppression of revolts, and details about the building of royal palaces. In this respect one can cite for instance the long inscription of Darius on the rock cliff of Behistun that reads

I am Darius, the great king, king of kings, king of lands peopled by all races, for long king of this great earth, reaching even far away, son of Hystaspes, the Achaemenian, a Persian, Son of a Persian, an Aryan of Aryan descent.

The Persian army was structured into six corps of 60,000 each, each corps is composed of six divisions of 10,000 men, the cavalry mounted on horses and armed with vows and the Javelin. The ruler’s personal, bodyguard was composed of 10,000 members, known as the Immortals, who were recruited from the leading families of Persia proper.

There were roads developed that linked provinces, of which the most vital was the “Royal Road” which ran from Susa up through Mesopotamia and Asia Minor to the city of Sardis, a distance, 15,000 miles. Messengers and travelers used a post system of relays of fresh horses stationed at the many points along the routes. Agriculture flourished during the period. The taxation was in kind and later systematic taxation was introduced with the unit of payment in the gold daric. Big administrative and royal residence sites (Susa, Babylon, and Ecbatana) emerged, while Perespolis became the spiritual center of the Persian Empire. The racial groups were allowed to retain their own religions and their ruling families to continue on power.

Over all the Achaemenid Persians were brilliantly cultured people toward assimilation of external civilizations.

In this regard, for instance, Herodotus as noted said, “There is no nation which so readily adopts foreign customs as the Persian. As soon as they hear of any luxury they instantly make it their own.”  when compared the then time civilized Greek with the Achaemenid Persians further said:for we know that Cyrus despised the commercial habits of the Greeks and it is apparent that in the fields of public administration, political organization, continuity of government, and tolerance of race and creed the Achaemenids far surpassed the Greek city states.

However, the Achaemenid Empire was conquered by another world conqueror, Alexander the Great a conquest that had far reaching effect on the history of Iran, for it put an end to the integrity of the ancient east and oriented it toward the west.

In 351 B.C., Alexander conquered the Persian Empire. He looted all belongings and wealth from the palaces and religious centers, then after, set on fire. Alexander, born in 356 B.C, was the son of Philip of Macedonia,. In 336 B.C. he followed his father’s policies, first stabilizing the Greek mainland and conquering Persia at the head of some 35,000 men. At Issues, the northeastern coast of the Syrian coast, he routed an enormous Persian force commanded by Darias III, who fled when the tide of the battle ran against him. Alexander conquered Egypt, Syria, and Mesopotamia and crossed the Euphrates and the Tigris rivers. At Arbela he again defeated the reorganized and reinforced army of Darius III.

Again Darius III fled. In 330 B.C Alexander set out in pursuit of Darius III, first to Ecbatana, then to the Elborz Range where he found the Achaemenid king, slain by his own followers.

Alexander thought of creating a New World state which would unite Macedonian and Iranian elements on the basis of equality.

Thus, for the realization of the union of the peoples, he married the oldest daughter of Darius III and also encouraged 10,000 of his troops to get married with Persian brides. He died when he was about 33 years old, smitten with fever at Babylon in 723 B.C. . Darius III was the last monarch of the Achaemenian Dynasty. After the death of the skillful general (Alexander), the occupied vast area fell into the hands of the army commanders. Thus, Solukus, one of

Alexander’s commanders, succeeded him and ruled over Persia over 80 years. The Iranian aristocrats and Macedonian commanders held the top posts in the Solukid political modus operandi.

The Parthian period
In 248 B.C., Ashk, a Parthian hero, declared a war against the Solukids. The war lasted over hundred years. Tirdad (Ashk II) overthrew the Soulkid monarch, Antiokhus III, in 140 B.C. and established the Arsacides Dynasty.

The Solukids retreated to the western part of Euphrates. The major problem of this dynasty was that the provinces of Persia, Azerbaijan and Armenia did not obey the power of the dynasty.

In order to persuade Arsacides established a council of Mahestan, composed of renowned personalities of the country.

The Parthians were known as the Arsacids in history after their first rulers, who were originally a nomadic Saka tribe.

The tribe came from Caspian and took over the Parthian of the Achaemenid Empire. In the Parthians period there were six famous kings. They were

A.  Arsaces I (248-246 B.C) – Led a successful revolt against the Seleucid governor.

B.  Arsaces II (246 – 211 B.C.) – Established the independence of the new kingdom.

C.  Arsaces III (211 – 190 B.C.)_ resisted the efforts of the Seleucids to re conquer it.

D.  Mithradates I (171-138 B.C) – A great leader who extended Parthian rule over Bactria, Parsa, Babylonia, Susiana and Media and allowed subject kings to retain their thrones.

E.  Mithradates II (123-87 B.C) – who consolidated and expanded the Parthian holdings until they stretched from within India to Armenia and took the title of “king of kings.”


 * 1) Phraates III (70-57 B.C.) – He conducted a series of     wars with Rome     along their common frontiers which continued intermittently for nearly     three hundred years.

With the triumphs of mithradates II, the Parthians considered themselves as the political heirs of the Achaemenids. Both Iranian and Hellenistic cultures were combined and Greek was chosen as the official language (ibid: 29).

new Parthian cities, including its capital, Ctesiphon were built in Mesopotamia, and Iran proper stayed outside the main stream of commercial and artistic activity

In the first century A.D. the Parthians went away from Hellenistic modes of thought. It was during this time that Mazdaism was chosen as the official religion whereby the Magic gained power and prestige. Between A.D. 50 and 77 the first attempt was made to codify the Mazdean traditions and the first Avesta was prepared by order of a Parthian ruler.

However, Parthians were tolerant to- ward all religions and permitted Christianity to spread, in the second century A.D., throughout the western part of the empire

The Sasanian period
About A.D. 211 Ardashir organized revolt in the province of Fars. In A.D. 224 Ardashipr the son of Babak overthrew the Arsacides Dynasty and killed the last Parthian ruler in the battle in Susiana through the support of the aristocratic class of the time. Ardashir soon controlled all of Iran except the provinces of Armenia and Bactria and established a new dynasty called Sasanian Dynasty in 226 A.D.

Ardashir declared Mazdaism the state religion.

He went into conflict with Rome and Byzantium that continued through out the entire Sasanian period. His son and successor, Shapour I, AD 241-271) declared many wars against the Roman Emperor and held him prisoner until his death Shapour recognized Zoroastrianism as the official religion of Iranians and the Avesta (the sacred book of Zoroastrians) was compiled

There were forty Sasanian rulers. The most important kings of the dynasty, were IV. However, the period witnessed the rebirth of a Nationalistic Iran, strong and prosperous in her own right and unreceptive to foreign contacts and influences.

There was remarkable peace and security domestically because of efficient and centralized administration. The army was paid from the royal treasury and controlled.

The people were divided into four groups: clergy, Warriors, secretaries and commoners including farmers, merchants and artisans. The first three of these groups made up the nobility with its special titles and insignia.

The highest grade was the Shahrdar the provincial governors of the Sasanian family and the army which was largely recruited from the fourth class of the nobility. The language continued to be Middle Persian written with complex Pahlavi script that today has taken a new Persian form or Farsi.

Mazdaism remained strong state religion throughout the period. The church had a supreme and a highly numerous clergy with two Magi residents in each village. There were other religions preached, however, the Mazdak sect persisted up to Islamic times. Christians were persecuted because their religion was identified with the religion of the rival Roman Empire With the expansion of Islam in Saudi Arabia, Prophet Mohammed in a letter to Khosrow Parviz called on him to become a Muslim. The king with sheer arrogance tore the letter

Geopolitical Settings of Iran
The ancient land, Iran, is part of a mountainous table land called the Iranian plateau. The plateau is bounded on the south by the portion Gulf and the sea of Oman; on the west by the plains of Transitional and western foothills of Zeros mountains, on the north by the Ox us river, the Caspian sea, Turkmen steppes and Korea (korus) river; the Caspian sea, Turkmen steppes and Korea (Korus) river; and on the east by the plains of the Indus river and pair mountains. This mountainous plateau located in North Temperate Zone and in the South. Western Asia has distinctive geographical characteristics owing to the direction and the altitude of its mountains. The geographical limits of present day Iron are part of the Iranian plateau with an area of 1,633,189 sq.k (62.8% the total plateau). This area is located 3, 25 to 47, and 39 degrees on northern latitude against the equator axis and on 5 and 44, 18 and 63 degrees on eastern longitude from Greenwich Meridian.

The present-day Iron is bonded by the Persian-Gulf and the sea of Oman in the South, in the west by Iraq and Turkey, in the north by the Caspian Sea, in the northwest by the Republic of Turkmenistan, and in the east by Afghanistan and Pakistan. The length of the Iranian borders exceeds, 7, 817 sq. km including.

Around 120km of border with the autonomous Republic of Nakhichevan from the confluence of Ghana So and Arras (Abacus) rivers up to Alameda.

40 km of border with Armenia, from Alamode up to the neighborhood of ‘Cordoba’.

468 km of border with the Republic of Azerbaijan, from ‘Cordoba’ up to the Astoria port.

664km of boarder in the littorals of the Caspian Sea with the Republic of Kazakhstan, and with the Republic of Turkmenistan, from Asmara port up to the delta of the Amtrak River.

960km of border with the Republic of Turkmenistan from the delta of Amtrak River up to the mouth of Zolfaghar.

864 km of border with Afghanistan, from the mouth of Zolfages has up to Malik Siyah Koch.

852km of border with Pakistan, from Malik Siyah Kod Kooh up to Gwadar bay.

2025km of border on the littorals of the Sea of Oman and the Persian Gulf, from Gwadar bay up to the month of the Avid River.

1336km of border with Iraq, form the month of Fad up to Dala Pardagh.

Iran extends for about 2, 600kms from north to south and about 2,100kms from east to west. It is situated between latitude 370 and latitude 250  north and between longitude 440 and longitude 610  east.

The political Iranian borders in the north, west and south are natural boundaries. They might have been subjected to changes with natural phenomena is the course of history and as such do not have systematic geometrical shapes. The northern boundaries of Iran adopt with natural phenomena, they have been drown under colonial pressure and expansionist policies. The geopolitical location of Iran is  “between for Eastern Asia and the lands of the Mediterranean and Europe”, that made her to be “the bridge for communication by land” For many years Iran served as the “main trade routes between the far East and the west crossed northern Iran, and later on, when sea routes became of equal  importance, additional highways led up from parts along the Persian Gulf to the principal commercial centers both within the country and beyond its frontiers.

The opening of the Suez Canal had negative impact on the overland trade routes of Iron as a channel and this had heralded a period of political and military weakness.

Iran is located in the center of ancient civilizations. She is found in between the Chinese and Indus valley civilization in the east and Transoxianian Nile Valley civilizations in the west  I rains strategies geopolitical locations have contributed to her prominent position during the vicissitudes of the history of mankind civilization. However, Irons strategic settings on crises-cross-road as bridge between civilizations as dividing and connecting point has “made her a bone of contention between great powers whose interests were diametrically opposed. Thus, Iran’s strategic location rather than becoming a reward for her, it became liability and its people  had to wage series of wars in order to maintain the present boundaries in 13th century against the powerful neighbors

The natural, human and social characteristics of Iran
Iran is a country of varying climates. The climate variance from place to place is great. The northern, western and southern parts of the country have so high mountains that curtain the humid winds from the Cassia Sea, the Mediterranean Sea and the Persian Gulf do not reach the inner parts of the Iran. Because of this the outer foothills of these mountains are humid while its inner foothills are dry.

The climate of the Southern littorals of the Caspian Sea is mild and because this of  there is high precipitation in the western costs of Glean more than other regions. The average annual temperature is around 180 C.

The western part of the country has a Mediterranean climate, whereas in the southern regions, the semi-desert climate brings its impact on that. In this region the summers are very lot in the valleys and during winters it is mild and is very cold.

In the southern region, because of the humid climate the entire region has high temperature. In Knoozestan province the maximum summer temperature reaches 540 C. The hot summers and mild winters are the main characteristics of this region, as well as variation in day and night temperatures.

There is Elburn Mountain in the north and Zagros in the west. Because of those mountains the inland climate of the Iranian plateau is dry and desert. Due to that, when one moves from west to east and north to south, the amount of humid winds decreases and the temperature rises.

The central, eastern and south-eastern regions of Iran have a desert climate with harsh winter and hot summers marked by diversity of day and night temperatures.

The Iran’s climatic conditions are diverse and are equal to the climatic diversity of the whole continent. However, the largest portion of Iran is dry. It is calculated that out of the total 1,633,189 sq. km area of Iran 3/4th (approx.  1,200,000sq. km) area has dry climate. Again out of this area approximately 700,000sq.km. Area has a desert climate, and other 500,000 sq. km has a semi desert climate.

Thus, Iran climatically can be grouped into three major groups, namely, Desert, Semi-desert and Mild regions.

Desert Regions
This type of climate is observed in two parts of Iran.

In southern coasts from Goovater up to Khoozeston which is called dry coastal climate.

Inside deserts and salt ranges, which we call the dry in – land climate.

Dry coastal climate:- This climate is characterized by more heat with humidity and a less amount of rain fall. The main characteristics of this climate is more of mist and humidity, assorted by extraordinary heart that make life difficult. The temperature in the coastal area varies from 36.2 C to 53 C.

Dry in-land climate:-  This climatic area is vast and stretches from Tehran up to Pakistan and from the central mountains to eastward up to Afghanistan. The main characteristic of this climate is diversity in day and night temperatures.

Semi-desert (alpine) type climate.

This climate separates the desert and humid climate, and covers about 500,000km2 of Iran. Thus type of climate is found in the foothills of Zagros and extends up to Iraqi border and the eastern foothills of Zagros, Megan Steppe and Gorgan plains and extends up to Pakistan.

Mild climate
Mild climate covers vast area of Iran Of the total area around 1/4th, i.e. 400,000sq.km. falls within this climatic conditions. Majority of the Iranian population live in this climate. The main characteristic of this climate is that, its mean temperature during the coldest months should be less than -30 C and its maximum temperature during the hottest months should not exceed 180 C.

This climate is divided into two categories Mild-Mountainous and Mild Caspian.

The Mild mountainous climate:- This climatic condition is found around mountainous  area of the Azerbaijan, Elburn, Zagros and control part of Iran. The temperature varies from place to place within the same climatic zone.

The Mild Caspian climate: This climate condition is divided into two- Humid Caspian and Dry Caspian. Over all the Mild climate is important from human and economic points of view. It is this in part of Iran that you find reasonable amount of rainfall. It varies from 1326mm in Astara to 1154mm in Gorgan (Ibid: 24).

There is the coldest climatic zone in Iran. The temperature during the coldness mouth drops below zero and reaches -30 C. As a whole Iran has dry climate and due to this fact the country exercises various modes of life and activities Climate has its own positive and negative impact on the country’s political, economic and social activities in internal and external relations. From these perspectives it is of great importance to study the climate and climatic conditions of the Iran.

List of cities in Iran
Tehran

Tehran Bozorg (Greater Tehran), the capital of the Islamic Republic of Iran and center of Tehran Province as well. Tehran is one of the largest metropolitans of the world, and it is the country's largest economic center and the base for its large and small modern technological and industrial establishments. Located on the slopes of the mountains and at the foot of the magnificent Mount Damavand, it has been the country's capital city for over 200 years now. Nearly 14 Million people live in Tehran in contrast to two hundred thousand in 1920.

The first mention of Tehran in an old geographical text is made in the 10th century Massalek-al Mamalek (The Ways of States) by Estakhri. It was just a village before the Safavid era.

By the Mongols' invasion and the consequent severe devastation the city of Rey received, most of the Rey's people took refuge to this village. This was a starting point for growth of Tehran, and gradually this village that was famous for its fine fruits and beautiful gardens, underwent new developments. Shah Tahmasb, one of the Safavid kings, chose Tehran as administrative center for the Safavid dinastry, which resulted in constructing many big governmental buildings, castles and gates.

At the time of the Zand dynasty, it was a small town that was significant from a military point of view. The first of the Qajar kings, Agha Mohammed Khan, named Tehran as the country's capital in 1778. Nevertheless, the capital's development started at the time of another Qajar monarch, Fath-Ali Shah. The citadel, which Agha Mohammed Khan had built, was developed to include the new royal buildings.

At the same time, the city's population was redoubled. With the increasing importance of the city, soon gates, squares and mosques were built and it was at the time of Nassereddin Shah that the city's master plan was prepared and modern streets were formed. Later, large central squares like Toopkhaneh (now Imam Khomeini) square and several military buildings were constructed. With the decline of the Qajar dynasty, Tehran soon took the shape of a modern city. The construction of large government buildings, new streets, recreation centers, urban service establishments, and academic and scientific centers were started, while most of the old gates and buildings were destroyed and the city's old architectural fabric replaced by a modern one.

With an altitude of 1200 meters above sea level, Tehran is a city of all four seasons with hot summers, freezing winters, and brief springs and autumns. The highest recorded summer temperature in Tehran has been 42 degrees centigrade while the lowest has been registered at 8 degrees below zero.

Tehran is pleasant, it derives its originality from its dry climate, always cool in the evening, the nearness of the mountains, its numerous parks and gardens where flowers blossom throughout the year, the alleys of trees in the avenues or even smaller streets, the water which runs down from the upper city along deep and wide gutters which look like small rivers during spring.

