About Khaju Bridge in Esfahan province
The Bridge of Khaju or pole-i-Khaju, the most famous of Isfahan bridges, has roused the admiration of travelers since the 17th century. There was an earlier bridge across the river at the same spot, near the district of Khaju on the old Shiraz road; this was probably built in the reign of Timurian sovereign, one of the successors of Tamerlane (15th century).
Shah Abbas II built the present structure round about 1650. It has 23 arch and are 436 feet long and 39 feet wide. It is also a dam; sluice gates between the piers closed the canals, raising the water level upstream so that large reserves could be collected for irrigating the surrounding gardens. With its two stories of arcades with intersecting arches, its stone steps downstream with the water cascading over them, and its two large pavilions in the center- (The Prince` Parlors)- this bridge is a masterpiece of balance and harmony.
The outer side of the arcades is decorated with richly colored tiles, and the interior of the pavilions with more recent paintings. Shah Abbas the second of the Safavid dynasty on the ruins of Hassan Baik Bridge in 1650 or 1655.The bridge has been known with a variety of titles including Pol-e-Shahi, Pol-e-Khaju, Pol-e-Baba Rokneddin, and Pol-e-Gabrha built this bridge. The bridge is 105 meters long and 14 meters wide. The pass way of the bridge is 7.5 meters wide, made of bricks and stones with 21 larger and 26 smaller inlet and outlet channels. The pieces of stone used in this bridge are over 2 meters long and the distance between every channel and the ceiling base is 20 meters. The existing inscriptions suggest that the bridge was repaired in 1873.
About Mosque of Shaykh Lutf Allah in Esfahan province
The Mosque of Shaykh Lutf Allah on the east side of Maydan-i-Imam (Naqsh-i-Jahan) is a pleasantly proportioned small sanctuary preceded by a shady square and a large pool It was built by Shah Abbas I between 1602 and 1619. It is named after scholar of Islam who was greatly venerated at the time.
A native of Lebanon, this Shaykh was invited by the king, first to Mashhad, near the sanctuary of the Imam Reza, then to the capital where he has put in charge of the king`s mosque and the school of theology. The great originality of the cupola is due to the cream or ink according to the time of day-ground color to which the artist has added a very delicate decoration of serried arabesques and black and blue flowers. The turquoise and sapphire shades of classic Safavid art appear only on the drum and right at the top.
The decoration of the entrance portal consists of vault with stalactite and blue and yellow mosaics, and anticipates that of the great ivans of the Imam`s Mosque. Here, however, the subjects are amazingly varied, as for instance on the panel showing two peacocks framing a flower vase filled with luxuriant branches. This small mosque has no central inner courtyard; there is only a small prayer hall which is approached by a corridor. But it is a real gem in which the art of mural mosaics in Isfahan reached its peak. There is not a flaw in the quality of the materials.
The balance and harmony of the colors. The walls are entirely faced with sumptuous ornamental (carpets) of gilt geometrical designs on a splendid bluish-green background. All round the large panels are stringcourses on which the Persian calligraphers have drawn elegant white lettering. The inscription in the mihrab gives the name of the architect: a poor and humble man, seeking God`s mercy, called Ustad Mohammed Reza, the son of Ustad Hussein, architect in Isfahan in 1028 (of the hegira). The mihrab itself is a model of its kind with its high niche and ceramic facings.
The entrance vestibule The decoration of the entrance portal consists of vaults with stalactites and blue and yellow mosaics, and anticipates that of the great ivans of the Imam`s Mosque. Here, however, the subjects are amazingly varied, as for instance on the panel showing two peacocks framing a flower vase filled with luxuriant branches. Polychrome tileworks The Safavid period marks a high point of the polychromatic decoration of buildings, techniques being developed that enable the builders of Isfahan to cover almost every surface that could be seen with brightly colored glazeness.
