| 24Glories of Persia Culture - impreesion of Iran in 29 Days 29 : Allan, 2552-4411

The Islamic Republic of Iran ) 112219792111122() (1979 )

( )(432)(35)(992)(936)(909)(1458)(499)(650)(1,770)90%1,2001,000~2,000 mLut DesertKavir DesertGreat Salt Desert5000( qanat )5360009.4!Alborz Mountain Range960902,400~3,000 m4000mDamavand5,671 mZagros Mountains2,000200( Caspian sea ) ( Persian Gulf )

66%25%5%Zagros and ElburzTigris-EuphratesKhuzestanElamitesAryan peoplesMedes and Persians (Achaemenid, BC 550~330 )98.8%91%7.8%() ( )Kurds, Lurs, Baluchis, and Armenians ( 15 %) ( 20~25 % )Semitic( 10% )AssyriansSyriac90300

4000 ( http://www.anobanini.com/forum/viewforum.php?f=9&sid=b969d67801b36dff39a24a99d1ecfc79 Cultural wonders of Iran, Iran culture )

2500 (Achaemenid, BC 550~330 )Seleucid Empire (312 BCE 248 BCE)Parthian Empire (248 BCE 224 CE)Sassanid Empire (224 651 CE)549Achaemenid Empire (Median, BC 625 )539(Cyrus The Great(Achaemenid Dynasty)()(Lydia)(Trace,)( 539 B.C.)(540 B.C.)Elam()()"I am Cyrus the king, an Achaemenid."()(1)(3622-23)(CyrusCylinder)6(Akkadian) Cyrus the Great(CyrusCylinder) ( Darius the Greatest, 522-486BC ) (28Babylon, Susa, Persepolis, Ecbatana202700km

( 521~485 ) ( )()(Babylon)(Susa)( ) Darius I, 4th century BCE 2700km(490)CambysesBardiya( Dairus I )Xerxes480330( Alexander the Great ) (330~170) : 3325(Macedon ) 238()() (170~226) : (Sassanid Empire, 224~651) : 224Ardashir I224CtesiphonShahanshah, "King of Kings"

Ardashir I Valerian ( Naqsh-e Rostam and Bishapur, as well as a monumental inscription in Persian and Greek in the vicinity of Persepolis )Zoroastrianism629642Yazdegerd IIPeroz II 670Narsieh (Chinese neh-shie)1970 4 ( 650~1290) : 633656( GujaratParsis )786~809.( Abbassid Empire )7509 946117()1037Khorassan1205 ? 68110(Ali ibn Abi Talib ) (Sha ImmImm ) Hussein ibn Ali (, 626-680 AD)( the Battle of Karbala)( Yazid I )72(Shimr Ibn Thil-Jawshan )(Umar ibn Sa'ad )3 Hussein (Husayn, )(Imam) 500012310( ) -(Sunni Islam ) Umayyad Caliphate( Sunnism) AliHussein(Shiism )ShiiteShiat Ali (Partisans of Ali, ) () 747TulunidsIkhshidiss , (Imam), Hussein(or Husayn, )? ()1. ( sunnah ) 9-10 2. 3. ( : ()-()--- )( Imam , )( holy man, Hussein Husayn) ( )-)( )()

( Fiqh ) :1. Hanafi : 2. , Maliki : 3. Shafi'i : 4. Hanbali : (1219~1500) : 1219Hulagu KhanIlkhanate12951370~140514051433 Abbasid Caliphate (1501~1736) Shah Ismail I of Persia (1487-1524)1588

1722 (1722~1914) : 1779~1925Qajar dynasty((1804~13,1826~28) ( 1801 ) 1813, 1828Treaty of Gulistan Treaty of Turkmanchay(Caucasian ) )190719212 (Reza Khan ) (Pahlevi Dynasty, 1925- ) (1914~1935) : ()()19211925121927 1935 ()

( Pahlevi Dynasty, 1925-1979 ) : 1925~41 19416 (Reza Shah Pahlevi , 1925-1941)( Muhammad Reza Shah Pahlevi ) ( 1941~79194211943 19439(Shatt al-Arab )194512 (Azerbaijan)(Kurdish)19465 1969196941919371971(Persian Gulf )197536Algiers Declaration1979198091719809228019212211925193519411954, (National Iranian Oil Company ,NIOC) 19531963( ( peasant-landlord agricultural system)1958 ) Seyyed Ruhollah Mosavi Hkomeini1964114 Shah Mohammad Reza Pahlavi : 1978~79Khomeini( )198092219888202003 Sayid Ali Khamenei Ali Akbar Hashemi Rafsanjani197821 ( 1964 )(Ayatollah Ruhollah Khomeini)91979126211 (Ayatollah Ruhollah Khomeini ) 19791146619804441981120(Ronald Reagan )80 Saddam Hussein198092250198611198871019893001989Sayid Ali Khamenei.Ali Akbar Hashemi Rafsanjani1989~1997 -( Mohammed Khatami) ( Mahmoud Ahmadinejad)199081991199319951997-(Mohammed Khatami) 19971999(Ayatollah Khamenei) 200022/320016 (Guardian Council) 20028200368 20033200312Bam26,000200422/3 (Revolutionary Guards)2004112005220056Mahmoud Ahmadinejad1979(anti-Holocaust )20062(Nuclear Nonproliferation Treaty)30

, , ""chadorZoroastrianism Zoroastrianism3500-Zoroaster( Zarathustra )AhuraMazda Avesta Faravahar(or Ferohar), one of the primary symbols of Zoroastrianism, believed to be the depiction of a Fravashi(guardian spirit)2121VendidadVendidad1.2.3.4.5.6.7.(-)(Ahriman )()( Spenta Mainyn )( Angra Mainya )()

320Chakchak 15021979,(IthnaasharaTwelver Shi'ism )Sharia : ()1. ( sunnah ) 9-10 2. 3. ( Imam , )( holy man, Hussein Husayn)12 Muhammad, Fatimah, Ali, and the two sons of Fatimah and Ali, Husayn and HassainHassain Muharram and Safar Karbala, Mashhad, or Mecca.,

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2006 ( headscarf or veil )Hijab, Shayla, Chada, Khimaral-Amira ( ) , Niqab ( ), Burk ( )Iranian women pray during the Eid al-Fitr prayer in Tehran, Iran 2013-12-07A woman modestly dressed is a pearl in its shell

: ( )( BazaarSouk )( ) )()()()stone carvings, brick work, stucco & tile panels.((1+5)/2 2)MasjidJamiJamaCami()manara1. ( ()2. 3. ()4. : The art of tile manufacture reached its highest point of perfection and beauty at the end of Ilkhanid period and the beginning of Timurid in the form of Moraq tiles (mosaic style). Tile panels created with this technique are very durable and could withstand the elements of time. Here, tiles in such colors as yellow, blue, brown, black, turquoise, green and white were cut and carved into small pieces according to a previously prepared pattern. These pieces were placed close together and liquid plaster poured over to fill in all the opening and gaps. After the plaster dried and hardened, a large single piece tile panel had been created , which was then plastered onto the required wall of the building. Timurid monuments in Herat, Samarkend and Bokhara were covered by this decorative technique. Among the most famous monuments so decorated are Goharshad Mosque (1418 CE), Molana Mosque (1444 CE), Jame Mosque of Yazd (1456 CE), Jame Mosque of Varamin (1322 CE) and Madrassa of Khan in Shiraz (1615 CE) arkn-al-Islm ShahadahSalatSawmRamadanZakat: 2.5%Hajj : ()5: 90~91 : a)., b ). , c). , d ). , e). (Ayatollah Ruhollah Khomeini) Music dulls the mind because it involves pleasure and ecstasy, similar to drugs. It destroys our youth who become poisoned by it. Music is like a drug, whoever acquired the habit can no longer devote himself to important activities. It changes people to the point of yielding to vice or to preoccupations pertaining to the world of music alone. We must eliminate music because it means betraying our country and our youth. We must completely eliminate it.()() ( ) ( )850941FirdawsHakim Abol-Ghasem Ferdowsi Toosi, 9401020, Hfez13201389, Sa'ad12081292, -10481122 Jall ad-D n ar-R m ( )Farah Diba

(ta'zieh )12dastgahGushehtar ( a lute like instrument with a body shaped something like a figure eight )thesetar(a smaller lute with three strings and a small, round body)nei( a vertical flute )kemanche( a small vertical fiddle with a long neck and a small body )qanun (a larger, broader vertical fiddle )santur(a hammer dulcimer )dombak(a double-headed drum)daf( a large tambourine )1979( IslamicRepublic ofIran)5000600(Pars)19351935 (rose250)19Under the rose17 14Rosa DamascnaRosa centfolia

