Unesco Sights of Iran
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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. -
UN Condemns 'Horrific' Attack on Passenger Buses in Yemen
WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 16 Pages Price 20,000 Rials 1.00 EURO 4.00 AED 39th year No.13232 Tuesday OCTOBER 16, 2018 Mehr 24, 1397 Safar 6, 1440 Iran says studying Luxury rail travelers Team Melli will be Religious play crew opening of EU office on excursion different in AFC Asian pays tribute to actor in Tehran 2 across Iran 10 Cup: Carlos Queiroz 15 Anushirvan Arjmand 16 Joint committee formed to UN condemns ‘horrific’ attack spur exports to 15 countries ECONOMY TEHRAN — A joint impediments and facilitation of trade of deskcommittee with co- goods, the interior minister told reporters operation of Foreign Ministry, Islamic on the sidelines of a meeting. Republic of Iran Customs Administra- Highlighting the key role of free zones, on passenger buses in Yemen tion (IRICA), NAJA (Iranian police), and Rahmani fazli also underscored the sig- Ministry of Intelligence has been formed nificance of injecting exporters’ revenues to protect and improve Iran’s exports to back to domestic financial system and also See page 13 15 countries across the globe, Interior combating traffic of goods at the border Minister Abdolreza Rahmani Fazli was areas as the main objects of the govern- quoted by IRNA as saying on Monday. ment on the way to encourage exports of The committee seeks removal of exports Iranian products. Trump has launched ‘economic terrorism’ by halting Iranians’ access to medicine: Hatami POLITICS TEHRAN – Defense dom, sanctions which are inhumane deskMinister Amir Hatami and contrary to principles of human said on Monday that the Donald Trump rights. -
Issyk-Kul 2020 International Exhibition of Photography
ISSYK-KUL 2020 INTERNATIONAL EXHIBITION OF PHOTOGRAPHY FIAP 2020/316 PSA 2020-151 FPC W2020/P06 2020 FIAP 2020/316 PSA 2020-151 FPC W2020/P06 ARE YOU GOING TO ORGANIZE AN INTERNATIONAL EXHIBITION? You make the policies and branding, Salon.Photo Platform will do the rest, automatically and errorlessly! Website, Gathering of Photos, Judging Software & etc. www.Salon.Photo [email protected] Salon.Photo Platform and Judgment® Software are made by Focus Team Software Group, it include a website for announcing the rules, news, status list and result and sing up entrants. Entrants can upload their art works(single or collection), edit their profile and entries, fill out the titles and pay their fee. The administrator also has access too several reports such as full information about entrants, entries, payments, statistic of country etc. All entries get uniquely renamed by the software. The entry later will be downloaded using FTP and will be import to Judgment Software for judging. Later on, all results will be exported from the software and will be imported to the website. As all the process is automated there will be no mistake. Judgment® Software has all the requirements for judging such as: high speed, network judging, several stages of judging based on acceptance/rejection or scores, selection based on percentage or numbers, ability to return to the previews stage and selecting between special groups of works etc. Every jury member can select works by his keyboard. All the requested information for FIAP/PSA catalogs such as list of acceptances and table of statistics can be exported from the software. -
Iranian Coins & Mints: Achaemenid Dynasty
IRANIAN COINS & MINTS: ACHAEMENID DYNASTY DARIC The Achaemenid Currency By: Michael Alram DARIC (Gk. dareiko‚s statê´r), Achaemenid gold coin of ca. 8.4 gr, which was introduced by Darius I the Great (q.v.; 522-486 B.C.E.) toward the end of the 6th century B.C.E. The daric and the similar silver coin, the siglos (Gk. síglos mediko‚s), represented the bimetallic monetary standard that the Achaemenids developed from that of the Lydians (Herodotus, 1.94). Although it was the only gold coin of its period that was struck continuously, the daric was eventually displaced from its central economic position first by the biga stater of Philip II of Macedonia (359-36 B.C.E.) and then, conclusively, by the Nike stater of Alexander II of Macedonia (336-23 B.C.E.). The ancient Greeks believed that the term dareiko‚s was derived from the name of Darius the Great (Pollux, Onomastikon 3.87, 7.98; cf. Caccamo Caltabiano and Radici Colace), who was believed to have introduced these coins. For example, Herodotus