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Gonbad Qabus Tower

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Gonbad Qabus Tower

Gonbad-e Qābus Ibn Voshmgir is located in Golestan Province (northeast of Iran), Gonbad-e Kāvus town. And to the north of the town and the northwest corner of the National Park, on top of a mound of 10 meters height. Also known as Mil-e Qābus, Borj-e Qābus (Tower of Qābus), and Maghbar-e Qābus (the Mausoleum of Qābus).

It is located 3km from the southwest of the ruins of the ancient town of Jorjan or Gorgan. One of the most magnificent structures of the early Islamic centuries, this structure is still standing out amongst the chaos of urban life and constructions, catching the eyes of beholders even from kilometer distances.

Gonbad e Qabus Tower

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Description of the property

One of the most noteworthy, most magnificent tomb towers in the north of Iran is Gonbad-e Qābus, with its outstanding proportions and significance. Built-in Gorgan in the 4th century AH (1006 AD), it is considered to be a milestone both as a landmark of the city and also the grave of its founder, Qābus.

The structure well plays the role of a prototype in the whole area. The inscriptions along the top and bottom of the tower show that the structure was constructed under the rule of Qābus himself. The interesting point is that inscriptions record the years of its construction both in Hijri and Yazdgerdi calendars.

The structure is 52.8m high on an artificial hillock of 15m height. 10 buttresses surround the cylindrical body of the tower. Owing to its uniquely ordered design, the structure is the first of its type is of great rigidity, in a way that none of the tomb towers built afterward, could match its proportions and scales.

Geographical Context

Gonbad-e Qābus is located in the northeast of Iran, Golestan province, Gonbad-e Kāvus town. Based on the environmental division of Iran this province is within the temperate area of the north of the country.

Golestan province shares borders with Turkmenistan to the north, Semnan province to the South, Khorassan to the east, and the Caspian Sea and Mazandaran to the west.

The south and east borders of the province are lined by mountains, which are the extensions of Alborz stretching east-west. They begin at the border between Mazandaran and Golestan (Galugah) and stretch in a crescent to reach Ala Dagh, Binalud, and Hezar Masjed mountains in Khorassan in the southeast of the province.

Gonbad e Qabus Tower

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Gonbad‐e Kāvus information

Covering an area of 5071 km2, Gonbad-e Kāvus is located in the east of Golestan. Bordered by the Republic of Turkmenistan to the north, towns of Ali Abad, Aq Qala, and Gorgan to the west, towns of Kolale and Minudasht to the east, and towns of Azad Shahrand Ramian to the south.

Topographic morphology of Gonbad-e Kāvus mainly includes mountains and plains. Steppes cover the lands between Gorgan Rud [river] and the borderline of Turkmenistan located inDashli-Boroon district.

These lands are the most important winter ranges in the area. The climate is temperate and mountainous across the heights of Azad Shahr and Ramian. But as one draws closer to the borders of Turkmenistan along the north of Gorgan River, the climate change for plain temperate to semi-arid. The rainfall also decreases northwards and westwards.

Geographical history

The present town of Gonbad-e Kāvus is a rather young one since the well known historic city of Jorjan, demolished during the Mongols’ invasion. Once existed 3 km from the center of the new town, nearImamzadeh Zeid [the shrine of Zeid] during the 5th and 6th century AH.

In fact, until the early years of this century, there existed no towns within the site of the destroyed one. Thus, there was an interval of about 5 centuries between the demolition of the old Jorjan and the birth of the present-day Gonbad-e Kāvus, which began to emerge somewhere around the 1300s AHS8.

The only remaining evidence of the glory of the ancient city of Jorjan in today’s Gonbad-e Kāvus is the tomb of Qābus Ibn Voshmgir. Which in fact was the main reason for the new town to be founded. In older days, the town had seen times of being known as Hyrcania (Hyrcana), Varkâna, Jorjan, and Gorgan among other names.

The present-day town was established in the year 1305 AHS/ 1926 AD, under the rule of the Pahlavis. Following the orders of Reza Shah the city was planned and built and was named Gonbad-e Kāvus. Kāvus being the name of a mythical Persian King and Qābus from Gonbad-e Qābus, to render homage to Qābus Ibn Voshmgir.

