Bisotun Inscription – Hersin, Kermanshah Province, Iran

Iranian languages are divided into three historical stages: 1. Old Iranian, 2. Middle Iranian, and 3. New Iranian.

Old Iranian

Old Iranian languages that were spoken since Iranians were separated from other people of Aryan or Indo-European race in the second millennium BCE. These languages were dominant in all lands of Ancient Iran until the fall of the Achaemenid Empire in 330 BCE. These languages include Avestan, Sakan, Median, and Old Persian among which only written text from Old Persian and Avestan are still extant.

Middle Iranian

Middle Iranian languages were prevalent since the fall of the Achaemenid Empire in 330 BCE until centuries after Sassanid Empire was overthrown in 651 CE. Some written texts are left from this group of languages divided into Western Middle Iranian and Eastern Middle Iranian.

Western Middle Iranian include Parthian (also known as Pahlawani or Arsacid Pahlavi) and Middle Persian (also known as Pahlavi or Sassanid Pahlavi). Nonetheless, Eastern Middle Iranian languages were prevailed until the 13^th century CE and comprise Bactrian, Khwarazmian, Sogdian, and Saka languages.

New Iranian languages

New Iranian languages gradually became dominant in various parts of Iran after the Arab conquest. Although some of New Iranian languages were spoken concurrent with some Middle Iranian languages, some structural progresses differentiated them from each other.

Iranian Languages at a Glance
Infographic by Parinaz Ghashghaie

Farsi

Farsi is the most important Iranian language. It has been the official language of the Iranian since Saffarid dynasty (9th century) and has been gradually replaced with other languages of middle Iran and it is common in various regions of the world, from India to Europe and from Aral Sea to Persian Gulf. In 10 th century, Farsi was developed in India and Asia Minor by Ghaznavid and Seljuq Dynasties respectively. Farsi language was also common in Ottoman Empire and some of their kings composed Farsi poems. As the colonialism spread in eastern countries, the importance and dominance of Farsi language was reduced. Today, Dari Perdian is common in Afghanistan, Tajikistan and Iran. Since early 20th century, Farsi language found a separate path in each of these countries. The common Farsi language which is currently in use in Tajikistan, there are many Russian words and it is written with Russian alphabet as well. There are Pashto words in current Farsi language of Afghanistan as well as French words in common Farsi language of Iran.

Other New Iranian languages and dialects

Based on geographical and structural affinities, other New Iranian languages and dialects, which count hundreds, are divided into Western and Eastern New Iranian. Western New Iranian languages and dialects involve:

1. Central Iran dialects (prevalent in Isfahan, Tehran, Hamadan, and Yazd regions)
2. Languages and dialects of the Caspian bank (Gilaki, Mazanderani, and dialects of Semnan region)
3. Languages and dialects of Northwest Iran (Tati, Talysh, and Azerbaijani)
4. Languages and dialects of Southwest Iran (Sivandi, Lurish, and dialects of Fars province)
5. Southeast Iran Languages and dialects (Larestani, Bashagardi, Kumzari)
6. Kurdish
7. Zaza and Gorani
8. Balochi.

Eastern New Iranian Languages and dialects include:

1. Ossetian
2. Pashto
3. Ormuri and Parchi
4. Munji
5. Yaghnobi
6. Languages and dialects of Pamir region.

Local languages are spoken in local media of varied regions but, Farsi is the only educational language in all Iranian schools and universities.

Farsi writing system

Cuneiform was the earliest writing system in Iran. Iranians then used Parthian Pahlavi scripts in the Parthian era and Sassanian Pahlavi scripts during the Sassanid era. After the rise of Islam, Farsi scripts were shaped. Farsi alphabet has the same basis as Arabic alphabet. However, in the Farsi Alphabet four novel letters are added; /ɡ/(گ), /tʃ/ (چ), /p/ (پ), /ʒ/(ژ). Although modern Iranian calligraphy borrows from Kufic Arabic, Iranians have been a major role in the development of Islamic calligraphy. Iranians developed Farsi alphabet based on their language needs. Since the ninth century CE, Pahlavi script was gradually substituted with Persian alphabet because of its usage in court letters. Persian alphabet has 32 scripts.

