Day 1: Flight from Your Home Country to Tehran
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14 Days Persia Classic Tour Overview
Tour Name: 14 Days Persia Classic Tour Tour Code: OT1114001 Tour Duration: 14 Days and 13 Nights Tour Category: Discovery / Cultural Tour Difficulty: 2 Tour Tags: Classic Tour Tour Best Date: 12 months Tour Services Type: 3*/4* / All-inclusive Tour Destinations: Tehran/Kashan/Esfahan/Yazd/Shiraz/Kerman Related tours code: Number ticket limits: 2-16 Overview: Landing to Persia, Iran is a country with endless history and tradition and you explore both ancient Persia and modern Iran. Our Persia Classic Tour program includes the natural and historical attractions old central parts of Iran. In this route, we will visit cities like Tehran, Kashan, Isfahan, Yazd, Shiraz and finally Kerman. Actually, in most of these areas, living in warm and dry areas has been linked with history and has shaped the lifestyle that is specific to these areas. Highlights: . It’s a 14 days Iran classic discovery and cultural tour. The tour starts and ends in Tehran. In between, we visit 6 main cities and 17 amazing UNESCO world heritage site in Iran. Visit amazing UNESCO world heritage sites in Iran Tour Map: Tour Itinerary: Landing to PERSIA Welcome to Iran. To be met by your tour guide at the airport (IKA airport), you will be transferred to your hotel. We will visit Golestan Palace* (one of Iran UNESCO World Heritage site) and grand old bazaar of Tehran (depends on arrival time). O/N Tehran Magic of Desert (Kashan) Leaving Tehran behind, on our way to Kashan, we visit Ouyi underground city. Then continue to Kashan to visit Tabatabayi historical house, Borujerdiha/Abbasian historical house, Fin Persian garden*, a relaxing and visually impressive Persian garden with water channels all passing through a central pavilion. -
A Program of the Stanford Alumni Association March 17 to April 1, 2019
STANFORD TRAVEL/STUDY JUDITH KEYANI, IRAN, 2016 MOSQUES AND MONUMENTS OF PERSIA March 17 to April 1, 2019 a program of the stanford alumni association Few countries in the world spark the imagination—or create misconceptions—in the minds of Americans as does Iran. In the past 10 years, Stanford has led scores of educational travelers to this cultural and historical gem, and time and again, they return with stories of the country’s amazing sights and of the Iranian people’s incredible warmth and hospitality. “Eye-opening,” “extraordinary,” “humbling” and “not to be missed” are just some of the glowing terms Stanford travelers have used to describe this exceptional destination. Join us and faculty leader Ali Yaycioğlu as we delve deep into a country that is at once full of—and ever on the verge of making—history. BRETT S. THOMPSON, ’83, DIRECTOR, STANFORD TRAVEL/STUDY Highlights VIEW priceless archaeo- STROLL through PONDER the past logical treasures, including peaceful gardens where amid the ruins of legend- the Iranian crown jewels Sufi poets meditated in ary Persepolis, Darius I’s and a collection of rare medieval times, and marvel ceremonial capital and one miniatures, in the museums at the tiled mosques and of the best-preserved sites of Tehran. squares of Isfahan. remaining from the ancient world. COVER: ISFAHAN SHEIKH LOTFOLLAH MOSQUE, ISFAHAN Faculty Leader ALI YAYCIOG˘ LU was born and raised in Ankara, Turkey. His fields of interest include the transformation of the Ottoman Empire in the 18th and 19th centuries. His books and articles focus on the restructuring of economic, political and legal institutions and practices as well as ideas about social order, life and death in this transformative period. -
A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh
