DOCSLIB.ORG

Mahsa Pakravan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mahsa Pakravan Soundscape, Sonic Experience, and Sonic memory in Iran: Jewish and Muslim Cultural Identity in Udlajan, Tehran by Mahsa Pakravan A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music University of Alberta © Mahsa Pakravan, 2016 Abstract This dissertation explores the impact of everyday soundscape on cultural identity formation by considering the experiences of one neighborhood of Tehran, Iran before and after the 1979 Islamic Revolution. Being home to a majority of Jews before the Revolution, Udlajan is one of the oldest neighborhoods in Tehran. Through interviews with a select group of its current and past Jewish and Muslim residents, this research considers changes to the everyday soundscape of the neighborhood in order to examine the role of sounds and silences in the social construction of space. This dissertation proposes that sonic experiences are closely related to the ways people make sense of their cultural identity. By narrating sound memories along with other ones, people express their understanding of space, communications with other residents, sense of identity, self and otherness, norms of inclusion and exclusion. Their narratives as well as the sound observations made in the neighborhood help to create a sonic map and the sonic changes Udlajan has gone through in the past several decades. This thesis argues that through the sonic memories, the residents are able to share their thoughts and feelings about their Jewish and Muslim neighbors and manage to express their sense of identity as members of a religious community or citizens of Udlajan. ii Preface In the dissertation, I have italicized all Persian words and transliterated them phonetically except when they are commonly used words in English such as the words with “a” and do not use ”آ ا“ Shia and when they are song titles. Also, I represent the letter the macron over the “a” because it is not common in the English spelling of the Persian words which also contain this letter. For instance, words such as Tehran, Dastgah, Azan, and ”و“ Iran do not contain the macron over the “a.” Depending on the context, the letter becomes ”خ“ becomes “i” or “y.” The letter ”ی“ becomes either “u,” “ow,” or “o” and ,become “q.” Reflecting their pronunciation in Persian ”غ“ and ”ق“ ”,becomes “sh ”ش“ ”,kh“ as “z.” I ”ظ“ and ”,ذ“ ”,ز“ ”,ض“ are represented as “s” and ”ص“ and ”,س“ ”,ث“ the letter have left individuals’ names, article and book titles according to individuals’ and authors’ own spelling preference. I hope that this method of transliteration can give non-Persian speakers a somewhat accurate idea of the phonetic sound of words while preserving some aspects of their spelling for Persian speakers. iii To the memory of Maryam Kian iv Acknowledgments I would like to thank all the people who contributed in some way to the work described in this thesis. First and foremost, I thank my academic advisors, Dr. Federico Spinetti and Dr. Mary Ingraham for their guidance and support. Additionally, I would like to thank my committee members Dr. Michael Frishkopf, Dr. Mojtaba Mahdavi, and Dr. Margaret Walker for their significant comments and suggestions. My time at University of Alberta was made enjoyable in large part due to the many friends that became a part of my life. I am grateful for time spent with Elli and Hamidreza and all their help and support in the process of my dissertation writing. Lastly, I would like to thank my parents for all their love and encouragement and most of all for my loving and patient husband Majid whose faithful support during the final stages of this Ph.D. is so appreciated. v Table of Contents 1. LIST OF FIGURES ......................................................................................................................... VIII 2. CHAPTER 1- INTRODUCTION ...................................................................................................... 1 1.1. AN OVERVIEW .............................................................................................................................................. 3 1.2. PURPOSE OF THE STUDY ............................................................................................................................. 4 1.3. WHY UDLAJAN? ........................................................................................................................................... 5 1.4. THE SIGNIFICANCE OF RESEARCH ............................................................................................................. 7 1.5. RESEARCH METHODOLOGY ..................................................................................................................... 11 1.6. FIELDWORK: AN ETHNOGRAPHY THROUGH OBSERVATION, SONIC RECOLLECTION, AND FORGETTING .......................................................................................................................................................... 16 1.7. MY POSITION IN THE FIELD .................................................................................................................... 19 1.8. RESEARCH QUESTIONS ............................................................................................................................ 23 1.9. SCHOLARLY CONTEXT .............................................................................................................................. 24 1.10. DISSERTATION ROADMAP .................................................................................................................... 29 2. CHAPTER 2. THE SIGNIFICANCE OF SOUNDSCAPE IN CULTURAL ANALYSIS ........... 