Persian Fallow Deer
Photo by Jiri Prochazka/Shutterstock

Being located in the world arid and semi-arid belt on the one hand and having the properties of African, South Asian, Central Asian and European climates on the other hand led to the genesis of various species in wildlife of Iran.

Mammals

Up to now, more than 197 species of mammals have been identified in Iran which can be classified into 10 orders and 37 families. The order of rodents with 58 species are the most populated species of mammals in wildlife of Iran. A few salient species of Iranian mammals are Tupaia minor, Megabats,  Caspian seal, Black bear, Lynx, Caracal, Cheetah, Leopard, Red deer, Persian fallow deer, Roe deer, Persian onager and Porcupines.

Iran Wildlife
Infographic by Farzaneh Abangar

Birds

Birds are the biggest animal species in Iran and there are approximately 540 species of birds in Iran. The birds are classified into 22 orders and 78 families. As approximately three-quarters of Iran is covered with arid and semi-arid lands, the largest population of Iran’s birds inhabit in these areas and the most significant species of these areas are Cream-colored Courser, Bustard, Pleske’s ground jay, Spotted sandgrouse, Alaemon alaudipes and Trumpeter Finch. Almost half of the Iran’s birds are migratory and use the waterbody of Iran as their winter habitat or temporary resorts while migrating from one place to another. Annually, millions of birds migrate from north to south and from east to west of Iran.

Reptiles

With 225 species (77 species of snakes, 136 species of lizards, 10 species of turtles and crocodiles and amphisbaenia – each having one specie), the reptiles of Iran can be considered as the biggest group of vertebrates. Although Iran constitutes 3% of Asia area, it is the habitat of only 10% of the whole reptiles in this continent. From among them, more than 40 species of reptiles are in Iran. Marsh crocodile and hawksbill sea turtle are the most famous ones.

Amphibians

There are 27 species and subspecies of different amphibians including frogs, toads and salamanders and Kaiser’s spotted newt and Persian brook salamander are the most well-known species.

Fish

There are 160 species of fish in internal waters of Iran which can be grouped into 29 families. With respect to area and variety of aquatic ecosystems of Iran, fish are divided into three main categories including the fish of Caspian Sea, fish of internal waters and fish of Persian Gulf and Oman Sea. In the group of internal waters, the Cyprinidae is the dominant family with 31 genera and 74 species.

Insects

In this category, about 4 million samples have been collected out of which 25 thousands of them have been identified and named. Butterflies are the most considerable category of the insects in Iran.

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Turkman Nomad, Iran

Photo by Ahmad Agh

The Turkmens of Iran are from Turkic ethnic group native to Central Asia who inhabit in northeast of the country. They speak the Turkmen language and they are mostly Sunni Muslims. It is believed that by the advent of Islam in Iran, the Turkmens were the first group who converted to Islam and when they were asked to introduce themselves, they said we are “Turk Man” of “Turk Iman” (the words “Man” and “Iman” are Arabic words meaning “faith”) and their name gradually changed to “Turkmen”. Till the beginning of the 20th century, they had nomadic life style but later they started living in counties and towns.

They are mostly inhabiting in southeast of Caspian Sea and Turkmen Sahra. Their settlement is mostly in Golestan province, the borderline of the north of Razavi Khorasan province, Torbat-e Jawm and North Khorasan province. The most important cities of Iran wherein the Turkmen are inhabiting in are Bandar Turkaman, Gonbad-e Kavus, Kalaleh, Aqqala, Gomishan and Incheh Borun.

Turkman Nomad, Iran
Photo by Ahmad Agh

With respect to their nomadic life style, the Turkmens are mainly occupied with husbandry and can train horse, sheep and camel professionally. Their habitats are gazebos which are called “Ovi”. They have a wooden skeleton and are surrounded by straws. Setting up the Ovi is a difficult job which is done by women. The oldest women of a family covers the ceiling of the Ovi with a felt.

