NOVEMBER 8 2012
34875 286 3442 17.00 $
TWENTY FIFTH ISSU
content
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Editorial
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Tehran
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Tourist’s r memorise
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Noroz celebration
11-13
Damavand
15-20
Hand craft
EDITORIALS MARYAM
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At this very beginning, I would like to extend my gratefulness to all the readers of GLOBE TROTTERS for their continuous care and support, on behalf of all the magazine staff. As a matter of fact, in GLOBE TROTTERS’ board of editors it is strongly believed that not only does the magazine get invaluable support in terms of interest in the material it publishes, but also there is a lot of motivation and inspiration transferred to the editorial staff of the magazine in terms of what to publish as a result of the communication initiated by our readers which is a great asset for us.
FARINAZ
What was said above is not just a compliment. In fact, this month’s issue of the magazine which has been given completely to tourist attractions of IRAN was inspired by the letter from one of the enthusiastic readers of the magazine, Ms Neda Tvakoli whose beautiful photographs as well as her artistic descriptions of the visit she has just had to Iran made the board of editors to give the whole issue to this land of ancient history, culture, and colorful nature. I hope all the readers of the magazine enjoy reading this issue on Iran.
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Tehran
ehran is a city of contrasts that play out on geographic lines. It is modern and traditional, secular and religious, rich and poor – north and south. Most of the spark comes from the affluent north, but wander through southern Tehran and you’ll see a contrastingly conservative, religious and poor city with little of the north’s brashness. At a practical level, Tehran has a decent choice of hotels and the best range of restaurants in Iran. There are enough museums to keep you interested, and compared
with residents of many capitals, Tehrani s are surprisingly welcoming. Certainly, some travellers will find Tehran’s traffic, smog and uncontrolled urban sprawl overwhelming. But persist – or better, make short repeat visits – and you’ll find it opening up to you in ever more- rewarding ways. Covering an area of 1500 sq. kms, Tehran is situated in the north-central part of Iran, on the slope of the Alborz Mountain. As the national capital it is the most populated city in Iran and the center of cultural, economical, political and
social activities. It is about 1200 meters above sea level and enjoys a mild climate. Although the word Tehran can be found even in some books dating back to the 10th century, it was but a village containing numerous gardens in the distant past. Its importance began to increase in the Safavid period (1501-1736). Shah Tehmasp, the king of Iran from 1524 to 1576, was fascinated by the climate of Tehran, as a result of which many buildings including caravansaries were founded. He also built many towers around the city. In the
reign of agha Mohammad Khan, the founder of the Qajar dynasty (1776-1925), when Tehran was chosen as the capital of Iran, it enjoyed a boom. The building
founded by Naser od-Din, shah of Iran (1848-1896) gave it a high position among the other cities. A ditch was dug around the city to repel attacks on it, twelve gates were built as the approaches to the city, and a large square, now called Tupkhneh and the buildings around were founded. After the
Qajar period, two architectural trends developed: an imitation of Western styles that had little relevance to Tehran’s climate and an attempt to revive indigenous designs. The latter trend has been reinforced after the Islamic Revolution. The population of Tehran has had a boom in the last decades, as a result of which urban development has not been smooth. In the recent years the municipality of Tehran has taken great measures to increase the number of recreational facilities, including park, stadiums, theaters,etc.
National Museum of Iran This museum proudly celebrates the rich heritage of Iran with a spectacular collection of sculptures, ceramics and seals that date back to the 4th and 5th centuries BC
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AZADI SQ T
his tower which represents the city of Tehran is part of Azadi (Freedom) cultural complex which is located in Tehran’s Azadi square in an area of some 5 Acres. This complex is composed of the following sections; The 50 meter high Azadi tower which forms the main part of the museum and its architecture is a combination of Islamic and Sassanid architecture style. The audio - video hall of the complex which has been designed based on Iran’s geographical map displays the regional characteristics of Iran in so far as cultural, life style, religious and historical monuments are
concerned. A mechanical conveyer allows the visitors to visit the hall in total comfort. Some art galleries and halls have been allocated to temporary fairs and exhibitions. The Diorama hall with 12 chambers puts to display activities in agriculture, handicrafts, modern industry, etc. A cinema, library and sideline services complement the activities of this complex.