The original plan of the town was developed by German experts based on the principles of urban design. The town thus enjoys well-designed intersections, and there is no trace of the old narrow streets. The historical town of Jorjan or Gorgan has located 3 km of the southwest of the present-day Gonbad-e Kāvus.

Gonbad Qabus Tower

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Gonbad-e Kāvus is located in the east of the basin of the Caspian Sea and is among the most distant areas influenced by the Caspian climate with the characteristics of maritime air masses. The general altitude of the area where Gonbad-e Kāvus is located is 50 meters. While in some parts it is over 2000 meters where the dominant climate is more of maritime and mountainous systems.

Thanks to the dominance of the west winds, the moisture from the sea are distributed across the area, and as Alborz mountain chains along the south of the basin capture it, the moisture cannot move southwards toward the inner plateau of Iran. However, as one moves eastwards along the Caspian shore, the weather turns less moist and arider. The air masses that influence the area under consideration are as follows:

1. In winter: continental polar air mass; Source region: Siberia. Maritime polar air mass, from the west and northwest; the Mediterranean from the west; scarce instances of continental tropical from the south, source region: Arabia to Sahara

2. In summer: continental tropical from the central Iran or southwest; maritime tropical from the Atlantic and the Mediterranean; maritime polar from the Black Sea and the Caspian; continental polar from the North

Features of the mausoleums and tomb towers

Burial structures are undoubtedly among the most prominent creations of Islamic architecture. Thousands of tourists visit the Taj Mahal or the Mamluk rulers’ tombs in Cairo. Whoever traveling in the north of Africa or Near East can easily spot hundreds of small worship places. Which are in fact the burial site of a saint or a hero along the roads, on hilltops, in the cemeteries of towns and villages, or even on farms.

Such structures are given a variety of names based on the builders. That is, whether they constructed by the untrained hands of the villagers or are the exquisite outcome of some masters’ sweating. The same tradition has been followed across the territory of Iran for centuries. From the great Tomb of Cyrus the Great in Pasargadae to the present day mausoleums and tombs built for the prominent and influential individuals.

Tomb towers, of which Gonbad-e Qābus can be considered the origin and the most outstanding, are also regarded as a type of mausoleums.

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Golestan Palace Sections

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Golestan Palace Sections

At present, Golestan Palace complex in Tehran consists of eight key palace structures. Mostly used as museums and the eponymous gardens, a green shared the center of the complex, surrounded by an outer wall with gates.


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Ayvan Takht Marmar

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The spectacular terrace known as Ayvan Takht Marmar (The Marble Throne Terrace) is one of the most important parts of Golestan Palace. Regarding its historical, political and social significance.

It was built in 1806 to the order of Fatḥ ʿAlī ShāhQājār (r.1797-1834). Adorned by paintings, marble-carvings, tile-work, stucco, mirrors, enamel, woodcarvings, and lattice windows. The throne embodies the finest of Iranian architecture.

The renowned Takht Marmar (Marmar Throne) is located in the center of this Ayvan. It is shaped as a walled platform. Made of 65 large and small size famous, yellow marbles of Yazd province.

It was designed by Mirza Baba Naghash Bashi (head painter) of the Qājār court. Modeled after Persepolis where the legs are made in human shapes.

The architectural details and other ornaments of the terrace were completed during the reigns of Fatḥ ʿAlī Shāh and Nāṣer al-Dīn Shāh(r.1848-1896).

Coronations of Qājār kings, and formal court ceremonies were held on this terrace (ayvan). The last coronation to be held at Takht Marmar was the coronation of, Reza Khan Pahlavi in 1925.

Khalvat Karim Khani

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It is located after in the east part of Ayvan Takht Marmar and its attachments and dating back to 1759. It is a semi-open structure. Which is, in fact, a small remaining fraction of the interior residence of Karim Khan Zand.

It is a terrace with four entrances of which one faces the south and three the east. There are vaults with stone columns around this space. With a sitting lion engraved to the side of each column. Each of the vaults has three arches. And the one in middle is wider and higher than the side arches.