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In the northern part of the city of Tehran there is a complex that used to be the Royal Residence of Qajar and Pahlavi Kings. The complex is about 110 Hectares, and has four historical periods: Qajar, Pahlavi I, Pahlavi II, and Islamic Republic. The Qajar kings used it as a summer residence, in Pahlavi time the function remained, but the King’s desire to Modernizing the country lead to the construction of series of building. The oldest section of the complex among the 18 palaces and pavilions is the Ahmad Shah Pavilion and the newest one is Leila Pahlavi’s Palace, who was the youngest daughter of Muhammad Reza Pahlavi, the second Pahlavi King.

One of the main palaces of this complex is known as Green Palace that sometimes is referred to as Stone Palace or Shahvand. When Reza Khan was a General of Army, this palace was constructed on the North-West section of the garden. On general, for the construction of the palace the most well-known artists and architects of Iran were summoned which lead to the masterpiece we currently see. The whole façade of the building is filled with green stones that were retrieved from a mine in Zanjan. The mine was destroyed after enough stones were taken to make the building so that no other construct with same stone is built. The highlight of the building is the mirror hall with a 70 m carpet and furniture from Qajar Era belonging to the 18th century France. After the 1979 Revolution, the palace was turned to a museum.

The complex is about 110 Hectares, and has four historical periods: Qajar, Pahlavi I, Pahlavi II, and Islamic Republic. The Qajar kings used it as a summer residence, in Pahlavi time the function remained, but the King’s desire to Modernizing the country lead to the construction of series of building, and after the Revolution it was turned to Palace-Museum.

The Mellat Palace is the biggest section of the whole complex and for its white façade is now known as White Palace. The construction of this palace took 5 years to complete. It was to be used as the Office of Royal Ministry, but when the King saw the palace, he decided to use it as an Audience Hall for receiving important guests. When the second Pahlavi King came to throne, the palace was used for formal parties, official gatherings of representative from around the world and for a summer residence. The architecture is similar to the royal palaces of Germany following a byzantine architecture with elements of Iranian style. The palace has two stories, a separate basement and a total of 10 halls all suitable for ceremonial occasions. It is known for the beautiful paintings surrounding the windows narrating tales from Shah Nameh. The place underwent a period of restoration from 1966 to 1970 that is around 40 years after its construction. In this restoration, French Interior Decorators were employed by Queen Farah to design the interior of the palace. The first floor includes Antechambers, Meeting Chamber, King’s Office, Waiting Chamber, and Billiard Room. The second floor includes, another Antechamber, Dining Room, Audience Chamber for ambassadors and Queen’s Office. The palace is filled with antiques mostly bought from French Auctions that among them the desk that belonged to Marie Antoinette is the most notable one.

The basement of the White Palace has been turned to a museum in the first anniversary of Islamic Revolution. Previously, it was a private museum managed by Queen Farah to be displayed to guests and family. Today, objects from first to fourth millennium BC, retrieved from historical mounds around Iran are put to display.

Museum of Fine Arts was built in a building that was used by Royal Ministry. Reza Shah ordered its construction, a building that was called Black Palace for the Black Marble Stone that was used in it. The construction however, was left unfinished for unknown reason and was completed years later by Reza Shah’s Successor, Muhammad Reza. The building is in three floors; the first floor is used for displaying Iran’s Modern Art. The second floor exhibits works of art belonging to European Artists of 17th to 19th century like Salvador Dali. The last floor is used for works from Afshar, Zand, Qajar and Safavid dynasties.

The palace that was made for Leila, the youngest daughter of Muhammad Reza, was later turned to Aabkar Museum. The palace is located between two other Qajar Palaces that belonged to Reza and Farahnaz, Leila’s brother and sister. Farahnaz’s Palace is one of the oldest brick construct of Sa’d Abbad Complex and dates back to Qajar Time. Reza Shah chose this palace for one of his wives, later it was restored and used by Farahnaz and Alireza, Muhammad Reza’s children. After the revolution, the place was turned to Calligraphy museum and was named after the famous 17th century calligrapher Mir Emad Seify Qazviny; although, works of other calligraphers are presented here as well.