Dams of Karaj, Latian and Lar supply Tehran's drinking water and parts of the country's electrical power. These dam-lakes and river-sides provide also valuable tourism sites for visiting and enjoying walking and viewing beautiful natural sites as well as practicing various kinds of sports, including water sports. There are dozen of small coffee-houses with zinc roofs nestle among the bushes. Mountain streams run among the tables. But everyone does not sit around a table; many of the customers prefer the ancient-style comfort of low divans covered with old carpets. Delicious "kababs" are consumed, and hot teas are served from "Samawar".

The Alborz range on the north of Tehran, which host the highest peak in the country during winter provides a very suitable climate for ski lovers. In winter, the mountain hotels and ski-clubs at Shemshak, Shahrestanak and Dizine are full several days a week. Some expert skiers consider the snow quality in northern Tehran to be one of the best in the world.

The highest peak in the country, Mount Damavand (5,678 m), which is an extinct volcano covered in snow for most of the year with its visibility from Tehran has an attractive appeal for adventurers and climbers.

The Golestan (Rose Garden) Palace is one of most visited places in Tehran, which was the Qajars' royal residence. Its garden is an oasis of coolness and silence in the heart of the city. The main building, architecturally unpretentious, houses a museum with objects from the Qajar period in the overloaded and pompous style of last century. In the Golestan garden, a one-story pavilion to the right and slightly behind the entrance, shelters one of the best organized museums in Tehran. It contains about thirty showcases presenting everything, which makes up the basic originality of Iranian life in the various provinces of the country.  Isfahan  With increasing populations almost 20 smaller settlements gradually formed a unified Isfahan during the sixth and seventh centuries. The city has experienced many changes as capital of two great Islamic Empires: Seljukid and Safavid. These changes clearly show the regularity of the urban structure operating during this period. Although the city was the result of two immense urban plans in the eleventh and seventeenth centuries the golden age of Isfahan was in the Safavid era, particularly from 1587 to 1736. In fact, the seventeenth century is portrayed as a period of movement leading to a second period of urban planning in Isfahan towards the end of the century. The city development, to the south of old city, was the most important planned city in Iran which is still considered an outstanding example of urban planning. This regular structure provided the armature on which imperial Isfahan developed especially in the southern extension of the city.

Among the cities of Iran, Isfahan holds an extremely distinguished place, originating in its emergence during the Sassanid period before the birth of Islam. During the reign of Shah Abbas, the new square of the city, a wide straight thoroughfare, the new quarters and the complicated networks of bazaars are the four strongest points for evolution of Isfahan which is described briefly in the paper. Also, the paper provides briefly a chronological and morphological framework to survey the development of the city in seventeenth century of Iran.

 Old and New City Centers 

Isfahan is situated in a fertile and well-watered area, with a river named the Zayandeh-Roud River flowing through it. Under the name Jay Isfahan appears as a garrison town of the Sassanid period, and in early Islamic times it consisted of two big settlements: Yahudiyeh and Shahrestan (Jay or Gaba). According to historian Balazari it seems that Yahudiyeh and Jey were two important settlements in central Iran in 637. Gradually, with increasing population towns and villages including Forsan, Yavan, Sonbolan, Jey and Yahudiyeh formed a unified Isfahan. A noteworthy city in Sasanid times, Isfahan passed to the Islamic Empire in the mid-seventh century and served as a capital for the province named Gabal or Al-Jibal. According to historian Ibn-e-Rosteh the province included 2300 cities, towns, and villages irrigated with the river Zayande-Roud. His text discusses an extraordinary system as well as a good management plan regarding the allocating of water resources for the province cities.

In the eighth century, Isfahan was witness to the establishment of a new mosque in the town of Yavan. There was a small mosque in Jey before that and the local ruler decided to transfer the religious, commercial, and administrative centres of the city from Jey to the north. Gradually, the residential centres of the city were formed around the mosque. Naser Khosrow, poet and the famous Iranian travel writer, described the city when he arrived in Isfahan on 25th June 1052:

The city has a strong and tall rampart including many gates and fortifications. There are many rivers as well as the nice and tall buildings including a magnificent Friday Mosque which was built in the city centre. According to the records, the total length of the city wall is three and half Farsangs [approx. 14 miles]. I saw many bazaars including one bazaar which 200 moneychangers were working there as well as an alley named Kutaraz consist of fifty caravanserais. Naser Khosro described Isfahan as Persia's most fertile, perfect and beautiful city.

About twenty years later in 1072, Malik Shah was crowned as the Sultan of Seljuk and moved the capital of the Seljukid Empire from Ray (in the south of modern Tehran) to Isfahan. The Seljukid Empire stretched from the shores of the Mediterranean up to the Central Asian Mountains, and Isfahan was the capital of this great territory. In the late eleventh century, the city became one of the most famous cities of Islam and could rival other important Islamic cities such as Baghdad and Cairo.

The city's most splendid time began in 1598 when Shah Abbas the Great (1587-1629) decided to make it his capital and rebuilt it into one of the largest cities of the world. Previously, the old central square of the city lay besides the old Friday Mosque dating back to at least 1200 years and was believed to have been built on the site of Zoroastrian fire temple. Gradually, royal urban planners under Shah Abbas created the new heart of the city to the south of the old city centre named Naghsh-e-Jahan square, an open space between the older Seljukid city centre and the river. The considerable size of the square is about 1700 feet in length and 520 feet in width.

Rather, the royal planners sketched out a plan that would run from the new city centre to the old square including the complicated networks of bazaars, porticoes and many caravanserais which were built during the reign of Shah Abbas. Around the new square, Shah Abbas created the noted six-storey palace named Ali-Qapu which dominates the eastern side of the new square. On the east of the square was built the Sheikh Lotfollah mosque and in the north of the square was the entrance to the Royal bazaar, the Qaysariyah. Also, the new Friday Mosque was created in the south of the square, one of the masterpieces of world architecture. The new square was used for holding festivals, markets and games of polo. Today, the original goal posts are still in the place. The square was completely surrounded by more than two hundred handicrafts shops on the ground floor and the second floor had been allocated for travelers and periodic ceremonial uses.

Towards the South

Gradually, under Shah Abbas, the city was embellished with many fine gardens, bridges, buildings, and roads notably the avenue named Chahar-Bagh which means literally Four Gardens. In 1602, the planners proposed the avenue between the river and the royal gate (Darvazeh-Dowlat) which was extended up towards the south of the city in 1620s. Besides these splendid constructions four urban quarters were created under Shah Abbas named Royal, New Julfa, Abbas-Abad, and Gabrian. At its zenith, under Shah Abbas the Great Isfahan had a population of about 600,000 making it one of the world's largest cities of the time. It may be concluded that the city centre smoothly developed to the south by respecting many historical buildings and the urban fabric which were created in previous eras. Also, the city development policy was concerned for the welfare of the people and sensitively considered the balance between people's day to day necessities and the potential of the existing natural resources.

Tangible & Intangible Cultural Heritage in Iran
Iran, as an ancient country in the Middle East, is the home to a huge number of such legacies. Iranian Cultural Heritage, Handicrafts, and Tourism Organization (ICHHTO) is the official body for the registration and preservation of cultural heritage in Iran. Some of them are historical sites and some are cultural rituals, customs, traditions, skills, etc. They are inherited from our ancestors since several centuries ago.

Iranian Tangible Cultural Heritage in UNESCO
The Iranian World Heritage Sites listed by UNESCO cover a wide range of various types of properties from examples of engineering, architecture, city planning, etc to bazaars, sets of buildings, etc. The UNESCO list includes:  Sassanid Archaeological Landscape of Fars Region  Archaeologists, researchers, and historians’ studies have shown the extraordinary position of this region in the history of Iran. Fars province has countless status in culture and history and was used as the capital of the Sassanid Empire for around 400 years. Sassanids have constructed the most magnificent buildings in this region, and the global statistics have shown that most historical places are recorded in this region.

The Sassanid Empire is one of the most prominent periods of the history of Iran. During this period, Iranian civilization had reached its climax. The Sassanid Empire was simultaneous with the Byzantine Empire in Rome. Therefore, because of the interaction between these two civilizations, where the architecture and culture of both nations dating back to that era bear several similarities. " Historic City of Yazd, " The historic city of Yazd is within the present city of Yazd surrounded by the neighborhoods emerging throughout history. It’s one of the most outstanding cities in the world where the houses are made of sun-dried bricks. Yazd has always been a proud collection of the most brilliant cultural heritage spots of the world.

By watching the architecture of Yazd, we can understand the art of living, or, in other words, peaceful coexistence of human with the hostile environment and arid nature of the region. This art of living has developed manifestations and institutions in urbanization and architecture through hard work, perseverance and contentment of local people.

 Kariz (Qanat)  Kariz (Qanat) is an ancient water provision technology inscribed in UNESCO’s List as an Iranian tangible cultural heritage. It can be described as the greatest contribution made by Iranians to hydraulics. This system must have been started at least 5000 years ago in Iran. Kariz system is usually found in central Iran toward the east and southeast of Iran. Some existing ancient example of water provision in Iran are: old Zavareh kariz dating back to 5000 years ago, 350m depth master well of Gonabad Qanat dating back to 2500 years ago, 40km long a aqueduct of Chogha Zanbil water refinery installation dating at least back to 3250 years ago and the 1000-year-old water distribution network of Milan village in East Azerbaijan province.

Therefore, since antiquity supplying and restoring water for drinking, irrigating, washing, etc have been the essential issue for survival.

That is why all those kariz systems, water reservoirs, icehouses, water mills, water dams, bridges and diversion dams have been built.

Kariz is a mining installation or technique using galleries or canals to extract water from the depths of the earth to the ground. In fact, water is brought by gravity flow from the upper end, where it seeps into the gallery to a ground surface outlet and irrigation canal at its lower end. This is done by means of a gently sloping tunnel.

" Shush " Shush or the ancient city of Susa is considered one of the oldest world human settlements with a history of more than 6000 years registered in UNESCO’s list. According to the documents and evidences of the antiquity, Susa has been one of the main Iranian cities known for its magnificence. Even older than this city, in the vicinity of this settlement center, there have been unearthed the remnants of a village dating back to 7000 years ago.

The first rediscovery of this city was carried out by a Jewish rabbi called Benjamin bin Jinnah in early 12th century. Later, William Kennett Loftus from the UK initiated the first excavation in this region in 1850. More than other archaeologists, the French Professor, Roman Girshman, explored this site and divided Shush into 15 ancient layers.

Probably, Shahr-e Sukhte is the only ancient city of Iran that is comparable to the ancient city of Susa from historical point of view. It is a 6000-year-old city and the concentration of Zurvanism belief. In Bronze Age, there has been trade exchange between the ancient city of Jiroft and Shahr-e Sukhte. Some sources believe that Jiroft civilization (then known as Aratta) was the origin of Elamites’ migration to Susa.

" Cultural Landscape of Meymand Historical Village " Before we begin with the cultural landscape of Meymand, we need to get to know its background. Meymand village is a tangible cultural heritage of Iranians in UNESCO List and one of the earliest human settlements. It has retained its cultural, natural and historical structure as one of the world’s most beautiful villages. This 12000-year-old village is located among Rafsanjan, Shahr-e Babak, Anar and Sirjan towns in Kerman Province. It still has quite reliable strongholds.

Meymand is an ancient rock village enlisted in Iran’s national heritage sites. Also, UNESCO has inscribed it as an Iranian tangible cultural heritage. When you look more closely at the village, you can see its dazzling fortress, tower, and gorgeous houses dispersed in different directions. That is why such cultural landscape has turned into a tourist attraction.

Meymand Village Historic Monuments

The remnants of the ancient inhabitants of this village are:

Inscriptions,

10000-year-old carvings, and

6000-year-old potteries  Shahr-e Sukhte Shahr-e Sukhte (literally translated as the Burned City) has also been spelled differently as Shahr-i Shokhta in various sources. It is a vast archaeological site (151 hectares) made by mud bricks on the bank of the Helmand river, between Zahedan and Zabol cities, situated at South East Iran inside Sistan & Baluchestan Province. It dates back to the Bronze Age inhabited from 3200 to 1800 BC.

There were four stages of civilizations living there. Before it was abandoned, the city had been burned down three times. Therefore, many had lost their lives. As a result, there’s a sizable graveyard attached to this settlement that has accommodated from 25,000 to 40,000 ancient graves.

The historical site consists of several historical mounds in a row. Each of them was allocated to a different function, like workshops, residence, graveyard.  Golestan Palace Compound As one of the UNESCO sites of Iran, Golestan palace compound is a tangible cultural heritage of Iran located in city center of Tehran. It is considered the best manifestation of Iranian art and architecture in Qajar era, 19th and 20th century, particularly under Naser al-Din Shah. This site has occupied an area of 4.5 Hectare near Tehran’s traditional bazaar. It has been built since 440 years ago.

Golestan Palace Compound has consisted of several structures. In general, all of them have two sections of Andaruni (interior) and Biruni (exterior). The interior is known as Golestan Palace, which includes the courtyard of Dar al-Hokumah (Divan Khaneh) and a square-shaped garden called Golestan garden. In the northern part, palaces are interconnected by a few doors and corridors ending in “Andarun” or “Haram Khaneh”. This section was later extended as the number of Harem women had increased.

The construction of this royal citadel started at the time of Shah Tahmasb, the Safavid King, and continued during Qajars. From the functional point of view, this royal palace compound was used by both Pahlavi kings as well.  Gonbad-e Qabus Gonbad-e Qabus is one of the most significant tomb towers in Iran and the tallest brick tower of its kind in the world. It is a tangible cultural heritage of Iran registered in UNESCO List as World Heritage Site. This beautiful tower belongs to the 10th century when Qabus, son of Voshmgir, the Ziarid king, was ruling in Iran. The tower structure is simple and made of fired bricks, yet amazing and eye-catching.

The architectural style of this building is the somewhat between Khorasan style and early Razy style. The builders have used fine materials in their works. For instance, they have used baked bricks for the whole structure. The quality of structure speaks for itself. It has survived the time, climate and many other unkind treatments.

The exterior body of Gonbad-e Qabus is circular and 52 meters high including its conical roof. The entire tower has been built on an artificial hill as high as 10 meters, which serves as the foundation of the structure. The inner perimeter of this tower is 30 meters and the outer perimeter is 60 meters. The inner diameter is 9.67 meters at the base.  Jame Mosque of Esfahan 

Masjed-e Jāmé of Esfahan, also known as Jame Mosque of Esfahan (Friday Mosque) or Atiq mosque, is one of the best examples of religious and ritual architecture in Iran. It has been listed as a World Heritage Site by UNESCO in 2012.This mosque has showcased the history of Islamic architecture in Iran for centuries. As a well-documented monument, this ancient building can provide archaeologists and history enthusiasts with helpful insights into a better understanding of the Islamic architecture in Iran.

Masjed-e Jāmé of Esfahan could have been recognized as one of the best examples of Islamic architecture and has been used as a unique model in designing other mosques. Shabestāns (prayer halls and often underground spaces found in the traditional architecture of mosques) and beautiful stucco decorations, Iranian tile works, as well as calligraphy seen from any corner of the mosque, have revealed its uniqueness. The mosque complex has evolved into its present condition through extended sections annexed during different historical periods. Therefore, this building cannot be attributed to a particular historical era. Archaeological excavations and historical evidence revealed that the mosque’s core structure dates back to pre-Islam Iran.

It is said that the building was first built as a fire temple, and it had been used to practice the religious rituals. The discovery of a column torus engraved with Sassanid motifs proves this assumption.

After the Muslim conquest of Persia and the Muslim rule in Iran, the building was restored and used as a mosque. During the Abbasid era, the architects constructed the mosque with fired and sun-dried bricks. However, many complexes have been constructed and added to the main structure of the mosque over the years.

Therefore, the evolution of Iranian architecture can be observed in this building. Thus, the building has covered the architectural styles from the Abbasid to Safavid periods and can play a significant role in understanding Islamic architecture in Iran.

The Architecture of the Jame Mosque of Esfahan

Since Iranian architects had followed their own architectural style in their constructions and designs, Iranian architecture has a clearly significant influence on the formation and development of Islamic architecture. The delicate and beautiful tile works at the entrance of the mosque have preserved their Islamic Iranian style and created an astounding sight for the mosque. Moreover, there are highly remarkable domes and forty-pillar halls in this complex.

The Jame mosque of Esfahan covers an area of more than 1040 meter squares. Architects have used circle patterns in designing different parts of the mosque. However, the pillars are of square cross-sections and engraved patterns.

The mosque has also several large rounded stone vessels (Sangabs) in the courtyard. The architect has designed Hexagon-shaped windows for the mosque. The stucco decorations above the windows perfectly represent the delicate features of the Safavid architecture and help to provide a more beautiful environment.

The stucco decorations at the mosque entrance hall directly represent the historical background of the mosque. They have the Dailamite origin and have remained in the mosque since the 10th century.

 Persian Gardens 

UNESCO has inscribed 9 Persian gardens as the tangible cultural heritage of Iranians in 2011 that have influenced garden planning from India to Spain. According to the written documents left from Greek historians, the tradition of planning and creating gardens of all sizes around buildings and inside the courtyard of houses go back to 3000 years ago. Such green areas are known as “Para daesa” (around the fort). The word Daes means structure and Pardis is Paradise. In other European languages, “Parades” refers to a surrounded and walled garden. These gardens follow an order and plan inspired by the universe and are in proportion to various climate conditions. They invite every passerby to stop and ponder in such earthly paradises.