There exist 8200 species of plants in Iran, 2000 of them exclusive to Iran. The Caspian region the southernmost extension of the Europe-Siberia zone -is 800 kilometers long and enjoys annual precipitation ranging from 600 millimeters in Gorgon to 2000 millimeters at Bandar-e- Anzali. The region is home to 80 species of tree and 50 species of shrubs, including the box tree, common alder, oak, beech, hornbeam, Siberian elm. Chestnut, ivy, fern, buttercup, iris and several other species of palustral plants.The Zagros Region, stretching from Azerbaijan to the Straits of Hormoz, is a long strip of mountainous terrain that reaches a width of 300 kilometers and has ' annual precipitation in the 200-1000-millimetre range. Its resident flora includes the Persian oak, gallnut, domesticated and wild olives, Judas tree, juniper, milk vetch, Persian turpentine and almond.The Central Plateau has an average elevation of 1300 meters, dropping to a low as 300 meters in the Kavir-e- Lut. Average annual precipitation is 300 millimeters, though some areas may not get any rain at all during the year. The predominant plant species are those resistant to heat and high soil salinity, such as the wormseed, milk vetch, Goose foot, tamarisk and soap-root. At higher altitudes one also comes across mountain almonds, wild pistachios, juniper and Persian turpentine.The Southern Coastal Plains stretch from Qasr-e -Shirin to Gavatar and are dominated by a tropical climate. Plant species that do well in such conditions include the lotus tree, date palm, devil's pomegranate, and honeydew melon and mangrove forests. The mangrove is one of the wonders of nature. Originally a true land plant, the mangrove eventually adopted as its habitat the banks of rivers emptying into the Persian Gulf and Sea of Oman. Mangrove forests are especially common in Qeshm and Gavatar, and are one of the true miracles of Creation. Another interesting plant is the 'Chandal' a tree native to the island of Madagascar but a resident of the Iranian plateau for several million years. Its mode of reproduction is described as 'viviparous' and the reader is encouraged to read further about it. : 41(1979)211(1979)()(Eid Prayer)a ). (Eid Al-Fitr/ )910110()b ). (Eid al-Adha/ )12( )10 321()63153029365365.24220.24224123662912442.812354.3671263014678106293540.36730113011257101315182124262912354355Norouz320321Norouz20046212014139310111229622113206226226223262233201414358929308299182983092910130 ('Kerman' nuts, Pistacia vera )()19513( BP)80%(National Iranian Oil Company, NIOC)TotalENI(Shell)(LG) ( )67(19)(> 100)70%30%203000Farsh/Qli( > 64 feet),Qlicheh(, , < 64 feet ), Gelim(; includingZilu, meaning "rough carpet").Boteh, Gul, Herati, Mina-Khani, Rosette, Shah Abbasi, Azari Kharchang, Islimi Floral belugaOsetraOssietraSevrugaBeluga Huso huso610001002025%100 Zaafaran80%TabrizChelow kabab with both plain rice and Tah-chin.()zulbia()chelowpilaf (polow) + khoresht + ()fesenjun, + + + kabab, ++ +++ayran, lebni, Indian lassidoughgaz( Pistachio )sohan Riyal1US$=25,500 Riyals ()101(tomen) 31 ( 2012 )1. Tchogha Zanbil ( Chogha Zabbil,1979:The ruins of theholy cityof the Kingdom of Elam, surrounded by three huge concentric walls, are found at Tchogha Zanbil. Founded c. 1250 B.C., the city remained unfinished after it was invaded by Ashurbanipal, as shown by the thousands of unused bricks left at the site. The current name of Tchogha-Zanbil corresponds with theancient cityof Dur Untash, dominating the course of the Ab-e Diz, a tributary of the Karun. The city was founded as a religious capital during the Elamite period by Untash-Napirisha (1275-1240 BC) in a site half-way between Anshn and Suse. Roman Ghirshman carried out the complete exploration of the site from 1951 to 1962.The site contains the best preserved and the largest of all the ziggurats of Mesopotamia. The firstenclosurecontains the temenos. In origin, the temple located at the centre was a squarebuilding, dedicated to the Sumerian god Inshushinak. This temple was then converted into a ziggurat of which it constitutes the first storey. The solid masses of the four other storeys are in the other XX starting from the ground of thecourt(and not one on top of the other as in Mesopotamia) so as to cover all the surface of the old central court Access was by means of a vaulted staircase, invisible from outside, unlike the squatter Mesopotamian ziggurats, which were equipped with three externalstaircases, Today the ziggurat is no more than 25 m high, the last two stages, which originally rose to a height of 60 m, having been destroyed. The ziggurat is sacred not only to Inshushinak but also to Napirisha, the god of Anshn. On the north-western side of the ziggurat a group of temples were dedicated to the minor divinities, Ishnikarab and Kiririsha. An oval wall surrounded the temples and the ziggurat. The second enclosure, trapezoidal in form, delimits a vast, almost empty zone. In the third enclosure, only threepalaceswere built and a temple, near the Royal Gate, with a large interior court. This third enclosure was to protect the town of Dur Untash, the houses of which were never built. The Untash-Gal Palace (13th century BC) was discovered, separated from the temenos. In spite of the destruction attributed to the Assyrians, a whole series of heads, statuettes, animals and amulets were found, and the remains of twopanelsin ivory mosaic. Several vaulted tombs were discovered in thebasementof the royal residence, with evidence ofcremation. Nearby was a temple dedicated to Nusku, the god of fire. To supply the population of the city withwater, Untash-Napirisha made a channel of about 50 km long, leading to a reservoir outside thenorthernrampart; from there, nine conduits carried thefiltered waterto a basin arranged inside the rampart. Dur Untash was given up by the Elamite kings in the 12th century BC in favour of Susa. They transported all the treasures of Tchogha Zanbil to Susa where they were used to decorate the recently restored temples. In 640 BC, Dur Untash was entirely destroyed by the Assyrian king Assurbanipal, a few years after his conquest of Susa.2. Persepolis 1979:Takht-e Jamshid -Persepolis-Perspolis-Parse-Takht e Jamshid-The Throne of Jamshid-Chehel minar-Columns/Minarets(Persian: -- )Founded by Darius I in 518 B.C., Persepolis was the capital of the Achaemenid Empire. It was built on an immense half-artificial, half-naturalterrace, where theking of kingscreated an impressive palace complex inspired by Mesopotamian models. The importance and quality of the monumental ruins make it a unique archaeological site.The magnificent ruins of Persepolis lie at the foot of Kuh-i-Rahmat (Mountain of Mercy) in the plain of Marv Dasht about 650 kmsouthof the presentcapital cityof Teheran.Founded by Darius I in 518 BC (although more than a century passed before it was finally completed by Artaxerxes I), Persepolis was the capital of the Achaemenid Empire. An inscription carved on the southern face of the terrace proves that Darius the Great was the founder of Persepolis.It was built on an immense half-artificial, half-natural terrace, where the King of Kings created an impressive palace complex inspired by Mesopotamian models. Before any of thebuildingscould be erected, considerable work had to be done: this mainly involved cutting into an irregular and rocky mountainside in order to shape and raise the large platform and to fill the gaps anddepressionswith rubble. The terrace of Persepolis, with its double flight of access stairs, its walls covered by sculpted friezes at various levels, contingent Assyrianesque propylaea, the gigantic winged bulls, and the remains of large halls, is a grandiose architectural creation. The studied lightening of theroofingand the use of wooden lintels allowed the Achaemenid architects to use, in open areas, a minimum number of astonishingly slendercolumns. They are surmounted by typical capitals where, resting on double volutes, the forequarters of two kneeling bulls, placed back-to-back, extend their coupled necks and their twin heads, directly under the intersections of the beams of the ceiling.Persepolis was the examplepar excellenceof the dynastic city, the symbol of the Achaemenid dynasty, which is why it was burned by the Greeks of Alexander the Great in 330. According to Plutarch, they carried away its treasures on 20,000 mules and 5,000 camels. What remains today, dominating the city, is the immense stone terrace (530 m by 330 m), half natural, half artificial, backed against the mountains.It seems that Darius planned this impressive complex ofpalacesnot only as the seat of government but also, and primarily, as a show place and a spectacular centre for the receptions and festivals of the Achaemenid kings and their empire. Darius lived long enough to see only a small part of his plans executed. This ensemble of majestic approaches, monumental stairways,thronerooms (Apadana),reception roomsand annex buildings is classified among the world's greatest archaeological sites, among those which have no equivalent and which bear witness of a unique quality to a most ancient civilization. During the following centuries many people travelled to and described Persepolis and the ruins of its Achaemenid palaces. The ruins were not excavated until the Oriental Institute of the University of Chicago sponsored an archaeological expedition to Persepolis and its environs under the supervision of Ernst Herzfeld from 1931 to 1934, and Erich F. Schmidt from 1934 to 1939.On a terrace, as if on a pedestal, the Achaemid kings, Darius (522-486 BC), his son Xerxes (486-65 BC) and his grandson Artaxerxes (465-24 BC) built a splendid palatial complex: propylaea, formal halls and private apartments opening in to courts linked by staggered corridors, based on Mesopotamian forerunners. The Persepolis visible today is mostly the work of Xerxes; the northern part of the terrace, consisting mainly of the Audience Hall of the Apadana, the Throne Hall and the Gate of Xerxes, represented the official section of the Persepolis complex, accessible to a restricted public. The other part held the palaces of Darius and Xerxes, the Harem, the Council Hall and such.As in Mesopotamia, the principal building material was sun-dried brick; yet the ashlar, mainly used for supporting elements (jambs and lintels of doorways, casings, window-breasts, bases and capitals, etc.), for monumental doorways and for vast sculpted surfaces, has happily survived the vicissitudes of time.3. Meidan EmamEsfahan 1979:Built by Shah Abbas I the Great at the beginning of the 17th century, and bordered on all sides by monumentalbuildingslinked by a series of two-storeyedarcades, the site is known for the Royal Mosque, the Mosque of Sheykh Lotfollah, the magnificent Portico of Qaysariyyeh and the 15th-century Timurid palace. They are an impressive testimony to the level of social and cultural life in Persia during the Safavid era. The Royal Square of Esfahan is a monument of Persian socio-cultural life during the Safawid period (until 1722). It is an urban phenomenon which is an exception inIranwhere the cities are ordinarily tightly parcelled without spatial fluidity, the exception being the interior courts of the caravanserais. It is an example of the form of naturally vulnerableurban architecture. The Shah of the Iranian dynasty of the Safawids, Abbas, who reigned from 1587 to 1628, chose as his capital Esfahan, which he magnificently embellished and remodelled. Thecentreof the city was accented by a vast Royal Square (Meidan-e Shah) which was so beautiful and so large that it was called 'The Image of the World'. It is bordered on each side by four monumental buildings linked