There are other palaces in this complex that all were turned into museum, some were damaged by the passing of the time and are closed down for repair and restoration. The most famous of these places are:

1. Karbasi Palace or King Reza Palace that was turned to Behzad Museum.
2. Andarouni Palace that was turned to Farshchian Museum.
3. Kaleskeh Khane that was turned to Omidvar Brothers Museum.
4. Taj Ol Moluk Palace that was turned to Military Museum.
5. Birouni Palace that was turned to the Museum of Influential Figures.
6. Asharaf Palace that was turned to Handicraft Museum.
7. Shams Palace that was turned to Anthropology Museum.
8. Farideh Diba Palace that was turned to Negarestan Museum.

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Reza Abbasi was a famous artist living in the Safavid time and known for his artistic breakthrough. The Human being, their appearance, their idol life and pleasures became the theme of this artists painting. For the first time in the history of Iran’s art, an artist signed his works and wrote date and crucial information about it. His paintings are not crowded, usually one or two people in the center with a background that resembles a garden with simple flowers that some were painted with gold.

The objects displayed in this museum have a historical range of prehistoric time to the 19^th century. The museum was built to show the evolution of art in different periods of time and was named after the great Persian Miniaturist, Reza Abbasi.

The museum has two sections, the pre-Islamic art section and Islamic art section and five halls. The Islamic section itself is divided to 4 halls: Islamic Hall 1, Islamic Hall 2, Miniature Hall and Calligraphy Hall. The objects are arranged based on the period they belonged to and therefore, it is very easy to see the transformation of art and compare different period together. The contrast of art from pre-Islamic to Islamic era is also notable that is a proof of Islam’s influence on the minds of the creators of such arts.

The pre-Islamic section displays works retrieved form historical sites of Kermanshah, Azerbaijan, North of Iran and Lorestan. The oldest object belongs to the third Millennium BC and continues up to the 7^th and 8^th century AD. The most common of these objects are dishware, pots and farming tools. Islamic Hall 1 displays objects from early Islamic Period to Seljuk time. While clay was the prominent material of Pre-Islamic time, in this time metals become more popular. The Islamic Hall 2 continues and displays objects from Seljuk until Qajar; again, metals like brass are dominant here. The Human and Animal patterns, light glaze, Inlayed work, Carving, and paintings are the decorations most commonly used in this time.

The fourth hall is the Miniature Hall with miniature work especially from different versions of Shahnâme from 14^th century to the Qajar Dynasty. The highlight of the hall is paintings of Reza Abbasi, the man that the museum is named after. This hall is known for its diversity. Nearly all Iranian Schools of Art are displayed here which adds to the importance of the place. The last hall or the Calligraphy Hall is where visitors can see the masterpieces of Iranian calligraphy, in different styles, with different mediums over various objects and each belonging to a period of Iran’s History. The theme of the works includes lines from Quran, quotes from Imams and prophet, poems by different poets and some books in astrology.

The museum has a very strong research section and library with an archive of some of the best magazines of Iran. The conference hall, gallery, publication and education center make this museum one of the top museums of Iran.

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This building is placed in the historical part of the city of Zanjan and was used as a laundry house. The name literary means the same. Zanjan has very cold weather. During harsh winters, washing clothes was a challenge for women. In 1925, Ali Akbar Khan Toufighi, the first Mayer of the city, bought a piece of land and built a construct inside for women to wash their clothes there in winter. The architectural style of the Rakhtshur Khaneh is a popular style of the late Qajar and the Early Pahlavi era, a combination of the traditional style of the former with the modern style of the latter.

During harsh winters, washing clothes was a challenge for women. In 1925, Ali Akbar Khan Toufighi, the first Mayer of the city, bought a piece of land and built a construct inside for women to wash their clothes there in winter.

The water needed for this place came from the Qalche Kariz aqueduct. The place has two main sections:1) the Washing Area and 2) The Management and the Residential Section. The square yard of the construct is surrounded by these two sections. The entrance area has separate doors that lead to the Washing Area, the Residential Area and the yard which make access easier; in a way that if you enter the place you can reach each section without being forced to pass through the others.

Immediately after the door that opens to the washing area, there are two sets of stairs; one leads you above the ground level and the other leads you down. Going up, there is a terrace like the area that was used by the manager of the Rakhtshur Khaneh. By standing there, she could monitor the whole washing area.

The lower area is a vast hall with water canals running through that leads water from the water source or Khazineh to the end of the hall. The water source of this place is 17 m long, 11.55 m wide and 8 m tall. The structure of the place proves that the architect had been well aware of the principles of Persian architecture. The arches and domes of the place with colored windows give a wonderful atmosphere to the hall.