Persian Gardens, from Bass-Reliefs to Garden-Cities

The hunting scene of Khosrow Parviz, the Sassanian king, in form of a “hunting-garden”, at Taq-e Bostan rock reliefs, are the most ancient pictorial evidence of Persian gardens. Of course, well-devised gardens planned based on geometric principles are even older than that and date back to Achaemenian era. Pasargadae is an example of such Persian gardens.

The planning of such well-planned gardens developed further during Sassanian era, 4th to 7th centuries. Some more examples can be found at palace-gardens like Firooz Abad and Takht-e Soleyman. However, many believe that the flourishing time of garden planning goes back to Safavid era, 16th to 18th centuries. Under this dynasty, Qazvin was the first capital city to follow this trend and it continued to Esfahan where the garden-city

idea was developed and later expanded in Shiraz.

 Tabriz Historic Bazaar Complex 

The Tabriz Historic Bazaar Complex, a World Heritage Site since 2010, is one of the top tourist attractions of the city. No tours to Iran or trips to the North West of the country makes sense without including Tabriz bazaar in it. This roofed bazaar is one of the oldest in the Middle East, and according to some people, the largest of its type in the world. The fact is this place is awesome and highly recommended to visit.

History of Tabriz Historic Bazaar ComplexIn fact, the history of this bazaar goes back to the time of Seljuks, 12th century. As Tabriz has been on the main trading route of the east-west and Silk Route, its bazaar had gained a very significant place as the economic heart of a large city in prosperous Persia. All throughout the history, travelers, and historians have mentioned in their notes what has continually       contributed to the popularity of Tabriz Bazaar is the abundance of commodities like fruits, high-quality textile, precious stones, and gems, etc in this city.

When Baghdad was destroyed by Mongols in the 13th century, Tabriz gained even more importance. In the 14th century, it prospered so much to the point that Marco Polo and Ibn Battuta described it as one of the richest trading centers in the world. In the 16th century, under Safavid rulers, Tabriz was brought to the center of attention and its bazaar showcased the economy of the country. Manufacturing of items made of copper and leather was increased. Making of weapons, and soap was boosted.

In the 17th century, when Shah Abbas I moved the capital city from Tabriz, the bazaar lost part of its importance but kept it somewhat both in the city as well as North West of Iran till now. Despite several shopping centers and other trade areas in Tabriz, many people still prefer to go to this place for their shopping needs.

A devastating earthquake in the late 18th century brought a lot of damages to the city as well as its economy and the bazaar. In the 19th century, the Tabriz Historic Bazaar Complex was flooded and was subject to lots of damages.

As I’ve already mentioned about the bazaars of Iran, one shouldn’t look at bazaars as traditional shopping centers of the old times. They are a lot more than that. For instance, they have had a decisive role in the politics of the country. They have played major roles in solidarity with religious, revolutionary and economic movements in Iran. They are living communities in which plenty of life is continuing. That’s why the House of Constitution, where revolutionaries used to hang out in approximately one century ago,  is at the periphery of Tabriz bazaar.

It was in the 20th century that the city economy thrived and its bazaar was largely repaired and reconstructed. Tabriz bazaar played a major part in supporting the Islamic revolution in 1979.

Various Parts of Tabriz Bazaar

Tabriz Bazaar is a large compound that consists of several caravansaries, Tim, Timcheh, Sara, Saracheh, etc. The gradual formation and combination of these sections have interconnected them functionally to one another so that best services could be rendered to the customers and merchants while local traders could provide, sell and distribute the products most conveniently. Among all these sections, you may find Amir Bazaar (for gold and jewelry), Mozzafarieh (a carpet bazaar), a shoe bazaar, etc.

If you ever take a tour to Iran and visit Tabriz bazaar, make sure you remember spending some time in one of its traditional tea houses. The setting, decoration, style of serving tea and set of tall water pipes on top of all tables are spectacular. Water pipes at Tabriz traditional tea houses are not anything recently added for fun or popular among the young generation. The customers seem to take smoking more seriously than how young guys do the same. " Sheikh Safi al-din Khānegāh and Shrine Ensemble " Shah Ismail ascended to power in early 16th century and founded Safavid dynasty in North West of Iran. He and his successors were the followers of a Sufi who had died three centuries before their time, but had kept his popularity and respect among the people. The World Heritage Site I’m going to explain here is the burial place of Shah Ismail and Sheikh Safi as well as a few other dignitaries of Safavid Era. It’s named after this Sufi: Sheikh Safi al-Din Khangah & Shrine Ensembles. It’s now considered an Iranian tangible cultural heritage in UNESCO List.

Sheikh Safi al-Din Khangah & Shrine Ensembles

Khangah is a spiritual retreat in the Sufi order. This UNESCO site is a complex consisting of several sections with different functions: a mosque, mausolea, a library, a school, a hospital, a cistern, kitchens, a bakery, and some offices. Iranians refer to it all as “Sheikh Safi Shrine in Ardabil”. In addition to its historical significance, the site is of high value in Iranian architecture. Also, from Islamic architecture point of view, it’s a landmark of Safavid era.

The construction of Sheikh Safi al-Din Khanghah & Shrine Ensembles started in 16th century and continued till the end of Safavid rule, 18th century. It’s an artistic and architectural accomplishment of Iranians setting an example for all such Sufi retreats built later in Iran. Aesthetics and religion have come together and created a beautiful complex in Ardabil. The dark blue tiles, gilded ceilings of the interior and space allocation for various functions in carefully devised plan and proportion have made it a unique collection of structures.

" Shushtar Historical Hydraulic System "Shushtar is a city in Khuzestan province, southwest of Iran. It’s situated at the foot of Zagros Mountains, about 90 km north of Ahvaz. In most historical periods from Sassanid to Pahlavi, this city was the capital of Khuzestan province. Shushtar owes much of its fame to the historical hydraulic system located there. This system has been registered in UNESCO’s List as a tangible cultural heritage site in 2009, referred to “as a masterpiece of creative genius.” The primary construction of this complex dates back to the Achaemenid period in the 5th century, during the reign of Darius the Great. The major part of its construction dates back to the Sassanid period. It was aimed at optimal use of water by applying the ancient water treatment techniques.

Shushtar historical hydraulic system is an interconnected set of bridges, weirs and dams, mills, water cascades, canals, and tunnels. Jane Dieulafoy, the famous French archeologist, in an account of her travels, has referred to this site as the largest industrial complex before the Industrial Revolution.

A General Description of Shushtar Historical Hydraulic System

Karun, the only navigable river of Iran, is divided into two branches before entering Shushtar, called Gargar and Shatit. Gargar is an artificial watercourse which its construction is attributed to Ardeshir I, the founder of the Sassanid Empire. In the Sassanid period, Gargar weir was built on this canal to bring up the water level.

Three tunnels lead the water provided by Gargar weir into the complex. The entering water is divided up through numerous canals, turns the mill wheels, and then, falls into a basin in form of water cascades. They create an amazing and fascinating view in your eyes. Shushtar historical hydraulic system is one of the masterpieces of civil engineering in the world.

The Sassanids used the ancient water treatment techniques to share the water provided by Karun between different areas of Shushtar and even some other nearby cities. Parts of this hydraulic system are still working even after centuries. The constructional materials used in this complex have been mainly granite and a plaster of lime and mortar. " Armenian Monastic Ensembles of Iran " The Armenian Monastic Ensembles of Iran, in the north-west of the country, consists of three monastic ensembles of the Armenian Christian faith: St Thaddeus and St Stepanos and the Chapel of Dzordzor. These edifices - the oldest of which, St Thaddeus, dates back to the 7th century – are examples of outstanding universal value of the Armenian architectural and decorative traditions. They bear testimony to very important interchanges with the other regional cultures, in particular the Byzantine, Orthodox and Persian. Situated on the south-eastern fringe of the main zone of the Armenian cultural space, the monasteries constituted a major centre for the dissemination of that culture in the region. They are the last regional remains of this culture that are still in a satisfactory state of integrity and authenticity. Furthermore, as places of pilgrimage, the monastic ensembles are living witnesses of Armenian religious traditions through the centuries.

The Armenian monasteries of Iran have borne continuous testimony, since the origins of Christianity and certainly since the 7th century, to Armenian culture in its relations and contact with the Persian and later the Iranian civilisations. They bear testimony to a very large and refined panorama of architectural and decorative content associated with Armenian culture, in interaction with other regional cultures: Byzantine, Orthodox, Assyrian, Persian and Muslim.

The monasteries have survived some 2,000 years of destruction, both of human origin and as a result of natural disasters. They have been rebuilt several times in a spirit in keeping with Armenian cultural traditions. Today they are the only important vestiges of Armenian culture in this region. Saint-Thaddeus, the presumed location of the tomb of the apostle of Jesus Christ, St. Thaddeus, has always been a place of high spiritual value for Christians and other inhabitants in the region. It is still today a living place of pilgrimage for the Armenian Church.

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

Criterion (iii): Situated at the south-eastern limits of the main zone of Armenian culture, the monasteries were a major centre for its diffusion in the region. Today they are the last regional testimony of this culture in a satisfactory state of integrity and authenticity.

Criterion (vi): The monastic ensembles are the place of pilgrimage of the apostle St. Thaddeus, which bears an outstanding living testimony to Armenian religious traditions down the centuries.

The State Party has made a remarkable long-term effort regarding the restoration and conservation of the Armenian monastic ensembles in Iran. Their integrity and authenticity are satisfactory, and this includes the Chapel of Dzordzor, which (because of a dam construction project) was moved and then rebuilt with an evident concern to retain authenticity.

The legal protection in place is adequate. The monastic ensemble is currently in a good state of conservation. The management plan provides the necessary guarantees for the long-term conservation of the property and the expression of its Outstanding Universal Value." Bisotun "Bisotun is one of the province’s tourism symbols and capacities, and organizing such programs is the least work that could be done, while coronavirus outbreak has put everything on a halt, provincial tourism chief Omid Qaderi said on Monday. A number of prominent artists of the province as well as the historical site’s experts and researchers are scheduled to attend the festival to promote and introduce this UNESCO-tagged site more properly, the official added.

Earlier this month provincial deputy tourism chief Ali Saber announced that visits to Kermanshah tourist sites plummeted during the first three months of the current Iranian calendar year (started March 20), compared to the same period last year as travel curbs were imposed to limit the spread of the coronavirus pandemic.

He also said that the coronavirus disease has had a vast impact on the province’s tourism, and added, “The infection started spreading when we were expecting to meet a high season in tourism of the province. We had already planned to well host a large number of travelers.”

However, he expressed his hope that the province would witness a tourism boom after coronavirus.

Bisotun is a patchwork of immense yet impressive life-size carvings depicting the king Darius I and several other figures.

The area was on the ancient trade route linking the Iranian high plateau with Mesopotamia and contains remains from prehistoric times to the Median and Achaemenid eras.

The principal monument of this archaeological site is the bas-relief and cuneiform inscription ordered by Darius the Great shortly after he ascended to the throne of the Persian Empire in 521 BC.

The bas-relief portrays Darius holding a bow, as a sign of sovereignty and treading on the chest of a figure who lies on his back before him. According to legend, the figure represents Gaumata, the Median Magus, and pretender to the throne whose assassination led to Darius’s rise to power.

Below and around the bas-reliefs, there are about 1,200 lines of inscriptions telling the story of the battles Darius waged in 521-520 BC against the governors who attempted to take apart the empire founded by Cyrus.

The inscription is written in three languages. The oldest is an Elamite text referring to legends describing the king and the rebellions. This is followed by a Babylonian version of similar legends. The last phase of the inscription is particularly important, as it is here that Darius introduced for the first time the Old Persian version of his res gestae (things done).

This is the only known monumental text of the Achaemenids to document the re-establishment of the empire by Darius I. It also bears witness to the interchange of influences in the development of monumental art and writing in the region of the Persian Empire. There are also remains from the Median period (8th to 7th centuries BC) as well as from the Achaemenid (6th to 4th centuries BC) and post-Achaemenid periods.

UNESCO has it that Bisotun bears outstanding testimony to the important interchange of human values on the development of monumental art and writing, reflecting ancient traditions in monumental bas-reliefs." Soltaniyeh "Soltaniyeh historical dome, the largest brick dome in the world, was built commissioned by Sultan Mohammad Khodabandeh (Oljeitu) in Soltaniyeh city, the capital of Ilkhanid dynasty from 1302 to 1312. This mausoleum, as an artistic masterpiece of Iranian and Islamic architecture, in Azari style is the first monument through which we can clearly follow the evolution process of Persian-Islamic architecture from Seljuk to Ilkhanid. Brick is the main material used in this building.

The plan of ground floor, the first floor and the nearby spaces has been designed as a semi-rectangle shape and the other parts of the plan in the second and third floor is an octagonal on which the dome is stood as a hemispherical form. Eight minarets have been designed to place on the angles of the octagonal above the third floor. In addition to eight entrances, eight porches, eight minarets and a dome, the building has consisted of a Torbat khaneh and a basement.

It is stated that the Soltaniyeh skylight windows are similar to the sun clocks which had been used for religious issues. Two-shelled domes are invented here for the first time in the architecture history of the world. The Soltaniyeh brick dome is the third tall dome in the world after Florence Santa Maria Cathedral and Istanbul Hagia Sophia.

The outer shell of the dome has been covered by turquoise blue and ultramarine marquetry tiles. Soltaniyeh dome is two-shelled and the building has various rich decorations.

Wall paintings, lattice brickworks, wooden and stony decorations, plaster and brick muqarnas and some Qur'anic inscriptions are among different kinds of architectural decorations in Soltaniyeh.

" Pasargadae " Pasargadae was the first dynastic capital of the Achaemenid Empire, founded by Cyrus II the Great, in Pars, homeland of the Persians, in the 6th century BC. Its palaces, gardens and the mausoleum of Cyrus are outstanding examples of the first phase of royal Achaemenid art and architecture and exceptional testimonies of Persian civilization. Particularly noteworthy vestiges in the 160-ha site include: the Mausoleum of Cyrus II; Tall-e Takht, a fortified terrace; and a royal ensemble of gatehouse, audience hall, residential palace and gardens. Pasargadae was the capital of the first great multicultural empire in Western Asia.

Spanning the Eastern Mediterranean and Egypt to the Hindus River, it is considered to be the first empire that respected the cultural diversity of its different peoples. This was reflected in Achaemenid architecture, a synthetic representation of different cultures.

Founded in the 6th century BC in the heartland of the Persians (today the province of Fars in southwestern Iran), Pasargadae was the earliest capital of the Achaemenid (First Persian) Empire. The city was created by Cyrus the Great with contributions from the different peoples who comprised the first great multicultural empire in Western Asia. The archaeological remains of its palaces and garden layout as well as the tomb of Cyrus constitute an outstanding example of the first phase of the evolution of royal Achaemenid art and architecture, and an exceptional testimony to the Achaemenid civilisation in Persia. The “Four Gardens” type of royal ensemble, which was created in Pasargadae, became a prototype for Western Asian architecture and design.

The 160-ha archaeological site of Pasargadae presents some of the earliest manifestations of Persian art and architecture. It includes, among other monuments, the compact limestone tomb on the Morgab plain that once held Cyrus the Great’s gilded sarcophagus; Tall-e Takht (“Solomon’s Throne”), a great fortified platform built on a hill and later incorporated into a sprawling citadel with substantial mud-brick defences; and the royal ensemble, which consists of several palaces originally located within a garden layout (the so-called “Four Gardens”). Pasargadae became a prototype for the Persian Garden concept of four quadrants formally divided by waterways or pathways, its architecture characterised by refined details and slender verticality.

Pasargadae stands as an exceptional witness to the Achaemenid civilisation. The vast Achaemenid Empire, which extended from the eastern Mediterranean and Egypt to the Hindus River in India, is considered the first empire to be characterised by a respect for the cultural diversity of its peoples. This respect was reflected in the royal Achaemenid architecture, which became a synthesized representation of the empire’s different cultures. Pasargadae represents the first phase of this development into a specifically Persian architecture which later found its full expression in the city of Persepolis." Bam and its Cultural Landscape "Bam is situated in a desert environment on the southern edge of the Iranian high plateau. The origins of Bam can be traced back to the Achaemenid period (6th to 4th centuries BC). Its heyday was from the 7th to 11th centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments. The existence of life in the oasis was based on the underground irrigation canals, the qanāts, of which Bam has preserved some of the earliest evidence in Iran. Arg-e Bam is the most representative example of a fortified medieval town built in vernacular technique using mud layers (Chineh ). The property of Bam and its Cultural Landscape is located on the southern edge of the Iranian high plateau, in Kerman Province, in south-eastern Iran, close to the Pakistan border. Bam lies 1,060 metres above sea level in the centre of the valley dominated to the north by the Kafut Mountains and to the south by the Jebal-e Barez Mountains. This valley forms the wider cultural landscape of the Bam County. Beyond the mountains lies the vast Lut Desert of Central Iran. Water from the Jebal-e Barez Mountains supplies the seasonal Posht-e Rud River that skirts Bam City between Arg-e Bam and Qal’eh Doktar. The Chelekhoneh River and its tributaries gather water from the central parts of the Jebal-e Barez Mountain range. It now runs northeast, although it formerly flowed through the Bam City until it was diverted by a dam into a new course that met with the Posht-e Rud northwest of Bam City. Water from the Kafut Mountains also supplies the catchment area.