31 2.1. INTRODUCTION ......................................................................................................................................... 31 2.2. SOUNDSCAPE AND ITS ELEMENTS ......................................................................................................... 32 2.3. WHY IS THE STUDY OF SOUNDSCAPE IMPORTANT? ........................................................................... 36 2.4. VOICE AND SILENCE: POWER OR WEAKNESS ...................................................................................... 40 2.5. SOUND AND BUILT ENVIRONMENT ....................................................................................................... 45 2.6. UNWANTED SOUND, NOISE, AND PEOPLE’S SENSITIVITY ................................................................. 51 2.7. SUMMARY ................................................................................................................................................... 54 3. CHAPTER 3: SENSING UDLAJAN, THE SOUNDING NEIGHBORHOOD ........................... 56 3.1. INTRODUCTION ......................................................................................................................................... 56 3.2. UDLAJAN: A HISTORICAL OVERVIEW .................................................................................................... 57 3.3. UDLAJAN TODAY’S SOUNDSCAPE ........................................................................................................... 61 3.4. PHASE ONE. SOUNDSCAPE ETHNOGRAPHY: TWO COFFEEHOUSES IN UDLAJAN ........................... 67 3.4.1. AN OVERVIEW ....................................................................................................................................... 67 3.4.2. TRADITIONAL AND MODERN-TRADITIONAL COFFEEHOUSES IN TEHRAN ................................... 69 3.4.3. TWO COFFEEHOUSES IN UDLAJAN ..................................................................................................... 75 3.4.4. A COMPARATIVE GLANCE AT TWO COFFEEHOUSES ........................................................................ 84 3.5. SUMMARY ................................................................................................................................................... 86 4. CHAPTER 4: NATIONALISM, NATIONAL IDENTITY, AND THE QUESTION OF CULTURAL IDENTITY IN IRAN .......................................................................................................... 89 4.1. INTRODUCTION ......................................................................................................................................... 89 4.2. HISTORICAL OVERVIEW ........................................................................................................................... 91 4.2.1. PAHLAVI ERA ......................................................................................................................................... 94 4.2.2. ISLAMIC REVOLUTION ........................................................................................................................... 97 4.3. RELIGIOUS MINORITIES: IRANIAN JEWISH COMMUNITY ................................................................. 100 4.4. NATIONAL IDENTITY, EVERYDAY LIFE, AND THE QUESTION OF CULTURAL IDENTITY ............. 107 4.5. SUMMARY ................................................................................................................................................ 110 5. CHAPTER 5: ETHNOGRAPHIC FIELD RESEARCH, NARRATIVES, AND MEMORIES 112 5.1. INTRODUCTION ...................................................................................................................................... 112 vi 5.2. PHASE 2: ETHNOGRAPHY OF SONIC RECOLLECTION ....................................................................... 115 5.2.1. INTERVIEWS IN THE UNITED STATES OF AMERICA AND IRAN
Load more

Recommended publications
  • Iranian Traditional Music Dastgah Classification
    12th International Society for Music Information Retrieval Conference (ISMIR 2011) IRANIAN TRADITIONAL MUSIC DASTGAH CLASSIFICATION SajjadAbdoli Computer Department, Islamic Azad University, Central Tehran Branch, Tehran, Iran [email protected] ABSTRACT logic to integrate music tuning theory and practice. After feature extraction, the proposed system assumes In this study, a system for Iranian traditional music Dastgah each performed note as an IT2FS, so each musical piece is a classification is presented. Persian music is based upon a set set of IT2FSs.The maximum similarity between this set and of seven major Dastgahs. The Dastgah in Persian music is theoretical Dastgah prototypes, which are also sets of similar to western musical scales and also Maqams in IT2FSs, indicates the desirable Dastgah. Gedik et al. [10] Turkish and Arabic music. Fuzzy logic type 2 as the basic used the songs of the dataset to construct the patterns, part of our system has been used for modeling the whereas in this study, the system makes no assumption about uncertainty of tuning the scale steps of each Dastgah. The the data except that different Dastgahs have different pitch method assumes each performed note as a Fuzzy Set (FS), so intervals. Figure 1 shows the schematic diagram of the each musical piece is a set of FSs. The maximum similarity system. We also show that the system can recognize the between this set and theoretical data indicates the desirable Dastgah of the songs of the proposed dataset with overall Dastgah. In this study, a collection of small-sized dataset for accuracy of 85%. Persian music is also given.