World Academy of Science, Engineering and Technology International Journal of Architectural and Environmental Engineering Vol:12, No:3, 2018 A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh as strength, comfort and expansion. Throughout history, Abstract—Architecture in Iran has a continuous history from at Iranian architecture had its own originality and simplicity. All least 5000 BC to the present, and numerous Iranian pre-Islamic parts of Iran, especially villages and ancient monuments are elements have contributed significantly to the formation of Islamic like a live but old book of art and architecture, history, which art. At first, decoration was limited to small objects and containers in a brief moment, each page of that opens the gates of several and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, thousand years of history to the visitors [7]. which was prevalent in the form of motifs (animals and plants) in Repeat motifs, symbolic role and decorations are one of the pre-Islam, was used in the aftermath of Islam with the art of main subjects in Iranian art. In Iranian architecture, the calligraphy in decorations. The splendor and beauty of Iranian symbolic elements generally embossed with carving and architecture, especially during the Islamic era, are related to painting integrated with elements of construction and decoration and design. After the invasion of Iran by the Arabs and the environmental, which makes it a new and inseparable introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy combination. -
Tourism Boom by Islamic Art Spiritual Attractions in Iran Perspective Elements
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 7 No 4 S1 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2016 Tourism Boom by Islamic Art Spiritual Attractions in Iran Perspective Elements Susan Khataei Assistant Professor, Department of Graphic Design, Faculty of Architecture and Urban Design, Shahid Rajaee Teacher Training University, Tehran, Iran Doi:10.5901/mjss.2016.v7n4s1p40 Abstract Iran is one of the ten first countries in the world on the subject of tourism attractions. Iran, the land of four seasons simultaneously, and historical and scientific - cultural buildings is of interest for many tourists. Various works of Islamic art in the perspective of Iran that have been arisen in different periods and regions all have the same message and truth and have a sign of coordination and the greatness of Islamic civilization and culture. The artistic unity that stems from ideological unity, is able to attract many audience and can transcends the boundaries of time and place and communicate spiritually with all its contacts and believers. Islamic art and architecture is derived from religious sources and has an appearance (form) and the inside. Forms are created to give meaning and generally in Islamic art, nothing is void of the "meaning". General feeling of foreign tourists by observing Islamic-Iranian monuments is along with surprise, admiration and a sense of spirituality. In this study, the role of decorations in mosques and shrines in Iranian - Islamic architecture to establish spiritual relationship with the audience is emphasized. This is an applied research with analytical descriptive method which have been done based on observation and documentary studies. -
Use of Daylight in Mosques: Meaning and Practice in Three Different Cases
H.S¸. Arel & M. Öner, Int. J. of Herit. Archit., Vol. 1, No. 3 (2017) 421–429 USE OF DAYLIGHT IN MOSQUES: MEANING AND PRACTICE IN THREE DIFFERENT CASES H. S¸. AREL & M. ÖNER Department of Architecture, I˙zmir University, Turkey. ABstract Since the emergence of the first cultures, light has been used in various ways for illuminating indoor spaces with sacred and symbolic meanings. Light has almost the same meaning in every religion: how- ever, in Islam, we distinctly see different notions of light, such as divine light, divine unity and unity of God which sets Islam apart from other religions. Mosques have the most perfect use of light in Islamic architecture. There is no doubt that mosques are sacred spaces that give out an intense sense of the pres- ence of God. Therefore, the use of light in mosques matters for both symbolic and spiritual reasons. We see the most striking and generous use of light particularly in Islamic mosques because light is likened to God, while darkness symbolizes Satan. Therefore, different ways of lighting are employed in order to highlight these notions. In addition to having symbolic and spiritual meanings, the use of light plays a role, in enhancing the decorative and aesthetic aspects of the interior spaces of mosques. Muslims aim at highlighting simplicity, clarity and purity by letting light into the interior of mosques in different ways. Wide spaces with no load-bearing walls, dome windows, colourful windows and grilled windows are used in designing mosques to enhance the symbolic, spiritual and aesthetic sense of the interior. -