The origins of the citadel of Bam, Arg-e Bam, can be traced back to the Achaemenid period (6th to 4th centuries BC) and even beyond. The heyday of the citadel was from the 7th to 11th centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments. The citadel, which contains the governor’s quarters and the fortified residential area, forms the central focus of a vast cultural landscape, which is marked by a series of forts and citadels, now in ruins. The existence of life in the oasis was based on the underground irrigation canals, the qanāts, of which Bam has preserved some of the earliest evidence in Iran and which continue to function till the present time. Arg-e Bam is the most representative example of a fortified medieval town built in vernacular technique using mud layers (Chineh), sun-dried mud bricks (khesht), and vaulted and domed structures. Outside the core area of Arg-e Bam, there are other protected historic structures which include Qal’eh Dokhtar (Maiden’s fortress, ca. 7th century), Emamzadeh Zeyd Mausoleum (11-12th century), and Emamzadeh Asiri Mausoleum (12th century and historic qanāt systems and cultivations southeast of the Arg.

Bam and its Cultural Landscape represents an outstanding example of an ancient fortified settlement that developed around the Iranian central plateau and is an exceptional testimony to the development of a trading settlement in the desert environment of the Central Asian region. This impressive construction undoubtedly represents the climax and is the most important achievement of its type not only in the area of Bam but also in a much wider cultural region of Western Asia. Bam is located in an oasis area, the existence of which has been based on the use of underground water canals, qanāts, and has preserved evidence of the technological development in the building and maintenance of the qanāts over more than two millennia. For centuries, Bam had a strategic location on the Silk Roads connecting it to Central Asia in the east, the Persian Gulf in the south, as well as Egypt in the west and it is an example of the interaction of the various influences.

The cultural landscape of Bam is an important representation of the interaction between man and nature and retains a rich resource of ancient canalisations, settlements and forts as landmarks and as a tangible evidence of the evolution of the area.

" Takht-e Soleyman " The archaeological site of Takht-e Soleyman, in north-western Iran, is situated in a valley set in a volcanic mountain region. The site includes the principal Zoroastrian sanctuary partly rebuilt in the Ilkhanid (Mongol) period (13th century) as well as a temple of the Sasanian period (6th and 7th centuries) dedicated to Anahita. The site has important symbolic significance. The designs of the fire temple, the palace and the general layout have strongly influenced the development of Islamic architecture.

The archaeological ensemble called Takht-e Soleyman (“Throne of Solomon”) is situated on a remote plain surrounded by mountains in northwestern Iran’s West Azerbaijan province. The site has strong symbolic and spiritual significance related to fire and water – the principal reason for its occupation from ancient times – and stands as an exceptional testimony of the continuation of a cult related to fire and water over a period of some 2,500 years. Located here, in a harmonious composition inspired by its natural setting, are the remains of an exceptional ensemble of royal architecture of Persia’s Sasanian dynasty (3rd to 7th centuries). Integrated with the palatial architecture is an outstanding example of Zoroastrian sanctuary; this composition at Takht-e Soleyman can be considered an important prototype.

An artesian lake and a volcano are essential elements of Takht-e Soleyman. At the site’s heart is a fortified oval platform rising about 60 metres above the surrounding plain and measuring about 350 m by 550 m. On this platform are an artesian lake, a Zoroastrian fire temple, a temple dedicated to Anahita (the divinity of the waters), and a Sasanian royal sanctuary. This site was destroyed at the end of the Sasanian era, but was revived and partly rebuilt in the 13th century. About three kilometres west is an ancient volcano, Zendan-e Soleyman, which rises about 100 m above its surroundings. At its summit are the remains of shrines and temples dating from the first millennium BC.

Takht-e Soleyman was the principal sanctuary and foremost site of Zoroastrianism, the Sasanian state religion. This early monotheistic faith has had an important influence on Islam and Christianity; likewise, the designs of the fire temple and the royal palace, and the site’s general layout, had a strong influence on the development of religious architecture in the Islamic period, and became a major architectural reference for other cultures in both the East and the West. The site also has many important symbolic relationships, being associated with beliefs much older than Zoroastrianism as well as with significant biblical figures and legends.

The 10-ha property also includes Tepe Majid, an archaeological mound culturally related to Zendan-e Soleyman; the mountain to the east of Takht-e Soleyman that served as quarry for the site; and Belqeis Mountain 7.5 km to the northeast, on which are the remains of a Sasanian-era citadel. The archaeological heritage of the Takht-e Soleyman ensemble is further enriched by the Sasanian town (which has not yet been excavated) located in the 7,438-ha landscape buffer zones.

Criterion (i):Takht-e Soleyman is an outstanding ensemble of royal architecture, joining the principal architectural elements created by the Sasanians in a harmonious composition inspired by their natural context.

Criterion (ii):The composition and the architectural elements created by the Sasanians at Takht-e Soleyman have had strong influence not only in the development of religious architecture in the Islamic period, but also in other cultures. " Persepolis "Founded by Darius I in 518 B.C., Persepolis was the capital of the Achaemenid Empire. It was built on an immense half-artificial, half-natural terrace, where the king of kings created an impressive palace complex inspired by Mesopotamian models. The importance and quality of the monumental ruins make it a unique archaeological site. Persepolis, whose magnificent ruins rest at the foot of Kuh-e Rahmat (Mountain of Mercy) in south-western Iran, is among the world’s greatest archaeological sites. Renowned as the gem of Achaemenid (Persian) ensembles in the fields of architecture, urban planning, construction technology, and art, the royal city of Persepolis ranks among the archaeological sites which have no equivalent and which bear unique witness to a most ancient civilization.

The city’s immense terrace was begun about 518 BCE by Darius the Great, the Achaemenid Empire’s king. On this terrace, successive kings erected a series of architecturally stunning palatial buildings, among them the massive Apadana palace and the Throne Hall (“Hundred-Column Hall”).

Inspired by Mesopotamian models, the Achaemenid kings Darius I (522-486 BCE), his son Xerxes I (486-465 BCE), and his grandson Artaxerxes I (465-424 BCE) built a splendid palatial complex on an immense half-natural, half-artificial terrace. This 13-ha ensemble of majestic approaches, monumental stairways, throne rooms (Apadana), reception rooms, and dependencies is classified among the world’s greatest archaeological sites. The terrace is a grandiose architectural creation, with its double flight of access stairs, walls covered by sculpted friezes at various levels, contingent Assyrianesque propylaea (monumental gateway), gigantic sculpted winged bulls, and remains of large halls. By carefully engineering lighter roofs and using wooden lintels, the Achaemenid architects were able to use a minimal number of astonishingly slender columns to support open area roofs. Columns were topped with elaborate capitals; typical was the double-bull capital where, resting on double volutes, the forequarters of two kneeling bulls, placed back-to-back, extend their coupled necks and their twin heads directly under the intersections of the beams of the ceiling.

Persepolis was the seat of government of the Achaemenid Empire, though it was designed primarily to be a showplace and spectacular centre for the receptions and festivals of the kings and their empire. The terrace of Persepolis continues to be, as its founder Darius would have wished, the image of the Achaemenid monarchy itself, the summit where likenesses of the king reappear unceasingly, here as the conqueror of a monster, there carried on his throne by the downtrodden enemy, and where lengthy cohorts of sculpted warriors and guards, dignitaries, and tribute bearers parade endlessly.

" Tchogha Zanbil "The ruins of the holy city of the Kingdom of Elam, surrounded by three huge concentric walls, are found at Tchogha Zanbil. Founded c. 1250 B.C., the city remained unfinished after it was invaded by Ashurbanipal, as shown by the thousands of unused bricks left at the site. Located in ancient Elam (today Khuzestan province in southwest Iran), Tchogha Zanbil (Dur-Untash, or City of Untash, in Elamite) was founded by the Elamite king Untash-Napirisha (1275-1240 BCE) as the religious centre of Elam. The principal element of this complex is an enormous ziggurat dedicated to the Elamite divinities Inshushinak and Napirisha. It is the largest ziggurat outside of Mesopotamia and the best preserved of this type of stepped pyramidal monument. The archaeological site of Tchogha Zanbil is an exceptional expression of the culture, beliefs, and ritual traditions of one of the oldest indigenous peoples of Iran. Our knowledge of the architectural development of the middle Elamite period (1400-1100 BCE) comes from the ruins of Tchogha Zanbil and of the capital city of Susa 38 km to the north-west of the temple).

The archaeological site of Tchogha Zanbil covers a vast, arid plateau overlooking the rich valley of the river Ab-e Diz and its forests. A “sacred city” for the king’s residence, it was never completed and only a few priests lived there until it was destroyed by the Assyrian king Ashurbanipal about 640 BCE. The complex was protected by three concentric enclosure walls: an outer wall about 4 km in circumference enclosing a vast complex of residences and the royal quarter, where three monumental palaces have been unearthed (one is considered a tomb-palace that covers the remains of underground baked-brick structures containing the burials of the royal family); a second wall protecting the temples (Temenus); and the innermost wall enclosing the focal point of the ensemble, the ziggurat.

The ziggurat originally measured 105.2 m on each side and about 53 m in height, in five levels, and was crowned with a temple. Mud brick was the basic material of the whole ensemble. The ziggurat was given a facing of baked bricks, a number of which have cuneiform characters giving the names of deities in the Elamite and Akkadian languages. Though the ziggurat now stands only 24.75 m high, less than half its estimated original height, its state of preservation is unsurpassed. Studies of the ziggurat and the rest of the archaeological site of Tchogha Zanbil containing other temples, residences, tomb-palaces, and water reservoirs have made an important contribution to our knowledge about the architecture of this period of the Elamites, whose ancient culture persisted into the emerging Achaemenid (First Persian) Empire, which changed the face of the civilised world at that time.

" Meidan Emam, Esfahan " Built by Shah Abbas I the Great at the beginning of the 17th century, and bordered on all sides by monumental buildings linked by a series of two-storeyed arcades, the site is known for the Royal Mosque, the Mosque of Sheykh Lotfollah, the magnificent Portico of Qaysariyyeh and the 15th-century Timurid palace. They are an impressive testimony to the level of social and cultural life in Persia during the Safavid era.

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

Also known as Naghsh-e Jahan (“Image of the World”), and formerly as Meidan-e Shah, Meidan Emam is not typical of urban ensembles in Iran, where cities are usually tightly laid out without sizeable open spaces. Esfahan’s public square, by contrast, is immense: 560 m long by 160 m wide, it covers almost 9 ha. All of the architectural elements that delineate the square, including its arcades of shops, are aesthetically remarkable, adorned with a profusion of enamelled ceramic tiles and paintings.

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

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

Iranian Intangible Cultural Heritage
According to national and international definitions, intangible cultural heritage refers to the particular behavior, symbols, skills, means, indigenous knowledge and know-how, handicrafts and cultural spaces of a nation.  Traditional Skills of Crafting and Playing Dotar 

UNESCO has inscribed the traditional skills of crafting and playing Dotar in Iran as the 14th intangible heritage of Iran. Dotar is one of the ancient Iranian instruments. Much of the geography of Iran has become accustomed to the music played by Dotar. This is an internal instrument. That means people play it indoors and in peace.Iranians have crafted and played the Persian Dotar for centuries in a vast area. It is also one of the contemporary Iranian musical instruments. The purpose of playing Dotar in Iran is to convey the valuable cultural concepts of Iran to others by music.

The global inscribing of Dotar in UNESCO’s list aims for further friendship, peace, and respect. This instrument demonstrates its cultural diversity and human creativity among different groups of people. Quite a diverse range of ethnic groups of different languages play Dotar in Iran.

his instrument is one of the plucked string instruments. It has two strings. During music playing, the player plunk with nails instead of a plectrum.

Dotar has a pear-shaped belly and a relatively long neck. There are about 17 to 20 Dastans (segmentations) on the hand. Some local Dotars in southern Iran have no Dastan (segmentation). The surface of the soundbox is made of wood. Its strings are tuned at different intervals.

The luthiers twist 8 silk fibers together for the low-pitched string and 6 silk fibers for the high-pitched string.

The length of the neck is about 60 cm. The whole instrument is about one meter long. Iranians often play Dotar in local and regional music, especially in southern Iran and in Rastak performances in northern Khorasan Province.

Iranians tune Dotar at an interval of four or five pitches. There are slightly different ways of tuning according to the areas.

Geographically, the north of Khorasan encompasses various cities. This geographical range has made the music of this area multicultural. Therefore, in the cultures of the Turkic, Kurdish and Turkmen ethnicities living in these lands, the traditional skills of crafting and playing Iranian Dotar are prevalent.

In the culture of northern Khorasan, musicians have always played legendary, romantic and epic narrations in ensemble sessions together with Dotar.

In this area, certain people narrate ancient stories while playing Dotar. These people are famous as “Bakhshi”. In northern Khorasan, there are many people who speak the Turkish language. Thus, much of the poetry and the narration are sung in Turkish while playing Dotar.

The major task of Dotar in northern Khorasan is to convey ancient narrations and stories to others. The new generations used the experiences of previous generations with these stories. The new generation understands adventurous stories more easily by music.

The traditional skills of crafting and playing Dotar in Iran are a major part of the oral culture of north Khorasan music in Iran. This instrument has been so impressive that it has influenced the people of the central plateau of Iran. Apparently, the Turkmen Dotar played by some Iranian ethnic groups is older than the Khorasani Dotar.

This instrument has played a major role in the local customs of Iranians throughout history. The inhabitants of small villages and towns congregated to listen to the music of the Bakhshis.

In the past, luthiers of Iranian Dotar used silk to make the instrument’s string. In north Khorasan, the sizes of Dotar do not follow a certain standard. The current Dotars have eleven and sometimes twelve major seconds.

Its major seconds are not very precise at semitone intervals and there are no shorter intervals than a semitone.  The Art of Crafting and Playing with Kamancheh 

Kamancheh is one of the musical instruments with a long history in the East. Although the track record of this instrument can be found in other countries as well, due to its original place of creation, UNESCO has inscribed the art of crafting and playing with Kamancheh as an intangible cultural heritage of Iranians. In pre-Islam Iran, musicians used to play an instrument that was very similar to Kamancheh. It had a large resonating box and a neck. Today it’s a popular instrument in Baluchistan province.

Also in Lorestan province, artists have played Kamancheh since long time ago. In the past, this instrument used to have only three strings. The box was covered with deer’s skin. Famous Iranians such as Faraby and Masoud Sa’ad Salman have written extensively in their books about Iranian musical instruments like Kamancheh.

Other countries that used to play Kamancheh in the past are India, Malaysia, Indonesia, Kenya, Burma, Nepal and some Arab countries. Today artists play this instrument in India and Turkey as well, but Kamancheh is considered a traditional Iranian musical instrument. Even in other countries, people know it with the same name.

Musicians tune Kamancheh differently for various Iranian music systems. However, it is of different types depending on what sort of sound you expect it to produce.

Different Types of Kamancheh

Iranian Kamancheh is one of the different Iranian musical instruments with a particular sound similar to the violin, but sharper than that. It produces a sound that is quite pleasant. Famous Iranian musicians and singers have created beautiful songs with Kamancheh during the history of Iranian music. No doubt, many Iranians have listened to numerous such songs played with this instrument and have sweet memories with them.

The sound produced by Iranian Kamancheh is of various types. What differentiates the sound of this instrument can be the type of wood used for making the box, the thickness of the box at different parts, the size of the box, the materials used for the strings and the way neck is attached to the box.

The art of crafting and playing with Kamancheh requires you to gain a more detailed acquaintance with this instrument first. So, we need to explore all its parts. Here is a list:

• Resonating box

• Skin

• Bridge (kharak)

• Neck

• Headstock (sarpanjeh)

• Tuning pegs (gushy)

• Nut (sheytanak)

• Tailpiece (simgir)

• String

From the structural point of view, this instrument has got a resonating box and a neck with a set of strings extended from the top of the neck to the box. One needs another piece to play the instrument and it’s the bow. To produce a sound, the musician moves the bow back and forth onto a Kamancheh’s strings.

The main part of the instrument is its resonating box. It usually consists of a spherical or oval shape with a small flat base. This box is made of wood and could be built either in one piece or several pieces for various instrument types. Depending on which type of Kamancheh a craftsman makes, they can design it with longer or shorter diameters. They make the best instruments out of walnut wood.

Craftsmen make the top surface of Kamancheh’s resonating box by goat or deerskin. Certainly, different skins produce different sounds. In fact, the art of crafting and playing with Kamancheh is best demonstrated when all such details are observed and put into practice.

The bridge is a small but strong piece attached to the top of the skin. It has a rectangular cuboid shape with top groves creating equal distance for the strings in an oblique way. This makes the first string shorter and the last one longer than others.

The neck of Iranian Kamancheh is made of one piece. Iranian craftsmen make the neck and box in particular size and proportions known as the Iranian standard for Kamancheh. As a result, if such sizes and proportions aren’t observed when crafting the instruments, the desired sound cannot be expected from it when it is made.