The hall has 11 columns and two water canals creating three passage ways where women could sit and wash their clothes. The hall is 62 m tall and 13.7 m wide and the whole place covers an area of about 850 square meters.

The place is now filled with wax statues, showing women as they once used this area. There is also a handicraft shop selling different goods like shoes and jewelries all made by masters of these crafts.

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Haj Ibrahim Khan Kalantar is a famous person in the history of Iran, a man that his betrayal led to the capture, torture and death of Lotf Ali Khan Zand, the successor to Zand Throne, and at the same time ensured his position in the Qajar court or better said in the court of Agha Mohammad Khan Qajar. A position that improved in later years when he became the most trusted advisor of Fath Ali Shah. No flatteries, however, saved him from the cruel death that awaited him. His increasing power in the court scared the king of his treason and he ordered the exile of Haj Ibrahim Khan. In Exile he was blinded, his tongue was cut and later he was killed. Yet, the power of Kalantar family among the nobles forced Fath Ali Shah to come to peace with them, he assigned Ali Akbar, Haj Ibrahim’s son, as the governor of Shiraz and gave him the title of Qavam Ol Molk.

The place that is known today as Narenjestan Qavam is a traditional Iranian house belonging to the family of Qavam. It was built years after Haj Ali Akbar’s death, and in the reign of Naser Al Din Shah Qajar. Ali Mohammad Khan Qavam Ol Molk began the construction of this house but his son Mohammad Reza Khan Qavam Ol Molk completed it. The house with its beautiful garden was used as a place of governmental meetings. It became known as the Narenjestan Garden for the many Narenj (Bitter Orange) trees that are located there.

The whole place is about 3085 m² which around 940 m² of that was used for the pavilion of the garden. The edifice is a two-story building with a basement the was connected to Zinat Ol Moluk House by an underground tunnel. The house has different sections like bathhouse, Hosseinieh (place of religious rituals), Maktab (School), Harem, Office, and Stable. There was also a small bazaar attached to the house that was destroyed when the Karim Khan Street was built. Around 50 years ago, the last descendant of Qavam Family donated the house to the Shiraz University that was later restored and turned to a tourist attraction, it is now open for visit.

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Niavaran Palace Complex is located in the North-East of Tehran. The palace dates back to Qajar Era, but was turned to museum 20 years after the 1979 Revolution. With more than five different buildings, a theatre, a gallery and the garden, Niavaran Palace is considered to be one of the biggest palaces of Tehran used during the hot weather of the Summer.

The Niavaran complex was built in the Qajar era and was expanded by the Pahlavi Rulers. The Qajar kings chose this place for its pleasant weather in the hot summers of Tehran, Fath Ali Shah was the person that ordered the construction of a palace in this area. Although it is currently part of the city, it used to be a remote place perfect for a quiet and delightful holiday.  Mohammad Shah, Fath Ali Shah’s successor, added a small building but the real change happened when Naser Al Din Shah came to throne and ordered the construction of a building that was named after the man himself as Sahib Qaran. The last building to be added to the complex in Qajar Era was built by Ahmad Shah, the last Qajar King and is known as Ahmad Shah Kooshk. In Pahlavi’s time, some of the constructs were destroyed and new buildings with modern architecture replaced them. Today, the surviving sections of the palace includes The Niavaran palace, Sahib Qaranieh Palace, Ahmad Shah Kooshk (Pavilion), greenhouse, and school.

With more than five different buildings, a theatre, a gallery and the garden, Niavaran Palace is considered to be one of the biggest palaces of Tehran used during the hot weather of the Summer.

The Niavaran palace in two stories is one of the most visited sections of the complex. The first floor is where the Theatre, Audience Chamber, and Dining Chamber is located. Collections of invaluable Persian Carpets, 19^th century French Chinaware and a handicraft shop are displayed here for the visitors. The second floor exhibits a Buddha Statue, some inscriptions about Buddha’s teaching both dating back to the third century and made of ivory. There are also some military uniforms and cloths left from the time Muhammad Reza Pahlavi was the king, and a painting of Karim Khan’s court on the stairs are other important sections of the second floor. On general, the second floor includes, Sitting Chamber with a desk that was used by Marie Antoinette, Evening Chamber with paintings of Reza Shah and Taj Ol Molouk, the Bed Chamber of King and Queen, Queen’s Dressing Room, Farahnaz’s Chamber (Mohammad Reza’s daughter), Alireza’s Chamber (King’s son) and servants section.