The handicrafts of the Turkmens are carpet weaving, needlework and making traditional jewelries. The Turkmen carpet, especially double-sided silk carpets, are globally known and each of them has various designs and specific name. Needlework of the Turkmens is a delicate art which is used in decorating the collar, hem of the trousers and the ring which is used by the Turkmen women after getting married, the ring is called “Anna” and is worn under their scarf.

The literature of Turkmens has a long history and has been verbally transferred to the next generations, the most important part of their literature is the “nursery rhymes”. It is pointed out that the Turkmen women come out of the Ovi at nights, gather together and sing songs, this action is called “Laleh-Khani” which is an important part of their literature. It has several kinds and while performing it, the women hit their chin and neck to make it more tragic.

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Khatam
Photo by Borna_Mirahmadian / Shutterstock

Khatam is a noble and antique handicraft of Iran which is the art of decorating surfaces of the objects with small triangles made of ceramics. Its various designs consist of regular geometric shapes. These geometric shapes are formed through putting the small triangles next to each other. The triangles are made of various kinds of wood, metal and bone. The more delicate and tinier are the triangles, the more valuable the Khatam would be. In the plan of a Khatam, the smallest geometric unit consists of at least three triangles and the biggest one consists of at most four triangles. The value of Khatam is determined by the attention and care which is paid by the master who prepares it, the elegance which can be perceived only through a sensitive look.

Khatam
Photo by Anna Rogal/ Shutterstock

On the other hand, various woods like ebony, walnut tree, jujube, betel, cypress and pine and other objects like shell, special kind of yarn, glue and solvent are used in making Khatam. Khatam was previously used to decorate the tombs, doors of religious and non-religious buildings, rostrums, rehal of Holy Quran, chairs, tables and other objects like mirrors but today it is mostly used on decorative objects.

Khatam
Photo by Artography / Shutterstock

Some of the Iranian Khatam works remained from various historical eras can be seen in some buildings like Atiq Mosque of Shiraz and doors of Mirror Hall in Golestan Palace in Tehran. There are also some other works which are kept in Iran National Museum.

Khatam
Photo by Aleksandar Todorovic / Shutterstock

Isfahan, Shiraz and Tehran are the most important centers of making and selling Khatam.

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Nasir Al-Mulk Mosque – Shiraz, Fars Province, Iran

The architecture of pre-Islamic Iran is divided into two styles of “Parsian” and “Parthian”.

Parsian Style

it is the first architectural style in Iran starting from Achaemenid era until the invasion of Alexander (from 6th to 4th B.C). Rectangular spaces with columned halls, construction of buildings on platform, introverted style, using wooden ceilings, carved stones, plinth and capital, decoration of entrance and glazed tile in interior sectors are among the main features of Parsian architecture.

Parthian Style

As the name suggests, Parthian Style is the architecture used by the Parthian, it includes diversity in patterns, introverted style, symmetry in construction of palaces and temples, increase in the height of buildings, curved arches and domes, squinches below the domes, using local materials like rubble, adobe, brick, mud, and stucco work.

Iran’s Architecture from the Advent of Islam to Seljuk (6^th to 11^th centuries)

In spite of the advent of Islam, for years, Iran’s architectural style was dependent on the past elements. After that, Muslim artists introduced new forms, buildings, and constructs like mosque, school, bridge, castle and caravanserai with respect to previous artistic features especially Sassanid ones and inspired Islamic mind-set.

At the beginning of Islamic time, more attention was paid to the construction of mosque. The mosques usually had simple structures, but from this time, we witnessed the rise of Muqarnas decorative designs (decorations made of brick, tile, stone, plaster and wood) as an ornament of the mosque. The Muqarnas decorative styles used in Gonbad-e Qabus tower is one of the earliest examples of it in 10th century. Besides, Ribat-i Mahi, contemporary to Gonbad-e Qabus tower, has muddy brick and stucco decorations as well and acts as a precedent for the more lavish decorations of Seljuk and Ilkhanate Eras.