The Sheikh Lotfollah Mosque Consolidating Shi’Ism, Forming Spirituality, and Creating the Infinite Dome
The Sheikh Lotfollah Mosque Consolidating Shi’ism, forming spirituality, and creating the infinite dome Nora Fathalipour M.A. candidate University of New Brunswick B.A. Law and History of Art and Archaeology, SOAS The truly unique Sheikh Lotfollah mosque Sheykh Baha’i, the Sheikh Lotfollah in the Naqsh-e Jahaan Square1 (henceforth mosque was the first monument of the “the Square”) in Esfahan, Iran is situated in Square to be finished; an inscription by the the heart and centre of the city. One enters chief calligrapher of the Shah on the tile the mosque of Sheikh Lotfollah through mosaic of the entry gateway to the mosque heavy wooden doors laden with geometric sets the starting date to 1012 AH/1603-04 carvings with intense anticipation. Not a CE.4 It was completed in 1028 AH/1618-19 single façade or inch has been left without CE, at the same time the Square itself was some sort of tile work. The colourful completed. portal skilfully hides, for the person outside, the ‘maze’ before the main room Used by the Shah himself for prayer, the that leads one to immediately face the mosque has had various names, though qibla, the direction that Muslims face to it currently bears the name of a learned pray. With a foundation in the same rare Safavid scholar.5 Exquisite, yet small, the marble employed throughout the square; Sheikh Lotfollah mosque is located on the entire colour scheme of the mosque is the east side of the Square. Of the Safavid refreshingly joyful and inviting. mosques, this is a unique building; its single dome is surrounded by resting Sheikh Baha’i was a cleric and polymath rooms and service areas, yet lacks the instrumental in formulating the Safavid typical features such as a court, and even ruler Shah Abbas I’s new religious policy minarets. -
A Writers', Poets' and Photographers' 17-Day Tour of Iran
1 A Writers’, Poets’ and Photographers’ 17-day Tour of Iran Exploring the magnificent culture and literature of ancient and modern Persia Day 1 Arrive in Tehran Overnight (O/N) in Tehran Day 2 Today we start to explore this amazing buzzing capital city of 15 million in our own bus. National Museum of Iran Qajar dynasty’s Golestan Palace Delicious lunch in the busiest restaurant in Iran at Tehran Grand Bazaar entrance In the evening, we will head to Darband in the north of Tehran for a walk and dinner. O/N Tehran 1 2 Day 3 We take an early flight south to Shiraz, the city of great Persian poets. Bagh-e Eram from the Qajar dynasty O/N Shiraz Day 4 Nasir-ol-Molk mosque Shah Cheragh/or (Saadi of Shiraz, a major Persian poet) Narenjestan Persian garden Shiraz Bazaar Tomb of Hafez, Persia’s finest poet O/N Shiraz Day 5 (early start) Shiraz to Abarkuh (Via Persepolis, Naghsh-e Rostam, and Pasagadae) Persepolis Naqshe Rostam. Tomb of Cyrus the Great at Pasargadae O/N Abarku 2 3 Day 6 Aghazadeh Mansions We can hold the first of our workshops here on Persian culture, poetry or music, writing a travel journal or on photography techniques. O/N Abarkuh Day 7 Drive to Yazd, an adobe desert city Towers of Silence: Zoroastrian final resting place/Aerial burial Guided walk through the old centre of Yazd and the Jame mosque O/N Yazd Day 8 Zoroastrian Fire Temple Water Museum, Qanat of Yazd Dolat Abad Garden with the tallest wind tower O/N Yazd 3 4 Day 9 (early start) Drive to Isfahan via Kharanagh, abandoned oasis (Visit Chak Chak, Zoroastrian Fire Temple -
Mirrored Interiors of Iran Palaces and Holy Places Lustrzane Wnętrza Irańskich Pałaców I Świętych Miejsc