Memories about Iran Once in Iran, take time to observe the local women, find a market and have fun chasing an appropriate manteau for around twenty American dollars. Manteau’s are never fitted -- they are very straight and don’t reveal even a hint of the body shape beneath. Your choice should be long enough to reach your mid-shin, and will probably have shoulder pads to make your new boxy look more complete. Like Iranian women, you can wear whatever you want underneath, everything from jeans
to black nylons. You should not reveal bare legs or ankles, and if you do wear pants, remember to wear socks. Finally, always keep your hair covered. Your hejab can be folded into a triangle and then knotted under your chin. It is not necessary to master complicated knots or folds, as the ‘under-the-chin’ method is very simple and, at the moment is very fashionable in Iran.
written by american women
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Tehran is a mile-high metropolis of 14 million people. With one day of filming down, I’m in a fancy hotel on the 14th floor, enjoying a view of a vast city at twilight, lights twinkling right up a snow-capped mountain. I’m munching the best pistachios I’ve ever tasted (and I am a pistachio connoisseur) from an elegant woven tray and nursing a tall glass of pomegranate juice. I cruise the channels on my TV — CNN, BBC, and lots of mood-setting programming — perfect for praying... One channel shows the sun setting on Mecca, with
its kaaba (the big black box focus of pilgrim worship), in real time. In an urban jungle like Tehran, life can be so good — if you have money. Our local guide (who doesn’t want to be called a “government minder”) is a big help and very good. Today we dropped by the foreign press office to get our press badges. There a beautiful and properly covered woman took mug shots for our badges and carefully confirmed the pronunciation of our names in order to transliterate them into Farsi.
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NOWROOZ CELEBRATION
NOWROOZ CELEBRATION N
o-Rooz, in word, means “New Day”. It is the new day that starts the year, traditionally the exact astronomical beginning of the Spring. Iranians take that as the beginning of the year. This exact second is called “Saal Tahvil”. No-Rooz with its’ uniquely Iranian characteristics has been celebrated for at least 3,000 years and is deeply rooted in the rituals and traditions of the Zoroastrian
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(This was the religion of ancient Persia before the advent of Islam in 7th century A.D.). Iranians consider No-Rooz as their biggest celebration of the year, before the new year, they start cleaning their houses (Khaane Tekaani), and they buy new clothes. But a major part of New Year rituals is setting the “Haft Seen” with seven specific
items. In ancient times each of the items corresponded to one of the seven creations and the seven holy immortals protecting them. Today they are changed and modified but some have kept their symbolism. All the seven
of the seven creations and the seven holy immortals protecting them. Today they are changed and modified but some have kept their symbolism. All the seven items start with the letter “S”; this was not the order in ancient times. These seven things usually are: Seeb (apple), Sabze (green grass), Serke (vinager), Samanoo (a meal made out of wheat), Senjed (a special kind of berry), Sekke (coin), and Seer (garlic). Sometimes instead of Serke they put Somagh (sumak, an Iranian spice). Zoroastrians today do not have the seven “S”s but they have the ritual of growing seven seeds as a reminder that this is the sev-
enth feast of creation, while their sprouting into new growth symbolized resurrection and eternal life to come. Wheat or lentil representing new growth is grown in a flat dish a few days before the New Year and is called Sabzeh (green shoots). Decorated with colorful ribbons, it is kept until Sizdah beh dar, the 13th day of the New Year, and then disposed outdoors. A few live gold fish (the most easily obtainable animal) are placed in a fish bowl. In the old days they would be returned to the riverbanks, but today most people will keep them. Mirrors
are placed on the spread with lit candles as a symbol of fire. Most of the people used to place Qoran on their Sofreh (spread) in order to bless the New Year. But some people found another alternative to Qoran and replaced it by the Divan-e Hafez (poetry book of Hefez), and during “Saal Tahvil” reading some verses from it was popular. Nowadays, a great number of Iranians are placing Shahnameh (the Epic of Kings) of Ferdowsi on their spread as an Iranian national book. They believe that Shahnameh has more Iranian identity values and spirits, and is much suitable for this ancient celebration.