by a series of two-storey arcades: to the north, the Portia of Qeyssariyeh (1602-19), to the south, the Royal Mosque (1612-30), to the east, the Mosque of Sheyx Loffollah (1602-18) and to thewest, thepavilionof Ali Qapu, a small Timuridpalace(15th century), enlarged and decorated by the shah and his successors. Of particular interest is the Royal Mosque, which is grafted on to thesouth sideof the square by means of deep and immense sectioned porch. It is crowned by a half dome, whose interior walls are dressed with enamelled faence mosaics, bound by two minarets, and prolonged to the south by an iwan (three-sided, vaulted hall open at one end), leading to an interior courtyard that describes a right angle. Thus, it is that, although it is in part on a north/south axis, the mosque is, in keeping with tradition, nonetheless, oriented north-east/south-east. The pavilion of Ali'Qapu forms the monumental entrance to the palace zone and to theroyal gardenswhich extend behind it. Its apartments, which are completely decorated with paintings and have wide exterior openings, are renowned. On the square is a high portal (48 m), flanked by several storeys of rooms and crowned by a covered terrace (talar), whose refined roofing is carried by thinwooden columns.All of these architectural elements of the Meidan-e Shah, including the arcades, are adorned with a profusion of enamelledceramic tileswith paintings, where the floral ornamental is dominant, flowering trees, ases, without a prejudice for the figured compositions in the style of Riza-i Abbasi, renowned bothinside and outsideof Persia, who was head of theschool of paintingat Esfahan during the reign of Shah Abbas. The Royal Mosque remains the most celebrated example of the colourful architecture which, in Iran, reached its height under the Safaw dynasty. The Meidan-e Shah was the heart of the Safawid capital. Its vast sandyesplanadewas used for promenades, assembling troops, playingpolo, celebrations and for public executions. On all sides, the arcades house shops. Above the portal of the large bazaar of Qeyssariyeh is a tribune that accommodates musicians giving public concerts. The talar of Ali Qapu communicates, from behind, with the throne room where the king occasionally received ambassadors.4. Takht-e Soleyman 2003:The archaeological site of Takht-e Soleyman, in north-westernIran, is situated in a valley set in a volcanicmountain region. The site includes the principal Zoroastrian sanctuary partly rebuilt in the Ilkhanid (Mongol) period (13th century) as well as a temple of the Sasanian period (6th and 7th centuries) dedicated to Anahita. The site has important symbolic significance. The designs of the fire temple, the palace and the general layout have strongly influenced the development of Islamic architecture.i:Takht-e Soleyman is anoutstandingensemble of royal architecture, joining the principal architectural elements created by the Sasanians in a harmoniouscompositioninspired by their natural context. ii:The composition and the architectural elements created by the Sasanians at Takht-e Soleyman have had strong influence not only in the development ofreligiousarchitecture in the Islamic period, but also in other cultures.iii: The ensemble of Takht-e Soleyman is an exceptionaltestimonyof thecontinuationof cult related tofire and waterover a period of some two and half millennia. The archaeological heritage of the site is further enriched by the Sasanian town, which is still to be excavated. Criterion iv:Takht-e Soleyman represents an outstanding example of Zoroastrian sanctuary,integratedwith Sasanian palatial architecture within a composition, which can be seen as aprototype.vi: As the principal Zoroastrian sanctuary, Takht-e Soleyman is theforemostsite associated with one of the early monotheistic religions of the world. The site has many important symbolic relationships, being also a testimony of the association of the ancient beliefs, much earlier than the Zoroastrianism, as well as in its association with significant biblical figures and legends. Takht-e Soleyman is an outstanding ensemble of royal architecture, joining the principal architectural elements created by the Sassanians in a harmonious composition inspired by their natural context. The composition and the architectural elements created by the Sassanians there have exerted a strong influence not only in the development of religious architecture in the Islamic period, but also in other cultures. The ensemble represents an outstanding example of a Zoroastrian sanctuary, integrated with Sassanian palatial architecture within a composition, which can be seen as a prototype. It is an exceptional testimony of the continuation of a cult related to fire andwaterover a period of some two-and-a-halfmillennia. The archaeological heritage of the site is further enriched by the Sassanian town, which is still to be excavated. Takht-e Soleyman is situated in Azerbaijanprovince, within a mountainous region, some 750 km from Teheran. It is formed from plain, surrounded by a mountain range and it contains avolcanoand an artesian lake as essential elements of the site.The site consists of an oval platform about 350 m by 550 m rising 60 m above the surroundingvalley. It has a small calcareousartesianwell that has formed a lake some 120 m deep. From here, small streams bring water to surrounding lands. The Sassanians occupied the site starting in the 5th century, building there the royal sanctuary on the platform. The sanctuary was enclosed by a stone wall 13m high, with 38 towers and two entrances (north and south). This wall apparently had mainly symbolic significance as no gate has been discovered. The main buildings are on the north side of the lake, forming an almost square compound (sides c . 180 m) with the Zoroastrian FireTemple(Azargoshnasb) in the centre. This temple, built from fired bricks, is square in plan. To the east of the Temple there is another square hall reserved for the 'everlasting fire'. Further to the east there is the Anahita temple, also square in plan. The royal residences are situated to the west of the temples.The lake is an integral part of the composition and was surrounded by a rectangular 'fence'. In the north-west corner of this once fenced area, there is the so-called Western iwan , 'Khosrow gallery', built as a massive brick vault, characteristic of Sassanian architecture. The surfaces were rendered in lime plaster with decorative features in muqarnas (stalactite ceiling decoration) and stucco. The site was destroyed at the end of the Sassanian period, and left to decay. It was revived in the 13th century under the Mongol occupation, and some parts wererebuilt, such as the Zoroastrian fire temple and the Western iwan . New constructions were built around the lake, including two octagonal towers behind the iwan decorated in glazed tiles and ceramics. A new entrance was opened through the main walls, in the southern axis of the complex. It is noted that the surrounding lands in the valley (included in the buffer zone) contain the remains of the Sassanian town, which has not been excavated. A brick kiln dating from the Mongol period has been found 600 m south of Takht-e Soleyman. The mountain to the east was used by the Sassanians as a quarry for building stone. Zendan-e Soleyman is a hollow, conical mountain, an ancient volcano, some 3 km to the west of Takht-e Soleyman. It rises about 100 m above the surrounding land, and contains an 80 m deep hole, about 65 m in diameter, formerly filled with water. Around the top of the mountain, there are remains of a series of shrines and temples that have been dated to the 1st millennium BCE. The Belqeis Mountain (c . 3,200 m), is situated 7.5 km north-east of Takht-e Soleyman. On the highest part there are remains of a citadel (an area of 60 m by 50 m), dating to the Sassanian era, built from yellow sandstone. The explorations that have been carried out so far on the site indicate that the citadel would have contained another fire temple. Its orientation indicates a close relationship with Takht-e Soleyman.: The Persian Empire was founded by the Achaemenid dynasty (6th to 4th centuries BCE). Subsequently, a new empire was established by the Parthians (2nd BCE to 3rd CE), who were conscious of their Persian identity, even though under strong Hellenistic influence. The following Sasanian Empire (3rd to 7th CE), re-established the Persian leadership in the region, and was successful in forming a counterforce to the Roman Empire. Basing on the Achaemenidheritageand the impact of the Hellenistic-Parthian period, the Sasanians developed new artistic and architectural solutions. Their architecture had important influence in the east as well as in the west; it became a major reference for the development of architecture in the Islamic period. : Fire and water have been among the fundamental elements for the Iranian peoples since ancient times. Fire was conceived a divine messenger between the visible world and the invisible (gods). Water was the source of life. Volcanic regions were thus of particular interest, especially when there was the presence of water as it was the case of Takht-e Suleiman. Zoroastrianism is an Iranian religion, and has its origin in Prophet Zarathustra, who probably lived in the 7th century BCE or earlier. This religion is characterized by its monotheistic aspect related to Ahuramazda, and it recognizes the conflict between good and evil forces. Ahuramazda was worshiped by the early Achaemenids, whose rituals took place in the open on fire altars, without any temples. With the revival of new nationalism, the Sasanians established Zoroastrianism as a state religion, building fire temples for the cult. Zoroastrianism has had an important influence on Christianity and Islam, and it is still a living religion, practised in Iran, India and Central Asia. The Sasanians also recognized the cult of Anahita, the goddess of earth, associated with water. A temple of Anahita is included in the complex of Takht-e Suleiman. The early period: The volcanic site where the Sasanians built their sanctuary, Azargoshnasb (Fire temple of the Knights), later called Takht-e Suleiman (Throne of Solomon), has been subject to worship for a long time. The hollow, volcanic mountain, called Zendan-e Suleiman (the prison of Solomon) is surrounded by the remains of temples or shrines, dated to the first millennium BCE. These are associated with the Manas, who ruled the region from 830 to 660 BCE. The crater was once full of water, but has later dried out. The Sasanian period: With the arrival of the Sasanians (5th century CE), Zendan-e Suleiman lost its importance in favour of Takht-e Suleiman, where construction started in mid 5th century CE, during the reign of the Sasanian king Peroz (459-484 CE). The site became a royal Zoroastrian sanctuary under Khosrow I (531-579) and Khosrow II (591-628), and it was the most important of the three main Zoroastrians sanctuaries. The other two have not been identified so far. The construction of this temple site coincides with the introduction of Christianity as the main religion in the Roman Empire. The need to strengthen Zoroastrianism can thus be seen as an effort to reinforce national identity as a counterpoint to Christianity in the Roman world. The importance of Takht-e Suleiman was further increased with the introduction of the cult of Anahita. The royal ensemble was surrounded by an urban settlement on the plain. The site was destroyed by the Byzantine army in 627, a counter measure to the Sasanian attack to their territories.Mongol period: The site regained importance in the 13th century, when the Ilkhanid