reported that Darius had struck coins of pure gold (4.166, 7.28: chrysíou statê´rôn Dareikôn). On the other hand, modern scholars have generally supposed that the Greek term dareiko‚s can be traced back to Old Persian *dari- "golden" and that it was first associated with the name of Darius only in later folk etymology (Herzfeld, p. 146; for the contrary view, see Bivar, p. 621; DARIUS iii). During the 5th century B.C.E. the term dareiko‚s was generally and exclusively used to designate Persian coins, which were circulating so widely among the Greeks that in popular speech they were dubbed toxo‚tai "archers" after the image of the figure with a bow that appeared on them (Plutarch, Artoxerxes 20.4; idem, Agesilaus 15.6). -
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. -
17 Days Grand Tour Around the Iran
17 DAYS GRAND TOUR AROUND THE IRAN Tehran 2N/Alisadr 1N/Hamadan 1N/Kermanshah 1N/Shushtar 1N/Mahshahr 1N/Shiraz 3N/Kerman 2N/Yazd 2N/Isfahan 2N Type: Discovery/Historical/Caltural/Religious HIDDEN WONDERS OF WESTERN AND EASTERN IRAN Discover an Iran beyond the media portrayals of a repressive and dour regime – this is a country full of warm, lively and friendly people. Welcome to the hidden world of Iran. Travel through this fascinating country to discover refined Islamic cities, colorful bazaars, ancient Persian ruins, fascinating nomads and shimmering deserts. Whether you're Relaxing in a teahouse in Tehran, enjoying guided tours of ancient cultural sites, or breaking bread with nomads on the harsh Iranian plateau, the warmth and hospitality of the Iranian people is endearing and the profound beauty of their land is mesmerizing. Iran is home of one of the oldest civilizations in the world, dating back to the Persian Empire 2,500 years ago. The country lies at the crossroads of three continents: Asia, Africa and Europe, and many ancient civilizations. A significant section of the Silk Road runs across Iran as do other great caravan routes to the south. On this tour, travel through Iran to explore the ancient civilizations, glorious monuments, and architecture, extraordinary UNESCO World Heritage sites, fascinating nomads, stunning desert landscapes, ethical diversity and exotic Persian cuisines. Choose a guided tour and experience the historical sites or step into an adventure and enjoy unknown destinations and places or live with nomads. Feel the hospitality of Iranians and also the beauty of the land. -
Sassanid Archaeological Landscape of Fars Region”
Islamic Republic of Iran Iranian Cultural Heritage, Handicrafts and Tourism Organization ICHHTO “Sassanid Archaeological Landscape of Fars Region” for inscription on the World Heritage List (Additional Information) UNESCO World Heritage Convention 2017 1 In the name of God 2 Evaluation of the nomination of the “Sassanid Archaeological Landscape of Fars Region” (Islamic Republic of Iran) for inscription on the World Heritage List This report is submitted in response to the ICOMOS letter of GB/AS/1568-AddInf-1, dated 28September 2017 on the additional information for the nomination of Sassanid Archaeological Landscape of Fars Region. The Iranian Cultural Heritage, Handicrafts and Tourism Organization is grateful to ICOMOS for its devotion to conservation and preservation of historic monuments and sites. The objective of this detailed report is to clarify the issues raised by ICOMOS in the aforementioned letter. Additional information for clarification on: - Serial approach - Risks and Factors affecting the property - Protection - Management - Monitoring 1- Serial approach Could the State Party kindly provide information on the rationale, methodology and criteria (here not referring to the nomination criteria), which guided the selection of the component sites presented in this nomination? Could the State Party kindly outline the contribution of each site component, to the overall Outstanding Universal Value in the substantial, scientific and discernible way, as outlined in paragraph 137b of the Operational Guidelines? For clarifying, the question will be explained in the parts of (1-a) and (1-b) in details: 1-a: Rationale, methodology and criteria which guided the selection of the component sites presented in this nomination: The rationale which guided the selection of the component sites is based on a methodology which takes into account their historical characteristics and at the same time considers their association with the regional landscape. -