Entrance to the Sanctuary To enter the Mosque, one passes hrough a narrow, bending passageway whose darkness confers an aura of mystery that contrast perfectly with the sudden impact of the softly lit spaciousness of the chamber. The Safavid period marks a high point of the polychromatic decoration of buildings, techniques being developed that enable the builders of Isfahan to cover almost every surface that could be seen with brightly colored glazeness.
The Main Prayer Hall This small mosque has no central inner courtyard; there is only a small prayer hall which is approached by a corridor. But it is a real gem in which the art of mural mosaics in Isfahan reached its peak. There is not a flaw in the quality of the materials. The balance and harmony of the colors. The walls are entirely faced with sumptuous ornamental (carpets) of gilt geometrical designs on a splendid bluish-green background. All round the large panels are stringcourses on which the Persian calligraphers have drawn elegant white lettering.
The inscription in the mihrab gives the name of the architect: a poor and humble man, seeking God`s mercy, called Ustad Mohammed Reza, the son of UstadHussein, architect in Isfahan in 1028 (of the hegira). The mihrab itself is a model of its kind with its high niche and ceramic facings. Dome of the Shaykh Lutf Allah Mosque This exquisite building, more private oratory than public mosque, was erected by Shah Abbas I between 1603 and 1618 on the Royal Maydan (Maydan-i-Imam) facing the Ali Qapo Palace.
It is named after the Shah`s father-in-law who was a respected divine. There are a number of unusual features about the building: its squat and partly unglazed dome; the absence of a central court and ivans; the single sunken sanctuary chamber covered from top to bottom in mosaic faience of the highest quality. The 42 ft. wide dome rests on a drum pierced by 16 small windows, through whose double grilles the light plays. The tilework of the ceiling is perhaps the most intricate in Isfahan and has the quality of a finely woven carpet. The building was extensively and skillfully restored between 1954 and 1956.
About Minar Jonban in Esfahan province
The tombstone of Amu Abdollah bears the Hijrah date of 716 A.H. (1316 A.D.) and two minarets, one on either side of the mausoleum ivan, from the main attraction of this place, since any movement produced in one of them is automatically reflected not only in the other minaret, but even in the whole ivan. Hence, the popular name (Minar-i Jonban).
The architectural style of the monument is that of the Mogul period. The ivan of the mausoleum has been ornamented with four-pointed and polygonal azure tiles, and an inscription on the tombstone reads as follows: (This is the tomb of the virtuous,god-fearing Sheikh, Amu Abdollah ibn Muhammad ibn Mahmud Saqla, my God less his soul. Dated (17th Zil-Hijja, 716 A.H.).
One of the stunning historical buildings in Isfahan is Menarjonban which is located 6 kilometers west of the city of Isfahan, on the way to Najaf Abad in a village called Karlatan. The architectural style here belongs to the 14th century (Mongol style) complemented with dark blue tiles in the form of stars decorating two arches and the sides of the portico. If you climb up the very narrow stairway to the top of one of these two shaking minarets and lean hard against the wall it will start to sway back and forth, and so will its twin. This situation, according to experts has occurred gradually with the passage of time.
About Naghsh-e Jahan in Esfahan province
On the present site of Maidan-i-Imam before Isfahan became the Safavid capital, there used to be another square called naqsh-i-Jahan (Design of the world), much smaller than the square today.
It was Shah Abbas the Great who made Isfahan his capital and then decreed that the square should be extended to its present size, and lovely buildings set around it. The length of this great square, which is actually rectangular, is 500 meters from north to south, and its width about 150 meters from east to west. It was laid out and beautified in the reign of Shah Abbas the Great, at the beginning of the seventeenth century. From that time until sixty years ago the square presented a very different aspect from the square to day.
The whole area of the square within the limits of the water channels round it was quite level, while to the north and south stood two goal posts for the game of polo. Those two goals posts are still in position but replanning with large pool in the center, and lower beds round has transformed the square and given it a completely new look. Most of the buildings round are two-storied and the alcoves simply decorated.