Mongols rebuilt part of it as a residence for Ilkhan Aba-Qaan, then the ruler of Iran. The reconstruction phase included the fire temple and the western Iwan, as well as new structures around the lake. The Mongol rehabilitation shows cultural continuity, which is particularly interesting in the revival of Zoroastrian faith in the middle of the Islamic period. Due to its natural and cultural qualities, the site has been associated with various legendary and biblical characters and issues, such as Solomon, Christ, earthly paradise, Holy Graal, etc. Later phases: After the Ilkhanid period, from the mid 14th century, the site was abandoned and gradually fell into ruins. It was rediscovered by the British traveller, Sir Robert Ker Porter in 1819, followed by other explorers. In 1937, the site was photographed by Erich F. Schmidt, and surveyed by Arthur U. Pope and Donald N. Wilber. In 1958 it was explored by Swedish archaeologists. The first systematic excavation was undertaken by the German Archaeological Institute under R. Naumann and D. Huff, in the 1970s.5. Pasargadae 200487 :Pasargadae was the first dynastic capital of the Achaemenid Empire, founded by Cyrus II the Great, in Pars,homelandof the Persians, in the 6th century BC. Its palaces, gardens and the mausoleum of Cyrus are outstanding examples of the first phase of royal Achaemenidartand architecture and exceptional testimonies of Persian civilization. Particularly noteworthy vestiges in the 160-ha site include: the Mausoleum of Cyrus II; Tall-e Takht, a fortified terrace; and a royal ensemble of gatehouse, audience hall, residential palace and gardens. Pasargadae was the capital of the first great multicultural empire in Western Asia. Spanning theEastern Mediterraneanand Egypt to the Hindus River, it is considered to be the first empire that respected the cultural diversity of its different peoples. This was reflected in Achaemenid architecture, a synthetic representation of different cultures.The dynastic capital of Pasargadae was built by Cyrus the Great in the 6th century BC with contributions from different peoples of the empire created by him. It became afundamentalphase in the evolution of the classic Persian art and architecture. With its palaces, gardens, and the tomb of the founder of the dynasty, Cyrus the Great, Pasargadae represents exceptional testimony to the Achaemenid civilisation in Persia. The 'Four Gardens' type of royal ensemble created in Pasargadae became a prototype for Western Asianarchitecture and design.Pasargadae is located in the plain on the river Polvar, in the heart of Pars, the homeland of the Persians. The position of the town is also denoted in its name: 'thecampof Persia'. Thecorezone of the site is surrounded by a large landscapebuffer zone. The core area contains many monuments: the Mausoleum of Cyrus the Great is built from white limestone around 540-530 BCE. The mausoleum chamber, on the top, has the form of a simple gable house with a small opening from the west. In the medieval period, the monument was thought to be the tomb of Solomon's mother, and a mosque was built around it, using columns from the remains of the ancient palaces. A small prayer niche (mihrab ) was carved in the tomb chamber. In the 1970s, during a restoration, the remains of the mosque were removed, and the ancient fragments were deposited close to their original location.The Tall-e Takht refers to the great fortified terrace platform built on a hill at thenorthernlimit of Pasargadae. This limestone structure is built from dry masonry, using large regular stone blocks and a jointing technique called anathyrosis, which was known inAsia Minorin the 6th century. The first phase of the construction was built by Cyrus the Great, halted at his death in 530 BCE. The second phase was built under Darius the Great (522-486 BCE), using mudbrick construction.The royal ensemble occupies the central area of Pasargadae. It consists of severalpalacesoriginally located within a garden ensemble (the so-called 'Four Gardens'). Thecolour schemeof the architecture is given by the black andwhite stonesused in its structure. The main body of the palaces is formed of a hypostyle hall, to which are attached porticoes. The Audience Hall was built around 539 BCE. Its hypostyle hall has two rows of four columns. The column bases are in black stone and the column shafts in white limestone. The capitals were in black stone. There is evidence of a capital representing a hybrid, horned and crested lion. The palace had a portico on each side. Some of the bas-reliefs of the doorways are preserved, showing human figures and monsters.TheResidentialPalace of Cyrus II was built 535-530 BCE; its hypostyle hall has five rows of six columns. The Gate House stands at the eastern limit of the core zone. It is a hypostyle hall with a rectangular plan. In one of the door jambs is the famous relief of the 'winged figure'.In later periods, Tall-e Takht continued to be used as a fort, whereas the palaces were abandoned and the material was reused. From the 7th century onwards, the tomb of Cyrus was called the Tomb of the Mother of Solomon, and it became a place of pilgrimage. In the 10th century, a small mosque was built around it, which was in use until the 14th century.6. Bam and its Cultural Landscape 2004:Bam is situated in adesertenvironment on the southern edge of the Iranian high plateau. The origins of Bam can be traced back to the Achaemenid period (6th to 4th centuries BC). Its heyday was from the 7th to 11th centuries, being at the crossroads of importanttrade routesand known for the production of silk and cotton garments. The existence of life in the oasis was based on the underground irrigation canals, the qants, of which Bam has preserved some of the earliest evidence in Iran. Arg-e Bam is the most representative example of a fortified medieval town built in vernacular technique using mud layers.7. Soltaniyeh 20058. Bisotun 2006:Bisotun (Persian: ) is located along the ancient traderoutelinking the Iranian high plateau with Mesopotamia and features remains from the prehistoric times to the Median, Achaemenid, Sassanian, and Ilkhanid periods.The principal monument of this archaeological site is the bas-relief and cuneiforminscriptionordered by Darius I, The Great, when he rose to the throne of the Persian Empire, 521 BC. The bas-relief portrays Darius holding a bow, as a sign of sovereignty, and treading on the chest of a figure who lies on his back before him. According to legend, the figure represents Gaumata, the Median Magus and pretender to the throne whose assassination led to Dariussrise to power.Below and around the bas-reliefs, there areca. 1,200 lines of inscriptionstelling the storyof the battles Darius waged in 521-520 BC against the governors who attempted to take apart the Empire founded by Cyrus. The inscription is written in three languages. The oldest is an Elamite text referring to legends describing the king and the rebellions.This is followed by a Babylonian version of similar legends. The last phase of the inscription is particularly important, as it is here that Darius introduced for the first time the Old Persian version of his res gestae (things done). This is the only known monumental text of the Achaemenids to document the re-establishment of the Empire by Darius I. It also bears witness to the interchange of influences in the development of monumental art and writing in the region of the Persian Empire. There are also remains from the Median period (8th to 7th centuries B.C.) as well as from the Achaemenid (6th to 4th centuries B.C.) and post-Achaemenid periods.9. Armenian Monastic Ensembles of Iran 2008:The Armenian MonasticEnsemblesof Iran, in the north-west of the country, consists of three monastic ensembles of the ArmenianChristian faith: St Thaddeus and St Stepanos and the Chapel of Dzordzor. These edifices - the oldest of which, St Thaddeus, dates back to the 7th century are examples of outstanding universal value of the Armenian architectural and decorative traditions. They bear testimony to very important interchanges with the other regional cultures, in particular the Byzantine, Orthodox and Persian. Situated on the south-eastern fringe of the main zone of the Armenian cultural space, the monasteries constituted a major centre for the dissemination of that culture in the region. They are the last regional remains of this culture that are still in a satisfactory state of integrity and authenticity. Furthermore, as places of pilgrimage, the monastic ensembles are living witnesses of Armenian religious traditions through the centuries. The Armenian monasteries of Iran have bornecontinuoustestimony, since the origins of Christianity and certainly since the 7th century, toArmenian culturein its relations and contact with the Persian and later the Iranian civilisations. They bear testimony to a very large and refined panorama of architectural and decorative content associated with Armenian culture, in interaction with other regional cultures: Byzantine, Orthodox, Assyrian, Persian and Muslim. The monasteries have survived some 2,000 years of destruction, both of human origin and as a result of natural disasters. They have been rebuilt several times in a spirit in keeping with Armenian cultural traditions. Today they are the only important vestiges of Armenian culture in this region. Saint-Thaddeus, the presumed location of the tomb of the apostle of Jesus Christ, St. Thaddeus, has always been a place of high spiritual value for Christians and other inhabitants in the region. It is still today a living place of pilgrimage for the Armenian Church.(ii): The Armenian monasteries of Iran illustrate the Outstanding Universal Value of Armenian architectural anddecorativetraditions. They beartestimonyto very important cultural interchanges with the other regional cultures, in particular Byzantine, Orthodox and Persian. (iii): Situated at thesouth-eastern limits of the main zone of Armenian culture, the monasteries were a major centre for its diffusion in the region. Today they are the last regional testimony of this culture in a satisfactory state of integrity and authenticity.