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After the Saal Tahvil, people hug and kiss each other and wish each other a happy new year. Then they give presents to each other (traditionally cash, coins or gold coins), usually older ones to the younger ones. The first few days are spent visiting older members of the family, relatives and friends. Children receive presents and sweets, special meals and “Aajil” (a combination of different nuts with raisins and other sweet stuff) or fruits are consumed. Traditionally on the night before the New Year, most Iranians will have Sabzi Polo Mahi, a special dish of rice cooked with fresh herbs and served with smoked and freshly fried fish. Koukou Sabzi, a mixture of fresh herbs with eggs fried or
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baked, is also served. The next day rice and noodles (Reshteh Polo) is served. Regional variations exist and very colorful feasts are prepared.
Sizda Bedar The 13th day of the new year is called “Sizdah Bedar” and spent mostly outdoors. People will leave their homes to go to the parks or local plains for a festive picnic. It is a must to spend Sizdah Bedar in nature. This is called Sizdah Bedar and is the most popular day of the holidays among children because they get to play a lot! Also in this day, people throw the Sabze away, they believe Sabze should not stay in the house after “Sizdah Bedar”. Iranians
regard 13th day as a bad omen and believe that by going into the fields and parks they avoid misfortunes. It is also believed that unwed girls can wish for a husband by going into the fields and tying a knot between green shoots, symbolizing a marital bond
IRAN-TONKABON
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Damavand
amavand is significant mountain in Persian mythology. It is the symbol of Iranian resistance against despotism and foreign rule in Persian poetry and literature. In Zoroastrian texts and mythology, the three-headed dragon Aži Dahāka was chained within Mount Damāvand, there to remain until the end of the world. In a later version of the same legend, the tyrant Zahhāk was also chained in a cave somewhere in Mount Damāvand after being defeated by Kāveh and Fereydūn. Persian poet Ferdowsi depicts this event in his masterpiece, the Shahnameh He brings Zahhak, himself a mountain to the peak of Damavand and binds his neck. The mountain is said to hold magical powers in the Shahnameh. Damāvand has also been named in the Iranian legend of Arash as the location he fired his arrow to mark the Iran border. The famous poem Damāvand by Mohammad Taqī
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Bahār is also one fine example of the mountain’s significance in Persian literature.
Thermal springs Mt Damavand has some thermal springs (Abe Garm Larijan)[9] with therapeutic qualities. These mineral hot springs are mainly located on the volcano’s flanks and at the base, giving evidence of volcanic heat comparatively near the surface of the earth. While no historic eruptions have been recorded, hot springs at the base and on the flanks, and fumaroles and solfatara near the summit, indicate a hot or cooling magma body still present beneath the volcano, so that Damavand is a potentially active volcano.
The most important of these hot springs are located in Abe Garm Larijan in a village by the name Larijan in the district of Larijan in Lar Valley . The water from this spring is useful in the treatment of chronic wounds and skin diseases. Near these springs there are public baths with small pools for public use. The best major settlement for mountain climbers is the new Iranian Mountain Federation Camp in Polour village, located on the south of the mountain.
Routes to the summit There are at least 16 known routes[10] to the summit which have different difficulties. Some of them are very dangerous and require rock climbing. The most popular route is the Southern Route which has step stamps and also a camp midway called Bargah Sevom Camp/Shelter[11] at 4220 m (about 13,845 ft). The longest route is The Northeastern and it takes
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ft) is a newly constructed shelter with two stories. There is a frozen waterfall/Icefall[12](Persian name Ābshār Yakhī)about 12 m tall and the elevation of 5100 m is the highest fall in Iran and Middle East
two whole days to reach the summit starting from downhill village of Nāndal and a night stay at Takht-e Fereydoun (elevation 4300 m - about 13,000 ft), a two-story shelter. The western route is famous for its sunset view. Sīmorgh shelter in this route at 4100 m (about 13,500
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The first set of objectives in Rush is halfway down the side of a section of the mountain, split between two buildings at a fenced off communications tower. Attackers can easily climb the concrete wall near Alpha using the outer buttresses. Alpha is just outside the western building, with some containers nearby providing a convenient hiding spot. Bravo is inside the lower of a two-story portable.