Ahmad Shah Kooshk or Pavilion was made to be used by Ahmad Shah in form of an 800 m house with a gable roof. The place is notable for the tile and brick work used in its decoration. The door is located in the south and a series of stairs starting near an oval shaped pool is the way of reaching the place.

The Saheb Qaran or Naser Al Din Shah’s Palace was built around 1850s, in two stories and includes sections such as Shah Neshin, Warm House, Bath house, and 40-50 small houses each with 4 rooms and one iwan built to house his wives. In the 31^st year of his reign he titled the place as Sahib Qaranieh. After his death, his successor, Muzafar Al Din Shah made changes to the construct and destroyed a part of the Harem. He even signed the document that granted Constitution in this garden. The palace was also chosen for the wedding of Muhammad Reza Pahlavi to his first Wife Fouzieh that due to the cold weather was held in another palace but proves the palace’s importance in Qajar and Pahlavi Era.

Jahan Nama Museum is a building in West side of the Saheb Qaranieh Palace that was used as a private collection of the Queen. The Antique objects gifted to the Royal Family and all valuable objects bought by the Royal Family was displayed here to the guests and visitors of the palace. The place has 4 halls in the first floor and one hall in the basement.

The valuable objects of this place with the many documents founded here makes the palace one of the most important complex of Iran, narrating the history of Iran from a not a distant past.

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In 1937, the famous French architect, Andre Godard, built the National Museum of Iran, as the first museum ever made in the country. This complex, being around 80 years old, carries the title of the biggest historical and archaeological museum of Iran, and is the mother museum of the country in terms of variety, quality and the number of historical objects. The National Museum Complex has three sections of Pre-Historic, Historic and Islamic scattered on a land of about 20,000 m² and 18,000 m², displaying 300,000 historical objects. The museum is located on the Si-e Tir Street in Tehran City Center.

It seems the first time, Morteza Gholi Khan Hedayat, who was known as Sani Ol Doleh, and was the first chairperson of Iranian parliament, proposed the land to be used for a museum. Before that, in 1916, part of the ministry of education was turned to a museum named Marefeh. Although the place was not made for this purpose, it still carries the name of the first museum of Iran. The room was in the north side of Dar ol Fonoun School that is the first university of Iran following the international standard of universities. This museum had 279 objects including Bronze, Pottery, Glass, Coins, Old Weapons, Books, and Textiles donated to the museum by the private collection owner. In 1925, the museum was transferred to Mirror hall of Masoudieh Qajar palace.

This complex, being around 80 years old, carries the title of the biggest historical and archaeological museum of Iran, and is the mother museum of the country in terms of variety, quality and the number of historical objects.

From 1897, when Jacques de Morgan began the archeological excavations, Iranians started paying more attention to the importance of national heritages. In 1927, the unconditional treaty signed with French government, that gave the permission of archeological excavation, was forfeited and the European Missions were restricted to excavations in the historic ground of Susa. The attention to natural heritages made the government to hasten the construction of a museum. From the moment that the decision was made, the search for a suitable designer began as well, and the famous French archaeologist and architect Andre Godard was invited to present his plans and build the museum. Godard believed that the architecture of the museum must follow the culture of the land it is built in, and have connection to the objects that are to be presented there; therefore, Taq-e Kasra was chosen as a source of inspiration for designing the entrance of the construct with red bricks that are a reminder of the materials Sassanid used.  The museum is about 11,000 m². The building of the museum was built in three story between 1935 to 1937 and by local building masters; and displays pre-Islamic objects.

The other building of the complex is the one used for Islamic Objects and known as the Museum of Islamic Time. Unlike the Prehistoric and Historic section, the construction of this building faced many obstacles. It was repeatedly halted and even when it was finished, the building closed down for restoration and equipping several times. The process of building the structure began in 1944 and finished in 1996, and a Sassanid palace in Bishapur inspired it. The outcome is a four-story museum with two stories dedicated to displaying Islamic objects in seven halls among which the Quran, the Timurid, the Safavid and the Qajar halls are placed in the first floor and the beginning of the Islam, the Seljuk and the Ilkhanid halls dominate the second floor. In addition, this complex has several other sections like a café, handicraft shop and researching section that has carried the heavy burden of saving, restoring and promoting all objects related to Iran and Iran’s culture and history. Following the latest standards of museum, defined by ICOM, the museum tries to improve itself day by day.