To the south of Maidan can be seen the great pile of Abbasi Jami (Masjid-i-Shah) - the Royal Mosque a vista of blue, - to the east is Sheikh Lutf Allah Mosque quite unequaled - to the west the royal palace of Shah Abbas the Great, Ali Qapo and to the north the Qaysariyeh gateway leading to the Royal Bazaar. The most noteworthy feature of the square is the way in which in sunshine and shade and the varying lights of the day, the whole wonderful expanse takes on a hundred different aspects each more attractive and lovely. If, as some foreign travelers have said, (Isfahan is the heart of the Orient), then Maidan-i-Imam is certainly the heart of Isfahan.
We can still appreciate its wonder on viewing it today, but imagination is needed to recapture the glory of four centuries ago. Let us try to imagine Isfahan four centuries ago. First place a hundred and ten cannons a hundred and ten paces from each side of the entrance to Ali Qapo palace, for a hundred and ten computed in the ancient letters gives the name of the Prophet`s son-in-law, Ali, who was especially venerated by the Safavid King. The palace itself has all the dazzling beauty of the period, lovely doors and all kind of expensive objects and furnishings.
Shah Abbas, of the piercing glance, sits there, surrounded by all the important personalities and ambassadors of the day, Persians and foreigners, and from the lofty gallery views the polo and other maneuvers of his Qezelbash guards below.
This will give you some idea of Isfahan`s former greatness. The Qaysariyeh and the entrance of the Royal Bazaar, built in 1619, stand at the north end of the Maidan. The frescoes and painted pendentives of this gateway are still worth note. The frescoes, which picture the war of Shah Abbas, the Great with the Uzbecks, have faded badly in the air and sunlight, but the roof pendentives are still in good condition. Above the gateway here is some lovely mosaic tiling: these show the play of the star Sagittarius, the Archer, for in the old day eastern writers considered that Isfahan was under the influence of this star.
The symbol of the archer shows a creature, half-man, half-tiger, with a large snake for its tail and this is depicted in the tilework here.
The doorway of the Qaysariyeh opens into the Royal Bazaar, where you can find all kinds of hand-woven, hand-printed cloth being sold and you can also go in and see how the patterns are made and applied. This Bazaar has a wonderful painted crossroads, dating from Safavid times, the most beautiful and most important arches crossroads in Isfahan. At that same period, the upper galleries of the gateway used to contain bands of musicians and at sunset each evening the bands would strikes up, with kettle-drums, trumpets, horns and all kinds of military music.
About Nimavand in Esfahan province
Built by Zinat Baigum, in the reign of Shah Sulaiman, this is one of Esfahan`s famous Madrasa highly popular with the students of theology. It has ample tile and stucco ornamentation`s and fine portal stalactites, of which a good many have survived together with some verse inscription friezes.
About Pir-e-Bakran Tomb in Esfahan province
The tomb of Pir-e-Bakran, together with a gallery and courtyard date back to 8th. century A.H. (14th.century A.D.) and have been constructed in the reign of the Mogul Ilkhan Uljaitu.
This complex of structures bears two dates, namely 703 and 712 A.H. (1303 and 1312 A.D.), and possesses excellent stucco decorations and tilework inscriptions in Thulth and Kufic calligraphy and a series of inscription plaster works add considerably to the grandeur and charm of this monument.
The mausoleum is that of an eighth century pious man, Muhammad ibn Bakran and consists of a gallery, a courtyard, a portal and the actual tomb.
The name of the constructor and decorator of this superb building, given in the inscription, is Mohammed Naghaash (the painter), and his work ranks among the masterpieces of the decorative arts in Iran.
About Ali Qapu in Esfahan province
The name Ali Qapu, (Magnificent Gate), was given to this place as it was right at the entrance to the Safavid palaces which stretched from the Maidan Naqsh-i-Jahan to the Chahar Bagh Boulevard.
The building, another wonderful Safavid edifice, was built by decree of Shah Abbas the Great in the early seventeenth century. It was here that the great monarch used to entertain noble visitors, and foreign ambassadors.