Attackers have only a Humvee and C-RAM, while defenders can use a scout helicopter. The second set of objectives is located at a helipad on the edge of an approximately 500meter cliff. Alpha is located in a two story building and Bravo is placed against a wall and between containers. The defenders retain their scout helicopter, while the attackers carry only their Humvee from the prior stage.
Khatam-kari This craft consists in the production of incrustation patterns (generally star shaped), with thin sticks of wood
Handcraft Compiled By: Firouzeh Mirrazavi Deputy Editor of Iran Review The art of Minakari or Enamelling is called miniature of fire as well as the decoration of metal and tile with mina glaze. Minakari or Enamelling is the art of painting, colouring and ornamenting the surface of metals by fusing over it brilliant colours that are decorated in an intricate design
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he Persian carpet (Middle Persian: bōb,[1] Persian: farsh, meaning “to spread”; sometimes qāli)[2] is an essential part of Persian art and culture. Carpet-weaving is undoubtedly one of the most distinguished manifestations of Persian culture and art, and dates back to ancient Persia. In 2008, Iran’s exports of hand-woven carpets was $420 million or 30% of the world’s market.[3][4] There is an estimated population of 1.2 million weaversin Iran producing carpets for domestic markets and international export.[5] Iran exports carpets to more than 100 countries, as hand-woven rugs are one
of its main non-oil export items. The country produces about five million square meters of carpets annually—80 percent of which are sold in international markets. [6] In recent times Iranian carpets have come under fierce competition from other countries producing reproductions of the original Iranian designs as well as cheaper substitutes.[6] The designs of Iranian carpets are copied by weavers from other countries as well. Iran is also the world’s largest producer and exporter of handmade carpets, producing three quarters of the world’s total output.[7][8] [9] Though in recent times,
this ancient tradition has come under stiff competition from machine-made products.[10] Iran
is also the maker of the largest handmade carpet in history, measuring 60,546 square feet (5,624.9 square meter. Iranian craftwork, are handicrafts works that are useful in ordinary life or are decorative. They are made completely by hand or using only simple tools. Usually the term is applied to traditional means of making goods.
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Termeh is a handwoven cloth of Iran, primarily produced in the Yazd province.
Weaving Termeh requires a good wool with tall fibers. Termeh is woven by an expert with the assistance of a worker called “Goushvareh-kesh”. Weaving Termeh is a sensitive, careful, and time-consuming process; a good weaver can produce only 25 to 30 centimeters in a day. The background col-
ors which are used in Termeh are jujube red, light red, green, orange and black. Termeh has been admired throughout history: Greek historians commented on the beauty of Persian weavings in the Achaemenian (532 B.C.), Ashkani (222 B.C.) and Sasanidae (226-641 A.D.) periods and the famous Chinese tourist Hoang Tesang admired Termeh. After Islams arrival in Iran, the
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Persian weaving arts were greatly developed, especially during the Safavie period (1502-1736 A.D.), during which time Zarbaf and Termeh weaving techniques were both significantly refined. Due to the difficulty of producing Termeh and the advent of mechanized weaving, few factories remain in Iran that produce traditionally woven Termeh. Rezaei Termeh is the most famous of the remaining factories.