Iran’s Architecture from Seljuk to Timurid (11^th to 15^th Centuries)

Seljuk dynasty (11th century) is one of the most outstanding periods of Iran’s architecture. The construction of schools was popular in this time and many schools were built in the cities of Baghdad, Neyshabur, Marv, Rey and Hyrcania (current Gorgan). The plans of most of the buildings in this era was Four-Iwan design (Chahar Iwani) with stucco and brick as their prominent decorations. Iwan is a rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open. They are mostly build in exterior space of the buildings having entrance/ exit spaces. Different buildings such as mosque, school, tomb and caravanserai were constructed in this era as well. The splendour and glory of Seljuk architecture are completely visible in Jameh mosque of Isfahan. Although, Jameh mosque of Isfahan is the result of continual construction, reconstruction, additions and renovations of 15 centuries of Islamic Era, the most beautiful and important part of the mosque belongs to Seljuk Dynasty. It is interesting to know that the use of tile as a decorative element has become popular since the end of 10th century. The oldest examples are the tiles of Kharraqan towers in Qazvin which were built in Seljuk Dynasty.

Preserving the Seljuk architectural styles including Four-Iwan design, Ilkhanate architecture entered a new stage; Iwan became higher with narrow width and the walls got narrower as well. Decorations like stucco, tile work and brick with special patterns adorned buildings. Mihrabs of Isfahan Jameh Mosque, Urmia and Oshtorjan mosques are the obvious proofs of the mastery in stucco art in that era.

During Timurid dynasty, the art of mosaic tiling reached its zenith, it is the art of the assembling of small pieces of coloured tiles to make an image. Mosques like Goharshad in Mashhad, Blue in Tabriz, Khargerd Ghiasieh School in Khorasan and some buildings in Herat and Bukhara show the importance and application of this art in religious buildings.

In this era, Grand Khorasan in east of Iran played an important role in development of architecture as well. Khorasan was the origin of lots of innovations in architecture that spread it to other parts of the country. Two-Iwan style was used in Khorasan for the first time and it was one of the first cities that the traces of turquoise tile are found in, this style can be observed in Mosques of Zuzan, Gonabad and Forumad.

Iranian Architecture Infographic / Historic Imam Mosque – Isfahan, Isfahan Province, Iran
Photo by Alexandre Rotenberg / Shutterstock
Infographic by Negar Ganji

Iran’s Architecture from Safavid to the Contemporary Era

The 16th and 17th centuries are known as the period of flourishment of Islamic arts in Iran. In the shadow of the support of Safavid’s kings, art and architecture advanced drastically. The majority of buildings in Safavid era such as mosques, schools, and caravanserais were constructed in a four-Iwan style and Muaraq (Mosaic) and Haft Rang (Seven-Coloured) tiles were the main decorations used in the buildings, the template of tiles were square which were glazed and seven colors were used to design them. Calligraphy on tile became common in decoration of religious buildings as well. Public places like mosque, bridge, bathhouse, water reservoir and specially caravanserai were built more than ever. Amin Abad caravanserai in Isfahan, Deh-bid caravanserai on the road of Isfahan to Shiraz and the numerous Abbasi caravanserais built all over the country were important caravanserais of this period.

After the fall of Safavid Dynasty, the same architectural style of that time continued like before but it was not as glorious as before. Kalat Naderi Palace (Khorshid Palace) in Khorasan province (Afsharid era) and Vakil complex in Shiraz (Zandiyeh era) are outstanding buildings of this period. After this period and with the beginning of Qajar Reign, architecture was the centre of attention again. Some of the buildings from Qajar era like Al-Nabi Mosque in Qazvin, the Haj Ali Agha complex in Kerman, Imam Mosque, Sepahsalar Mosque and school in Tehran, as well as Golestan palace are the examples of the breathtaking architecture of Qajar era.

Contemporary Architecture

The contemporary architecture of Iran starts from early 19th century and continues up to now. Architectural structures of buildings in this time were the combination of traditional and western architecture styles which were witnessed in constructs like Shahrbani Palace, Marble Palace and Post Office building of Tehran, or modern architectural style was entirely used.