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This Mosque is one of the oldest mosques of Shiraz located in the neighborhood of Goud Araban. It was built around 1914-1926 by the order of Hassan Ali Nasir Ol Molk, made by the master architect Mirza Mohammad Hassan. Master Mohammad Reza who was a renowned artist of Qajar time did the tile works. The Mosque has a vast courtyard with two Iwans on the northern and southern side of it. It has two Shabistan or Praying Hall and a striking portal entrance.

The Western Shabistan or Praying Hall has seven doors all made from wood with small panels that were filled with color glasses. The hall also has 12 massive round twisted columns that are all made of one-piece stones and placed in two rows of six, inspired by the 12 Shiite Imams. The ceiling is covered with floral patterns and arabesque lines displaying Sura from Holly Quran in Sols Style (a Style of Calligraphy.) Under the reflection of sun light, the many colored glasses of the place make the Shabistan look as if red beams are scattered everywhere. That is why the Mosque is also referred to as the Rose Mosque of Iran.

As it was mentioned the two Shabistan are located in the east and west, the eastern one was made to face the Kiblah (a place that shows the direction of Mecca where the Muslims say their prayers to) and used in the hot weather of summer. The magnificent western Shabistan is filled with tilework and bricks with patterns of roses and vases drawn on them. around 70 years ago, when the Mosque undergone a period of restoration, the tiles were covered with new one that were made in turquoise.

Under the reflection of sun light, the many colored glasses of the place make the Shabistan look as if red beams are scattered everywhere. That is why the Mosque is also referred to as the Rose Mosque of Iran.

The two Iwans of Nasir Mosque are not symmetrical, which is unusual in the Persian Architecture that is based on symmetry. The northern Iwan is surrounded by four rooms built on either side of the Iwan. There are two minarets in the south Iwan and there is a shallow pool in the middle of the square shaped courtyard. The lighting of this mosque has turned it to a popular tourist destination, a place you must see when visiting Shiraz.

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Seyed Ruh Allah Mostafavi, born on 1902, and known as Sayyid Ruh Allah Mousavi Khomeini, Ayatollah Khomeini and Imam Khomeini, is the great leader of the Islamic revolution of Iran. He is the first supreme leader of the new regime of Islamic Republic and a Marja or High Priest of Islam. He led the oppositions both when he was in Iran and when he was sent to exile. After overthrowing of the Pahlavi King, a referendum was held putting an Islamic Republic Government into vote.  With the majority of votes, Islamic Republic was chosen and an Islamic Government was established. His significant position in the history of Iran and his popularity among Iranian as the leader of the Revolution has made people to treat him like Imams who are the descendants of the Prophet of Islam.

The Shrine that was made for him has recently been restored and many new sections were added to the complex that represents the ingenuity of Iranian Architecture. The shrine of Imam Khomeini is located in the Behesht Zahra cemetery in Tehran. Lately another extensive collections, including universities, museums and Sun City was built along it.

On general, the complex includes other sections such as Hotel, Mall, Theme Park, Museum, Health City and Sun City. The holly shrine of Imam Khomeini includes 600 thousand square meters, covering an area of ​​one kilometer in length and a width of more than half a kilometer.

The shrine of Imam Khomeini is located in the Behesht Zahra cemetery in Tehran. Lately another extensive collections, including universities, museums and Sun City was built along it.

The massive structure follows the traditional architecture of Iran with the same decoration. There are five main entrance on the eastern and western sides of the place. The main structure is predicted to withstand an earthquake of about 10 Richter in magnitude.

Around the sacred shrine, there are four gilded minarets built as tall as 91 meters. The tombs main hall also has five tiled domes with the main dome being gilded in 2007.

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Khaje Shams El Din Muhammad, also known as Lesan Ol Gheib or Hafez is a renowned Lyric Poet of Iran that lived in 14^th century in Shiraz. He lost his father even before he was born and was sent to learn different sciences from an early age. He was soon captivated by mysticism; today he is known for his knowledge of mysticism and its reflection in his poetry. Hafez has memorized the whole holly book of Quran that is the reason he came to be called Hafez, which literary means the keeper or preserver.