Shah Abbas, here for the first time celebrated the Now - ruz (New Year`s Day) of 1006 AH / 1597 A.D. A large and massive rectangular structure, the Ali Qapu is 48 meters high and has six floors, fronted with a wide terrace whose ceiling is inlaid and supported by wooden columns.
Ali Qapu is rich in naturalistic wall paintings by Reza Abbassi, the court painter of Shah Abbas I, and his pupils. There are floral, animal, and bird motifs. The highly ornamented doors and windows of the palace have almost all been pillaged at times of social anarchy. Only one window on the third floor has escaped the ravages of time.
Ali Qapu was repaired and restored substantially during the reign of Shah Sultan Hussein, the last Safavid ruler, but fell into a dreadful state of dilapidation again during the short reign of invading Afghans. under the Qajar Nasir al-Din shah`s reign (1848-96), the Safavid cornices and floral tiles above the portal were replaced by tiles bearing inscriptions.
Shah Abbas II was enthusiastic about the embellishment and perfection of Ali Qapu. His chief contribution was given to the magnificent hall, the constructures on the third floor. The 18 columns of the hall are covered with mirrors and its ceiling is decorated with great paintings.
The chancellery was stationed on the first floor. On the sixth, the royal reception and banquets were held. The largest rooms are found on this floor. The stucco decoration of the banquet hall abounds in motif of various vessels and cups. The sixth floor was popularly called (the music room).
Here various ensembles performed music and sang songs. From the upper galleries, the Safavid ruler watched polo, maneuvers and the horse-racing opposite the square of Naqsh-i-Jahan.
Cause of Denomination
The Ali Qapu has multiple connotations, but generally connotes entrance or supreme gate to the complex of palaces and public buildings of the Safavid Government.
Construction Stages
The Ali Qapu building was founded in several stages, beginning from a building with a single gate, with entrance to the government building complex, and gradually developed, ending in the existing shape.
The period of the development, with intervals lasted approximately seventy years.
First Stage :
The initial building acting as entrance to the complex was in cubical shape and in two stories, with dimensions measuring 20 x 19 meter and 13 meter high.
Second Stage :
Foundation of the upper hall, built on the entrance vestibule, with cubical shape, over the initial cubic shape structure with the same height in two visible stories.
Third Stage :
Foundation of the fifth story, the music amphitheater or music hall, built on the lower hall, using the central room for sky light, and thus the vertical extension being emphasized.
Fourth Stage :
Foundation of the eastern verandah or pavilion advancing towards the square, supported by the tower shaped building. By foundation of this verandah, the entrance vestibule was extended along the main gate and passage to the market, perpendicular to the eastern flank of the building.
Fifth Stage :
Foundation of the wooden ceiling of the verandah, supported by 18 wooden columns, and contemporaneous with erection of the ceiling, an additional stairway of the southern flank was founded and was called the Kingly Stairway.
Sixth Stage :
During this stage a water tower was built in the northern flank for provision of water for the copper pool of the columned verandah.
Plaster decorations in reception story and music hall.
The room on the sixth floor is also decorated with plasterwork, representing pots and vessels and one is famous as the music and sound room. It is certainly well worth visiting for the cut out decorations round the room, which represent a considerable artistic feat.
These cut out shapes were not placed there to act as cupboards: the stuccowork is most delicate and falls to pieces at the highest touch. So we conclude that it was placed in position in these rooms for ornament and decoration. The rooms were used for private parties and for the King`s musicians, and these hollow places in the walls retained the echoes and produced the sounds of the singing and musical instruments clearly in all parts.
Ceiling decorations
The decoration of the large room on the third floor which opens out on the large pillared hall, and which was used by Shah Abbas for entertaining his official guests is the most interesting. Fortunately the ceilings, on which birds are depicted in their natural colors, have remained without interference in their original state from Safavid times, and these are the best roofs in the building.
About Zayandeh Rud in Esfahan province
The Zayandeh Rud river watering gardens and fields with its numerous tributaries along its 360 km. course, flows from west to east through the city, and divides off Jolfa and some other suburbs from the main port of the city, but most of the main attractions are to the north of the river.