There is an octagonal pond in the center of this space through which the water from Qanat used to flow into a smaller octagonal pond. There is also a ditch in the west of the pond which takes water to the lower pond.

Ornamentations of this structure include stone reliefs and tile work. With a variety of arabesque, geometrical patterns, floral patterns, animal patterns, and scenery.

In some parts, the animals are demonstrated defeating other animals, for example, there is a scene from a lion defeating a deer above the Sultan’s portrait. Which is probably a simile of the Sultan’s victory over his enemies.

Today, Nāṣer al-Dīn Shāh’s marble gravestone and Fat′h-Ali Shah’s marble summer throne, are kept in this building. Which, according to the documents, was once located in different areas including the front of the exit structure and the ponds.

Talar Salam

Golestan Palace

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Covering an area of 877 m2, Talar Salam (Reception Hall) is to the west of the edifice. It is considered to be one of the most magnificent halls of the ensemble.

Talar Salam was originally designed to be a museum. After the Takht Tavoos (Iranian’s famous Jeweled Peacock Throne) was moved to the Royal jewels collection at the Central Bank. This hall was designated to hold special receptions in the presence of the king. Hence the name Talar Salam.

Tourists and envoys from European courts received in the Arg during the reign of Nāṣer al-Dīn Shāh, spoke of this outstanding hall comparing it to its European counterparts.

The ornaments include exquisite mirror works and Stucco work in sky blue and white. There are floor-to-ceiling windows along the south side. Which let the daylight in with the ceiling made of groined vaults.

Both the ceiling and walls are decorated with plaster molding with the western wall fully covered with mirror work of arabesque and geometrical patterns. The floors are covered with multi-color tiles and large-scale carpets of magnificent patterns.

During the reign of Nāṣer al-Dīn Shāh, this hall was used to exhibit Iranian and European paintings alongside gifts presented to the Iranian court. Royal jewels were also exhibited inside glass cases. These jewels are now housed at theRoyal Jewels Museum of the Central Bank.

Having functioned as a venue for ceremonies, it is also referred to as the Coronation hall (Talar Taj Gozaari). Where five Qājār kings plus Pahlavi II were crowned.

Talar Aaj

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Believed to be the oldest structure of the edifice, Talar Aaj (Hall of Ivory) is located along the eastern wing, opposite of Talar Salam.

Covering an area of 325 m, this Talar was mainly used for dinner or lunch feasts. Thus it is also called Sofreh Khaneh.

It has four entrances: the main entrance is in the west, two entrances are along the east side. That led to Sharbat Khaneh (the Butlery), a staircase to Emarat Berelian (Brilliant Building) and Hoz Khaneh. Two other entrances along the north side and to Talar Zoruf.

Changes have been made to this hall, and now there is Talar Chahar Sotun to its south with white and blue Stucco works. Which was once a part of the terrace.

Along the south wing, this space has large windows towards Golestan Palace. This room is also decorated with mirror and Stucco works. Stucco works of geometric and arabesque patterns, paintings of Qājār kings, two large tapestries depicting the coronation of the goddess of agriculture and the goddess of Venus (goddess of love).

The fireplaces along the north side which are in turn decorated with vases, bowls, and other precious objects. It was once decorated with the gifts presented to Nāṣer al-Dīn Shāh by the European monarchs.

Among the Golestan Palace collection, a watercolor by Mahmoud Khan Malek-olShoara, shows the exterior view of this hall during the Qājār period.

Talar Ayineh

Located to the west of the Talar Salam, Talar Ayineh (Hall of Mirrors) is the most famous of the Palace halls. It was built simultaneously with Talar Salam between 1874 and 1877.

This relatively small hall is famous for its extraordinary mirror work designed by Haj Abdoul Hossein Memar bashi (Sanie-ol-Molk) with Yahaya Khan Moetamed-ol-Molk, the Minister of Architecture, acting as consultant to the designer.