The headstock is attached to the top of the Kamancheh’s neck. It lengthens the neck of the instrument and provides a space for the tuning pegs to be installed there.

Iranian Kamancheh has got four tuning pegs attached to either side of the top part of the neck. The strings are harnessed by these pegs to the top of the instrument.

The nut is a narrow grooved object installed between headstock and neck. Kamancheh strings are laid inside these grooves to be tied to the pegs.

The tailpiece is installed at the farthest part of the resonating box. It’s made of wood or metal to fix the lower end of the strings to the instrument.

Strings are the next important part of Kamancheh. In some old instruments, there were only two strings on the necks, which are three in some modern Kamanchehs crafted these days. They are fixed at the top of the neck and extended all the way to the upper surface of the box.

 Chogan (Polo), an Ancient Iranian Horse Riding Game 

Iranians have played Chogan (Polo) as an entertaining horse riding game since almost 2500 years ago. It’s an amazing game that has attracted many people throughout the history. Several well-known people have created a number of stories and poems for Chogan. Ferdowsy and Roodaky have mentioned this Iranian horse-riding game in their poems. During this game, entertainers play special pieces of music and songs using particular musical instruments. Chogan is part of Iranian intangible cultural heritage inscribed by UNESCO.

For the first time, Chogan was played during Achaemenians in Iran. As Achaemenians extended their borders to far and vast geographical spots, this ancient Iranian game found its way to other countries too.

It dates back to the centuries before Christ when it was quite popular among kings, rulers, wealthy people and those who could afford it as an entertaining sport. They also held horse riding races. One of the amusing activities among kings was playing Chogan.

Of course, it was played differently back then. Horse riding was more of a military and warfare practice. Therefore, this entertainment included horses’ military-style marching and riding war horses. As the time went by, Chogan changed to the present-day style.

“Kar-Namag i Ardashir i Pabagan”, is a middle Persian prose tale written in Sassanian Era. It narrates the story of Ardeshir I, the founder of this dynasty. It’s the first written document that mentions Chogan as an Iranian game.

Today, in Chogan, ponies are full-sized horses used for this traditional Iranian game. In Persian, they are referred to simply as Chogan horses. They should be equipped with safety gears to be ready for the races. They are supposed to have special leg wraps to be protected against the mallets. The line attached to the curb bit must be adjusted in a comfortable and free way so that ponies can be easily levered.

Horse riders must have special safety helmets, gloves, whip, riding boots, knee pads, elbow pads, and Chogan outfits.

The players are supposed to be already remarkably skillful as horse riders. Each player holds a special long-handled wooden mallet with which he tries to lead the ball during the game. This mallet is 129 cm long and is attached to another piece, 20-25 cm, perpendicularly attached to it. Polo mallet stick is generally made of bamboo.

The Chogan ball is hard and a bit larger than a tennis ball. It’s called “Gooy”. Its diameter is approximately 25 cm and weighs around 140 gram.

 The Culture of Making Lavash Flatbread  As an intangible cultural heritage, the culture of making Lavash flatbread and sharing it in Iran has been common and ongoing in different parts of the country for many years. Often times, they bake this flatbread inside an oven called “Tanur”, but nomads bake Lavash on “Saaj”, a metal or stone flat surface. Old Tanurs were generally made of stone or pottery and installed in the ground.

Nowadays, however, Lavash bread is baked inside ovens built into the walls. In its 11th gathering, UNESCO organization inscribed the culture of making Lavash flatbread and sharing it as an intangible cultural heritage of Iranians. Azerbaijan, Kazakhstan, Kyrgyzstan, and Turkey also share the same tradition with us. Iranians invite everyone from across the world to Iran to get acquainted with this cultural element and to experience the aroma of life in this bread.

Culturally speaking, Lavash has been made for regular meals. In addition, this flatbread has been shared at wedding ceremonies, birth times, funeral ceremonies as well as various holidays and sometimes during prayers.

Lavash Flatbread, an Intangible Cultural Heritage of Iranians

It’s around 800 years that making Lavash Flatbread has become popular among people. Iranians pronounce it “Lavash”, “Levash” and “Lebash” in different dialects. Others call it “Tanury” bread. In Armenia, they call it “Laavaash” and in Georgia, “Armenian Lavash”. Another type of Lavash known as “Saaji Lavash” has long been made inside people’s houses in Qazvin, West of Tehran.

Features of Lavash Flatbread

There are certain features that distinguish Lavash from other types of bread in Iran:

It’s thin and crispy, maximum 3 millimeters thick and one of the traditional types of bread in Iran.

It’s made of slightly fermented dough in particular ovens or on Saaj.

Usually, white flour from wheat (bran-free) is also used in making Lavash.

Recently black wheat, bran flour, barley flour, oatmeal, and corn are also used separately or in combination with wheat flour to make this flatbread.

 Nowruz  Nowruz, Iranian New Year, had deep roots among ancient Iranians, particularly farmers. It’s an intangible cultural heritage of Iranian inscribed by UNESCO. As their lives depended largely on agriculture and producing food, it has got a strong connection to such a lifestyle. You need to know Nowruz’s history and roots of the Nowruz Celebration to understand it better.

When no agricultural activities were possible in Winter, each individual used to go home and try to keep warm on his/her own. The end of Winter and beginning of Spring, when it got warm again and the people, most of whom were farmers, could get out and come together for work and produce food, the time for togetherness started. This could be a solid reason for the Nowruz celebration!

Nowruz & Mythology

According to the ancient myths, when Iranian mythological king, Jamshid, ruled in Iran for 1000 years, everything was good. Food was abundant, lies didn’t exist, plants didn’t go dry, people didn’t suffer from extreme cold and hot weather conditions, nobody got old, jealous, etc.

During such time and at the beginning of the first day of the first month of Spring, Jamshid sat on his throne decorated with gems and put on a crown encrusted with jewels, against the East. When the Sun started shining at him and the throne, people saw him glittering like the Sun. Therefore, this brought plenty of happiness and joy to the nation. They celebrated that day and called it a new day, Nowruz. The happy ceremonies took five days and everyone celebrated the New Year and the revival of nature.

Nowruz & History

Since the 3rd millennium BC, Nowruz was commemorated with joy in the Iranian plateau, but not in the Eastern half of Iran. At the same time, it was celebrated in the Mesopotamia. Nowruz history doesn’t originally go back to a Zoroastrian nor an Aryan tradition.

There was another festivity popularly celebrated after the time of harvest around early November. During that time, the Iranian calendar had 7 months of Summer and 5 months of Winter. Mehregan was at the end of Summer and the beginning of Winter. The cause of joy was the crops harvested, meaning food for people.

Nowruz and Mehregan were celebrated in several other adjacent countries. For example, they were popular among the Semites, Arabs of Medina, etc. These annual celebrations have continued till now in various countries.

 Qālišuyān rituals of Mašhad-e Ardehāl in Kāšān  The famous “Qalishuyan Rituals” in Mashhad-e Ardehal near Kashan is an intangible cultural heritage inscribed in UNESCO’s list in 2013. This ancient ritual happens on the second Friday of each Mehr Month (approximately end of September and beginning of October) at Mashhad-e Ardehal is held in “Khaveh-ye Ardehal” and “Fin” villages in Kashan area. The local people refer to this day as “Jomeh Qaly” meaning “Carpet Friday”.

This traditional religious event is one of the most attracting cultural happenings in Iran. In fact, it’s the only Islamic ritual that Muslims hold according to the solar calendar in Iran. All other Islamic rituals are based on the lunar calendar.

Historic & Mythological Background of Qalishuyan Rituals

According to the quotes from various sources, during the first century after the advent of Islam, the inhabitants of “Chehel Hesaran” (Old name of Kashan) and Fin had suffered a lot from the ruling governors. Therefore, they wrote a letter to Imam Mohammad Baqer, the 5th Shia Imam, asking him to send a person to correct and promote true Islam and Imamat (leadership) to their region. Therefore, he sent his son, Ali, a 32-year-old man, to help them. He, who was later known as “Soltan Ali”, began to promote and educate people on Islamic studies.

As this Imamzadeh (born of Imam) found his way in people’s hearts, the governors felt threatened and plotted a conspiracy against him. Imamzadeh is a religious leader from the seed of the Shiites’ 12 Imams who is buried in a shrine. The word refers to a shrine in Persian too.

Eventually, they assassinated him while he was praying. When this news reached Fin village inhabitants, they set off for Mashhad-e Ardehal with wooden clubs and maces in their hands. They arrived at the martyrdom location and buried Imamzadeh after practicing “Ghosl” (a preparatory Islamic tradition for the dead bodies). Then, while they were showing their hatred for this act of murder, they buried their beloved leader.

The word “Qaly” means rug or carpet. “Shuyan” is the noun for “Shostan” meaning washing. So, the word Qalishuyan refers to the ritual of carpet washing. Of course, it’s a particular event in which carpet washing is a symbolic action carried out in that area and the rest of the ceremonies occur at the Imamzadeh.  Naqqāli, Iranian dramatic story-telling 

Naqqali and reciting Shahnameh has always been a common and favorite tradition among Iranians as a branch of performing arts and story-telling. Shahnameh is the world’s longest epic poem book created by a single poet, Ferdowsy, the famous Iranian poet of 10th & 11th centuries, who save the Persian language and identity by this book.Naqqali is performed by one person. Its goal is to transfer wisdom and experience from previous generations to the present one. To join the spectators of this popular art in such circles is a special experience of an intangible cultural heritage inherited by Iranians. It’s a tourist attraction that hasn’t been tapped into yet as of this time.


 * Creation of Naqqali Art in Iran

It’s not clearly known when exactly this art has emerged. However, some authors have referred to it at some of their history books and works like Shahnameh. Some also believe it came into existence after Islam. After the arrival of Arians into the Iranian plateau, Naqqali has flourished more than before. Old stories like those of Mithra, Anahita, and Siavash indicate the age of this art registered by UNESCO as an intangible cultural heritage of Iranians.

It has been very common to narrate and tell stories during long nights of winter and Ramadan. Naqqals (story-tellers) used to tell the stories of Abu-Moslem, Samak-e Ayar, and Darab Nameh with poems and songs.
 * From Naqqali to Shahnameh Recitation

Many literary works, like poems of Ferdowsy, Rumi, Nezami, Jami, Sa’adi and others, have become eternal with the help of Naqqqals’ restless works.

Gradually, story-tellers began narrating other sources as well. Among all such works, Shahnameh received a lot more attention than others. Narrating stories of Shahnameh was intertwined with the history of coffee shops (today’s teahouses) in Iran. Among all the other stories, the story of “Rostam and Sohrab” got the most significant status. Therefore, it got to the point that Naqqali in coffee shops is synonymous with “Killing Sohrab”.

Reciting Shahnameh is rooted in Iran’s rituals and traditions and its focal point is the mausoleum of Ferdowsy. Today Shahnameh recitation circles are formed at his burial place. Such circles attract a large number of people from all over the world to the festival of performing arts of Iran, in particular, to Naqqali.  Traditional skills of building and sailing Iranian Lenj  One of the intangible cultural heritage examples in Iran, which is traditionally carried out in the shorelines of the Persian Gulf, is the Iranian skills of “building and sailing Iranian Lenj boats”. UNESCO has inscribed it in its list in 2011. What you will take away with you by making a trip to the Southern coastlines of the Persian Gulf is the awareness of these hard-working Iranians and their unique skills.

In Lenj sailors’ lexicon, each wind has got its own name. Together with the color of the water and wave height, such wind names are used for the weather forecast. The vast sky shows the way to the sailors either by the Sun location in daylight or the Moon and star positions at nights.

Lenj Building Industry in the Hands of Galafan

This industry is a very old one in the Persian Gulf region and dates back to Afsharid Era, the first half of 18th century. The builders of Iranian Lenj boats were known as “Galaf”. Galafs made use of primitive and simple tools. Today, they still use the same tools and methods. As they utilize old methods and tools, the construction process of building Lenjes take a lot of time.

 Music of the Bakhshis of Khorasan 

The music of Bakhshis of Khorasan is considered the cultural identity of the people of this region. It can be very fascinating to come to know and understand this type of music for researchers, tourists, and music lovers. It’s a specially enjoyable tourism opportunity for enthusiasts of Iranian art and culture.

History and content of Music of Bakshis of Khorasan

The history and creators of this type of music are unknown to us. According to the existing evidence, this traditional music of Iran has existed since ancient times and has been handed over to us from masters to pupils by our forefathers. The generation-to-generation transfer of this art has enriched it dramatically and given it a particular status. In the past, the singers of the music of the Bakhshis of Khorasan were mainly farmers. Originally, it was sung by men while working on the farms or during resting intervals for various reasons and conveyed content like:

Detailed stories,

Incidents and accidents,

Maxims,

Inaccessibility of the beloved,

Complaints about the oppression,

Mystic state, and

Other human emotions.

This style of singing is a kind of minstrel in Turkish, Kurdish and Khorasani version of Persian. Later, it found its way to family circles, funerals, parties and even for the healing of the patients. Today, the situation is different. It has turned into a type of Maqami music for happy occasions and Iran’s cultural heritage. Nowadays individuals and bands sing it for all ages. Famous bands playing the music of the Bakhshis of Khorasan are invited to perform in various concerts across the world these days. Such musicians have obtained valuable titles for their unique and beautiful arts.

 Pahlevani and Zoorkhanei rituals  The Pahlevani and Zoorkhanei rituals are the Iranian cultural heritage and one of the martial arts dating back to ancient Iran. This art is also recognized by other names like “Zoorkhanei Sports”, “Ancient Sports” and “Pahlevani Sports”. As the motherland of this ritual, Iran has always been the host of world travelers who wanted to watch this sport.

Pahlevan is a title attributed to a person who is both strong in his physical strength and ethical values. One without the other will not make one worthy of receiving such a title. Zoorkhaneh is the traditional gym in which Pahlevani sports and rituals are performed.

History of Zoorkhaneh Formation Iranians have always been in need of and interested in Pahlevani rituals, wrestling, and physical readiness right from the beginning. Even the ancient Iranian prophet, Zarathustra, had ordered its followers to be ready to help “Ahoora Mazda” (God) and struggle against “Ahriman” (Devil). Today, Iranian athletes do quite well in martial arts as well as wrestling.

In the 13th century, a person called Mahmoud, who was also well-known as “Purya-ye Vali”, from Khorasmia, gave new life to Pahlevani and Zoorkhanei rituals once again. He was a Pahlevan who was also known as a Sufi and wrestler

ome of the sports tools required to perform this intangible cultural heritage look very much like armament. Because of such similarities, some believe that battle techniques were also taught to the wrestlers in Zoorkhaneh in the antiquity. Some of these tools are “Meel”, “Kabadeh” and “Sang”, which look like a mace, bow and shield respectively.

Obviously, the skills of using such tools could strengthen the muscles of the sportsmen. At the same time, because of their resemblance to armament, they could serve as practicing tools for battling purposes as well.

 Ritual dramatic art of Ta‘zīye  The ritual dramatic art of Taziye is an intangible cultural heritage of Iranians in UNESCO’s List. It’s a traditional type of Iranian –Shiite drama often performing the sad stories related to the Passion of Prophet Mohammad’s Ahl al-Bayt (close relatives) and martyrdom of Shiites’ third Imam, Hossein. In fact, Taziye is the outcome and legacy of traditional-religious minor performances evolved as a mourning ceremony ritual in Iran.

There are several mourning ceremony rituals in Iran. Some of them are:

Pardeh khany

Nakhl Gardany

Rozeh Khany

Taboot Gardan

Moharram-Month Mourning

Mourning Carnivals

Of course, there are always small and large mourning performances, but Taziye is very popular. Year after year, more tourists show interest in watching this historical event. Although the precise start date of the “Ritual dramatic art of Taziye” isn’t clear, some believe this intangible cultural heritage of Iranians goes back to pre-Islam era rooted in Sivash mourning, suggesting 3000 years of history. Others are of the opinion that the history of this ritual dates back to the Passion of Mithra, Anatolia’s and Egypt’s mythical elements as well as historical Semites and Indo-European legends.

There are some other scholars who hold a different belief that this ritual dramatic art is a non-Islamic performance, which Shiites have introduced to the Islamic world. In supporting their ideas, the followers of this group refer to the first five Caliphs of Islam and Prophet Mohammad crying over the loss of their beloved ones. Of course, it’s a natural human reaction to cry after some beloved one dies and this is absolutely different from the ritual of Taziye and “Iranian Taziye Khany”. There is another group of people who believe it is derived from “ressentiment”, which some translate into “grudge”. “Ressentiment” is a French word meaning “profound and lasting hatred”. It’s also one of the fundamental terms used by Nietzsche.

Although this ritual is similar to some ancient mourning traditions, one can say in particular that it’s an evolved form of mourning for the third Imam of Shiites. “Shabih Khany” (a type of Taziye) flourished under the Safavids while Shiism was promoted. It reached its zenith during king Naser-e-Din when mourners erected 300 Tekieh (structures built particularly for mourning ceremonies) in specific locations.