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Persepolis (derived from Greek Pérsēs and pólis meaning the Persian city) or Takht-e Jamshid (literally meaning Throne of Jamshid – an Iranian mythological king) is the remains of Achaemenid (550 – 330 BCE) palace that Darius I, known as Darius the Great (522 – 486 BCE) began its construction in 518 BC after creating a vast terrace on the foot of Rahmat (Mercy) mountain. The buildings on the platform occupied an area of about 135,000 km2; the construction of the palaces and terraces began under the command of Darius I, and were continued in the era of Xerxes (496 – 465 BCE), Artaxerxes I (465 – 424 BCE), and Artaxerxes III (359 – 338 BCE). After the invasion of the Alexander of Macedon in 334 BC towards the east, Iranian forces were defeated, the Achaemenid dynasty was overturned, and Persepolis was destroyed.

The goal of Darius was not to create an administrative and/or political center, but a center for Iranian festivity and ceremonials. Some palaces on the terrace were residences for the imperial family and some were allocated to reception and formal greetings.

Persepolitan architecture is distinguished for its use of the quadrilateral spaces and Persian columns, construction of buildings on the terrace, application of wooden ceilings, cut and carved stones, column bases, and capitals, designing portals, and utilization of glazed tiles in interior spaces. It is interesting to know that no mortar is used in the construction of Persepolis and metal clips are employed to join stones together.

Persepolis, Gate of all nations – Marvdasht, Fars Province, Iran

Columns are a distinctive feature of Persepolis. Researchers believe that the combination and integration of various artistic practices including Greek, Egypt, Asia Minor, Mesopotamia, and in particular local style in the construction of Persepolis had led to the creation of columns with distinctive capitals that cannot be found in any other cultures. The height of some columns reaches up to 20 meters with capitals of zoomorphic and legendary creatures.

The main buildings at Persepolis include the Great Stairway, the Gate of All Nations, the Apadana, the Hall of Hundred Columns, the Tripylon Hall, the Hadish Palace, the Tachara, the Queen’s Palace, and the Imperial Treasury.

Plan of Perspolis
Infographic by Parinaz Ghashghaie

The Great Stairway, the Gate of All Nations

The entrance to the palace is located northwest of the yard and is accessible by a double-reversed staircase. Each staircase includes 111 stairs of 6.7 meters long, 10 cm height, and 38 cm wide. By climbing the stairs, the gate of all nations with a pair of lamassus (guardian winged-bulls with the heads of bearded men) show off. A trilingual inscription (in Elamite, Old Persian, and Babylonian) in the name of Xerxes is carved above each doorway jamb praising Ahura Mazda, the creator and sole God of Zoroastrianism, and introducing Xerxes and the magnificence of the building. The gate opened to a waiting room for representatives of different nations to precede their group for meeting Achaemenid kings. Archaeologists believed that this hall was completed at the time of Xerxes (496 – 465 BCE).

Apadana

By crossing the Gate of all Nations and the waiting hall, we arrive at the Apadana Hall that was the largest and most imposing palace of Persepolis; the audience palace of Darius I (522 – 486 BCE). It consisted of the main square hall of thirty-six columns, and three porticos each with twelve columns on the north, west and east sides. Its columns soared to a height of 20 meters and of the seventy-two columns once supporting the roof of the palace, only thirteen are still standing and the rest are fallen and broken.

Two grand Perspolitian symmetrical stairways were built in the north and east sides, nonetheless, the northern stairway demolished over time. Stone carvings decorate these monumental stairways, showing delegates of the 23 subject nations of the Persian Empire paying tribute to Darius I, giving him presents.

Hall of Hundred Columns

The Throne Hall is the second largest building of Persepolis. This 70×70 square meter hall was started by Xerxes I and completed by his son Artaxerxes I (465 – 424 BCE). Its eight stone doorways are decorated on the north and south with reliefs of throne scenes, and on the west and east with scenes depicting the king combating monsters. Researchers believe that the Throne Hall was used mainly for receptions representatives of all the subject nations of the empire.