It has two entrances along the north side and a window in the center. Once home to Takht Tavoos (the Peacock Throne) and Taj Kaviani (the Kavianid Crown), the hall has tall windows enjoying a particular splendor due to the reflection of sunshine in the mirrors and magnificent ornamentation.

Owing much of its reputation to its ornamentation, yet another reason for the hall’s fame is Mirza Mohammad Khan Kamal-ol Molk’s depiction of the place in his painting created in 1891. The painting is now on display the Golestan Palace.

Talar Zoruf

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Located to the north, Talar Zoruf is among the changes and additions made to Golestan Palace during the Pahlavids.

The hall was then used as a showroom to display all chinaware presented to Qājār s as gifts by the European kings.

Among the rare, exquisite chinaware put on display here, some are the most exceptional:

    • China set depicting Napoleonic wars, gift of Napoleon I;
    • China set presented by King Nicolas I;
    • China set decorated with precious gems and jewels presented by Queen Victoria
    • China set presented by King Wilhelm to the Iranian crown prince;
    • China set made of Malachite stone presented by Alexander III.

There are two staircases in the west end of this hall. One leading to the upper level of Berelian Building and the other, which has 14 steps and has an elevation of about two meters, leads to the eastern chamber of Berelian Building.

Emarat Berelian

Located to the east of Talar-e Aaj, it covers an area of 650 m 2 and is stretched along east-west direction. It was used for formal meetings with delegates and heads of foreign countries and formal ceremonies from the rule of Nāṣer al-Dīn Shāh to the time of the Pahlavids’.

Emarat Brelian has five rooms or halls separated from one another by door-windows.

Now covered with mirror and glass, the doors were originally sash windows with colored glass, and have preserved their original frames and overall shapes.

The most outstanding decorative elements of this building the unique mirror works with geometric and floral patterns. It is also decorated with Stucco work on the ceiling, stone engravings around fireplace, and relief tiles.

Kakh Elizabeth

Covering an approximate area of 570 m2, the three-story building of Kakh-e Elizabeth (Elizabeth’s Palace) also called Khabgah (bedroom), is the most recent addition to the Palace. Which replaced Narenjestan building on the occasion of Queen Elizabeth’s visit to Iran in the early years of Reza Shah’s rule.

It once served as the residence for heads of states and officials including Queen Elizabeth and Charles André Joseph Marie de Gaulle before the Islamic revolution.

Currently, the management, the manuscript library, the documents library and the album library of Golestan Palace are located in this building.


Covering an area of nearly 664 m2 in five floors, now serving as a museum, Shams-ol-Emareh (Edifce of the Sun) is the most outstanding and the tallest edifice built in the government citadel.

It is also the first entertainment tower in Tehran and is considered to be the first building here where modern materials such as cast iron are used in the columns and handrails.

The idea of building a tall structure came to Nāṣer al-Dīn Shāh before his first European travle and from pictorial images of European buildings.

The Monarch wanted a structure from which he could have panoramic views of the city. Shams-ol Emareh has 96 steps from the ground to the top, and its height is 25 m, which comes to a total of 30 considering the height of pavilions.

The high ceilings and the symmetry of the structure are remarkable. The structural system is comprised of bearing walls with brick arches, trusses, and wooden and cast iron columns.

The plinths and steps are made of marble. The roof is a gable. And the banisters and some of the columns are made of cast iron.

Wooden capitals follow the Safavid style, while the cast iron ones are decorated with Corinthian capitals. This is the first extrovert structure in Tehran with the view of the outer space and the enclosure of the palace. Which is at the same time open to the sight of the observers from the outside.

The facade is completely covered with multi-colored tiles of arabesques, floral patterns and lion and sun motif. The materials used in this building mainly include adobe, thatch, brick, and lime mortar.

Decorative elements are created using Stucco works, mirror works, tile works, stone engravings, and painting on stones. Motifs employed are arabesque, latticeworks, and Muqarnas.

Shams-ol Emareh is unique in the Iranian architecture regarding its plan, facade, interior arrangement, mirror works, paintings, and the Stucco work of its plinths, walls and ceilings.