1/2019 PUA DOI: 10.4467/00000000PUA.19.006.10009 Olga Shkolna orcid.org/0000-0002-7245-6010 Borys Grinchenko Kyiv University Mirrored interiors of Iran palaces and holy places Lustrzane wnętrza irańskich pałaców i świętych miejsc Abstract Typical mirrored interiors of Iran from the eighteenth to the beginning of nineteenth century are discussed in this article. Aesthetic, plastic, architectural and design peculiarities of such places in the Persian tradition are researched using examples of the Golestan and Saadabad royal complexes in Tehran, religious sights of Qazvin (the holy place Hossein Imamzadeh grave mosque and Friday mosque); the mausoleum of the descendant of Abraham, the prophet Keydar in Ostan-e Zanjan; the Sayed Alaeddin Hussein mosque, the Shah Cheragh mosque (blue or mirrored mosque), and Ali Ibn Hamzeh mausoleum in Shiraz. Peculiarities of the addition of mirrored sculptural elements, precious stones and silver plates to amalgamated glass in such complexes are clarified. Keywords: Iran, mirrored interior, palaces, mosques, holy places, eighteenth to the beginning of nineteenth century Streszczenie W tym artykule omówiono typowe lustrzane wnętrza Iranu od XVIII do początku XIX wieku. Cechy estetyczne, plastyczne, architektoniczne i projektowe takich miejsc w tradycji perskiej są badane na przykładach królewskich kompleksów Golestan i Saadabad w Teheranie, zabytków religijnych w Ka- zwinie (mauzoleum Hossein Imamzadeh wraz z meczetem piątkowym); mauzoleum potomka Abra- hama, proroka Keydara w Ostan-e Zanjan; meczet Sayed Alaeddin Hussein, meczet Shah Cheragh (niebieski lub lustrzany meczet) i mauzoleum Ali Ibn Hamzeha w Shiraz. Artykuł wyjaśnia specyfikację dodawania lustrzanych elementów rzeźbiarskich, kamieni szlachetnych i srebrnych płytek do amal- gamowanego szkła w takich kompleksach. -
Iranian-Tour-Details
10 days / 9 nights Starting from $1450.00 per person based on double occupancy $550 single supplement Day one Leave United States for your flight to Shiraz Day two: Shiraz Arrive to Shiraz. Our guide is waiting to greet and transfer you to your hotel where you sill stay overnight in Shiraz. Day three: Shiraz The first full tour day begins an educational adventure led by our Group Leader. First we will visit the beautiful Narenjestan Garden, circa 1257 CS, which features a richly decorated pavilion set among graceful trees. Next, we’ll walk to the Vakil Bazaar - one of the finest and most important bazaars of historical Iran, established in the 11th century CE. The next visit is to the Tomb of Hafez, Iran’s greatest lyric poet, followed by the Tomb of Sa’adi whose poems and tales are still known to every Iranian. After that, we will journey to the downtown part of the city to the Arg-E Karim (Karim Khan Citadel). It was named after a king of the 18th century Zand Dynasty, who made this city his capital. You will learn the history of the citadel, King Karim Khan and the dynasty. Finally, we will enjoy the shining domes ov Ali Ebn- e Hamze and Holy Shrine of Shah Cheragh. You will spend the night in your hotel in Shiraz. Day four: Shiraz – Persepolis – Pasargadae – Yazd Once we check out of the hotel, we will take a vehicle to Yazd, one of the most distinctive cities in Iran, renowned for its Persian architecture. Along the way, we will visit Persepolis in the heart of the fabled Persian Empire. -
Curriculum Vitae
Curriculum Vitae Mohammadjavad Mahdavinejad, Ph.D. Associate Professor, Department of Architecture Faculty of Art and Architecture Tarbiat Modares University, Tehran, Iran [email protected] Cell: +98 912 214 2250 Tel: +98 21 8288 3739 Fax: +98 21 88008090 Personal Details Name: Mohammadjavad Surname: Mahdavinejad Scopus Author ID: 53164158600 h-index=13 Affiliation 2008 Assistant Professor, TMU (Tarbiat Modares University), Tehran, Iran. 2013 Associate Professor, TMU (Tarbiat Modares University), Tehran, Iran. 2020 Professor, TMU (Tarbiat Modares University), Tehran, Iran University Education 1996 Diploma, 1996, Exceptional Talented School, Iran. 2003 M.A. in Architecture, 2003, University of Tehran, Tehran, Iran. 2007 Ph.D. in Architecture, 2007, University of Tehran, Tehran, Iran. Honours and Honorific 2009 Honoured for Gifted Research -"Description of Principles of Identity in Islamic Architecture; Explanation of Identity in Islamic Architecture with Particular Reference to the Meaning of Taarof in Quranic Culture", National Institution of Elites, 28 & 29 Oct 2009, Tehran: The Islamic Republic of Iran International Conference Center 2010 "The Most Cited scientist of Iran in era of Art and Architecture", based on citations to articles in scientific journals and research of the country, The Institute of Avant- garde scientists of Iran 2010 "The Book-friend Citizen", The First Festival on Reading Development in the City of Tehran, Culture and Art Organization of Tehran Municipality, 7 Dec. 2010, Tehran: Arasbaran Conference Hall 2011 "The Devoted Architects to Islamic Architecture" – “Khadem-E-Masjid”, Deputy of Architecture and Urbanism of Tehran Municipality, 19 & 20 Apr. 2011, Tehran: Milad Tower Conference Halls 2011 "The Season Book of Islamic Republic of Iran – winter 2011", As the Author of "Urban Regeneration of Heritage of Future", June 21, 2011, Culture, Art & Architecture Research Center. -