About Sheykh Abdolsamad tomb in Esfahan province
A group of splendid tiled and stucco buildings surround the shrine of the thirteenth century Sufi Teacher and mystic Shaykh Abd al-Samad Esfahani in the mountain town of Natanz.
The Shaykh`s tomb lies beyond the tiled facade of the khanaqah or Sufi monastery built in 1313. The tile work resembles in quality and design the contemporary work at Soltaniyyeh. It is likely that upon the completion of Oljaitu's tomb, craftsmen were despatched throughout the empire to ornament religious and public ornaments.
Isfahan Jame' Mosque representing different architectural styles after the advent of Islam;
Imam (Naghsh-e-Jahan) Square, constructed in the Safavid time, surrounded by Imam and Sheikh Lotfollah mosques as well as Ali-Ghapoo Palace;
Chehel Sotoon (40 pillars) Palace, a beautiful edifice constructed on a wide garden, and with many paintings on its interior walls;
Menar Jonban (Shaking Minarets), of unknown origin. It is very interesting due to the shaking of its minarets as well as its dome;
Two churches in Jolfa (Vang and Maryam) important historical mounuments belonging to Safavid era;
Zoroastrian fire-temple which predates Islam;
Khajoo, Siosehpol (33 arch) and Shahrestan bridges, which are constructed across Zayandeh Rood (River) and connect the Jolfa district to Isfahan (these bridges are important from an architectural point of view);
Zayandeh Rood, which crosses the city, is a natural habitat. People use its banks as recreational places. Some parks were constructed on its bank like Boostan, Mellat, and Ayneh Khaneh.
The Bazaar of Isfahan, with its chambers (old style of commerical offices) and caravansaries, is one of the historically valuable sites ot this city. This Bazaar is the main place for the transaction of handicrafts, some of which have a worldwide reputation and their names are synonymous with Isfahan. The most important of these handicrafts with a high artistic values that always are demanded by tourists are: inlaid work, enamel work, miniatures, paintings, illumination work, embossment work, turnery works, carpets, rugs, silver work, engraving work, crocheting, and ceramics.
Isfahan carpets, for their color, design and ornaments, are among the best in the world and have an international fame. Today, in addition to being the center of the province, Isfahan is one of the most industrialized cites of Iran. The main units of the steel industry of the country are centered in Isfahan, The other cities of this province are Kashan, Shahreza (Ghomsheh), Golpayegan, Natanz, Na'een, Ardestan, and Abyaneh which hold many tourism attractions.
Chahar Mahal and Bakhtiari Province, located in the western part of the country, is the main residence of Bakhtiari tribes who live a nomadic life. This province has a wonderful natural beauty with the landscapes of mountains, wetlands, rivers, springs, and caves which have totally changed this province into one of the most attractive provinces of the country. The beautiful natural landscape of this province can be compared with those of the Alps in Switzerland and Austria.
Fars and Boirahmad
Fars Province :
This province is located in south of Iran and is counted as one of the most famous provinces. This vast land is of the oldest civilization centers and was the capital for Iranian Kings for centuries. Two great Pre-Islamic kings, Cyrus the Great and Arashir-e-Babakan were from this land .
Cyrus the Great was founder of Achaemeind dynasty (kings of this dynasty reigned over Iran for 219 yeas) and were overthrown by Alexander the Great and Seleucids I and his son (311 B.C.), tried to bring the Greek civilization to Iran and constructed cities in Fars (Pars). At the same time local Iranian government came to power in the central part of Pars in Estakhr area. Although Fars was a part of Seleucids Empire , tillAntiochus IV period , but soon after his death (164 B.C.) it began to separate.
Parthians conquered the central part of Seleucids government and in this way Pars became independent. Splendid and important monuments are remained from different dynasties in this province , such as: Takht-e-Jamshid (persepolis) , Pasargad , Naqsh-e-Rostam, Kaabe Zardusht , Sarvestan Palace Shapur Cave , Shapur City (Bishapur) ,Band -e-Ami (Dam), Vakil Bazar and Ark-e-Vakil Mosque. Fars Province with an area of 126, 489 sq. Kms., is counted as one of the well-Known and important provinces in Iran for industry , agriculture and handicrafts (especially inlaying ) and has over 250 industrial sites.
