Vank Cathedral of Isfahan

Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is the most visited cathedral in Isfahan, Iran. Vank means "cathedral" in the Armenian language.
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian immigrants settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh River and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.

The Jameh Mosque of Isfahan

The Jāmeh Mosque of Isfahān (Persian: مسجد جامع اصفهان - Masjid-e-Jāmeh Isfahān) is the grand, congregational mosque (Jāmeh) of Isfahān city, within Isfahān Province, Iran. The mosque is the result of continual construction, reconstruction, additions and renovations on the site from around 771 to the end of the 20th century. The Grand Bazaar of Isfahan can be found towards the southeast wing of the mosque.
This is one of the oldest mosques still standing in Iran, and it was built in the four-iwan architectural style, placing four gates face to face. An iwan is a vaulted open room. The qibla iwan on the southern side of the mosque was vaulted with muqarnas during the thirteen hundreds. Muqarnas are niche-like cells.

Construction under the Seljuqs included the addition of two brick domed chambers, for which the mosque is renowned. The south dome was built to house the mihrab in 1086-87 by Nizam al-Mulk, the famous vizier of Malik Shah, and was larger than any dome known at its time. The north dome was constructed a year later by Nizam al-Mulk's rival Taj al-Mulk. The function of this domed chamber is uncertain. Although it was situated along the north-south axis, it was located outside the boundaries of the mosque. The dome was certainly built as a direct riposte to the earlier south dome, and successfully so, claiming its place as a masterpiece in Persian architecture for its structural clarity and geometric balance. Iwans were also added in stages under the Seljuqs, giving the mosque its current four-iwan form, a type which subsequently became prevalent in Iran and the rest of the Islamic world.

Responding to functional needs of the space, political ambition, religious developments, and changes in taste, further additions and modifications took place incorporating elements from the Mongols, Muzzafarids, Timurids and Safavids. Of note is the elaborately carved stucco mihrab commissioned in 1310 by Mongol ruler Oljaytu, located in a side prayer hall built within the western arcade. Safavid intervention was largely decorative, with the addition of muqarnas, glazed tilework, and minarets flanking the south iwan.

The cupolas and piers that form the hypostyle area between the iwans are undated and varied in style, endlessly modified with repairs, reconstructions and additions.

The origins of this mosque lie in the 8th century, but it burnt down and was rebuilt again in the 11th century and went through remodeling many times. As a result it has rooms built in different architectural styles, so now the mosque represents a condensed history of the Iranian Architecture.

pol-e khajoo of Isfahan

Khaju Bridge (Persian: پل خواجو pol-e khajoo) is one of the most famous bridges in Isfahan, Iran and has roused the admiration of travellers since the 17th century. Shah Abbas II built it on the foundations of an older bridge around 1650. It has 23 arches and is 105 metres long and 14 metres wide. It links the Khaju quarter on the north bank with the Zoroastrian quarter across the Zayandeh River. It also functions as a weir; the downstream side is formed as a series of steps carrying the water to a much lower level.

The pass way of the bridge is 7.5 meters wide, made of bricks and stones with 21 larger and 26 smaller inlet and outlet channels. The pieces of stone used in this bridge are over 2 meters long and the distance between every channel and the ceiling base is 21 meters. The existing inscriptions suggest that the bridge was repaired in 1873.

Khaju is one of the bridges that regulate the water flow in the river because there are sluice gates under the archways over the river. When the sluice gates are closed, the water level behind the bridge is raised to facilitate the irrigation of the many gardens along the river upstream of this bridge.

On the upper level of the bridge, the main central aisle was utilized by horses and carts and the vaulted paths on either side by pedestrians. Octagonal pavilions in the center of the bridge on both the down and the upstream sides provide vantage points for the remarkable views. The lower level of the bridge may be accessed by pedestrians and remains a popular shady place for relaxing.

Chahar Bagh School of Isfahan

Chahār Bāgh school (Madreseye Chahār Bāgh in Persian or مدرسه چهار باغ ), also known as Shah school, is a 16-17th century cultural complex in Isfahan, Iran.

The compound was built during Soltan Hossein, a Safavid king, to serve as a theological and clerical school to train those who were interested in such sciences. In order to finance the school, Soltan Hossein's mother had a large caravansary built nearby, the income of which went to the Foundation. The monumental portal from the main avenue of Shah Abbas leads directly into a domed octagonal vestibule. The dome and the greater part of the walls are covered in bright yellow bricks which give a feeling of lightness. The entrance gate decorated with gold facade and silver, and the tile-works inside the building are masterpieces of fine art and industry. The central court, with its pool and garden, are surrounded by arcades on two levels, each giving access to a student's room.