Designed by Moayer-ol-Mamalek, construction on the Shams-ol-Emareh began in 1865 and was completed two years later. The architect was Master Ali Mohammad Kashi.

The building has two identical towers. The exterior views have multiple arches, intricate tile work, and ornate windows. This building is a fusion of Persian and European architecture.

Emarat Badgir

Located to the south of Golestan Palace and spreading over an area of 786 m2, Emarat Badgir (Wind Catchers
Building) was constructed during the reign of Fatḥ ʿAlī Shāhin 1813.

The building underwent major renovations, including structural changes, during the reign of Nāṣer al-Dīn Shāh. A watercolor rendering by Mahmood Khan Malekol-Shoara depicts the original structure prior to renovations.

The building is comprised of Talar Shahneshin (King’s Hall), two lateral chambers, two vestibules, the Hoz Khaneh and four Badgirs (wind catchers). All decorated with multi-color tiles (blue, yellow, black with golden knobs).

Building’s facade is mainly decorated with tile work, fresco, and a combination of mirror work, stucco work and stone engraving.

The banisters of the central terrace and roof lights of the Hoz Khaneh in the lower level are made of engraved solid marble enjoying floral motifs.

Small terraces on the side of the main terrace which serve as the entrance to the chambers are all decorated with painted arabesques, for the major part in golden color on a background of bright or red.

In the center of chamber walls, there is a painting of a flower vase inside an oval-shaped frame. The central room boasts the finest stained glass window in Golestan Palace.

The building is named after the wind catchers or Badgirs which are remarkable structures serving as the building’s cooling system during hot days.

Talar Almas

Covering an area of 200 m, the 200-year-old Talar Almas (Hall of Diamonds) is located in the southern wing of Golestan Palace next to Emarat Badgir and Chador Khaneh.

It is called Hall of Diamonds because of the exceptional mirror work inside the building. The construction of this hall dates to the time of Fatḥ ʿAlī Shāh (circa1806).
Nāṣer al-Dīn Shāh renovated this hall 
changing its appearance and replacing the hall’s Oval arches with Roman ones. He also ordered the walls covered with wallpapers imported from Europe.

Chador Khaneh

Located between the Emarat Badgir and Almas Hall, the Chador Khaneh (House of Tents) was used as a warehouse for royal tents.

The Qājār tribe loved the great outdoors and made several royal camping trips each year. These trips were grand affairs with multitudes of servants and attendants – in addition to all royal necessities.

Many tents were needed to accommodate the entourage. Thus, a need for a House of Tents. The Chador Khaneh has undergone major renovations and is now used as a meeting and lecture hall.

Kakh Abyaz

Golestan Palace

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Completed in 1883, the Abyaz (White) Palace covers an area of about 1191m in the south of Golestan Palace. Made of white stones, the edifice enjoys a gable roof and European- style decoration.

The façade is decorated with Stucco works shaped like the human head, arabesques and floral patterns inspired by the European neoclassical school. The entrance is in the east, below a terrace with two pairs of double columns.

Unlike other palaces of the ensemble and unlike the tradition of Iranian architecture, Kakh Abyaz does not have a symmetric design. And the larger part of the spaces and rooms are along the south side. The Palace now houses one of the most interesting ethnological museums in Iran with a colorful exhibition of traditional Iranian costumes and folk arts.

Hoz Khaneh

Works of European painters presented to the Qājār court are housed in the Hoz Khaneh (Hoz means pond, thus the name Hoz Khaneh) was used as a summer chamber during the Qājār era.

A special cooling system pumped water from a subterranean system of streams (qanats) – in this case, the king’s qanat – into small ponds inside the chambers. 

The system was designed to pass through as many summer rooms as was necessary. The water was then channeled outside to irrigate the royal gardens. Due to the harmful effects of humidity, this system is no longer in use.

Aks Khaneh

Golestan Palace

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The Aks Khaneh (House of Photographs) is a large summer chamber under the Badgir. As with the Hoz Khaneh, this room was cooled using a cooling system that pumped water from a subterranean stream (qanat) into a small pond. Due to the harmful effects of humidity, this system is no longer in use.