    [Show full text]
  • A Framework for the Static and Dynamic Analysis of Interaction Graphs
    A Framework for the Static and Dynamic Analysis of Interaction Graphs DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sitaram Asur, B.E., M.Sc. * * * * * The Ohio State University 2009 Dissertation Committee: Approved by Prof. Srinivasan Parthasarathy, Adviser Prof. Gagan Agrawal Adviser Prof. P. Sadayappan Graduate Program in Computer Science and Engineering c Copyright by Sitaram Asur 2009 ABSTRACT Data originating from many different real-world domains can be represented mean- ingfully as interaction networks. Examples abound, ranging from gene expression networks to social networks, and from the World Wide Web to protein-protein inter- action networks. The study of these complex networks can result in the discovery of meaningful patterns and can potentially afford insight into the structure, properties and behavior of these networks. Hence, there is a need to design suitable algorithms to extract or infer meaningful information from these networks. However, the challenges involved are daunting. First, most of these real-world networks have specific topological constraints that make the task of extracting useful patterns using traditional data mining techniques difficult. Additionally, these networks can be noisy (containing unreliable interac- tions), which makes the process of knowledge discovery difficult. Second, these net- works are usually dynamic in nature. Identifying the portions of the network that are changing, characterizing and modeling the evolution, and inferring or predict- ing future trends are critical challenges that need to be addressed in the context of understanding the evolutionary behavior of such networks. To address these challenges, we propose a framework of algorithms designed to detect, analyze and reason about the structure, behavior and evolution of real-world interaction networks.
    [Show full text]
  • Automatic Dastgah Recognition Using Markov Models
    Automatic Dastgah Recognition Using Markov Models Luciano Ciamarone1, Baris Bozkurt2, and Xavier Serra2 1 Independent researcher 2 Universitat Pompeu Fabra, Barcelona, Spain [email protected], [email protected], [email protected] Abstract. This work focuses on automatic Dastgah recognition of mono- phonic audio recordings of Iranian music using Markov Models. We present an automatic recognition system that models the sequence of intervals computed from quantized pitch data (estimated from audio) with Markov processes. Classification of an audio file is performed by finding the closest match between the Markov matrix of the file and the (template) matrices computed from the database for each Dastgah. Ap- plying a leave-one-out evaluation strategy on a dataset comprised of 73 files, an accuracy of 0.986 has been observed for one of the four tested distance calculation methods. Keywords: mode recognition, dastgah recognition, iranian music 1 Introduction The presented study represents the first attempt in applying Markov Model to a non-western musical mode recognition task. The proposed approach focuses on Persian musical modes which are called Dastgah. Several different approaches to the same task have already been documented. In 2011 Abdoli [3] achieved an overall accuracy of 0.85 on a 5 Dastgahs classification task by computing similarity measures between Interval Type 2 Fuzzy Sets. In 2016 Heydarian [5] compared the performances of different methods including chroma features, spectral average, pitch histograms and the use of symbolic data. He reported an accuracy of 0.9 using spectral average and Manhattan metric as a distance cal- culation method between a signal and a set of templates.