Khatam-kari Delicate and meticulous marquetry, produced since the Safavid period: at this time, khatam was so popular in the court that princes learned this technique at the same level of music or painting. In the 18th and 19th centuries, katahm declined, before being stimulated under the reign of Reza Shah, with the creation of craft schools in Tehran, Isfahan, and Shiraz. “Khatam” means “incrustation”, and “Khatam-kari” (Persian: “incrustation work”. This craft consists in the production of incrustation patterns (generally star shaped), with thin sticks of wood (ebony, teak,ziziphus, orange, rose), brass (for golden
parts), camel bones (white parts). Ivory, gold or silver can also be used for collection objects. Sticks are assembled in triangular beams, themselves assembled and glued in a strict order to create a cylinder, 70 cm in diameter, whose cross-section is the main motif: a six-branch star included in a hexagon. These cylinders are cut into shorter cylinders, and then compressed and dried between two wooden plates, before being sliced for the last time, in 1 mm wide tranches. These sections are ready to be
plated and glued on the object to be decorated, before lacquer finishing. The tranche can also be softened through heating in order to wrap around objects. Many objects can be decorated in this fashion, such as: jewellery/ decorative boxes, chessboards,
cadres, pipes, desks, frames or some musical instruments. Khatam can be used on Persian miniature, realizing true work of art. Coming from techniques imported from China and improved by Persian know-how, this craft existed for more than 700 years and is still perennial in Shiraz and Isfahan. Mina-kari Enamel working and decorating metals with colorful and baked coats is one of the distinguished courses of art in Isfahan . Mina, is defined as some sort of glasslike colored coat which can be stabilized by heat on different metals particularly copper. Although this course is of abundant use industrially for producing metal and hygienic dishes, it
has been paid high attention by painters, goldsmiths and metal engravers since long times ago. In the world, it is categorized into three kinds as below: 1. painting enamel 2. Charkhaneh or chess like enamel 3. Cavity enamel. What of more availability in Isfahan is the painting enamel of which a few have remained in the museums of Iran and abroad indicting that Iranian artists have been interested in this art and used it in their metal works since the Achaemenian and the Sassanid dynasties. The enamels being so delicate, we do not have many of them left from the ancient times. Some documents indicate that throughout the Islamic civilization of and during the Seljuk, Safavid and Zand dynasties there have been outstanding enameled dishes and materials. Most of the enameled dishes related to the past belong to the Qajar dynasty between the years 1810–1890 AD. There have also remained some earrings. Bangles, boxes, water pipe heads, vases, and golden dishes with beautiful paintings in blue and green colors from that time, Afterwards, fifty years of stagna-
tion caused by the World War I and the social revolution followed. However, again the enamel red color, having been prepared, this art was fostered from the quantity and quality points of view through the attempts bestowed by Ostad Shokrollah Sani’e zadeh, the outstanding painter of Isfahan in 1935 and up to then for forty years. Now after a few years of stagnation since 1992, this art has started to continue its briskness having a lot of distinguished artists working in this field. To prepare an enameled dish, the following steps are used. First, choose the suitable dish by the needed
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size and shape which is usually made by a coppersmith. Then, it is bleached through enameled working which is known as the first coat. It is then put into a seven hundred and fifty degree furnace. At this stage, the enameled metal will be coated with better enamels a few more times and again reheated. The dish is then ready to be painted. The Isfahanian artists, having been inspired by their traditional plans as arabesque, khataii (flowers and birds) and using fireproof paints and special brushes, have made painting of Isfahan monuments such as step, the enameled material is put into the furnace again and heated at five hundred
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degrees. This causes the enameled painting to be stabilized on the undercoat, creating a special “shining” effect. Most of today’s enamel workings are performed on dishes, vases, boxes and frames in various size.
Calligraphy Says writer Will Durant: “Ancient Iranians with an alphabet of 36 letters, used skins and pen to write, Instead of ear-then tablets”. Such was the creativity spent on the art of writing. The significance of the art of calligraphy in works of pottery, metallic vessels, and historic buildings is such that they are deemed lack-
ing without the adorning decorative calligraphy. Illuminations, and especially the Quran and works such as the Shahnameh, Divan Hafez, Golestan, Bostan et al. are recognized as highly invaluable because of their delicate calligraphy alone. Vast quantities of these are scattered and preserved in museums and private collections worldwide, such as the Hermitage Museum of St. Petersburg and Washington’s Freer Gallery of Art among many others. Styles: 1-Shekasteh 2-Nasta’liq 3-Naskh
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ersia has been a center of civilization for at least 7000 years. Iran art as one of the richest art heritages in the world history and encompasses many disciplines including Calico (Ghalamkar) ,Gerehchini ,Making National Musical Instruments of Iran (Tar & Setar) ,Silverwork, Woodcarving ,Engraving (Ghalamzani) , Inlaid work ,Miniature, Tile working, Writing and calligraphy and pottery.
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ski touring in Tochal
ski touring days www.irantour.com & 3 nights more2 information: more info:www.Irantour.com
2 days and 3 nights
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iranian panting
Miniature of Muhammad Farshchian