This room has undergone major renovations and is now used as an exhibition space for photographs of the Qājār period.

Nāṣer al-Dīn Shāh took an interest in photography not long after the invention of the camera. In fact, he was an avid photographer. Aks Khaneh houses some photographs taken by Nāṣer al-Dīn Shāh and some photographs captioned by him.

Negar Khaneh

Nāṣer al-Dīn Shāh was very impressed by the exhibition of artifacts and valuable objects at European museums during his second European tour around 1872.

He arrived back in Tehran and intended to build a museum to exhibit paintings, royal jewels, and other royal artifacts. The original collection of the museum is now scattered among Tehran’s many museums. However, the paintings of the royal court are now kept at the Golestan Palace. With the European paintings housed in the Hoz Khaneh and the works of Iranian painters housed in the Negar Khaneh (the Gallery).

Meant to show the evolution of painting in Iran during the Qājār era, the works of Iranian painters are exhibited in two sections. Located in the southern part of the Negar Khaneh are the works of early Qājār masters such as Mirza Baba, Mehr Ali Afshar, Ali Akbar Khan Mozaien-olDouleh, Aboul Hassan Sani (Sanie-olMolk) who was Kamal-ol-Molk’s uncle.

The northern Negar Khaneh, was the seat of the Royal Guard during the time of Mohammad Reza Pahlavi. The northern hall underwent substantial renovations in 1995. And now houses the works of later masters of the Qājār era such as Mahmoud Khan Saba (Malek-ol-Shoara), Mohammad Gafari Kashani (Kamal-ol-Molk), Mehri, Mosa Momayez.

Mouze Makhsous

Being under Talar Salam, the Mouze Makhsus (special museum) was built by Mohamad Ebrahim Khan Memar Bashi.

In Nasser-ed-Din shah’s period, this building was used as a warehouse to store the china and silverware presented to Qājār kings as gifts and was then turned into a museum during the Pahlavi period to display such rare gifts.

Among the precious treasures of the museum are Shah Esmail Safavid’s Helmet, Nader Shah’s bow, and arrows, Armband of Fath Ali Shah, the collection of Qājār seals and Aga Mohamad khan’s crown.

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Golestan Palace

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Golestan Palace

The oldest of the historic monuments in Tehran, the Golestan Palace (Palace of Flowers). It belongs to a group of royal – buildings that were once enclosed within the mud-thatched walls of Tehran’s Historic Arg (citadel).


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Golestan Palace Usage During Time

The Arg built during the reign of Tahmasb I (r. 1524- 1576) of the Safavid dynasty (1502-1736). And was later renovated by Karm Khān Zand(r. 1750-1779). With coming of the Qājār s to power in 1779, the Arg became the seat of their government of the Qājār. Who made Teheran the capital of the country and Golestan Palace became the official residence of the royal family.

Golestan Palace

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During the Pahlavi era (1925-1979) Golestan Palace was used for formal royal receptions. The most important ceremonies to be held in the Palace during the Pahlavi era were the coronation of Reza Khan (r. 1925-1941) in Takht Marmar and the coronation of Mohammad Reza Pahlavi (r. 1941-deposed 1979) in the Museum Hall.

Golestan Palace

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Golestan Palace Architecture

The lavish Golestan Palace is a masterpiece of the Qājār era. It embodies the successful integration of earlier Persian crafts and architecture with Western influences. The walled Palace is one of the oldest groups of buildings in Teheran.

It built around a garden featuring pools as well as planted areas. The Palace’s most characteristic features and rich ornaments date from the 19th century. It became a center of Qājār arts and architecture of which it is an outstanding example. And it has remained a source of inspiration for Iranian artists and architects to this day.

It represents a new style incorporating traditional Persian arts and crafts and elements of 18th-century architecture and technology. In its present state, Golestan Palace is the result of roughly 400 years of construction and renovations.

Golestan Palace

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The buildings at the contemporary location each have a unique history. On October 11, 2005, the Cultural Heritage Organization of Iran submitted the palace to the UNESCO for inclusion into the World Heritage List in 2007. On June 23, 2013, it was proclaimed as world heritage site during the UNESCO meeting in Phnom Penh.