Tripylon Hall

Council Hall or Central Hall is located in the southeastern corner of Apadana and the middle of other buildings. It is called Tripylon because it includes three grand gates. One of gates is sculptured with the representation of Darius I seated under the royal baldachin, Xerxes I, standing behind him, both on a monumental throne which is being carried into the hall upon the raised arms and hands of twenty-eight representatives of subject nations of the empire. The Central Hall opened to two columned porticos on the north and south. Reliefs of stairways suggest that the Throne Hall was used mainly for receptions for military commanders.

Hadish Palace

The Palace of Xerxes occupied the highest level of terrace and it was severely burned when Alexander of Macedon destroyed Persepolis as a revenge for his invasion of Athens. It had a thirty-six columned square hall, a twelve-columned portico on the north, a long balcony on the south, and some storage and guardrooms.

The Tachara

It is the oldest palace of Persepolis located in the south of the Apadana and some call it the Mirror Hall for its glossy rocks. Its main hall has a rectangular plan of 12 stone-made columns surrounded by smaller rooms and chambers. Inscriptions and Reliefs like the battle of “Lion and Bull” carved on the eastern and western entrance of the palace are critical features of the palace.

The Queen’s Palace (Museum)

The building of Persepolis museum was the palace for Achaemenid Queens and is one of the oldest structures work as a museum in Iran. It consists of the main hall with twelve columns, a portico with eight columns, several adjoining chambers, and a number of identical units on either sides of a long corridor. The collection of the Persepolis Museum consists of prehistoric, Achaemenid and Islamic eras.

The Treasury

The treasury of Persepolis is located in the east of the queen’s palace, and south of the Hall of a Hundred Columns consists of a huge yard in the eastern part surrounded by several columned porticos. An archive of 750 clay tablets from Darius I, Xerxes, and Artaxerxes I, carved with Elamite language explaining rules and regulations over labor workers and taskmasters as well as their wages paid from the treasury was notably found in the Treasury.

Palace of guardians, Tomb of Artaxerxes II (404 – 359 BCE), Tomb of Artaxerxes III (359 – 338 BCE), Unfinished Gate, Army road, Stone Well, Stone pool, Royal Hill, are among other places and structures of Persepolis.

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Interior of the traditional pigeon tower – Meybod, Yazd province, Iran
Photo: OPIS Zagreb/ shutterstock

Dovecote is an architectural structure of Iran, a tower-like structure for keeping pigeons. Three factors were necessary to build a dovecote: pigeon, agricultural land and access to water. Hence, the dovecotes were built close to agricultural lands so that pigeons do not fly long distances to find grains and water.

Honeycomb Architecture

The dovecotes were clay, high and hollow and at the same time firm and compact structures which were built in three models: cylindrical, cubic and polygon, most of the dovecotes in Iran are cylindrical. These structures are usually made of one internal and one external cylinder. In order to strengthen the building, the external cylinder was slightly inside-oriented and conic and it was connected to the internal cylinder by some levers.

Interior of the traditional pigeon house – Yazd province, Iran
Photo: Alexander Mazurkevich/ shutterstock

There were cavities like honey beehive in internal crusts of the walls which were used as pigeons nest. Usually more than 1000 pigeons can be kept in dovecotes, they are double-glazed and act like an insulation that prevent the entrance/exit of heat during summer/winter. All around the external building was covered with white and sometimes glazed plaster which prevented the entrance of reptiles like snake into the dovecote, its width was usually between 1 to 1.5 meters.

The history of dovecote in Iran is not clear but the oldest ones belong to Safavid and Qajar Dynasties like dovecote of Hezar Jarib Garden (Safavid Dynasty) and Meybod dovecote tower (Qajar Dynasty).

Exterior of the traditional pigeon houses – Yazd province, Iran
Photo: Alexander Mazurkevich/ shutterstock

A structure with Economic Approach

Dovecotes can be considered as economic buildings which were created with the purpose of utilizing agriculture but by the development of agriculture during the recent decades and using chemical fertilizers, these buildings are not as usable as before. Development of the cities and placing dovecotes in urban regions is a factor which make pigeons unwilling to nest in these towers.

Today, the remained dovecotes are used as tourism and agricultural attractions in Iran and their complicated architecture is attractive to tourists.

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