This province has three different climates: 1-North and north west: is mountainous , so is cold , it rains and snows in winter and is moderate in summer. 2-South and south east: is moderate in winter and hot in summer. 3-Central part: is moderate and it rains in winter and is hot in summer .This province with a population of 3,767,983 in 1992, is the sixth most populous province in Iran.
About Atiq Mosque (Khoda Khaneh) in Fars province
The ancient Jami Mosque known also as the Jami or (Friday) mosque, is one of the oldest mosques in Iran and a relic of the days of the reign of Amr-ebn Leys, the Saffarid. It is a structure referred to many times in the writings of travelers such as the Ibn Battuta and Madame Dieulafoy.
The Saffarids were a people of Iranian stock who were originally from the province of Sistan.
During the course of their sovereignty, that is, from A.D.867 to 903, they did not neglect the construction of public buildings, of which the Jami Mosque, is a prime example despite the many conflicts they had with the Baghdad Caliphs and with local rivals. The construction of the Mosque was started in A.H. 281 (A.D. 894) as an act of thanksgiving following the victory of Amr Leys` forces over the armies of the Abbassid Caliph al-Movaffaq.
Through the years, the mosque has witnessed numerous catastrophes, as a result of which it has been rebuilt and restored many times, for example in the 12th and 13th century A.D., during the reign of the Atabak rulers of Fars, and in the 16th through 18th century A.D., during the Safavid epoch. The restoration of the Jami Mosque has continued during the auspicious reign of Pahlavi dynasty, with the cooperation of the Department of Archaeology and the charitable people of Fars province.
The Jami Mosque used to have six portals in different directions and numerous magnificent (Shabestans) or prayer-halls and chambers, some of which gradually fell into ruin and are no longer standing.
Formerly the (sahn), or the courtyard of the mosque was carpeted with marble, and there were stone basins in the vestibules wherein those entering the mosque would wash their feet before proceeding barefoot onto the courtyard. The most important portal of the mosque lies on the north side, and is known as (The twelve Imams).
Its piers and borders are of stone, and the rest is brickwork.
Both sides of the portal are decorated with glazed mosaic tiles.
The decoration consists of beautifully written verses from the Koran and (eslimi) or arabesque designs with flower-and-bird motifs.
Between this portal and the entrance of the mosque there is a hashti or (vestibule), around which a number of blind arches can be seen.
The ceiling of this section has been decorated with stalactites in a very interesting and appealing way, and is ornamented with Korani verses on all four sides.
There is also an inscription from the Safavid period here, which is the work of the famous calligrapher, Ali Jowhari. In the corner of the inscription appears its date.
About Delgosha Garden in Fars province
In southern entrance of Tang-e-Sadi in Shiraz, and beneath Nodar castle, there is a large garden, which is known as Delgosha. The garden is composed of a very large ground area located alongside the Boustan avenue which leads to the tomb of Sa`di. The walls of the garden is made of mud but the entrance portel is made of clay brick.
From the entrance of the garden to the building, which is located in the center of the garden, there is a waterfont and a cement street. Four streets have been constructed round the building leding to the walls of the garden.
On the sids of some of these streets there are cypress and pine trees. Orange, palm and walnut trees have been planted in other parts of the garden. There is a large pond right in front of the building.
This building has been erected on a platform and the lower part of the walls is covered with plain stone. The building inside the garden comes in three stories and the portal is decorated with glaze tiling. The doors of some of the rooms are quite old.
There is an octagonal structure on the first floor in the center of which is located a pond covered with blue tiles.
The ceiling of the building is a simple dome in the middle of which there is a vent. There are four royal rooms with four angels on the sides of the octagonal structure.