Golestan Palace Characteristics

It is located in the heart and historic core of Tehran. This Palace complex originally built during the Safavid dynasty in the historic walled city. Following extensions and additions, it received its most characteristic features in the 19thcentury. When the palace complex selected as the royal residence and seat of power by the Qājār ruling family.

Golestan Palace

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The complex exemplifies architectural and artistic achievements of the Qājār era. Including the introduction of European motifs and styles into Persian arts.

It not only used as the governing base of the Qājār Kings but also it functioned as a recreational and residential compound. And it was a center of artistic production in the 19th century. Through the latter activity, it became the source and center of Qājār arts and architecture.

Golestan Palace Wonders

Golestan Palace represents a unique and rich testimony of the architectural language and decorative art during the Qājār era. Which they represented mostly in the legacy of Nāṣer al-Dīn Shāh. It reflects artistic inspirations of European origin as the earliest representations of synthesized European and Persian style. Which it then became so characteristic of Iranian art and architecture in the late 19th and 20th centuries.

Golestan Palace

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As such, parts of the palace complex is as the origins of the modern Iranian artistic movement. The complex of Golestan Palace represents an important example of the merging of Persian arts and architecture. That, with European styles and motifs and the adaptation of European building technologies. Such as the use of cast iron for load bearing, in Persia.

As such Golestan Palace is considered an exceptional example of an east-west synthesis in monumental arts, architectural layout, and building technology. Which it has become a source of inspiration for modern Iranian artists and architects.

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Tehran Museum Tour


Tehran Museum Tour

Here We Provide Information About Tehran Museum Tour
Location: Iran, Tehran
Length: 5 hours
Highlights: National museum, Ceramics museum, Jewelry museum, Carpet museum, Contemporary art museum
Transport: subway, walking
Itinerary: Visit Tehran main museums including National museum, Ceramics museum, Jewelry museum, Carpet museum and Contemporary art museum by subway and walking.
The trip includes: An English speaking guide, the transport, the entrance fees

National museum: The National Museum of Iran is located in Tehran, Iran.It is an institution formed of two complexes; the Museum of Ancient Iran which was opened in 1937, and the Museum of Islamic Art and Archaeology of Iran which was opened in 1972.It hosts historical monuments dating back through preserved ancient and medieval Iranian antiquities, including pottery vessels, metal objects, textile remains, and some rare books and coins.There are also a number of research departments in the museum, including Paleolithic, Prehistory, History, Coins and seals, Osteology, Pottery departments.

Ceramics museum : The Glassware and Ceramic Museum of Iran  or simply Abgineh Museum is located at 30 Tir Street ,in Tehran, Iran.

Jewelry museum : The Treasury of Iranian National -Royal- Jewels accommodates the world’s most precious jewelry collection. The treasury has an interesting history, going back centuries. The actual value of the treasury is not known.
I the past 25 centuries, the Iranian kings were compiling jewels and ornaments whenever the country was in peace. The royal courts and the treasures of the Sassanid kings, Khosrow Parviz in particular, are mythical and have a special place in history books.

Carpet museum : the Carpet Museum of Iran exhibits a variety of Persian carpets from all over Iran, dating from the 16th century to the present.The museum’s exhibition hall occupies 3,400 square meters (10,200 ft²) and its library contains 7,000 books.The museum was designed by architect Abdol-Aziz Mirza Farmanfarmaian. The perforated structure around the museum’s exterior is designed both to resemble a carpet loom, and to cast shade on the exterior walls, reducing the impact of the hot summer sun on the interior temperature.

Contemporary art museum :Tehran Museum of Contemporary Art also known as TMoCA, is among the largest art museums in Iran. It has collections of more than 3000 items that include 19th and 20th century’s world-class European and American paintings, prints, drawings and sculptures. TMoCA also has one of the greatest collections of Iranian modern and contemporary art.The museum was inaugurated by Empress Farah Pahlavi in 1977, just two years before the 1979 Revolution.TMoCA is considered to have the most valuable collections of modern Western masterpieces outside Europe and North America.

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