(vi): The monastic ensembles are the place of pilgrimage of the apostle St. Thaddeus, which bears an outstanding living testimony to Armenianreligious traditionsdown the centuries.The State Party has made a remarkable long-term effort regarding therestorationand conservation of the Armenian monastic ensembles in Iran. Their integrity and authenticity are satisfactory, and this includes the Chapel of Dzordzor, which (because of adamconstruction project) was moved and then rebuilt with an evident concern to retain authenticity.Thelegal protectionin place is adequate. The monastic ensemble is currently in a good state of conservation. Themanagement planprovides the necessary guarantees for the long-term conservation of the property and the expression of its Outstanding Universal Value.10. Shushtar Historical Hydraulic System 2009:Shushtar,HistoricalHydraulic System, inscribed as a masterpiece of creative genius, can be traced back to Darius the Great in the 5th century B.C. It involved the creation of two main diversion canals on the river Krun one of which, Gargar canal, is still in use providing water to the city of Shushtar via a series of tunnels thatsupply waterto mills. It forms a spectacular cliff from which water cascades into a downstream basin. It then enters the plain situated south of the city where it has enabled the planting of orchards and farming over an area of 40,000 ha. known as Mianb (Paradise). The property has an ensemble of remarkable sites including the Salsel Castel, the operation centre of the entire hydraulic system, the tower where thewater levelis measured, damns, bridges, basins and mills. It bears witness to the know-how of the Elamites and Mesopotamians as well as more recent Nabatean expertise and Roman building influence. The Shushtar Historical Hydraulic System demonstrates outstanding universal value as in its present form, it dates from the 3rd century CE, probably on older bases from the 5th century BCE. It is complete, with numerous functions, and large-scale, making it exceptional. The Shushtar system is a homogeneous hydraulic system, designedgloballyand completed in the 3rd century CE. It is as rich in its diversity ofcivil engineering structuresand its constructions as in the diversity of its uses (urban water supply, mills, irrigation, river transport, and defensive system). The Shushtar Historical Hydraulic System testifies to the heritage and the synthesis of earlier Elamite and Mesopotamian knowhow; it was probably influenced by the Petra dam and tunnel and by Roman civil engineering. The Shushtar hydraulic system, in its ensemble and most particularly the Shdorvn Grand Weir (bridge-dam), has been considered a Wonder of the World not only by the Persians but also by the Arab-Muslims at the peak of their civilisation. The Gargar canal is a veritable artificial watercourse which made possible the construction of a new town and the irrigation of a vast plain, at the time semi-desert. The Shushtar Historical Hydraulic System sits in an urban and rural landscape specific to the expression of its value. (i): The Shushtar Hydraulic System istestimonyto a remarkably accomplished and early overall vision of the possibilities afforded by diversion canals and large weir-dams forland development. It was designed and completed in the 3rd century CE for sustainable operation and is still in use today. It is a unique and exceptional ensemble in terms of its technical diversity and its completeness that testifies to human creative genius. (ii): The Shushtar Historical Hydraulic System is asynthesisof diverse techniques brought together to form a remarkably complete and large-scale ensemble. It has benefited from the ancient expertise of the Elamites and Mesopotamians in canal irrigation, and then that of the Nabateans; Romantechniciansalso influenced itsconstruction. Its many visitors marvelled at it and were in turn inspired. It testifies to the exchange of considerable influences inhydraulic engineeringand its application throughout antiquity and the Islamic period under the various Iranian dynasties.(v): Shushtar is a unique and exceptionally complete example of hydraulic techniques developed during ancient times to aid the occupation ofsemi-desert lands. By diverting a river flowing down the mountains, using large-scale civilengineering structuresand the creation of canals, it made possible multiple uses for the water across a vast territory: urban water supply, agricultural irrigation, fish farming, mills, transport, defence system, etc. It testifies to a technical culture dating back eighteen centuries serving the sustainable development of a human society, in harmony with its natural and urban environment. Integrity and AuthenticityThe integrity of the hydraulic footprint is good, but its functional integrity compared with the original model is only partial and reduced, notably for the dams; it remains good forirrigationand water supply. The authenticity of elements reduced to archaeological remains is certain, but has been affected by 20th century works and materials so far as the civil structures and sites still in use are concerned. Efforts directed to the restoration of attributes that demonstrate authenticity must be pursued. Management and protection requirements The components of the management plan are satisfactory, but they need to be improved in terms of the interpretation of the sites and the involvement of the local population.11. Sheikh Safi al-din Khnegh and Shrine Ensemble in Ardabil2010: SheikhSafi al-din Khnegh andShrineEnsemble in Ardabil (Persian: )Built between the beginning of the 16th century and the end of the 18th century, this place ofspiritual retreatin the Sufi tradition uses Iranian traditional architectural forms to maximize use of available space to accommodate a variety of functions (including a library, a mosque, a school, mausolea, a cistern, a hospital, kitchens, a bakery, and some offices). It incorporates a route to reach the shrine of the Sheikh divided into seven segments, which mirror the seven stages of Sufi mysticism, separated by eight gates, which represent the eight attitudes of Sufism. The ensemble includes well-preserved and richly ornamented facades and interiors, with a remarkable collection of antique artefacts. It constitutes a rare ensemble of elements of medieval Islamic architecture.Sheikh Safi al-Din Khnegh and Shrine Ensemble was built as a small microcosmic city with bazaars, public baths, squares, religiousbuildings, houses, and offices. It was the largest and most complete khnegh and the most prominent Sufi shrine since it also hosts the tomb of the founder of the Safavid Dynasty. For these reasons, it has evolved into a display of sacred works ofartand architecture from the 14th to the 18th century and a centre of Sufireligious pilgrimage.The Sheikh Safi al-Din Khnegh and Shrine Ensemble in Ardabil is of Outstanding Universal Value as anartisticand architectural masterpiece and an outstanding representation of thefundamentalprinciples of Sufism. Ilkhanid and Timurid architectural languages, influenced by Sufiphilosophy, have created new spatial forms and decorative patterns. The layout of the ensemble became a prototype for innovative architectural expressions and a reference for other khneghs. As the shrine of a prominent Sufi master, who also was the founder of the Safavid Dynasty, the property has remained sacred in Iran up to thepresent day. (i): The conception of the entire ensemble layout, the proportions of theinternal and externalspaces and of the buildings, their design and refined decoration, together with the climax created by the sequenced path to Sheikh Safi al-Dins shrine, all combined, have concurred to create a unique complex in which aesthetics and spirituality are in a harmonious dialogue.(ii): The architectural spaces and features of the nominated property have integrated influences of the Ilkhnid and Timurid periods with the religious message of Sufism and the taste for exquisite ornamentation and interior spaciousness, thus giving rise to fresh architectural and artistic forms.(iv): The Sheikh Safi al-Din ensemble is aprototypeand an outstanding example of a 16th century religious complex, combined with social,charitable, cultural, and educational functions, which contains all the significant elements that since came to characterize Safavid architecture and became a prototype for other khnegh and shrines.Integrity and Authenticity The property contains all the elements that convey its Outstanding Universal Value. Most of the elements of the property are ingood conditionand, despite several transformations, the site continues to present an image of harmonious composition, in which the material realization of the spiritual path through the architectural design is still clearly legible. The State Party has taken steps to restore the original access to the ensemble, which will strengthen the connection between the architecture and the Sufi spiritual messages. The design form of the entire complex and of individual buildings has been retained and their religious functions have been maintained in most cases. Where they have changed, the new uses are appropriate to the architectural structure in general, and the material and technical authenticity has been retained, as well as the spiritual character of the place. It is, however, important to reduce the tendency to go too far in conservation work.Protection and management requirements The nominated property has been protected under the Iranian legislation since 1932. According to the law currently in force, special protection provisions are in place for the property, the buffer zone and for a wider area called the landscape zone. These provisions, already in place, are also being incorporated into the revisedMasterPlan for Ardabil, final approval of which is scheduled for September 2010.Any project concerning protected monuments in Iran must be in accordance with the provisions of the law and must be approved by ICHHTO, the authority in charge of the protection of Iranian monuments. The management framework established for the nominated property integrates the regulations for Sheikh Safi al-Din Khnegh and Shrine Ensemble and the provisions of the Ardabil Master Plan. Management of protected monuments is the responsibility of the High Technical Council of ICHHTO, which approves budgets and all major conservation works. Minor works and day-to-day maintenance is ensured by a steering committee which can avail itself of a multidisciplinary team (the ICHHTO Sheikh Safi al-Din Ensemble Base), which is headed by a urban planner and includes on its staff engineers, architects, conservation architects, and archaeologists. : Sufism (tasawwuf, from sf wool' in Arabic or saf purity') is generally considered to be the inner mystical dimension of Islam rather than a distinct sect. It began to develop into a spiritual movement in the 9th and 10th centuries. Sufism is claimed to have been a definitive factor in the spread of Islam and in the creation of an integrated Islamicculturein Africa and Asia. Sufism flourished between the 13th and 16th centuries throughout the Islamic world as a vigorous religious and intellectual culture with specific directions given by the different tariqats or orders founded by Sufi teachers. Sufism has left a number of physical artistic manifestations, particularly in central Asia. When Iran underwent the Islamic conquest, Ardabil was the largest city in north-western Iran, and it remained so until the Mongol invasions, which left the town shattered for three centuries until the advent of the Safavid Dynasty, of which Sheikh Safi al-Din (1252-1334) is the eponym.Sheikh Safi al-Din followed Sheikh Zhed e-Gilni's teachings and after his master's death took his place and developed his own tariqat, which acquired its name and from which Safavi Sufism originated. He founded a khnegh in Ardabil, which was later to become his shrine.The ensemble functioned initially as a small, selfcontained city with bazaars, public baths and meydns, religious facilities, houses, and offices.During the reign of the Safavi rulers, the role and function of the nominated property changed to one of political and national importance as the important shrine of the founder of the Safavid Dynasty. Shah Ismail, Sheikh Safi al-Din's successor as Sufi leader of the khanegah, became the first shah of the Safavid Dynasty and declared Shi'ism the state religion. The Safavids spared no expense in enriching and decorating the structure of the shrine of their ancestor with many works of art. The shrine became a focus for pilgrims from around the world and a religious ensemble containing outstanding works of art, ornamentation, and archaeology from the 14th to the 18th centuries.Four main building phases have been identified by researchers in which the most important structures were built or substantially modified:1300-1349: In this period the layout of the shrine was laid down: Sheikh Safi al-Din Ardabili Khnegh, Haram-khn, Allh Allh Dome, Shat, Dr al-Huffz Hall, Shhnishin, the Middle Courtyard, and the New Chilla Khn were built. 