    [Show full text]
  • Annual Statistical Bulletin 2013 Annual Statistical Bulletin
    2013 OPEC OPEC Annual Statistical Bulletin 2013 Annual Statistical Bulletin OPEC Helferstorferstrasse 17, A-1010 Vienna, Austria Organization of the Petroleum Exporting Countries www.opec.org Team for the preparation of the OPEC Annual Statistical Bulletin 2013 Director, Research Division Editorial Team Omar Abdul-Hamid Head, Public Relations and Information Department Project Leader Angela Agoawike Head, Data Services Department Adedapo Odulaja Editor Alvino-Mario Fantini Coordinator Ramadan Janan Design and Production Coordinator Alaa Al-Saigh Statistics Team Pantelis Christodoulides, Hannes Windholz, Senior Production Assistant Mouhamad Moudassir, Klaus Stöger, Harvir Kalirai, Diana Lavnick Mohammad Sattar, Ksenia Gutman Web and CD Application Dietmar Rudari, Zairul Arifin Questions on data Although comments are welcome, OPEC regrets that it is unable to answer all enquiries concerning the data in the ASB. Data queries: [email protected]. Advertising The OPEC Annual Statistical Bulletin now accepts advertising. For details, please contact the Head, PR and Information Department at the following address: Organization of the Petroleum Exporting Countries Helferstorferstrasse 17, A-1010 Vienna, Austria Tel: +43 1 211 12/0 Fax: +43 1 216 43 20 PR & Information Department fax: +43 1 21112/5081 Advertising: [email protected] Website: www.opec.org Photographs Page 5: Diana Golpashin. Pages 7, 13, 21, 63, 81, 93: Shutterstock. © 2013 Organization of the Petroleum Exporting Countries ISSN 0475-0608 Contents Foreword 5 Tables Page Section 1:
    [Show full text]
  • בעזרת ה' Yagel Harush- Musical C.V ID- 066742438 Birth Date-10.28.1984
    בעזרת ה' Yagel Harush- Musical C.V ID- 066742438 Birth Date-10.28.1984 Married + 4 Teaches Mediterranean music. Composer and Musical adapter. Plays Kamancheh and Ney. Discography 2016- working on a diwan (anthology of Jewish liturgical poems) which he wrote and composed. The vision is to publish an anthology of liturgical poems for the first time in years.These are Modern day poems written by Yagel, and will be published alongside a disc which includes melodies for a number of the poems the book contains. The composition is based on the "Maqam" – the module system typical to eastern poetics. 2016- Founding Shir Yedidut ensemble, which renews and performs parts of the Bakashot, a tradition of Moroccan Jewry. In charge of musical adaption, lead singer and plays a number of insrtuments (Kamancheh, Ney, Oud and guitar), and research of the Bakashot traditions of Moroccan Jewry. As a part of the project a disc was produced by the name of "Aira Shachar" alongside the concert. The disc and the concert features well known artists David Deor, Erez Lev Ari and Yishai Rivo, as well as dozens of other leading musicians of eastern music style in the country. (Disc included) Alongside incorporation of elements from folk music, western harmony etc., the ensemble wishes to restore the gentle and unique sound of Mediterranean music. The main vision is to restore one of the richest poetic and musical traditions in our culture. The content of the poems- songs of longing to the country and wholeness of the individual as well as the nation, of pleading for the affinity of G-d and man- are as relevant to our lives today as ever.
    [Show full text]
  • Finding the Patterns of Indian Mosques Architecture
    Vol.14/ No.48/ Jun 2017 Received 2017/03/04 Accepted 2017/05/15 Persian translation of this paper entitled: الگویابی معماری مساجد هند is also published in this issue of journal. Finding the Patterns of Indian Mosques Architecture Ehsan Dizany* Abstract India is one of the countries that has had diverse civilizations from the distant past, so in architectural standpoint, this country is rich and varied. The arrival of Islam in India and the formation of Islamic governments led to the formation of a certain type of Islamic architecture in this subcontinent. The architecture of Indian mosques is evaluated as a prominent model of Islamic architecture of subcontinent. This study is based on the assumption that the pattern of Indian mosques architecture is a combination of early Iranian-Islamic architecture of mosques and Indian vernacular architecture. Finding the roots of Architectural features of Indian mosques is the subject of this article. In this paper, the influence of early Islamic mosques’ architecture and rich and historical architecture of India on Indian mosques architecture before the arrival of Islam and the architecture of developed Islamic civilizations in the Indian neighborhoods such as Iran, is studied. Generally Indian mosques architectural features include prayer-hall in the Qibla direction, existence of courtyard, Four-Iwan pattern, crusts odd divisions, especially triple ones, presence of mosque in plaza and its position on a Soffeh (in height), access to the mosque entrances by wide stairs, triple divisions of Gonbad Khane in the Qibla direction and the use of transparent porticos around courtyard (Half of the outer crust that has external view).