1 Tehran Arrivals at Tehran, Meet and Assist at Airport and Then Transfer To
Day: 1 Tehran Arrivals at Tehran, meet and assist at airport and then transfer to Hotel, after check in, visit Sa'dabad Palace, Tajrish Bazaar, Lunch at local restaurant around north of Tehran, visit Niavaran Palace. O/N: Tehran. The Sa'dabad Complex is a complex built by the Qajar and Pahlavi monarchs, located in Shemiran, Greater Tehran, Iran. Today, the official residence of the President of Iran is located adjacent to the complex. The complex was first built and inhabited by Qajar monarchs in the 19th century. After an expansion of the compounds, Reza Shah of the Pahlavi Dynasty lived there in the 1920 s, and his son, Mohammad Reza Pahlavi, moved there in the 1970 s. After the 1979 Revolution, the complex became a museum. Tajrish Market: The market on the one hand and Rehabilitation field, from the other competent shrine and the surrounding streets have access. Reliance Big Rehabilitation is one of the oldest accents located in Tehran in this market. Rehabilitation market a small sample of the Tehran bazaar is one of the oldest shopping centers Shamiran is the bridgehead and Rehabilitation connecting the two neighborhoods. The Niavaran Complex is a historical complex situated in Shemiran, Tehran (Greater Tehran), Iran.It consists of several buildings and monuments built in the Qajar and Pahlavi eras. The complex traces its origin to a garden in Niavaran region, which was used as a summer residence by Fath-Ali Shah of the Qajar Dynasty. A pavilion was built in the garden by the order of Naser ed Din Shah of the same dynasty, which was originally referred to as Niavaran House, and was later renamed Saheb Qaranie House. -
Composition and Continuity in Sasanian Rock Reliefs
0320-07_Iran_Antiq_43_12_Thompson 09-01-2008 15:04 Pagina 299 Iranica Antiqua, vol. XLIII, 2008 doi: 10.2143/IA.43.0.2024052 COMPOSITION AND CONTINUITY IN SASANIAN ROCK RELIEFS BY Emma THOMPSON (University of Sydney, Australia) Abstract: The cliffs of Iran are adorned with rock reliefs from every period of its long history. During the years that the Sasanian dynasty ruled Iran, artists added to this collection considerably. These monuments are individual capsules of infor- mation on the general political, religious, historical and artistic milieu of the time. This paper presents a method for furthering our understanding of the Sasanian period through an analysis of the composition of each Sasanian relief. The analy- sis is based on the hypothesis that composition will serve as an indicator of artis- tic continuity and change and encode an artistic signature of sorts indicating the artists’ background and training. The initial results suggest that the reliefs of the early Sasanian period reflect the work of artists from at least two schools of art. Keywords: Sasanian, rock reliefs, composition. The kings of the Sasanian dynasty ruled Iran for over four hundred years. During the first eighty-five years of the dynasty (AD 224-309) there were seven changes of crown, many military gains and losses and thirty rock carvings were commissioned to commemorate these events. Most of these were carved in Fars, the homeland of the dynasty: eight were carved in the company of the Achaemenid tombs at Naqsh-i Rustam; six line the way to Shapur’s city at Bishapur; four were carved in the open air grotto at Naqsh- i Radjab; two were carved near Ardashir’s first city at Firuzabad and the rest were carved as single reliefs at various locations across the province of Fars: Barm-i Dilak, Sar Mashhad, Sarab-i Bahram, Guyum, Rayy, Darab- gird, and Tang-i Qandil. -
Gardens of Mahan and Shiraz
J. Appl. Environ. Biol. Sci. , 5(5)96-104, 2015 ISSN: 2090-4274 © 2015, TextRoad Publication Journal of Applied Environmental and Biological Sciences www.textroad.com Recognition and Reinterpretation of Persian Gardens from Sustainable view Case Studies: Gardens of Mahan and Shiraz Seyed Majid Moidi 2 ,1٭Honey Fadaie 1Ph.D Candidate, Department of Art and Architecture, Science and Research Branch, Islamic Azad University, Tehran, Iran. 2Assisstant Professor, School of Architecture and Urban Studies, University of Science and Technology, Tehran, Iran Received: December 2, 2014 Accepted: March 29, 2015 ABSTRACT Effects of neglecting climatic and sustainable patterns in green urban spaces are intense in arid regions, while sustainability is observed in many elements of traditional Iranian landscape architecture and describe how these methods of design have responded