The Atashgah of Isfahan

The Atashgah of Isfahan is a Sassanid-era archaeological complex located on a hill of the same name about eight kilometers west of city center of Isfahan, Iran.

The hill, which rises about 210 meters above the surrounding plain, was previously called Maras or Marabin after a village near there, and it is by that name that the site is referred to by Arab historians.

One part of the complex, on the southern flank of the hill (32°38′53″N 51°34′13″E / 32.648124°N 51.570339°E / 32.648124; 51.570339 (Atashgah complex, Isfahan, Iran)Coordinates: 32°38′53″N 51°34′13″E / 32.648124°N 51.570339°E / 32.648124; 51.570339 (Atashgah complex, Isfahan, Iran)), are the remains of a citadel of about twenty buildings (or rooms within buildings), many of which—particularly those in the lower half of cluster—are however only evident as foundation traces. Several buildings in the cluster have a classic char taq "four arch" floor-plan, characteristic of Zoroastrian fire-temples of the 3rd century onwards and that are the actual atashgahs that housed sacred fires. Other buildings include what may have been storage rooms and living quarters for priests and affluent pilgrims. A tentative identification of the purpose of the ruins was first made in 1937 by Andre Godard, but it was not until until 1960, when architect Maxine Siroux made the first drawings, that the site could be properly studied. Godard's identifications were subsequently confirmed by Klaus Schippman in 1971.

Another feature of the complex are the remains of a tower-like circular building (32°38′52″N 51°34′14″E / 32.647876°N 51.570430°E / 32.647876; 51.570430 (Burj-i Gurban, Isfahan, Iran)) on the very top of the same hill. This structure, which was once at least twenty meters high, is known by the local populace as the Burj-i Gurban, or Burj-i Kurban, "Tower of Sacrifice," and appears to have been a military watch-tower with a flare that could be lit to warn of an approaching enemy (i.e. a beacon).

In both cases, the remaining walls are of baked brick, held together with a clay-reed mixture. In the 10th century, the buildings were used by the Esmā'ili inhabitants of Isfahan to hide from tax collectors. The Arab historian Masudi visited the site around the same time, and records local tradition as having believed that the site was converted from one of idol worship to one of fire by "King Yustasf (i.e. Vishtaspa, the patron of Zoroaster) when he adopted the religion of the Magi."
In 2002 archaeologist Alireza Jafari Zand published a report on pre-Islamic Isfahan in which he emphasizes the religious role of the complex, and with reference to radiocarbon dating suggests that the construction was Elamite (pre-6th century). A doctoral thesis suggests a "similarity" between the tower and an edifice in Qom known as the Chahak fire temple; the similarity—so the author—being that the building in Qom has a cylindrical structure at the top while the tower in Isfahan is based on a circular plan.

The Ali Qapu of Isfahan

Ālī Qāpū (Turkic for Sublime Gate; Persian: عالی‌قاپو) is a grand palace in Isfahan, Iran. It is located on the western side of the Naghsh-i Jahan Square opposite to Sheikh lotf allah mosque, and had been originally designed as a vast portal. It is forty-eight meters high and there are seven floors, each accessible by a difficult spiral staircase. In the sixth floor music room, deep circular niches are found in the walls, having not only aesthetic value, but also acoustic.
The name Ālī Qāpū, Turkic for "high gate", was given to this place as it was right at the entrance to the Safavid palaces which stretched from the Maidan Naqsh-i-Jahan to the Chahār Bāgh Boulevard. The building, another wonderful Safavid edifice, was built by decree of Shah Abbas the Great in the early seventeenth century. It was here that the great monarch used to entertain noble visitors, and foreign ambassadors. Shah Abbas, here for the first time celebrated the Now - ruz (New Year's Day) of 1006 AH / 1597 A.D. A large and massive rectangular structure, the Ālī Qāpū is 48 meters high and has six floors, fronted with a wide terrace whose ceiling is inlaid and supported by wooden columns.
Ālī Qāpū is rich in naturalistic wall paintings by Reza Abbassi, the court painter of Shah Abbas I, and his pupils. There are floral, animal, and bird motifs. The highly ornamented doors and windows of the palace have almost all been pillaged at times of social anarchy. Only one window on the third floor has escaped the ravages of time. Ālī Qāpū was repaired and restored substantially during the reign of Shah Sultan Hussein, the last Safavid ruler, but fell into a dreadful state of dilapidation again during the short reign of invading Afghans. under the Qajar Nasir al-Din shah's reign (1848-96), the Safavid cornices and floral tiles above the portal were replaced by tiles bearing inscriptions.
Shah Abbas II was enthusiastic about the embellishment and perfection of Ālī Qāpū. His chief contribution was given to the magnificent hall, the constructures on the third floor. The 18 columns of the hall are covered with mirrors and its ceiling is decorated with great paintings.
The chancellery was stationed on the first floor. On the sixth, the royal reception and banquets were held. The largest rooms are found on this floor. The stucco decoration of the banquet hall abounds in motif of various vessels and cups. The sixth floor was popularly called (the music room).
Here various ensembles performed music and sang songs. From the upper galleries, the Safavid ruler watched polo, maneuvers and the horse-racing opposite the square of Naqsh-i-Jahan.