1349-1544: In this period Shah Ismail and Shah Ismail's mother's sepulchres, Dr al-Hadith, Jannatsar, Shahidgh, and the sepulchre yard south of Sheikh Safi al-Din tomb were built. Most of the building activity has been dated to the 16th century. 1544-1752: The Chini-khn in its present form, the Shh Abbsi Gate, and the Garden Courtyard were created. 1752 to the 20th century: The school, the toilets, the engine room, and the greenhouse were built, most of them in the 20th century.The nominated property has maintained its role as a place of worship and pilgrimage.12. Tabriz Historic Bazaar Complex 2010:Tabrizhas been a place ofcultural exchangesince antiquity and its historic bazaar complex is one of the most important commercial centres on the Silk Road. Tabriz Historic Bazaar Complex consists of a series of interconnected, covered, brick structures, buildings, and enclosed spaces for different functions. Tabriz and its Bazaar were already prosperous and famous in the 13th century, when the town, in the province of Eastern Azerbaijan, became the capital city of the Safavid kingdom. The city lost its status as capital in the 16th century, but remained important as a commercial hub until the end of the 18th century, with the expansion of Ottoman power. It is one of the most complete examples of the traditional commercial and cultural system of Iran. TabrizHistoricBazaarComplex, located along one of the most frequented east-west traderoutes, consists of a series of interconnected, covered brick structures, buildings, and enclosed spaces for a variety of functions - commercial and trade-related activities, social gatherings, and educational and religious practices. Closely interwoven with the architectural fabric is the social and professional organization of the Bazaar, which has allowed it to function over the centuries and has made it into a single integrated entity.Tabriz Historic Bazaar Complex has been one of the most important international places forcommercialand cultural interchange, thanks to the centuries-old east-west trading connections and routes and to a wise policy of endowments andtax exemptions. Tabriz Historic Bazaar bears witness to one of the most complete socio-cultural and commercial complexes among bazaars. It has developed over the centuries into an exceptional physical, economic, social, political, and religious complex, in which specializedarchitectural structures, functions, professions, and people from different cultures are integrated in a uniqueliving environment. The lasting role of the Tabriz Bazaar is reflected in the layout of its fabric and in the highly diversified and reciprocally integrated architectural buildings and spaces, which have been a prototype for Persianurban planning.(ii): Tabriz Historic Bazaar Complex was one of the most importantinternational tradeand cultural centres in Asia and the world between the 12th and the 18th centuries, thanks to the centuries-old east-west trade routes. Tabriz Bazaar is an exceptional example of an architectural-urban commercial area, which is reflected in its highly varied and integrated architectural buildings and spaces. The bazaar is one of the most sustainable socio-economic structures, and its great complexity and articulation attests to the wealth in trade and cultural interaction of Tabriz. (iii): Tabriz Historic Bazaar bears witness to one of the most complete socio-cultural and commercial complexes among bazaars. It is an exceptional physical, economic, social, political, and religious complex that bears an exceptionaltestimonyto a civilization that is still living. Over the centuries, thanks to itsstrategiclocation and to wise policies ofendowmentsand tax exemptions, Tabriz Bazaar has developed into a socio-economic and cultural system in which specialized architectural structures, functions, professions, and people from different cultures are integrated into a unique living environment.(iv): Tabriz Historic Bazaar is an outstanding example of an integrated multi-functional urban complex in which interconnected architectural structures and spaces have been shaped by commercial activities and related necessities. A large number of specializedbuildingsand structures are concentrated and reciprocally connected in a relatively compact area to form what is almost a single integrated structure.Integrity and Authenticity The nominated property contains all the elements that are necessary to convey its significance. The integrity of the 18th century Tabriz Bazaar is well preserved and its architecture conserves a rich repertoire of commercial buildings; the connection between the physical structure and its functioning is still clearly legible, and in many cases alive.The rich historical sources bear credible witness to the importance of the Tabriz Bazaar over history and to the permanence of its layout. The fabric of the Bazaar still exhibits the design, workmanship, and materials of the period when it was constructed after the 1780 earthquake. The Bazaar is still a lively and economically active place, attesting to its rich and long-lasting economic, social, and cultural exchanges.Protection and management requirements The Tabriz Historic Bazaar Complex was officially protected in 1975 and since then has been covered by special stewardship measures. Three different protection areas have been established (a nominated area, a buffer zone, and a landscape zone), which are subject to special regulations, incorporated into the planning instruments. Within these areas any kind of activity needs authorization by the Iranian Cultural Heritage, Handicraft and Tourism Organization (ICHHTO), which is the institutional body in charge of the protection of protected monuments. The management framework for the property is based on the integration of existing planning instruments (the Master Plan and the detailed Plan for Tabriz), administrative and technical bodies (the steering committee for Tabriz Bazaar and the ICHHTO Tabriz Bazaar Base), conservation objectives, SWOT analysis, implementation strategies, and operational programmes that are included in the management plan. Historical Description Archaeological evidence bears witness to human occupation of the area corresponding to Tabriz since the Bronze Age. However, this occupation did not assume a continuous nature until the Iron Age. In the 9th century Tabriz was an important military base. In this period Tabriz began to develop as an economic and business centre, and in the 12th and 13th centuries it was the capital of the country, although not uninterruptedly. The destruction of Baghdad by the Mongols in 1258 increased the importance of Tabriz as a trading centre. Between 1316 and 1331 Tabriz experienced the high point of its economic and social life. Travellers such as Marco Polo and Ibn Battuta described it as one of the richest trading centres in the world. During the 14th and 15th centuries the town's prosperity increased thanks to its strategic location, where much used west-east and south-east routes crossed, to the development of highly regarded manufactured products (e.g. cotton and silk textiles, arms, pottery), and to a wise policy oftaxexemption. The first vast official and ceremonial space, the Sahib-abad, was created in 1258, around which the most important public buildings were built and where the army could be paraded, but which could also be used as a meeting place. In the early 16th century the Safavid dynasty chose Tabriz as thecapital cityof their kingdom and the town became a powerful government centre, even though the capital was moved, first to Qazvin in 1548 and then to Isfahan, which were considered safer from Ottoman threat. In the 16th and 17th centuries manufacturing grew and diversified (weaving, copper metallurgy, weapon and tile production, leatherworks, tanning, soap making) and the volume of trade expanded. In the last quarter of the 17th century Tabriz entered into a period of economic depression. Nonetheless, accounts by travellers from this period of decline still depicted Tabriz as an important trading centre. The 18th century brought a period of political instability owing toOttomanattempts at expansion. In 1780, at the beginning of the Qajar dynasty, the most destructive earthquake in the dense seismic history of Tabriz completely destroyed the town; it was, however, rapidly rebuilt. Another earthquake in 1817 caused a great deal of damage to the mosques and to the town. In 1826 Tabriz was occupied by the Russians, but it was regained by the Qajar rulers two years later. During the 19th century several changes were made in the town. The governmental centre moved from the Sahib-abad, where public buildings were arranged around a vast square north of the Mehranroud River, to its present location, south of the river, close to the Aala Gate. Sahib-ul-Amr square was built in the historical area of Sahib-abad, and the Jami Mosque was restored, which helped restore its central role to the Bazaar. In 1871 a flood caused extensive damage to the bazaars, which were mapped and evaluated by means of a field survey. These records provide information about the condition of the Bazaar at that time. Repair works were undertaken in the years that followed to various structures: for example, the Mozaffarieh Timcha was completed in 1905. In 1906 Tabriz became the centre of the Iranian Constitutional Revolution: the Bazaar was closed and the people demonstrated against the government since the Constitution was signed by the king and the first Parliament was established. During the 20th century several wide roads were opened, leading to certain parts of the Bazaar becoming separated from its core.Over the last thirty years a number of restoration projects have been carried out on the Jami and Goi Machids as well as on several commercial structures, whilst the Pol-bazaar has recently been completely reconstructed.13. The Persian Garden 2011996Ancient Pardis Garden of Pasargadae Bagh-e Eram Shiraz Garden of ParadiseSeljuk DynastyIramDuring the late Zand Dynasty, the garden was owned by Qashqai tribal chiefs. A Qashqai tribal chief, Mohammad Qoli Khanorderedthe construction of the original mansion in the earlyeighteenth century, planting the garden with different trees including cypress, pine, orange and persimmon trees.During the reign of King Nasser ed-din of the Qajar Dynasty, Mirza HassanAli KhanNasir-al Molk bought the gardens from the Qashqai tribes and constructed the present pavilion which was designed by a famous Shirazi architect, Mohammad Hassan. The decoration of thepavilionwas completed byHassan AliKhan's son Abol Qassem Khan who inherited the garden after his father. The garden finally went to Abol Qassem Khan's son Abdullah Qavami who sold it to Qashqai tribes once again. The beautiful three-story pavilion of the garden was constructed based on Safavid and Qajar style of architecture. The lower story of the mansion has an impluvium especially designed for relaxation during thehotdays of summer. The ceiling of this structure is beautifully adorned with colorful tiles. A small stream also passes through it, connecting to a large pool in front of the building.The middle storey has a large veranda erected on two pillars behind which stands a magnificent hall. On the two sides of the hall there are two corridors each having 4 rooms and two small terraces. The front sides of the pillars are decorated with tiles showing the images of horsemen and flowers. The upper story consists of a large hall whosewindowsopen to the main veranda. It is also surrounded by two corridors leading to two terraces. On the entablature of the building there are three arched (semi-circular, crescentic) pediments ornamented with tile work. The