Hafez Mausoleum, Ceiling Decoration of Tomb – Shiraz, Fars Province

When Zands came to throne, and when Shiraz became the Capital of Iran, Karim khan, the Zand ruler, ordered the construction of a mausoleum for the famous poet. The structure of this mausoleum included an Iwan with four strong pillars each made from a one-piece stone. There were two small rooms on either side of the Iwan, with the Mausoleum being on the northern side, overlooking an outstanding garden. By the order of Zand king, a stone was made to be used as the tombstone of the great poem and some lines of his poetry were carved on it.

Karim khan, the Zand ruler, ordered the construction of a mausoleum for the famous poet. The structure of this mausoleum included an Iwan with four strong pillars each made from a one-piece stone.

The marble tombstone was adorned with two of Hafez Ghazals (Lyrics) using the Calligraphy of Haj Aghasi Beyg Afshar. The only thing that remains from the Zand construct is this tombstone. The importance of the great poet among Iranian has made the mausoleum to be a priority of all rulers that tried to keep it from damage and destruction. An attention that sometimes acted as a disadvantage since many rulers destroyed the mausoleum to build one of their own. The mausoleum was restored by the Qajar rulers which was again destroyed and nothing remains of it today.

The current monument was designed by the famous French Architect, André Godard inspired by the architecture of Zand Dynasty. The structure is a platform with eight pillars made of one-piece stones and with a domed ceiling covered in Tilework. The place is one of the main attractions of Shiraz for the beauty of its structure, Hafez place among Iranian and the pleasant atmosphere that is felt there.

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The Falak ol-Aflak Castle located on a hill overlooking Khorramabad City, Lorestan Province dates back to the Sassanid Empire (224-651 CE). The castle has had several names in the course of histories such as Shapour Khast, Siah (Black), Boz, Khorramabad, Sefid (White), Salasel, Atabakan, Ghasr (Palace), Ghale Bala Kushk, and 12-Borj (Twelve-Tower). Of these based on historical documents, Shapour Khast was the oldest name of the castle but as of 1789 since the Qajar Dynasty, the current name, Falak ol-Aflak, has been used.

The castle built mainly with stone, brick, wood, mortar, and lime has an area of 5,200 m2 with a height, considering the hill, accounting for 40 meters. The tallest wall of the castle is also 22.5 meters in height. The Falak ol-Aflak Castle consists of four halls and several rooms surrounding two yards that all of them have a rectangular plan. The entrance to the castle is placed in the north leading to the first yard. Importantly although the structure has had twelve towers in the past, today, eight towers have remained. The water of the castle was supplied from a 40 meter-well behind the first yard.

The Falak ol-Aflak Castle, as a defensive fort, had a significant role in the formation and development of the old city of Khorramabad. Notably, not just as a castle and military fortress, but it had been used as a ruling place, treasury, and even prison in different dynasties. For example, Hasanwayhids, a Kurdish dynasty that ruled over the western part of Iran from about 961 to 1015 used the castle as a ruling place. During the reign of Naser Al-Din Shah, the fourth Qajar king, the castle was rebuilt but at the time of the first king of the Pahlavi Dynasty, Reza Shah was destroyed so as to suppress the powerful local tribes. After the destruction, it was converted to a prison and in 1969, the place turned into a historical attraction open to the public. Finally, since 1975, this structure has been functioning as a museum, first, an anthropology museum and later as of 1977, as an archeology museum.

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Abdul Aziz Farmanfarmaeian designed the building of the museum using the latest technology of the time. In fact, one of the highlights of the Carpet Museum lies in its exterior design that resembles a carpet loom, presenting a mixed architecture of classic style belonging to the 1970s and carpet inspired features. The museum is located in the north-west corner of Laleh Park and Contemporary Museum of Art.

The interior space of the museum has an area of around 3,400 m2 on two floors. The first floor displays a permanent exhibition of those carpets bought by the museum, while the second floor is devoted to a temporary exhibition of handicrafts and private owners’ collections.

The museum has a treasury consists of carpets with a variety of designs, colors, and textures, belonging to Kerman, Tabriz, Isfahan, and Kurdistan provinces. The oldest carpet of this museum dates back to the 15th century.

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