About Eram Garden in Fars province
BAGH-E ERAM, a famous and beautiful garden at Shiraz. Its site close to the embankment of the Rudkhana-ye Kushk was formerly on the northwestern fringe of the city but is now well inside the greatly expanded urban area.
The present garden and mansion are not very old but, like the other famous gardens of Shiraz, may well have replaced an earlier foundation. D. N. Wilber surmised that its antecedent may have been the Bag-e Shah mentioned in accounts o seed (Fasa`i, II, p. 164).
Forsat Shirazi, a contemporary of Fasa`i, praised the Bag-e Eram for its beautiful flowers, refreshing air, tall cypresses (a stately, beautiful cypress tree there known as sarv-e naz has long been a major tourist attraction), fragrant myrtles, flowing wa of the constructional work and praises of the then owner Nasir-al-Molk.
After the coup detat of 1332 5./1953 and the exile of the Qashqa`i brothers, who in the meantime had regained ownership of the Bag-e Eram, the government confiscated the garden and later on gave it to Pahlavi University (now the University of Shiraz).
Duringthis period the former mud walls were replaced with iron railings, old trees were cut down to make room for lawns, and a broad street named Eram Boulevard was laid out on the northwest side. Early during the revolution of 1357 5./1978-79. The Qashqa`is repossessed the garden; shortly afterward its owner Khosrow Khan dedicated it to the people of Shiraz.
The garden has now been made into a botanical garden and the mansion has been assigned to the Faculty of Law of the university. Bibliography: Mohammad-Nasir Forsat Shirazi, Atar-e `Ajam, Bombay, 1313/1895, repr. 1353/1934. D. N. Wilber, Persian Gardens and Garden Pavilions, Tokyo, 1962; tr. Mahindokht Saba, Bagha-ye Iran kuska-ye an, Tehran, 1348 5./1969. R. Pechere, -Etude de jardins historiques, in UNESCO, Iran, March, 1973. Mohammad-Taqi Mostafawi, Eqlim-e Pars, Tehran, 1343 5./1964; tr. R. N. Sharp, The Land of Pars, Chippenham, England, 1978, p. 315.
Eram garden is located in the center of Shiraz on the side of Eram Street. A leader of the Qashqai tribe known as Mohammad Ali Khan Ilkhani during the early 18th century made this garden. About 75 years later, Nasirolmolk bought the garden and Haj Mohammad Hassan, the prominent architect built its three storey building. This monument is a masterpiece from the Qajar dynasty in so far as architecture, painting, carvinf, tiling and stuccowork are concerned.
The lower sections of the building`s exterior are formed of 2 - meter - high plain and carved stones and on the eight columns there is the exihibt of two Qajar soldiers ans six inscriptions. The inscriptions have been inscribed by Mirza Ali Naghi Khoshnevis in Nastaligh style of writing. In the portal of the building there are three large and two small sessions.
The spring, which flows in the waterfronts, right in the middle of the building pours into ponds and grants Eram garden a great appeal. The cypress tree in this garden is quite famous.
About Hafez (Hafezieh) in Fars province
The celebrated Hafez was born in Shiraz in 1326 A.D. in Shiraz.
He is said to have known all the Koran by heart, hence earning the nick-name of Hafez (Memorizer).
With Ferdowsi he ranks as the most popular and best known poet in Iran. His collection (divan) consists of 693 poems, of which 573 are odes.
There are many who consider this modest work as the greate masterpiece of Persian Literature.
His tomb in Shiraz is visited by so many admirers that it may be regarded as a shrine.
Hafez spent most of his life in Shiraz and was buried in the Mosalla garden on the banks of the Roknabad stream, which he often celebrated in his poems.
His mausoleum becomes a forum for musicians and poets. Have known all the Koran by heart, hence earning the nickname of Hafez (Memorizer). With Ferdowsi he ranks as the most popular and best known poet in Iran.
His collection (Divan) consists of 693 poems, of which 573 are odes. There are many who consider this most work as the greatest masterpiece of Persian literature. So many admirers that it may be regarded as a shrine visit his tomb in Shiraz.