middle pediment, being larger than the other two, shows Nasser ed-din Shah (a famous Qajar king) on the back of awhite horse. Around this picture, some scenes based on storied from the works of Ferdowsi and Nezami (twofamous poets) can be seen. One of the small pediments represents an image of Darius the Great (the founder of the Achaemenid Dynasty) as represented in Persepolis monuments. And finally the third pediment illustrates a deer being hunted by a panther. The garden with itsbeautiful flowers, refreshing air, tall cypresses (a stately, beautiful cypress tree there known as sarv-e naz which is said to go back to 3000 years ago) and fragrant myrtles () is a major tourist destination especially in the spring. The lower sections of thebuildings exterior are formed of 2 - meter - high plain and carved stones and on the eight columns there is the exhibit of two Qajar soldiers and six inscriptions. The inscriptions have been inscribed by Mirza Ali Naghi Khoshnevis in Nastaligh style of writing. In the portal of the building there are three large and two small sessions. The spring, which flows in the waterfronts, right in the middle of the building pours into ponds and grants Eram garden a great appeal. Thecypress treein this garden is quite famous. After the coup detat of 1332 (1953) and the exile of the Qashqa`i brothers, who in the meantime had regained ownership of the Bag-e Eram, the government confiscated the garden and later on gave it to the University of Shiraz. During this period the former mud walls were replaced with iron railings, old trees were cut down to make room for lawns, and a broad street named Eram Boulevard was laid out on the northwest side. Early during the revolution of 1357 (1978-79), the Qashqa`is repossessed the garden; shortly afterward its owner Khosrow Khan dedicated it to the people of Shiraz.Now a property of Shiraz University, it has been turned into a botanical garden and is open to the public as a museum. The mansion has also been assigned to the Faculty of Law of the university. It has been named after a legendary garden called Eram in southern Arabia, built by order of Shaddad, an Arab king, to compete withParadise.Bagh-e Chehel Sotun Esfahan Bagh-e Fin Kashan Bagh-e Abas Abad Behshahr -Bagh-e Shahzadeh Kerman Bagh-e Dolat Abad Yazd Bagh-e Pahlavanpur MehrizBagh-e Akbariyeh Birjand The property includes nine gardens in as many provinces. They exemplify the diversity ofPersiangarden designs that evolved and adapted to different climate conditions while retaining principles that have their roots in the times of Cyrus the Great, 6th century BC. Always divided into four sectors, with water playing an important role for both irrigation and ornamentation, the Persian garden was conceived to symbolize Eden and the four Zoroastrian elements ofsky, earth,water and plants. These gardens, dating back to different periods since the 6th century BC, also feature buildings, pavilions and walls, as well as sophisticated irrigation systems. They have influenced the art of garden design as far as India and Spain.The Persian Garden consists of a collection of nine gardens, selected from various regions of Iran, which tangibly represent the diverse forms that this type of designed garden hasassumedover the centuries and in different climatic conditions. They reflect the flexibility of the Chahar Bagh, or originating principle, of the Persian Garden, which has persisted unchanged over more than twomillenniasince its first mature expression was found in the garden of Cyrus the Great's Palatial complex, in Pasargadae. Natural elements combine with manmade components in the Persian Garden to create a unique artistic achievement that reflects the ideals of art, philosophical, symbolic and religious concepts. The Persian Garden materialises the concept of Eden or Paradise on Earth.Theperfect designof the Persian Garden, along with its ability to respond to extreme climatic conditions, is the original result of an inspired and intelligent application of different fields of knowledge, i.e. technology, water management and engineering, architecture, botany and agriculture. The notion of the Persian Garden permeates Iranian life and its artistic expressions: references to the garden may be found in literature, poetry, music, calligraphy andcarpet design. These, in turn, have inspired also the arrangement of the gardens. The attributes that carry Outstanding Universal Value are the layout of the garden expressed by the specific adaptation of the Chahar Bagh within each component and articulated in the kharts or plant/flower beds; the water supply, management and circulation systems from the source to the garden, including all technological and decorative elements that permit the use of water for functional and aesthetic exigencies; the arrangement of trees and plants within the garden that contribute to its characterisation and specific micro-climate; the architectural components, including the buildings but not limited to these, that integrate the use of the terrain and vegetation to create unique manmade environments; the association with other forms of art that, in a mutual interchange, have been influenced by the Persian Garden and have, in turn, contributed to certain visual features and sound effects in the gardens.(i): The Persian Garden represents a masterpiece of human creative genius. The design of the Persian Garden, based on the right angle and geometrical proportions, is often divided into four sections known as Chahar Bagh (Four Gardens). The creation of the Persian Garden was made possible due to intelligent andinnovativeengineering solutionsand a sophisticated water-management system, as well as the appropriate choice of flora and its location in the garden layout. Indeed, the Persian Garden has been associated with the idea of earthly Paradise, forming a stark contrast to its desert setting. (ii): The Persian Garden exhibits an importantinterchangeof human values, having been the principal reference for the development ofgarden designin Western Asia, Arab countries, and even Europe. It is the geometry and symmetry of the architecture, together with the complex water management system, that seem to have influenced design in all these gardens. The word Paradise entered European languages from the Persian root word "Pardis", which was the name of a beautiful garden enclosed behind walls. (iii): The Persian Garden bears exceptional, and even unique, testimony to the cultural traditions that have evolved in Iran and the Middle East over some two and a half millennia. Throughout its evolution, the Persian Garden has had a role in various cultural and social aspects of society, becoming a central feature in private residences, palaces and publicbuildings, as well as in ensembles associated with benevolent or religious institutions, such as tombs, park layouts, palace gardens, Meidans, etc. (iv): The Persian Garden is an outstanding example of a type of garden design achieved by utilising natural and human elements and integrating significant achievements of Persiancultureinto a physical and symbolic-artistic expression in harmony with nature. Indeed, the Persian Garden has become a prototype for the geometrically-designed garden layout, diffused across the world. (vi): The Persian Garden is directly associated with cultural developments of Outstanding Universal Value. These include literary works and poetry for example by Sa'di, Hafez and Ferdowsi. The Persian Garden is also the principal source of inspiration for the Persian carpet and textile design, miniature painting, music, architectural ornaments, etc. In the Avesta, the ancient holy book of the Zoroastrians, the Persian Garden and its sacred plants are praised as one of the four natural elements (earth, heavens, water, and plants). The Chahar Bagh is a reflection of the mythical perception of nature, and the cosmic order in the eyes of the ancient Iranian peoples.Integrity The Persian Garden comprises a sufficient number of gardens from across Iran and each garden contains sufficient elements to concur to express the Outstanding Universal Value of the series. The component gardens are in good condition and well maintained.Authenticity The Persian Garden, through its components, has developed alongside the evolution of the Persian society, while adhering to its early geometric model, the Chahar Bagh. Pasargadae and Bagh-e Abas Abad may be read as fossil landscapes while the other seven gardens retain their active role within their physical and social contexts. Protection and Management requirements Each garden is registered in the National Heritage List and therefore protected according to the Iranian legislation. Protection provisions established for the gardens and their 'buffer zones', defined according to the Iranian law in force, are also included in the Master Plans, the approval of which is issued by the Higher Council for Architecture and Urban Planning, in which sits also the Head of the Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO). The existence of the National ICHHTO Base for the Persian Garden ensures that the management framework is one for the whole series, granting the coordination and harmonisation of strategies and objectives. The Management Plan includes objectives common to all component gardens of the series and a programme for strengthening presentation and promotion to the public has been developed.14. Gonbad-e Qbus 2012:The 53 m high tomb built in ad 1006 for QbusIbn Voshmgir, Ziyarid ruler and literati, near the ruins of theancient cityof Jorjan in north-east Iran, bears testimony to thecultural exchangebetween Central Asian nomads and the ancient civilization of Iran. The tower is the only remaining evidence of Jorjan, a former centre of arts and science that was destroyed during the Mongols invasion in the 14th and 15th centuries. It is an outstanding and technologically innovative example of Islamic architecture that influenced sacral building in Iran, Anatolia and Central Asia. Built of unglazed fired bricks, the monuments intricate geometric forms constitute a tapering cylinder with a diameter of 1715.5 m, topped by a conical brick roof. It illustrates the development ofmathematics and sciencein the Muslim world at the turn of the first millennium AD. Visible from great distances in the surrounding lowlands near the ancient Ziyarid capital, Jorjan, the 53-metre high Gonbad-e Qbus tower dominates the town laid out around itsbasein the early 20th century. The towers hollow cylindrical shaft of unglazed fired brick tapers up from an intricate geometric plan in the form of a tenpointed starto a conical roof. Two encircling Kufic inscriptions commemorate Qbus Ibn Voshmgir, Ziyarid ruler and literati as its founder in 1006 AD. The tower is an outstanding example of early Islamicinnovativestructural designbased on geometric formulae which achieved great height in load-bearing brickwork. Its conical roofed form became a prototype for tomb towers and other commemorative towers in the region, representing an architectural cultural exchange between the Central Asian nomads and ancient Iranian civilisation.