    [Show full text]
  • Alizadeh Behroozinia.Cdr
    HEART STRUMS Reverberations from another world Oh, Strummer of the lute of my heart, Hear in this moan the reply of my heart. Rumi ای زﻪ زﻨﺪه رﺑﺎب دل ﻦ ﻮ ﻮ از اﻦ ﻮاب دل ﻦ ﻮﻮی Four top, accomplished musicians, envoys by whose ngers the magical hand of music strums the hearts of listeners, imbue their environs with other-worldly sounds whose rustle, tap, chime, clink, lilt, whisper, and croon touch the souls of audiences and squire them on an intoxicating journey of transformation through uttering restlessness, sobbing grief, galloping ecstasy, and swirling joy. Rooted rmly in the melodic frames of classical Persian music, this collection inspires the spirit in meditative, romantic, melancholic, and joyous explorations, even of listeners unfamiliar with the sounds of this musical tradition. Hossein Alizadeh, Behnam Samani, virtuoso acclaimed composer, percussionist who plays daf, a frame musicologist, teacher, and drum, and Tombak, a goblet drum, was an undisputed born in Iran and lives in Cologne, contemporary master of Germany. He has worked and played classical Persian music, was with the most prominent musicians and born in Tehran and lives in renowned masters of Iranian music, Iran. He is a virtuoso player rendering not only complex rhythms, of setar (three-string) and tar but also improvising unexpected (string), a Persian lute, which melodies. He is a founding member of is considered the "Sultan of the Zarbang ensemble and through his instruments". Celebrated for collaboration and performances with his refreshing world-class musicians in international improvisations, he is also an venues, has attracted audiences acknowledged preserver of unfamiliar with classical Iranian music to this art form.
    [Show full text]
  • See the Document
    IN THE NAME OF GOD IRAN NAMA RAILWAY TOURISM GUIDE OF IRAN List of Content Preamble ....................................................................... 6 History ............................................................................. 7 Tehran Station ................................................................ 8 Tehran - Mashhad Route .............................................. 12 IRAN NRAILWAYAMA TOURISM GUIDE OF IRAN Tehran - Jolfa Route ..................................................... 32 Collection and Edition: Public Relations (RAI) Tourism Content Collection: Abdollah Abbaszadeh Design and Graphics: Reza Hozzar Moghaddam Photos: Siamak Iman Pour, Benyamin Tehran - Bandarabbas Route 48 Khodadadi, Hatef Homaei, Saeed Mahmoodi Aznaveh, javad Najaf ...................................... Alizadeh, Caspian Makak, Ocean Zakarian, Davood Vakilzadeh, Arash Simaei, Abbas Jafari, Mohammadreza Baharnaz, Homayoun Amir yeganeh, Kianush Jafari Producer: Public Relations (RAI) Tehran - Goragn Route 64 Translation: Seyed Ebrahim Fazli Zenooz - ................................................ International Affairs Bureau (RAI) Address: Public Relations, Central Building of Railways, Africa Blvd., Argentina Sq., Tehran- Iran. www.rai.ir Tehran - Shiraz Route................................................... 80 First Edition January 2016 All rights reserved. Tehran - Khorramshahr Route .................................... 96 Tehran - Kerman Route .............................................114 Islamic Republic of Iran The Railways
    [Show full text]
  • Kayhan Kalhor/Erdal Erzincan the Wind
    ECM Kayhan Kalhor/Erdal Erzincan The Wind Kayhan Kalhor: kamancheh; Erdal Erzincan: baglama; Ulaş Özdemir: divan baglama ECM 1981 CD 6024 985 6354 (0) Release: September 26, 2006 After “The Rain”, his Grammy-nominated album with the group Ghazal, comes “The Wind”, a documentation of Kayhan Kalhor’s first encounter with Erdal Erzincan. It presents gripping music, airborne music indeed, pervasive, penetrating, propelled into new spaces by the relentless, searching energies of its protagonists. Yet it is also music firmly anchored in the folk and classical traditions of Persia and Turkey. Iranian kamancheh virtuoso Kalhor does not undertake his transcultural projects lightly. Ghazal, the Persian-Indian ‘synthesis’ group which he initiated with sitarist Shujaat Husain Khan followed some fifteen years of dialogue with North Indian musicians, in search of the right partner. “Because I come from a musical background which is widely based on improvisation, I really like to explore this element with players from different yet related traditions, to see what we can discover together. I’m testing the water – putting one foot to the left, so to speak, in Turkey. And one foot to the right, in India. I’m between them. Geographically, physically, musically. And I’m trying to understand our differences. What is the difference between Shujaat and Erdal? Which is the bigger gap? And where will this lead?” Kayhan began his association with Turkish baglama master Erdal Erzincan by making several research trips, in consecutive years, to Istanbul, collecting material, looking for pieces that he and Erdal might play together. He was accompanied on his journeys by musicologist/player Ulaş Özdemir who also served as translator and eventually took a supporting role in the Kalhor/Erzincan collaboration.