TRI Consulting, Exploring Opportunities in Iran's Hotel Market
Exploring Opportunities in Iran’s Hotel Market 2016 Introduction Exploring Opportunities in Iran’s Hotel Market Over the past two decades, TRI Consulting has undertaken many market and financial Iran is a theocratic republic consisting of 31 provinces. The capital of the country is Following the Islamic Revolution of 1979, Iran has been governed as a theocratic feasibility studies, highest and best use studies and hotel operator searches for hotel Tehran, which is located in the northern region of Iran. Other notable cities include state, whereby the Supreme Leader is the Head of State, who is elected by a council projects across Iran. With the signing of the initial framework (between the P5+1 Isfahan, Shiraz, Mashhad, Tabriz, Kerman and Yazd. of experts, who are democratically elected. The first Supreme Leader of Iran, also nations of US, UK, China, Russia, France & Germany) in July 2013, our work in Iran known as the founder of the Republic, was Ayatollah Ruhollah Khomeini, and was Iran’s population base accounted for nearly 80 million inhabitants in 2016, making it significantly increased, advising local, regional and international investors and hotel succeeded by Ayatollah Seyyed Ali Khameini in 1989, following the death of his prede- the most populous country in the region. One of Iran’s distinct characteristics in the management companies. cessor. region is its ethnic diversity which include the Persians, Tats, Kurds, Lurs, Talyshs and In recent months, we undertook a hotel market opportunities assessment for every Balochis , among others. The country also has one of the largest youth populations in The next most significant political figure after the Supreme Leader is the President, city in Iran with over one million people. -
Culture of Shiraz
1 AKPIA @ MIT - Studies on ARCHITECTURE, HISTORY & CULTURE History and the Production of the “Culture of Shiraz” Setrag Manoukian Introduction My research project at the Aga Khan Program for Islamic Architecture at MIT focused on the production of knowledge in contemporary Shiraz and in particular on some of the most visible products of this evolving concatenation: the buildings and public initiatives that mark the landscape of Shiraz today.1 These diverse products are constructed, presented, and interpreted mainly through the modality of history, which constitutes the main frame of reference to imagine the city and its place within the Iranian nation. Public history The Islamic Republic, since its inception, has devoted many efforts to the control of public space. These efforts have been oriented toward mapping revolutionary discourse onto streets and squares through images, texts, and objects as well as toward conforming existing images, objects, and texts to what were perceived as the tenets of the new state.2 1 I spent January and February 2004 at AKPIA at MIT and found a lively intellectual community that helped me to sharpen my views. I wish to thank Nasser Rabbat, Heghnar Watenpaugh, and Susan Slyomovics for their insights. 2 For descriptions of revolutionary images, texts, and objects and their relevance in the construction of the revolutionary state see Michael M. J. Fischer and Mehdi Abedi, Debat- ing Muslims: Cultural Dialogues in Postmodernity and Tradition (Madison: University of Wisconsin Press, 1990) and more specifically Peter Chelkoswski and Hamid Dabashi, Staging a Revolution: The Art of Persuasion in the Islamic Republic of Iran (London: 2 A dispersed set of operations projected a forceful regime of signs, struc- turing a prescriptive field that regulates what can be made public.