(i): Gonbad-e Qbus is a masterpiece and outstanding achievement in early Islamic brick architecture due to the structural andaestheticqualities of its specific geometry. (ii): The conically roofed form of Gonbad-e Qbus is significant as aprototypefor the development of tomb towers inIran, Anatolia and Central Asia, representing architectural cultural exchange between the Central Asian nomads and ancient Iranian civilisation. (iii): Gonbad-e Qbus is exceptional evidence of the power and quality of the Ziyarid civilisation which dominated a major part of the region during the 10th and 11th centuries. Having been built for an emir who was also a writer, it marked the beginning of a regional cultural tradition of monumental tombbuildingincluding for the literati. (iv): The monument is an outstanding example of an Islamic commemorative tower whose innovative structural design illustrates the exceptional development of mathematics andsciencein theMuslim worldat the turn of the first millennium AD.Integrity The property expresses its value as an exceptional geometric structure and icon in thesmall townof Gonbad-e Qbus, clearly visible from many directions. It continues to express features of an Islamic commemorative monument combining traditions of Central Asia and Iran. The exterior flanges and inscription bands are ingood condition, but the insertion of the ramp and the design of theretaining wallon the hillside have slightly damaged the form of the mound on which it stands. Authenticity The monument retains its form and design, materials, visual dominance in the landscape, and continues as a holy place visited by local people and foreigners, and as a focus for traditional events. Protection and management requirementsGonbad-e Qbus is protected under the Law for Protection of NationalHeritage(1930) and was inscribed on Irans list of national monuments in 1975 as number 1097. Regulations pertaining to the property provide that damaging activities are prohibited and any intervention, including archaeological investigation, restoration and works to the site must be approved by the Iranian Cultural Heritage, Handicrafts and Tourism Organisation (ICHHTO). The tomb tower and surrounding area are managed jointly by the Municipality and ICHHTO in accordance with the Master Plan for Gonbad-e Qbus town (1989) and the detailed plan (2009), which aim to preserve the historic and visual characteristics of the city. Protection measures controlling heights in the buffer zone and landscape zone are supported by the Master Plan. The management plan should be extended to include a conservation programme.15. Musoleumof Oljaytu:Themausoleumof Oljaytu was constructed in 130212 in the city of Soltaniyeh, the capital of the Ilkhanid dynasty, which was founded by the Mongols. Situated in the province of Zanjan, Soltaniyeh is one of the outstanding examples of the achievements of Persian architecture and a key monument in the development of itsIslamic architecture. The octagonal building is crowned with a 50 m tall dome covered in turquoise-blue faience and surrounded by eight slender minarets. It is the earliest existing example of the double-shelled dome in Iran. The mausoleumsinterior decorationis also outstanding and scholars such as A.U. Pope have described the building as anticipating the Taj Mahal.(ii): The Mausoleum of Oljaytu forms an essential link in the development of the Islamic architecture in central and westernAsia, from the classical Seljuk phase into the Timurid period. This is particularly relevant to the double-shell structure and the elaborate use of materials and themes in the decoration.(iii): Soltaniyeh as the ancient capital of the Ilkhanid dynasty represents an exceptionaltestimonyto the history of the 13th and 14th centuries.(iv): The Mausoleum of Oljaytu represents an outstanding achievement in the development of Persian architecture particularly in the Ilkhanid period, characterized by itsinnovativeengineeringstructure, spatial proportions, architectural forms and the decorative patterns and techniques. : As the ancient capital of the Ilkhanid dynasty, Soltaniyeh represents an exceptional testimony to the history of the 13th and 14th centuries. The Mausoleum of Oljaytu forms an essential link in the development of Islamic architecture in central and western Asia, from the classical Seljuk phase until the Timurid period. This is particularly relevant to the double-shell structure and the elaborate use of materials and themes in the decoration. It is outstanding by virtue of its innovative engineering structure, spatial proportions, architectural forms and the decorativepatterns and techniquesSoltaniyeh is located some 240 km from Tehran in north-westernIran. There is archaeological evidence that the site had been occupied at least from the 1st millennium BC. Theconstructionof the settlement was only started by the Ilkhanid dynasty, around 1290. The fourth Mongol ruler in Persia, Arqun Khan, decided to build a summer residence in this region, because it offeredgood huntinggrounds and rich pastures forhorse breeding. His son, Qazan Khan, had a mausoleum built over his tomb, now known as Tappeh Nur. There is little information about the beginnings of the new settlement until Oljaytu (later Sultan Muhammad Khodabandeh) came in to power in 1304 when he decided to enlarge the city and make it his capital, naming it Soltaniyeh (Imperial). Together with Tabriz, Soltaniyeh became a major trading centre on the route between Asia and Europe. In the 16th and 17th centuries, Soltaniyeh gradually declined and remained in ruins. Only a rural village was built over the remains.The Mausoleum of Oljaytu, the principal monument of the city, constructed in 1302-12, stands in the middle of a ruralsettlement, surrounded by fertile meadows. The building is octagonal in form, rising to a stunning high-profile dome, covered with turquoise-blue faience tiles. This structure represents the earliest existing example of the double dome in Iran. The dome has no buttresses nor any additional thickness, and it is surrounded by eight slender minarets as a decorative feature. A wide band of square Kufic around the drum makes a transition between the light blue and the lapis lazuli blue of the main stalactite cornice. The second-storey galleries of the mausoleum open outwards, anticipating buildings such as the.Taj Mahal. Structurally the building is considered a masterpiece. The interior walls were originally faced with light golden-toned bricks and dark blue faience tiles to form large inscriptions in Kufic. However, in 1313, it was redecorated with plaster, using a rich variety of fine ornaments, often worked in low relief. The second phase of the decoration belongs to the period when the use of the monument as a Shi'a shrine was given up. The decoration of the exterior belongs to the first phase.The immediate surroundings of the mausoleum consist of a stone terrace in the form of a citadel (Arg). Originally, the citadel was surrounded by a 30 m wide moat. Today this is an archaeological site.Other monuments andsitesin theWorld Heritagesite include the Old City of Soltaniyeh, founded as the capital of Oljaytu in succession to Tabriz; the Mausoleum of Sultan Chelebi Oghlu, a brick structure from the 1330s with an octagonal tower; The Mausoleum of Mullah Hassan Kashi, a religious figure and poet at the court of Oljaytu; and the remains of Ghazan's tomb at Tappeh Nur, which, together with its adjacent remains known as the Tappeh Nur Kuchak, form an archaeological monument.In historic texts the area of Soltaniyeh was called the 'Prairie of the Alezans' or the 'Falcon's Hunting Ground'. The special nature of thesemeadowsis due to the soil, which prevents the entire absorption of rain water. As a result, it was especially fertile pasture, particularly appropriate for horse breeding. This was also one of the reasons for the establishment of the city in this location. : In the 13th century, Persia was devastated by the Mongol invasions. They captured Baghdad in 1258, terminating the Abbasid caliphate there. They also founded the Ilkhanid Empire in Persia with the capital in Tabriz, in the northwestern part of present-day Iran. The title "ilkhan" indicated: subordinate or peaceful khan' in deference to the Great Khan in China. After Kublai Khan died in 1294, and the Ilkhanids converted to Islam, the links with China became weaker. The Ilkhanid dynasty governed Persia until 1335. There is archaeological evidence that the site of Soltaniyeh had been occupied at least from the first millennium BC. The construction of a settlement however only started by the Ilkhanid dynasty around 1290. The fourth Mongol ruler in Persia, Arqun Khan, decided to build a summerresidencein this region, because it offered good hunting grounds and rich pastures for horse breeding. His son, Qazan Khan, had a mausoleum built over his tomb, now known as Tappeh Nur. There is little information about thebeginningsof the new settlement until Oljaytu (later Sultan Muhammad Khodabandeh) came to power in 1304 and decided to enlarge the city and make it his capital, naming it Soltaniyeh, the "Imperial". Together with Tabriz, Soltaniyeh became a major trading centre on the route between Asia and Europe. The principal phase of construction was completed by 1313.The Ilkhans had converted to Shi'ism, and they are believed to have wanted to transfer the relics of Calif Ali and his son, Hussein, from Baghdad to Soltaniyeh. This never happened, though, and the shrine became the mausoleum of Oljaytu instead. After the death of Oljaytu in 1316, the city started losing in importance, and later it fell in the hands of small local dynasties. In 1384, Tamerlan's army seized the city and sacked it, but spared Oljaytu's mausoleum. In the following years, the city suffered, though it continued to function as a commercialcentrecomparable to Tabriz. In the 16th and 17th centuries, Soltaniyeh graduallydeclinedand remained in ruins. Only a rural village was built over the remains. Some restoration was undertaken in Oljaytu's Mausoleum in the 19th century. At the same time, the plain served as an instruction camp for the army of Qajar kings.16. Masjed-e Jm of Isfahan 2012:Located in the historiccentreof Isfahan, the Masjed-e Jm (Friday mosque) can be seen as a stunning illustration of the evolution of mosque architecture over twelve centuries, starting in ad 841. It is the oldest preserved edifice of its type in Iran and aprototypefor later mosque designs throughout Central Asia. The complex, covering more than 20,000 m2, is also the first Islamic building that adapted the four-courtyard layout of Sassanid palaces to Islamic religious architecture. Its double-shelled ribbed domes represent an architecturalinnovationthat inspired builders throughout the region. The site also features remarkable decorative details representative of stylistic developments over more than a thousand years ofIslamic art. Masjed-e Jme is the oldest Friday (congregational) mosque in Iran, located in the historical centre of Isfahan. The monument illustrates a sequence of architecturalconstructionand decorative styles of different periods in Iranian Islamic architecture, covering 12 centuries, most predominantly the Abbasid, Buyid, Seljuq, Ilkhanid, Muzzafarid, Timurid and Safavid eras. Following its Seljuq expansion and the characteristic introduction of the four iwans (Chahar Ayvn) around the courtyard as well as two extraordinary domes, the mosque became the prototype of a distinctive Islamicarchitectural style. The prototype character is well illustrated in the earliest double-shell ribbed Nezam al-Molk dome, the first use of the four iwan (Chahar Ayvn) typology in Islamic architecture, as well as the textbook character of the Masjed-e Jme as a compilation of Islamic architectural styles. The Masjed-e Jme of Isfahan is an outstanding example of innovation in architectural adaptation andtechnology appliedduring the restoration and expansion of an earlier mosque complex during the Seljuq era, which has been further enlarged during later Islamic periods by addition of high quality extensions and decoration. (ii): Masjed-e Jme is the first Islami