The Monar Jonban of Isfahan

The Monar Jonban (Shaking Minarets) is a mosque located in Isfahan in Iran. It was built in 14th century to cover the grave of Amu Abdollah Soqla. Its special feature is that if either of the minarets is shaken, the other minaret will vibrate as well. The eivan and porch were probably erected shortly after 1316 to cover the grave of Amu Abdollah Soqla, a hermit, who was buried here. The minarets are of later, probably Safavid, origin, and are largely responsible for the fame of the otherwise unremarkable shrine. The roof above the shrine contains some good, but unremarkable brickwork. Because of the ratio between the height and width of the minarets and the width of the eivan, if you climb into one minaret and shake it, the other will shake in unison. This constant shaking has been responsible for considerable structural damage, although this is locally blamed on British interference! You can experiment with the phenomenon on this site by clicking on the left minaret in the image above while will make the right one shake - although rather more than the real ones do!
There is another pair of shaking minarets built during the time of Oljeitu, at Oshtorjan, although these have lost the upper two thirds.
The wooden beams on the upper part of the minarets have been placed there to facilitate the shaking of the minarets, but the presence of wood in the brickwork causes other complications. Shaking is in theory restricted to once every twenty minutes, however, particularly during holidays, there is a constant stream of visitors who experiment with the phenomenon, and the visitor will have ample chance to observe it from ground level, without running the risk of being blamed for any further dereliction.
According to Honarfar, the porch is 10 metres high and 10 metres in width, the minarets are 7 metres taller and are 4 metres in circumference.

The Chehel Sotoun of Isfahan

Chehel Sotoun (also Chehel Sotoon, Persian: چهل ستون) is a pavilion in the middle of a park at the far end of a long pool, in Isfahan, Iran, built by Shah Abbas II to be used for his entertainment and receptions. In this palace, Shah Abbas II and his successors would receive dignitaries and ambassadors, either on the tearace or in one of the stately reception halls.
The name, "Forty Columns," was inspired by the twenty slender wooden columns supporting the entrance pavilion, which, when reflected in the waters of the fountain, are said to appear to be forty.
As with Ali Qapu, the palace contains many frescoes and paintings on ceramic. Many of the ceramic panels have been dispersed and are now in the possession of major museums in the west. They depict specific historical scenes such as a reception for an Uzbek King in 1646, when the palace had just been completed; a banquet in honor of the Emir of Bukhara in 1611; the battle of Chalderan against the Ottoman Sultan Selim I in 1514 in which the Persians fought without firearms; the welcome extended to the Mughal Emperor, Humayun who took refuge in Iran in 1544; the battle of Taher-Abad in 1510 where the Safavid Shah Ismail I vanquished and killed the Uzbek King. A more recent painting depicts Nadir Shah's victory against the Indian Army at Karnal in 1739. There are also less historical, but even more aesthetic compositions in the traditional miniature style which celebrate the joy of life and love.

The Naghsh-e Jahan Square of Isfahan

Naghsh-e Jahan Square (Persian: ميدان نقش جهان maidaan-e naqsh-e jehaan; trans: "Image of the World Square"), officially known as Imam Square (میدان امام), formerly known as Shah Square (میدان شاه), situated at the center of Isfahan city, Iran. It is an important historical site and one of UNESCO's World Heritage Sites. The square is surrounded by buildings from the Safavid era. The Shah Mosque is situated on the south side of this square. On the west side you can find Ali Qapu Palace. Sheikh Lotf Allah Mosque is situated on the eastern side of this square and the northern side opens into the Isfahan Grand Bazaar. Today, Namaaz-e Jom'eh (the Muslim Friday prayer) is held in this square in front of the Shah Mosque.

The Si-o-se Pol of Isfahan

The Si-o-se Pol (Persian: سی وسه پل, pronounced [siː oˈseh pol],which means 33 Bridge or the Bridge of 33 Arches), also called the Allah-Verdi Khan Bridge, is one of the eleven bridges of Isfahan, Iran. It is highly ranked as being one of the most famous examples of Safavid bridge design.

Commissioned in 1602 by Shah Abbas I from his chancellor Allahverdi Khan Undiladze, an Iranian ethnic Georgian, it consists of two rows of 33 arches. There is a larger base plank at the start of the bridge where the Zayandeh River flows under it, supporting a tea house.