 Traditional skills of carpet weaving in Fars 

The traditional skills of carpet weaving in Fars Province of Iran are the intangible cultural heritage of Iranians in central Iran. This province (Fars or Persia) is considered the region of Narenj-o-Toranj, meaning “Orange and bergamot”. It refers to the traditional motifs as well as the agricultural products of the region. Tent-dwelling nomads constitute approximately one-third of the population in the province. They make a living through animal husbandry. The traditional skills of carpet weaving in Fars province produce Fars carpets. This is the souvenir of this province made by nomads called Qashqais.

As Fars province is a region with high altitudes and low lands, there can be moderate livable climate and beautiful surroundings in some corners of it during most times of the year. For nomads, this means a motivation to migrate to better places in particular seasons.

Such an environment has inspired local people to create such works of art as Fars carpets and rugs, known as Shirazi carpets. Today, due to the large international demands, it’s regarded as an ideal item to export to other countries.

Skills of Carpet Weaving in Fars throughout History

According to historic documents and pieces of evidence, the traditional skills of carpet weaving has been common in Fars province for 12 centuries. The oldest document confirming the existence of this intangible cultural heritage is found at the list of Harun al-Rashid’s treasury asset back in the first half of the 9th century. It mentions some items like Caliph’s carpet, Armenian Hezar Basat, Darabjerd Hezar Basat, Tabiri Pansad Basat, and Mishan Plain Sisad Basat.

 Traditional skills of carpet weaving in Kashan  Traditional skills of carpet weaving in Kashan is one of the most fabulous Iranian fine arts. UNESCO has inscribed this skill representing the symbol of “city weaving style and Persian weaving style” as an intangible cultural heritage of Iran in 2010.

From an artistic point of view, the people of Kashan have been famous for carpet weaving, Qelyabkeshi (dissolving silk resin) and silk weaving. These expressions are originally from Kashan although they are known all over the world today. Foreign art lovers and handicraft enthusiasts are mesmerized by natural dyeing, special and breathtaking Persian weaving texture and unique design of the carpet presented in different sizes.


 * Sialk Historical Mound, the Origin of Traditional Skills of Carpet Weaving in Kashan

The historical monuments of this region have revealed that Sialk mounds date back to Hammurabi era. First, people living in the region were known as Kaso or Kasho, which were later changed to Kasyan and Kashan. Some historians believe that Harun al-Rashid’s wife, Zubaidah bint Ja’afar ibn-e Mansur ordered to build Kashan which is now famous for its traditional skills of carpet weaving.  Radif of Iranian music 

The radif of Iranian music refers to the arrangement of old melodic figures, songs and Iranian classical music which are called “gusheh” (short pieces of melody). In October 2009, the radif of Iranian Classical Music, a traditional repertory of Iranian traditional music was inscribed in UNESCO’s list as an intangible cultural heritage of Iran.

In recent decades, most Iranian instrument makers were often Iranian-Armenians, and many singers and musicians were Jewish. In the 1960s, some of them emigrated to different parts of the world. Thus, they have promoted the radif of Iranian Classical Music outside their own countries. As a result, Iranian “avaz” (a certain type of singing) and music gained the reputation all over the world.

Definition of Radif of Iranian Music

Radif is a collection of many traditional Iranian melodies which have been organized by a special order in the form of vocal dastgah (pattern). Radif of Iranian classical music also deals with the collection of gusheh pieces and their orders. The gusheh with the lowest introductory note is called “daramad” which is followed by other gusheh pieces.

We may be able to say that the radif of Iranian music is a method of teaching these gusheh pieces, avazs and patterns. In the past, Iranian musicians have gathered and organized these gusheh pieces as musical scales based on their own musical tastes. They are known as “maqams”.

Bruno Nettl analyzed the “radif” and indicated that “At first, it seems that the radif is a collection of gusheh pieces with the same significance, but it is not true. In fact, each gusheh has its own significant value. Some of them are long, and others may cause modulation which is the process of changing from one pattern to another.

From “Scale” to “Pattern” in Iranian Music

In the past, musicians taught music using “maqams,” in Iran. Despite this, when scales changed into patterns, they presented gusheh as a sub-branch of seven patterns. This process took place in the 14th and 15th centuries during the Timurid period.

According to Raphael Georg Kiesewetter, these changes were conducted in order to teach the elements of Iranian music one by one. In fact, this process has gradually continued from the Safavid to the Qajar periods. However, the “radif” was specifically used in the late Qajar period.

The Guardians of the Intangible Cultural Heritage

The art of music was initially taught individually, but when the radif was created, music students learned them, and then added theri own radifs into them and later handed them down to their own students. This guarded the radif of Iranian classical music. Of course, these gusheh pieces are taught in a traditional order and does not have a logical basis.

Nonetheless, Ali Akbar Farahani, a talented Iranian musician began to classify Iranian music due to his own special interest. The radifs of Mirza Hossein-Qoli and Mirza Abdollah are the oldest well-known radifs. These two famous radifs especially that of Mirza Abdollah played an important role in the education and survival of this intangible Iranian cultural heritage.

In 1911, Ali-Naqi Vaziri who was trained by his professors, Mirza Hossein-Qoli and Ali Akbar Shahnazi, transcribed the classical radif of Iranian music and prepared the “Theory of Iranian Music”.

In addition, there are some other well-known radifs that are used to teach children such as the radifs of Darvish Khan and Kambiz Roshanravan.

Sports in Iran
Athletes has grown in recent years so that the Iran rank in competition of the 2012 London Olympics than 2008 Beijing Olympics has improved from rank 55 to rank 17 in the world. Athletes earned medals in wrestling, weightlifting, throwing discs, and Taekwondo fields. Also in the Guangzhou Asian Games in 2010, were in fourth place with 59 medals.

Wrestling
Wrestling has a very long tradition and history in Iran and often even referred to as its national sport. There are many styles of folk wrestling, from Varzesh-e Pahlavani to Zurkhaneh (Sport in which the hero must have good moral character) which have similarities with modern freestyle wrestling.

Both freestyle and Greco-Roman wrestling, particularly freestyle, are popular in Iran. Province of Mazandaran is the main power in the country and wrestling is part of its culture. Provinces of Tehran, Kermanshah, Khorasan and Hamadan also produce many talented wrestlers.

Polo
It is believed that Polo first originated in Persia ages ago. The poet Ferdowsi described royal polo tournaments in his 9th century epic, the Shahnameh. Polo competitions are the subject of many traditional paintings in Iran. Now In some villages during wedding ceremony this sport traditionally held. Horse racing is a very popular sport between Turkmens of Iran, and there are two great Gymnasium of horse racing at Gonbad Kavous and Bandar Torkaman.There are many club and academy in Alborz province.

Chess
The origin of chess is a disputed issue, but evidence exists to give credence to the theory that chess originated in Persia, and later found its way into the Indian subcontinent. For example, the earliest recorded history of chess is to be found in Persian writing, and the earliest chess pieces found also being from Persia. All of this evidence lends weight to the theory that chess in Persia (Shatranj) pre-dated chess in India (Chatrang). Chess later spread from Persia into other nations in the Islamic world. Chess is popular in Iran among women as men.

Football
Football is the most popular sport in Iran. Iran has been able to reach the FIFA World Cup three times (1978, 1998, and 2006) and won the AFC Asian Cup three times (1968, 1972 and 1976), and four times has reached to gold medal at the Asian Games (1974, 1990, 1998 and 2002).

Particularly in the past 11 years, with the launch of Iran's Premier Football League, considerable progress has been made. Some Iranian players now play in Major European and Arabic leagues, and some Iranian clubs have hired European and Brazilian players or coaches.

Iranian clubs (Esteghlal and Pas) have three times won the Asian Club Championship (1970, 1991, and 1993).

Iran's largest football stadium is the Azadi Stadium, with capacity of 100,000. Home Stadium of Esteghlal (Most Popular Iranian Clubs) and Perspolis and where that national matches are held. In recent years, the best results are achieved by teams Sepahan and Esteghlal.

Weightlifting
Strength sports like weightlifting, power lifting and bodybuilding have always held favor among Iranians and with the recent success of world record-holding super-heavyweight lifter Hossein Reza Zadeh, in recent Olympic in London, Behdad Salimi lifted the heaviest weights in the tournament.

Skiing

Iran is home to numerous mountainous regions, many of which are suitable for skiing, and are gaining increasing popularity among foreign visitors.

Now, 13 ski resorts operate in Iran, the most famous being Tochal, Dizin, and Shemshak. All are within one to three hours traveling time of Tehran. Potentially suitable terrain can also be found in Lorestan, Mazandaran, and other provinces.

The Tochal resort is the world's fifth-highest ski resort at over 3,700 m at its highest Seventh station. It is only 20 minutes away from Tehran's northern districts, and operates six months a year. Here, one must first ride the 8 km  long gondola lift which covers a huge vertical. The Seventh station has three slopes. The resort's longest slope is the south side U shaped slope which goes from the Seventh station to Fifth station. The other two slopes are located on the north side of the Seventh station. Here, there are two parallel chair ski lifts that go up to  near Tochal's peak (at 3,962 m), rising higher than the gondola Seventh station stations. This altitude is said to be higher than any of the European resorts.

From the Tochal peak, one has a spectacular view of the Alborz range, including the 5,671 meters  high Mount Damavand, a dormant volcano.

At the bottom of the lifts in a valley behind the Tochal peak is Tochal hotel, located at 3,500 m altitude. From there a T lift takes skiers up the 3,800 meters of Shahneshin peak, where the third slope of Tochal is.

The Dizin resort is popular resort in Iran for its proper gradient and scope also it is prepared for ski on grass in summer.

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Futsal Futsal is practiced both at the amateur and professional level,many youths play street football in the alleys and gymnasiums. The Iran national futsal team, that presently is the seventh strongest national team after Brazil, Spain and Italy according to the FIFA Rankings.

This team has won the AFC Futsal Championship nine times out of the ten times held and reached five times to FIFA Futsal World Cup. Iran also has a nationwide Super Futsal League.

Mellat Palace Museum (White Palace)
White Palace is the largest mansion in this complex. In addition to ceremonial and official affairs this building was used as a summer residence of Mohammad Reza Shah (the second king of Pahlavi dynasty) and the queen Farah.

The first king of Pahlavi, Reza Shah ordered to build this palace in 1932 which was completed by 1937. But it was effectively used three years later. Many artists and engineers were involved in building this palace. Layout plan was designed by Mr Khorsandi and engineering drawings were developed by Leon Taavosian, Pesyan and Russian Boris.

This palace is built in surrounding area of 2164 square meters; it is a two story building and a basement with a total of 5000 square meters area.

This building has 54 units including ten large ceremonial saloons which were the official reception hall of Mohammad Reza Pahlavi.

The largest room in this building is 220 square meters that was used as the dining room

Fine Arts Museum
One of the splendid buildings of Sadabad is the Fine Art Museum which was used as the royal court during 1968 - 1979.

in 1983 it was inagurated as the “Fine Art Museum” which has attracted many art lovers. This building is situated in southern part of Saad Abad and is a three story building covering an area of 3600 square meters.

There are numerous beautiful paintings with western and eastern styles on display for our dear visitors.

This painting gallery consists of: works by recent famous Iranian painters such as: Sohrab Sepehri, Hossein Mahjobi, Faramarz Pilaram, Hossein Zende Roodi and miniature paintings by Master Hossein Behzad  and Kelara Abkar and also there are paintings by Iranian artists from Safavid era(1501-1722) to Qajarian era (1794-1925).

In the remaining sections of this palace there are western style paintings from 17 to 20th century. Some of the painters are: Salvador Dali, Peter Graham, Ivanovic Shishkin and Joule Berton.

Green Palace Museum
Shahvand Palace which is now called Green Palace is one of the most beautiful palaces in Iran. This palace is located in a higher ground in the north west of SaadAbad. Formerly this building belonged to someone called “AliKhan” who was one of the big land owners and later it was bought by Reza Shah.

During 1923-1929 Reza Shah renovated and redecorated this building by an architect called” Mirza Jafar Memar Bashi”.

The outside view is covered by rare pearl green stones from Zanjan province hence it was called Green Palace. This palace is a two story building in an area of 1203 square meters.

The most interesting part of this palace is the mirror hall with a made to measure carpet of seventy square meters, woven in the famous Amoughli carpet workshop in Mashhad.

Master MirEmad Calligraphy Museum
This museum is located in one of the historical buildings of Sadabad. Originally this building was the residence of Pahlavi`s children (Farahnaz and Ali Reza). It is a two storey building and its architecture belongs to late Qajar (1794-1925) and early Pahlavi era (1925-1979).

Since 1997, it was used as Calligraphy Museum of Master MirEmad, the most famous Calligrapher of Safavid dynasty (1501-1722).

In this two storey museum, there are Collections of selected works of famous calligraphers of Iran's Islamic periods (from the 10th to 20th century AD) such as MirEmad, Mustasimi, Ahmad Neyrizi, Kalhor and etc.

Royal Costume Museum
This building belonged to Shams Pahlavi (Reza Shah`s daughter). It is a mixture of Iranian and European architecture. It was built by the order of Reza Shah during 1936-1940. Shams Pahlavi used this building as her summer residence, and then in 1964 she sold it to Mohammad Reza Pahlavi.

During 1964-1979 this palace was used as a private museum of Pahlavi dynasty and it housed numerous antiques and royal gifts.

After the revolution since 1995 till 2004 this place was used as the Anthropology Museum. Later in February 2010 it was converted to the museum of “Contemporary History and Royal Gifts of Pahlavi Dynasty”.

Royal clothes of Pahlavi family (the queen, Mohammad Reza Shah, Reza Shah and his family) are on exhibit inn this museum.

Master Behzad Museum
This building was built during Qajar era (1794-1925) and in the course of the first Pahlav, it was the residence and office of Reza Shah. Later, it was used as the summer residence of Reza Pahlavi (the former prince of Iran) in his childhood, this building was called “The Prince Palace”.

After Islamic revolution of Iran, in 1994, with the donation of some works of Master Hossain Behzad to the Cultural Heritage Organization by his son,at this great artist`s centenial birthday, this building was inagurated as Master Behzad Museum.

Precious paintings by Master Behzad, who is one of the founders of contemporary painting and his ideas, opinions & works led to fundamental changes in the contemporary Iranian art, is displayed in this museum.

Royal Albums and Historical Documents` Museum
The Museum of Historical Documents is created as a temporary center in March 2012(Iranian New Year), to evaluate the level of Visitors` interest.

This center has been formed to show the documents of contemporary history (Pahlavi era) with a focus on Saadabad and its importance as the location of the Royal Court Building.

This exhibition includes some written & visual documents, albums, different seals and golden plaques, diffrent types of envelopes, sheets and etc.

Water Museum
his building which was built during the second Pahlavi was the special office of Mohammad Reza Shah that was used for reception of the Courtiers and clients. Later it was assigned to General Kasraee (Person in charge of Military Protection) and after Islamic Revolution of Iran, it changes to Water Museum.

This 2670 square meters building is located at the south east of Green Palace in Saadabad Complex and this museum is an exhibition of ancient and traditional techniques and instruments for water supplement and distribution. Various water-related structures such as water reservoirs and traditional ice houses are introduced here.

Some ancient water dams and royal orders concerning them are presented as well.

Royal Cars Museum
Royal cars, used by Pahlavi dynasty are on display in this exhibition. The cars such as: Mercedes Benz 600, Rolls Royce, Cadillac and etc, each with their own specification and application. This museum is placed near Zaferanieh intrance

Royal Weapons Museum
This museum is located in the north of Saadabad complex. Originally this building was the residence of Mohammad Reza`s brother, Gholam Reza Pahlavi.

This collection contains more than 70 pieces of war weapons and numerous hunting rifles made in some of the famous manufacturers such as: Remington, Winchester, Spring Field and Brno. There are also some of the earlier weapons made by Iranian Royal army in this museum.

There are some gun powder leather bags remaining from Qajar era. One of the highlights of this museum is an outstanding front loaded rifle with its gun hammer which belongs to 16th century which was made in India.

Royal Tableware Museum
Royal Tableware Museum is located at the eastern part of Saadabad. It covers an area of 2600 square meters. This two story building was built during 1937-1940 by the order of Reza Shah by a famous engineer called Farman Farmaeeyan.

Originally this building was covered by carved stones, in 1972 on the order of Ashraf Pahlavi the building was expanded and renovated and its outside walls were covered by alabaster stones.

In 1994 this place was rearranged to be used as Plates Museum.

Military Museum
This building was built by the order of Reza Shah in 1939 and covers an area of 3000 square meters and is a two and half story building built for TajolMolok, the second wife of Reza Shah and mother of the king Mohammad Reza Shah.

During 1973-1974 this building was renovated by SaadAbad engineers and was gifted to Shahram (Shah's nephew) and hence called “Shahram’s Palace”.

In 1984 this building changed to the military museum and now it shows Military History of Iran and contains all sorts of weapons, uniforms, pictures, books and other related items.

Master Farshchian Miniature Museum
This museum is located in the central part of SaadAbad, and it was built during Qajarian era.

This building was the residence of Reza Shah and his fourth wife queen Esmat.

During Mohammad Reza Pahlavi era, his brother and later  his chief cook used to live here.

In the year 2002 this building was converted to Master Mahmood Farshchian Museum. It hosts fifty paintings of this outstanding artist in its five halls.

Omidvar Brothers Museum
This museum is located at the north west of Saadabad complex and was built during Qajar era.