to climate problems over many millennia. For that reason, the analysis of sustainable parameters in traditional landscape of Iran such as, Persian gardens is very important to the present and future of Iranian cities. This paper is a comparative study on the sustainable parameters of two Persian gardens located on the arid central plateau of Iran. The recognition and reinterpretation of Persian garden design can be an appropriate solution for landscape architects to create sustainable green spaces in modern cities. The main objective of this research is to find the parameters and principles of sustainability in Persian garden as sustainable landscape heritage. The selected case studies of this paper are two historical gardens, located in two different microclimatic areas in arid regions of Iran. By analyzing the sustainable and climatic features of the selected case studies, Shazde Garden in Mahan and Eram Garden in Shiraz, this paper identifies ways to create green space for sustainable landscaping in similar climates. -
Sasanian Bas-Reliefs at Tang-E Chogan Under Invasion of Lichens and Fungi
81 I RAN Sasanian Bas-reliefs at Tang-e Chogan under Invasion of Lichens and Fungi At several places near the town of Bishapur, which was founded by Sasanian King Shapur I (241–272) and was situated on the road between Persis and Elam, the King also had the sides of the Bishapur River gorge decorated with huge historical reliefs commemorating his triple triumph over Rome. The six reliefs at Tang-e Chogan show scenes such as Shapur enslaving the Roman Emperor; the King and his courtiers; or rows of registers with files of soldiers and horses, in a deliberate imitation of the narra- tive scenes on the Trajan column in Rome. The critical situation of these bas-reliefs is described in an arti- cle by CAIS (The Circle of Ancient Iranian Studies): Lichens and vegetation growing in the cavities and cracks of the Sasanian bas-reliefs at Tang-e Chogan, a part of the ruins of the ancient city of Bishapur in southwestern Iran, are gradually Sasanian bas-reliefs at Tang-e Chogan (photo: Pedram Veisi) destroying these irreplaceable antiquities. The lichens and veg- etation are clearly visible on all six bas-reliefs, which are located 19 kilometres north of Kazerun, reported the Persian service of site historical monuments in Fars Province, has made no efforts the Mehr News Agency. One of the bas-reliefs depicts Shapur I, to save the ancient relics from the lichens and vegetation attacks. the Persian King of Kings who consolidated and expanded the The ancient city of Bishapur is also in peril by several other fourth Iranian dynastic empire founded by his father, Ardashir I. -
Desert Utopia: the Hidden Unity of Iranian Architecture Conceptualization Behind the Making of a Documentary Film
American International Journal of Humanities and Social Science Vol. 4 No. 2; April 2018 Desert Utopia: The Hidden Unity of Iranian Architecture Conceptualization behind the Making of a Documentary Film Khosrow Bozorgi Professor of Architecture and Urban Design Director, Center for Middle Eastern Architecture and Culture College of Architecture, University of Oklahoma United States of America NARRATIVE Desert Utopia will examine the history of architecture in three desert cities in Iran, exploring unique aspects of the built environment that enabled people to flourish in one of the world’s harshest climates. Although the film will focus on the history of Iranian desert architecture spanning thousands of years, this project is nevertheless timely for today’s American audiences. Due to concerns about global environmental change, sustainable building techniques have emerged as a topic of increasing interest over the past two decades. This interest encompasses themes such as the use of local building materials, creative ways to minimize water use (and water waste), and ways to reduce the amount of energy spent on heating and cooling. Furthermore, the geopolitics of the last two decades also have piqued Americans’ curiosity about the Middle East, especially Iran, but for many people, their knowledge about this part of the world is spotty or even misinformed. Desert Utopia is therefore a film that comes at the right time: It will help satisfy Americans’ curiosity about environmentally sound architecture while filling some of the gaps in their knowledge about Iranian culture and history. However, Desert Utopia is more than simply a film about sustainable architecture in Iranian history.