    [Show full text]
  • Women Musicians and Dancers in Post-Revolution Iran
    Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran.
    [Show full text]
  • Classification of Iranian Traditional Musical Modes (DASTGÄH) with Artificial Neural Network
    Journal of Theoretical and Applied Vibration and Acoustics 2(2) 107-118 (2016) Journal of Theoretical and Applied Vibration and Acoustics I S A V journal homepage: http://tava.isav.ir Classification of Iranian traditional musical modes (DASTGÄH) with artificial neural network Borhan Beigzadeh *, Mojtaba Belali Koochesfahani Biomechatronics and Cognitive Engineering Research Lab, School of Mechanical Engineering, Iran University of Science and Technology, Tehran, Iran A R T I C L E I N F O A B S T R A C T Article history: The concept of Iranian traditional musical modes, namely Received 17 December 2015 DASTGÄH, is the basis for the traditional music system. The concept Received in revised form introduces seven DASTGÄHs. It is not an easy process to distinguish 9 May 2016 these modes and such practice is commonly performed by an experienced person in this field. Apparently, applying artificial Accepted 15 May 2015 intelligence to do such classification requires a combination of the Available online 06 July 2016 basic information in the field of traditional music with mathematical Keywords: concepts and knowledge. In this paper, it has been shown that it is Iranian traditional musical modes possible to classify the Iranian traditional musical modes (DASTGÄH) (DASTGÄH) with acceptable errors. The seven Iranian musical Classification modes including SHÖR, HOMÄYÖN, SEGÄH, CHEHÄRGÄH, MÄHÖR, NAVÄ and RÄST-PANJGÄH are studied for the two Artificial Neural Network musical instruments NEY and Violin as well as for a vocal song. For Feature extraction the purpose of classification, a multilayer perceptron neural network with supervised learning method is used. Inputs to the neural network include the top twenty peaks from the frequency spectrum of each musical piece belonging to the three aforementioned categories.
    [Show full text]
  • Kerman Province
    In TheGod Name of Kerman Ganjali khan water reservoir / Contents: Subject page Kerman Province/11 Mount Hezar / 11 Mount joopar/11 Kerman city / 11 Ganjalikhan square / 11 Ganjalikhan bazaar/11 Ganjalikhan public bath /12 Ganjalikhan Mint house/12 Ganjalikhan School/12 Ganjalikhan Mosque /13 Ganjalikhan Cross market place /13 Alimardan Khan water reservoir /13 Ibrahimkhan complex/ 13 Ibrahimkhan Bazaar/14 Ibrahimkhan School /14 Ibrahimkhan bath/14 Vakil Complex/14 Vakil public bath / 14 Vakil Bazaar / 16 Vakil Caravansary / 16 Hajagha Ali complex / 16 Hajagha Ali mosque / 17 Hajagha Ali bazaar / 17 Hajagha Ali reservoir / 17 Bazaar Complex / 17 Arg- Square bazaar / 18 Kerman Throughout bazaar / 18 North Copper Smithing bazaar / 18 Arg bazaar / 18 West coppersmithing bazaar / 18 Ekhteyari bazaar / 18 Mozaffari bazaar / 19 Indian Caravansary / 19 Golshan house / 19 Mozaffari grand mosque / 19 Imam mosque / 20 Moshtaghieh / 20 Green Dome / 20 Jebalieh Dome / 21 Shah Namatollah threshold / 21 Khaje Etabak tomb / 23 Imam zadeh shahzadeh Hossien tomb / 23 Imam zadeh shahzadeh Mohammad / 23 Qaleh Dokhtar / 23 Kerman fire temple / 24 Moaidi Ice house / 24 Kerman national library / 25 Gholibig throne palace / 25 Fathabad Garden / 25 Shotor Galoo / 25 Shah zadeh garden / 26 Harandi garden / 26 Arg-e Rayen / 26 Ganjalikhan anthropology museum / 27 Coin museum / 27 Harandi museum garden / 27 Sanatti museum / 28 Zoroasterian museum / 28 Shahid Bahonar museum / 28 Holy defense museum / 28 Jebalieh museum / 29 Shah Namatollah dome museum / 29 Ghaem wooden
    [Show full text]