It consists of four rooms which are decorated with beautiful plaster works. This place was used as the residence of the king's carriages drivers.

In 2003 it was repaired and renovated. On the occasion of International Tourism Day, it was named after the first Iranian tourists called Omidvar brothers who travelled around the world. They started their journy with only 90 $ in 1954 and they were travelling for ten years.

Nations Art Museum
During 1967-1971 by the order of the queen Farah Pahlavi the basement of White Palace turned to a special art museum.

After the revolution in 1992 it was named Nations Art Museum. this place contains unique collection of art works from all over the world which have been either bought or gifted and they range from: pre-Islam civilization, Islamic era, arts of Africa, India, Far East, Malaya, and also contemporary arts of Iran and the rest of the world.

Royal Kitchen Museum
Royal Kitchen with an area of 800 square meters is located in the central part of Saadabad complex, next to Darband River.

It was constructed during Pahlavi the second as the kitchen of the White Palace.

In 1975, a German company was assigned to equip the kitchen with modern utensils.

Dedicated cooks were commissioned to serve the king, queen and the children.

Recently this place has been opened to the public. It contains a main hall and 4 rooms.

Persian calligraphy
The art of calligraphy is one of the reputable and famous arts in Iran. The glorious art of calligraphy and its numerous decorations have always been praised by Iranologs.

The importance of the art of calligraphy among Iranian arts is such that some arts seem to be imperfect, without decorative calligraphy. Iranians more than any other nation have used various calligraphy to enrich and beautify earthen-ware, metallic vessels and historic buildings. Most of the handwritten books of Iran specially the Holy Quran, and collections of poems such as Shahnameh, Hafez, Golestan, Boostan and Khayam have been recognized as precious artistic works because of their graceful and delicate calligraphy.

These books possess extraordinary value and importance for the art experts all around the world. The art of calligraphy in Iran has a long history. This history includes the opposition of writing in Iran and its process of evolution from the ancient times till the Islamic period and from this period till the present time.

A tablet in Hieroglyph writing discovered in the north-western part of the Iranian plateau, belonging to the pre-historical period is a sign that the early inhabitants of Iran possessed inscriptive signs and methods. In archaeological searches of Silak and Marlik, dishes and cylindrical seals engraved with the very first Iranian writings have been discovered.

In the ancient Persia and in the different historic eras, languages such as “Ilami”, “Avestaaee”, “Pahlavi”, and “Farsi-e-Mianeh” were spoken. It is believed that ancient Persian script was invented by about 500-600 BC to provide monument inscriptions for the Achaemenid kings. These scripts consisted of horizontal, vertical, and diagonal nail-shape letters and that is the reason in Farsi it is called “Script of Nails” or “Khat-e-Mikhi”.

Centuries later, other scripts” scrip such as “Avestaee” and “Pahlavits were created. The Avestan alphabet or “Avestaaee” was created in the 3rd century CE for writing the hymns of Zarathustra. Avestan is an extinct Indo-Iranian language related to Old Persian and Sanskrit. Avestaaee script was related to the religious scripts of Zoroastrians’ holy book called “Avestaa” and unlike the nail script -that was carved on flat stones- Avestaaee script was written with a feather pen, usually on animal-skin pages. It is surprising that this script has similarities with Arabic scripts such as “Sols” and “Naskh” that centuries later were invented. However, unlike these scripts, letters in Avestaaee were not connected to. each other to form a word but they just were written separately next to each other (similar to Latin scripts). However, it wrote from right to left. After initiation of Islam in the 7th century, Persians adapted Arabic alphabet to Farsi language and developed contemporary Farsi alphabet. Arabic alphabet has 28 characters and Iranians added another four letters in it to arrive at existing 32 Persian (Farsi) letters.

The Kufic writing was the very first inscription used for decorating earthenware and metallic dishes after the reign of Islam in Iran.

The most ancient sample of the flowered cuneiform writing exists in a tablet installed in the mosque of Nain and belongs to the end of the 3rd Islamic century. In this tablet, the beginning and the end of each letter is adorned with paintings resembling leaves from a date-tree.

In the Islamic period, Iranian artists put to work in various ways the Arabic alphabet to adorn mosques and holy constructions, wooden doors, earthenware and metallic vessels. The art of calligraphy flourished even more when the Holy Quran, Shahnameh, and other books were written and reached the highest degree of perfection during the next centuries.

During the Safavid era, virtuous Iranian calligraphers, invented all diverse forms of the Persian writing. Thousands of tablets, books and attractive handwritten pieces are available among the artistic works of calligraphy in Iran.

Iranians acquired great success in the art of binding books in various ways. The leather cover of these books was enriched in the most gracious manner by geometrical and floral patterns and various landscapes.

The art of illumination has had a great role in decorating these leather covers. Some of the most valuable handwritten books of Iran, with leather bindings are being kept in the "Metropolitan" museum, the "National Library of Paris", the "Library of Munich" and some private collections. The calligraphy in these books is mostly accomplished by the great masters of this art.

Writing is considered a tool for the comprehension of the contexts all over the world, but in Iran writing has made its way of becoming an estimable art.

Although art experts around the world are not much informed about the contents of the Persian handwriting, they tend to use Iranian calligraphy work to adorn their libraries and private collections. The expertise brought forth in Iranian calligraphy expresses the most gracious artistic notions.

Calligraphy has been considered among the artistic symbols, letters and elements, which form the word, always bear undeniable esthetic qualities.

Iranian Calligraphic Styles, such as Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and decorative scripts, stands proud as charming among those of every other nation; particularly so, when those are adorned with illumination, which bestows hundred-fold prominence to their sublime forms.

Indeed, Iranian calligraphy truly deserves such illuminations, and such a reverence; its masterpieces, when framed and set upon walls, bear all the attraction of great paintings, affecting even foreigners. Thus many of them are now lovingly collecting items of Iranian Calligraphy.

Iranian Kings and Princes have always been fond of penmanship; Soltan Oveis and Soltan Ahmad Jalayer, Ibrahim Mirza and Baisonqor Gourkani, Shah Tahmasb, Bahram Mirza and his brother, Ibrahim Mirza Safavi, Fath Ali Shah and Abbas Mirza, Mohammad Ali Mirza Dolatshah, as well as many personalities and ministers, and also a number of Qajar Princesses, have all been famous in calligraphers.

“Nas’taliq” is the most popular contemporary style among classical Persian calligraphy scripts. It is known as “Bride of the Calligraphy Scripts”. As a matter of fact, this calligraphy style has been based on such a strong structure that it has changed very little since that time. It is as if “Mir Ali Tabrizi” has found the optimum composition of the letters and graphical rules so it has just been fine-tuned during the passed seven centuries. Nas’taliq is the most beautiful Persian Calligraphy style and also technically the most complicated. It has strict rules for graphical shape of the letters and for combination of the letters, words, and composition of the whole calligraphy piece as a whole. Even the second popular Persian calligraphy style i.e. "Cursive Nas'taliq" or "Shekasteh Nas'taliq" noticeably follows the same rules as Nas'taliq, with more flexibility of course.

It was about 10th century that “Ebn-e-Moqlah Beyzavi Shirazi” conducted a research and studied six major calligraphy styles and categorized them. These styles were "Mohaqqaq", "Reyhan", "Sols", "Naskh", "Reqaa", and "Towqee". All of these calligraphy styles followed 12 major principles. After “Ebn-e-Moqlah” another calligraphy master named “Hassan Farsi Kateb” combined “Naskh” and “Reqaa” styles and invented a new style, called “Taliq”. Eventually in the 14thcentury, “Mir Ali Heravi Tabrizi” combined two major scripts of his time i.e. Naskh and Taliq and created the most attractive Persian Calligraphy style, “Nas’taliq”.

It is really important to note that unlike its ancestors, Nas’taliq follows natural curves. In other words, unlike Arabic scripts that follow logical/geometrical designs, Nas’taliq follows the nature and natural curves. There are a lot of resemblances found between the curves used in Nas’taliq and natural curves and a few examples are shown here. It is interesting that it may not be the preliminary intention of Mir-Ali or the others to write the letters in such a form that they look like natural curves; but rather later these similarities have been found. Therefore, it shows that it is because of the initial spirit of Nas’taliq and its tendency toward nature that it looks so intimate and beautiful.

Iranian masters in Taliq
Khajeh Taj, Abdol Hai, Moinoddin, Darvish Abdollah, Khajeh Ekhtiar and Rouhollah Monshi

In Nastaliq
Mir Ali Heravi, Soltan Ali, Mir Mohammad Baqer, Soltan Mohammd Nour, Soltan Mohammad Khandan, Mohammad Abrishami, Mir Jan, Mohammad ebneh Eshaq, Khajeh Ibrahim, Mohammad Qasem Shadi Shah, Abdi, Shah Mahmoud, Moezeddin Mohammad, Mir Seyed Ahmad, Malek Deilami, Mohammad Hossein Tabrizi, Mohammad Zaman, Mir Emad, Shah Mohammad, Baba Shah Mohammad Reza Tabrizi, Alireza Abbasi and Mohammad Saleh.

Shekasteh
Morteza Qoli Soltan, Shafia, Mirza Hassan Kermani, Darvish Abdolmajid, Mirza Kouchak, Mirza Abdolqasem and Motamedoldoleh Neshat, alongside hundreds of other illustrious names of past calligraphers.

Evolution of various styles of penmanship, aesthetic changes and developments of Iranian calligraphy, assess essential aesthetic variations, evaluate the degrees of evolution attained and discover the brilliant agility of Iranian Artist’s mind within the context of history, show that, although certain decays be more or less conspicuous in the course of history of calligraphy, this very beauty has kept it from annihilation.

Mind of the average Iranian spectator is basically familiar with calligraphy, so that, even though he (she) may not be a calligrapher Himself (herself), nevertheless has a close recollection of tradition of penmanship. This “recollection”, which bears extensive influence from the works of the immediately preceding generation, generally corresponds with the latest basics evolved by the present one, and thus has a relatively clear-cut opinion about calligraphic esthetics.

In this respect, Iranian calligraphy has followed a path similar to that of Iranian painting.

Thanks to innovations achieved by creative minds of Iranian artists, various manners and schools have left such distinct influences, that in most cases, it seems quite easy and safe to single out a work executed in conformity with Iranian Artist’s ideal of beauty.

In both calligraphy and artistry, acquired foreign elements were properly and entirely modified in accordance with Iranian taste, and combined with all the innate elements, traditions and memories of this nation. All this was achieved at once, but rather slowly, with discipline, from father to son and from hand to hand. In calligraphy, Iranian artist made truly immense contribution by innovating Nastaliq script and the latest step of evolution was taken when created Shekasteh Nastaliq. Similarly in painting, at about the same time, when Nastaliq script was being born, artistic originality of Iranian painting achieved utmost brilliancy and in the same time of Shafia Heravi, while Shekasteh Nastaliq was reaching its ideal configuration, followers of the school of Reza Abbasi and Aqa Reza were busy perfecting sublime curves of their compositions.

Natural evolution of both arts continues until the early 20th century A.D. Esthetic regulations were set, each complementing previous ones. Yet, in contemporary period, a totally different event takes place; Iranian painters and calligraphers suddenly free themselves from the natural course of progressive artistic evolution. Rejecting every boundary, they turn back to past styles and manners.

Iranian painters take to considering past artistic schools as national elements and according to their taste and need, start drawing upon them, in part or entirely. Iranian calligraphers also adopt the same attitude. Many great masters, instead of continuing the trends, set by their immediate predecessors, such as Emadolkotab, focus their attention on older manners, sometimes even reverting to examples set by Mir Emad Hassani, Abdolrashid Deilami and Assadollah Shirazi.

This trend of turning back to the manners of ancient masters had also existed in the past, as Mirza Reza Kalhor exercised considerably following examples of Mir Emad, but more in order to learn about the intricacies, refinements, technical and artistic innovations of notorious styles than to revert to the past and to revive its esthetic principles.

Such is the case of many contemporary calligraphers, who exercise in the manner of Mirza Qolamreza Isfahani or Mir Hossein, writing Chalipa or Siah-mashq panels, or of others, who freely make use of calligraphy as a rhythm for composition, rather than an ascetic skill, creating works not unlike bridges thrown between painting and calligraphy.

Yalda Night (Chelleh night)
Yalda Night (Chelleh night) is one of the most beautiful and longest nights of the year in Iran where the ceremonies and celebrations are held with different ways  based on the special traditions of each region.

The word Yalda means birth, and the Yalda Night is one of the traditional ceremonies in Iran, which is held by Iranian coming together the family members and relatives in different parts of Iran.

The Iranians are celebrated the Yalda Night (the first day of winter), the time between the sunset of the last day of the autumn and the sunrise of the first day of winter which is coincided to the longest and the darkest night of the year in the northern hemisphere of the earth.

Various ceremonies are common in different regions and cities of Iran in this night such as eating special fruits i watermelon and pomegranates, nuts and sweets, cooking local food, reading Hafiz, horoscope, reading poetry, reading the Shahnameh, reading stories, etc., each of which has a symbolic aspect and they are the signs of Blessing, health, abundance and happiness.

Fajr Decade
Iran is an Islamic country owes its Islamic dimensions to the great revolution, known as the Iranian Islamic Revolution of 1977 (1357 SH), which done by huge crowd participation of the public, Islamic characters, clerics, students, merchants, opposing political parties, intellectuals and etc., who expressed their dissatisfaction with the situation of the Imperial regime in many different ways as clashes, general strikes, street demonstrations and protests, from a long time ago.

The main root of Islamic Republic of Iran can be found in the 1953 coup (known in Iran as 28 Mordad coup) and its concurrent events; the cause of developing the Islamic movement can be counted as follows: absolute attachment to the West, specially to US, kings not authorized to make important decisions, corrupt and irreligious kings who tried to deceive the young, ignorance of the people's vote, confrontation with liberalism, pervasiveness of oppression and injustice supported by the government, scientific, industrial undeveloped  and the lack of amenities. Following this anti-royal revolution on February 11th (22nd of Bahman), the struggle of the Muslim people finally worked to the fore and the kingdom of Iran was overthrown and the setting for the coming of the Islamic Republic under the leadership of the Shiite cleric, Seyyed Rouhollah Khomeini, was provided.

The 10 days between February 1st (Bahman 12th) and February 11th (Bahman 22nd) of 1977 (1357) are called Fajr Decade; which Imam Khomeini entered to Iran after the fifteenth years of exile, and the greatest welcome in history took place from him in Tehran, and eventually the Pahlavi regime was extinct after more than 50 years of oppression and tyranny on February 23rd. After the triumph of revolution, a referendum was held on creating Islamic Republic in 28 July 1979; it was approved by 98.2% of eligible citizens.

On the occasion of this great victory, Iranian nation decorates the cities, streets and different areas with different decorative objects, flowers, the picture of Imam Khomeini and Sayyed Ali Khamenei, the supreme leader of Iran, and the flag of Islamic Republic of Iran during the Fajr decade every year. Iranians also celebrate this decade with performing revolutionary songs, holding various festivals as Fajr (the most extensive film, theatre and music festival in Iran), holding different ceremonies in governmental organizations and centers across the country. Schools start at 9:33 in 1 February, on the occasion of entering Imam Khomeini to Iran. Moreover, in February 11th, an official holiday, people hold a glorious rally in different cities, to celebrate this triumph.



Rose water festival (Golabgiri)
Lalehzar, Kerman, Iran holds an annual festival of Rose and Rose Water In Ordibehesht (May and June). In this festival people pick up the Mohammadi roses to obtain rosewater out of them. People hold this festival mostly in Kerman and Kashan, Iran.



Tehran Book Fair
The Tehran Book Fair is one of the leading publishing events in the region. It takes place annually in May or June and attracts roughly five million visitors and thousands of domestic and international publishers. It is one of the pre-eminent book events in the Middle East and Asia, and usually takes place on the Grand Prayer Grounds in Tehran, a special venue for visitors to pick up rare and out-of-print literature.

Higher education in Iran
Universities and research institutes in Iran are open to all eligible Iranians and non-Iranian applicants. Two main ministries are responsible for directing the science, research and technology. The first and the largest one of the two, is the Ministry of Science, Research and Technology (MSRT), which is in charge of all the courses of Basic Science, Human Science, Engineering, Art, Agriculture, and in charge of universities, research centres and all Science and Technology Parks. The second is the Ministry of Health and Medical Education (MOHME), which oversees the integration of the delivery of health services and medical education, all medical universities and also the Clinical courses. From 1988, non-profit private universities were allowed to operate.

There are two main types of higher education institutions in the country:" University (public and private) "University (public and private) - comprehensive, specialized,    applied sciences, distance learning, medical, or private.Iran has a large network of Public, Private, and State affiliated universities offering degrees in higher education, where there are two main ministries responsible for directing the science, research and technology. The first and the largest one of the two, is the Ministry of Science, Research and Technology (MSRT), which is in charge of all the courses of Basic Sciences, Human Sciences, Engineering, Art, Agriculture, and in charge of universities, research centres and all Science and Technology Parks.

The second is the Ministry of Health and Medical Education (MOHME), which oversees the integration of the delivery of health services and medical education, all medical universities and also the Clinical courses. A list of all the universities accredited by the Ministry of Science, Research and Technology is given below, in:

- Public Universities

Private Universities There are a significant number of private universities in Iran, admissioning students at different graduate and postgraduate levels, the list of which are gievn below:

 Research Institutions 

There are a total of 49 research institutions across the country, some of which is given below:

Iranian Research Organization for Science and Technology (IROST)

National Research Institute of Oceanography and Atmospheric Sciences (INIO)

National Institute of Genetic Engineering and Biotechnology (NIGEB)

The Materials and Energy Research Center (MERC)

Chemistry and Chemical Engineering Research Center of Iran

International Institute of Seismology and Earthquake Engineering (IIEES)

Iranian Research Institute for Information Science and Technology (IRANDOC)

Iran Polymer and Petrochemical Institute (IPPI)

Atomic Energy Organization of Iran1448109235-image7.jpg

Institute for Humanities and Cultural Studies (IHCS)

Niroo Research Institute (NRI)

Institute for Color Science and Technology (ICST)

Subsea Research & Development Centre (SRDC)

Institute for Transportation Studies & Research (ITSR)

Green Research Center (GRC)

Institute for Cognitive Science Studies (ICSS)

Information & Communication Technology Institute

National Climate Center

Atmospheric Science and Meteorological Research Center (ASMERC)

Laser & Plasma Research Institute

Sports Sciences Research Institute of Iran (SSRII)

Research Institute of Food Science and Technology

Holidays and observances in Iran
" Martyrdom Of Hazrat Fatimah "Martyrdom Of Hazrat Fatimah is a bank holiday in Iran observed on the third day of the Islamic month Jumada al-Thani.

The Islamic calendar is based on lunar months and as such runs about 12 days shorter than the western calendar.

"Islamic Revolution Day"Islamic Revolution Day is a public holiday in Iran observed on the 22nd day of the Persian month of Bhaman. This means it is celebrated on February 11th in the western calendar.

Known in Iran as known as Bahman 22nd, it is the National Day of Iran and marks the Islamic Revolution of 1979. ran had been an absolute monarchy ruled by the Pahlavi dynasty since 1925. In the 1960s, a series of reforms intended to modernise Iran had failed to improve the economic conditions. Large-scale rioting took place following the arrest of the cleric, Ayatollah Ruhollah Khomeini who had made a speech attacking the Shah. Khomeini was sent into exile in November 1964.

In 1978, resistance against the rule of the Shah intensified, with marches, demonstration, and strikes paralysing the country. Recognising that he had lost control and suffering from ill-health, the Shah left Iran on January 16th 1979.

On February 1st 1979, Khomeini made a triumphal return to Iran and led the campaign to overthrow the remnants of the Shah's rule.

Ten days later, the Pahlavi royal regime was defeated when Iran's military declared itself "neutral" after rebel troops overwhelmed those still loyal to the Shah.

Two months later, the new government held a referendum on establishing the Islamic Republic based on a new constitution replacing the Persian monarchy that had ruled for 2,500 years. This event is marked by another public holiday, Islamic Republic Day.

Khomeini served as Supreme Leader of Iran from 1979 to his death in June 1989.

The 10-day period from the return of Imam Khomeini until the revolution’s victory is celebrated annually in Iran and is known as the Ten-Day Fajr (Dawn).

Every year on February 11th, large rallies and marches take place through the boulevards of Iran's cities in remembrance of those who died for the struggle of independence and to pay tribute to Ayatollah Khomeini and his role in liberating the country.

In Tehran, the marches end at Azadi (Liberty) Square which has become the focal point of annual celebrations. The day is also marked by firework displays in the evening. " Oil Nationalisation Day "Oil Nationalisation Day is a national holiday in Iran, observed on Esfand 29 in the Iranian calendar.

This day marks the anniversary of the nationalization of the oil industry in 1951, seen as a key step in Iran's independence from the West.



 Imam Ali's Birthday 

Imam Ali's Birthday is a public holiday in Iran and also a regional holiday in India.

It commemorates the birthday of Ali ibn Abu Talib, who was the son-in-law of the Prophet Muhammad and considered to be the first Imam by Shia Muslims.

Imam Ali, also known as Hazrat Ali, is an important figure for all Muslims worldwide.

He was born on the 13th day in the Islamic month of Rajab in the year 599 AD. He was the son of Abu Talib and Fatima bint Asda and has the unique distinction of being the only person to be born in the sacred sanctuary of the Kaaba in Mecca, the holiest place in Islam.

" Nowruz in Iran "Nowruz is the most important event in the Iranian calendar institutions in the country shut down for two weeks. Many people use the time to visit friends and family or make religious pilgrimages. Nowruz celebrates the Persian New Year, and the beginning of Spring. Nowruz means 'New Day'.

This is one of humanity's oldest holidays, and although it may be often called Persian New Year, it predates the Persian Empire and can be traced back 5,000 years to the Sumerian and the Babylonian civilisations. Novruz begins on either 20 March or 21 March, on the spring equinox, when the days and nights are equal lengths, with days then becoming longer signifying the arrival of warmer weather.

Islamic Republic Day is a public holiday in Iran observed on the twelfth day of the first Persian month of Farvardin. This usually means it is celebrated on April 1st in the western calendar.

This holiday celebrates the anniversary of the 1979 establishment of the Islamic Republic.  Islamic Republic Day Islamic Republic Day is a public holiday in Iran observed on the twelfth day of the first Persian month of Farvardin. This usually means it is celebrated on April 1st in the western calendar.

This holiday celebrates the anniversary of the 1979 establishment of the Islamic Republic.

In February 1979, Ayatollah Ruhollah Khomeini returned to Iran after 15 years in exile and led the campaign to overthrow the Shah of Iran.

Two months later, the new government held a referendum on establishing the Islamic Republic based on a new constitution replacing the Persian monarchy that had ruled for 2,500 years.

On 12 Farvardin, the results of the referendum were  announced with 98.2% of the Iranian people voting in favour of an Islamic Republic " Nature Day " On the 13th day of the month of Farvardin, Iranians celebrate a festival known as Sizdah Be-dar, also referred to as Nature Day. It is a public holiday in Iran that falls on April 2 in the Gregorian calendar.

The Iranian Nature's Day or Sizdah Bedar (in Persian) is an ancient tradition that has been observed through the history of the country by spending the thirteenth day of the spring outside. There are various narratives on the day, but it is well-known to Iranians that spending the thirteenth day of Nowruz keeps evil away from them throughout the year.

There are various games, dishes, and activities specific to the day. For instance, the day is characterized by team games, and serving pottages. People also sing their favorite songs collectively. There is also a tradition, based on whingle people on the day knot the grass and wish they get married by the end of the year.

Despite the ancient anecdotes and folklore, today the thirteenth day of the year has gained significant importance to Iranians. The day is now observed as a time to appreciate the 'Mother Nature'.

 The Prohet's Ascension Known as The Prophet's Ascension or the Night Journey, this holiday is observed on the 27th day of Rajab, the seventh month in the Islamic calendar.

Isra and Mi’raj Night marks the Prophet Muhammad’s (PBUH) journey from Mecca to Jerusalem and ascent into heaven, sometime around the year 621, according to Islamic belief.

The details come from the Quran and other teachings from the Prophet Muhammad (PBUH).

The Night Journey starts with the appearance of the angel Gabriel who takes the Prophet Muhammad (PBUH) to Jerusalem on a winged horse.  Imam Mahdi's Birthday 

Imam Mahdi's Birthday is a national holiday in Iran on Mid-Sha’ban, the fifteenth day of the eighth month of the Islamic lunar calendar

it is believed that the 12th Imam would be the final Imam who would be the 'Mahdi' or 'Guide' for humanity until the Day of Judgement.

About 1,200 years ago, according to Shia tradition, Imam Hassan Asgari, the 11th Imam give birth to a son, Muhammad.

Because of the ruling Abbasid Caliph's crackdown to avoid the birth of the 12th Imam, Asgari kept the child’s birth secret and informed only close companions of the existence of his successor.

In Iran, people decorate and light up streets and gather inside mosques and other religious sites across the country to celebrate this auspicious occasion.

 Martyrdom of Imam Ali 

The Martyrdom of Imam Ali is a public holiday in Iran on 21 Ramadan.

It commemorates the Martyrdom of Ali ibn Abu Talib, who was the son-in-law of the Prophet Muhammad and considered to be the first Imam by Shia Muslims.

Imam Ali, also known as Hazrat Ali, is an important figure for all Muslims worldwide.

 Demise of Imam Khomeini 

The Demise of Imam Khomeini is a national holiday in Iran on June 4th each year.

This holiday commemorates the founder of the Islamic Republic on the anniversary of his death in 1989.

Imam Khomeini dedicated most of his life to resistance against the Pahlavi dynasty, which finally led to its downfall in the 1979 Islamic Revolution. Grand Ayatollah Seyyed Rouhollah Mousavi Khomeini, better known as Ayatollah Khomeini, was born to a family of religious scholars in September 1902 in the central Iranian city of Khomein.

His father was murdered when Khomeini was just five months old. He began studying the Quran and the Persian language from a young age and was assisted in his religious studies by his relatives, including his mother's cousin and older brother.

In the pre-Revolution era, he spent more than 15 years in exile for his stiff opposition to the last monarch, Mohammad Reza Pahlavi

After his return from exile in February 1979,  Khomeini led the Iranian Revolution which saw the end of the 2,500-year-old Persian monarchy.

He became the Supreme Leader of the Islamic Republic in 1979. Imam Khomeini ruled the country until he passed away on June 3rd 1989, at the age of 87.

 Khordad National Uprising  Khordad National Uprising is a national holiday in Iran that takes place on Khordad 15th, which is usually June 5th in western calendars.

Also known as the Revolt of Khordad 15, this day commemorates the public protests in 1963 that are seen as a pivotal point in Iran's transition to the Islamic Republic.

In 1963, Ayatollah Ruhollah Khomeini had been arrested after making critical statements against the Shah of Iran, Mohammad Reza Pahlavi, Israel and the United States.

The arrest sparked large crowds taking to the streets in protest. The protests were violently suppressed and a number of people were killed by the police and the military in different cities. Khomeini was sent into exile in November 1964.

Fifteen years later, in 1979, Imam Khomeini returned from exile to overthrow the Shah of Iran and lead Iran’s Islamic Revolution.

 Eid e-Fitr 

Eid follows Ramadan, which marks the month in which the Qur’an was first revealed to the Prophet Muhammed, who Muslims consider the final prophet and who they honour by adding the term ‘peace be upon him’.

There are two Eids in Islam. Eid al Fitr, also referred to as the smaller Eid, and Eid al Adha or 'Festival of the Sacrifice'.

Muslims celebrate Eid to show thankfulness to Allah for allowing them to finish and be able to fulfil their obligation by fasting, completing good deeds in the month that Muslims consider as being better than 1,000 months.

Eid is also an opportunity for Muslims to show thankfulness to God in the hope of having past sins forgiven and a chance to wipe the slate clean. " Eid-ul-Adha "There are two key Eid’s (Celebration Festivals) in Islam: Eid-ul-Fitr, which signifies the completion of the Holy Month of Ramadan; and Eid-ul-Adha, the greater Eid, which follows the completion of the annual Hajj pilgrimage, at the time of Qurbani (sacrifice).

Although Eid-ul-Adha has no direct relation to the Hajj Pilgrimage, it is but a day after the completion of Hajj and therefore has significance in time.

There are two key Eid’s (Celebration Festivals) in Islam: Eid-ul-Fitr, which signifies the completion of the Holy Month of Ramadan; and Eid-ul-Adha, the greater Eid, which follows the completion of the annual Hajj pilgrimage, at the time of Qurbani (sacrifice).

Although Eid-ul-Adha has no direct relation to the Hajj Pilgrimage, it is but a day after the completion of Hajj and therefore has significance in time.

The day of Eid-ul-Adha falls on the tenth day in the final (twelfth) month of the Islamic Lunar Calendar; Dhu-al-Hijjah. The day that celebrations fall on is dependent on a legitimate sighting of the moon, following the completion of the annual Holy Pilgrimage of Hajj -  which is an obligation for all Muslim’s who fit specific criteria, one of the important Five Pillars of Islam.

The celebration of Eid-ul-Adha is to commemorate Prophet Ibrahim’s devotion to Allah SWT and his readiness to sacrifice his son, Ismail. At the very point of sacrifice, Allah SWT replaced Ismail with a ram, which was to be slaughtered in place of his son. This command from Allah SWT was a test of Prophet Ibrahim’s willingness and commitment to obey his Lord’s command, without question. Therefore, Eid-ul-Adha means the festival of sacrifice.

Depending on the country, the celebrations of Eid-ul-Adha can last anywhere between two and four days. The act of Qurbani (sacrifice) is carried out following the Eid Salaah (Eid Prayers), which are performed in congregation at the nearest Mosque on the morning of Eid.

The act of Qurbani consists of slaughtering an animal as a sacrifice to mark this occasion in remembrance of Prophet Ibrahim’s sacrifice for Allah SWT. This is also known as Udhiya. The days of animal sacrifice total three days, from the 10th to the 12th of Dhu-al-Hijjah.

The sacrificial animal must be a sheep, lamb, goat, cow, bull or a camel; the sheep, lamb or goat consist of one Qurbani share, whereas a bull, cow or camel consist of seven shares per animal. The animal must be in good health and over a certain age in order to be slaughtered, in a “halal” friendly, Islamic way.

The Qurbani meat can then divided into three equal portions per share; one-third is for you and your family, one-third is for friends, and the final third is to be donated to those in need.Traditionally, the day is spent celebrating with family, friends and loved ones, often wearing new or best attire and the giving of gifts.

 Eid-e-Ghadir 

Eid-e-Ghadir is a national holiday in Iran, observed on the 18th day of the Islamic month of Dhu al-Hijjah, the final month of the lunar-based Muslim calendar.

Also sometimes written as Eid ul Ghadeer, Eid al-Ghadeer, Eid ul Ghadir and Eid al-Ghadir, this eid (festival) commemorates the appointment of Ali as Muhammad's successor, an important event to Shia Muslims.

Iranian handicraft
One of the traditions of Ancient Persia is handicrafts, which are preserved in the culture of the nation and passed on from generation to generation. Today handmade products are highly regarded outside Iran as a unique art. Popular ways of Iranian handicraft are true masterpieces, and each of them has its own history. Art is a fine industry in Iran and is famous for its unique handicrafts.

Persian Carpet
Persian Carpet is an inseparable item from Iranian art and culture. It is undoubtedly one of the most distinguished manifestations of Persian dates back to the Ancient Persia (c.500 BC). The "traditional skills of carpet weaving" in Fars Province and Kashan City were inscribed as Intangible Cultural Heritage Lists of UNESCO in 2010.

The pattern of carpets reminds you of the Persian garden which is full of florae, birds, and other animals. Wool, cotton, and silk are the most common materials in carpet weaving.

Traditional dyes used in Persian carpets are taken from plants and insects. As an example, red from “Madder”, yellow from “onion”, and black from “Oak apples”.



Minakari (Enameling)
The art of Minakari or Enameling is the art of fire which is used to make decoration on metal and tile with mina glaze. The patterns used for enamel works are traditional designs depending on the preferences of the artist. In Iran,  is mostly done on copper and silver. Enamel working and decorating metals with  and baked coats is one of the distinguished courses of art in Isfahan.



 Miniature  The Persian miniature is a rich and detailed painting with religious or mythological patterns. According to the evidence the art of miniature painting in Persia started from early centuries in early post-Islam and after the collapse of Sassanians. However, the art has flourished in the 13th century during the Safavid dynasty. One of the specifications of Iranian miniature is the bright  in which the pigments are mineral-based.

The earliest painted miniatures appeared in horizontal orientation without any frame. The vertical format first introduced in the 14th century.

Khatamkari
Khatam Kari is the art of decorating wooden surfaces with small mosaic-like veneers in the form of triangles made of different woods and

materials. These materials include Areca wood, Ebony, the wood of Citron Tree, Jujube wood, and bones of camel, horse, and cow.

The oldest item of Khatam-Kari art is dated back to the Safavid period, however, there is no evidence when the art started exactly. There are some similar works in other countries such as Syria and Lebanon but the cradle of Khatam-Kari is Iran.

Isfahan city has been the main center of Khatam working in Safavid period but, then it became popular in Shiraz. It is used to produce some objects such as backgammon board, chessboard, Quran rack, Frames and small boxes.



Ghalamzani (Engraving)
Ghalamzani is the art of carving superb designs on metals such as copper, brass, silver, and gold. The same as other Iranian arts, Isfahan is the main  for engraving with a significant development in the Safavid dynasty.

Persian Spices
Spices come from different plant parts: seeds, fruits, roots, or barks, used for adding flavour and colour to foods.Some spices are commonly used around the world, but others are specific to some regions. Actually, the diversity of the culinary cultures is the result of using different seasoning agents. What makes the Persian cuisine deliciously unique is the mixture of typical spices.

Sauteing spices increases their depth and pungency. Some spices like turmeric should be toasted to give their nobel flavour notes but some others like sumac are added just before serving.

Persian spices can be found in local bazaars of each city around Iran, in Attari (traditional herbal medicine and spice shops), or packaged in large grocery stores.

It is better to store spices in tightly sealed glass containers. Humidity and heat will strongly affect the quality of spices, so keep them in cool, dry and dark places

Snacks and Drinks
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