PerfectPersia Rang (2024)

05/01/2016

Ali Qapu (Persian: Āli Qāpu - عالی‌ قاپو, from Azerbaijani language: Âli Qapı, meaning "High Porte") is a grand palace in Isfahan, Iran. It is located on the western side of the Naqsh e Jahan Square, opposite to Sheikh Lotfollah 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 Hall, deep circular niches are found in the walls, having not only aesthetic value, but also acoustic.
Fresco from the portico of the palace, depicting a Persian woman

The name Ali Qapu, from Arabic "Ālī" (meaning "imperial" or "great"), and Turkic "Qāpū" (meaning "gate"), was given to this place as it was right at the entrance to the Safavid palaces which stretched from the Naqsh e Jahan Square to the Chahar Baq Boulevard. The building, another wonderful Safavid edifice, was built by decree of Shah Abbas I 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 Nowruz (Iranian New Year) of 1006 AH / 1597 C.E.

Ali Qapu is rich in naturalistic wall paintings by Reza Abbasi, the court painter of Shah Abbas I, and his pupils. There are floral, animal, and bird motifs in his works. 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. Ali Qapu 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 reign of Nasir ol Din Shah e Qajar (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 Ali Qapu. 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 Hall. Here various ensembles performed music and sang songs.

From the upper galleries, the Safavid ruler watched Chowgan (polo), maneuvers and the horse-racing opposite the square of Naqsh e Jahan.

The palace is depicted on the reverse of the Iranian 20,000 rials banknote
https://en.wikipedia.org/wiki/%C4%80l%C4%AB_Q%C4%81p%C5%AB

28/11/2015

Chogha Zanbil (Persian: چغازنبيل; Elamite: Dur Untash) is an ancient Elamite complex in the province of Iran. It is one of the few existent outside of . It lies approximately 42 km (26 mi) south-southeast of , 30 km (19 mi) south-east of and 80 km (50 mi) north of .
in Bakhtiari means "hill". Choga Zanbil means 'basket mound.'[1] It was built about 1250 BC by the king Untash-Napirisha, mainly to honor the great god Inshushinak. Its original name was Dur Untash, which means 'town of Untash', but it is unlikely that many people, besides priests and servants, ever lived there. The complex is protected by three concentric walls which define the main areas of the 'town'. The inner area is wholly taken up with a great ziggurat dedicated to the main god, which was built over an earlier square temple with storage rooms also built by Untash-Napirisha. The middle area holds eleven temples for lesser gods. It is believed that twenty-two temples were originally planned, but the king died before they could be finished, and his successors discontinued the building work. In the outer area are royal palaces, a funerary palace containing five subterranean royal tombs.
Although construction in the city abruptly ended after Untash-Napirisha's death, the site was not abandoned, but continued to be occupied until it was destroyed by the Assyrian king Ashurbanipal in 640 BC. Some scholars speculate, based on the large number of temples and sanctuaries at Chogha Zanbil, that Untash-Napirisha attempted to create a new religious center (possibly intended to replace Susa) which would unite the gods of both highland and lowland Elam at one site.
The main building materials in Chogha Zanbil were mud bricks and occasionally baked bricks. The monuments were decorated with glazed baked bricks, gypsum and ornaments of faïence and glass. Ornamenting the most important buildings were thousands of baked bricks bearing inscriptions with Elamite cuneiform characters were all inscribed by hand. Glazed terracotta statues such as bulls and winged griffins guarded the entrances to the ziggurat. Near the temples of and Hishmitik-Ruhuratir, kilns were found that were probably used for the production of baked bricks and decorative materials. It is believed that the ziggurat was built in two stages. It took its multi-layered form in the second phase.
The is considered to be the best preserved example in the world.[according to whom?] In 1979, Chogha Zanbil became the first Iranian site to be inscribed on the World List. #

28/11/2015

( : ايذه, also Romanized as Īz̄eh; also known as Malāmir, Izaj, and Malemir) is a city in and the capital of Izeh County, Province, Iran. At the 2006 census, its population was 103,695, in 20,127 families.
Izeh has temperate weather in and , although in it is usually the coldest city in the Khuzestan province. Izeh is populated by , a tribe living in the northern part of the Khuzestan area. It is an agricultural rather than an industrial city. The foremost product is rice (locally called Berenj) that mostly comes from Susan, Sheyvand, Meydavood and Chitanbe.
Izeh also has mines of rocks and minerals. It is famous for its dam and monuments that are located in Kul-e Farah, Eshkaft-e Salman, Khongazhdar, Tagh e Tavileh, Shir-e Sangi (Stone Lion cemetery), Shahsavar relief, Khong e Kamalvand, Khong e Ajdar, Khong e Yaralivand and Sheyvand relief.
In the Elamite period it was known as Ayapir and sometimes Ayatem. Arabs called the town as Idhaj. The local dynasty of Atabakan the Greats (Atabakan-e-Lor-e-Bozorg) renamed it in Malemir or Malmir ("king’s house" or "capital"). This name has been used until 1935 when with government’s approval, it is changed again to Izeh.

27/11/2015

Sheikh Lotfollah (Persian: مسجد شیخ لطف الله) is one of the masterpieces of Safavid architecture, standing on the eastern side of Naghsh-i Jahan Square, , Iran.
Construction of the mosque started in 1603 and was finished in 1619. It was built by the chief architect Shaykh Bahai, during the reigh of Shah Abbas I of the dynasty.
Of the four monuments that dominated the perimeter of the Naqsh-e Jahan Square, this one was the first to be built.
The purpose of this mosque was for it to be a private mosque of the royal court, unlike the Masjed-e Shah, which was meant for the public. For this reason, the mosque does not have any minarets and is of a smaller size. Indeed, few Westerners at the time of the Safavids even paid any attention to this mosque, and they certainly did not have access to it. It wasn't until centuries later, when the doors were opened to the public, that ordinary people could admire the effort that Shah Abbas had put into making this a sacred place for the ladies of his harem, and the exquisite tile- work, which is far superior to those covering the Shah Mosque.
To avoid having to walk across the maydān when getting to the mosque, Shah Abbas had the architect build a tunnel spanning across the piazza, from the Ali Qapu palace, to the mosque. When reaching the entrance of the mosque, one would have to walk through a passage that winds round and round, until one finally reaches the main building. Along this passage there were standing guards, and the obvious purpose of this design was for the women of the harem to be shielded as much as possible from anyone entering the building. At the main entrance of the mosque there were also standing guards, and the doors of the building were kept closed at all times. Today, these doors are open to visitors, and the passage traversing underneath the field is no longer in use.

27/11/2015

Naqsh-e Jahan (Persian: میدان نقش جهان Maidān-e Naqsh-e Jahān; trans: "Image of the World Square"), known as Imam Square (میدان امام), formerly known as Shah Square (میدان شاه), is a square situated at the center of city, Iran. Constructed between 1598 and 1629, it is now an important historical site, and one of 's World Sites. It is 160 metres (520 ft) wide by 560 metres (1,840 ft) long (an area of 89,600 square metres (964,000 sq ft)). The square is surrounded by buildings from the era. The Shah Mosque is situated on the south side of this square. On the west side is the Ali Qapu Palace. Sheikh Lotf Allah is situated on the eastern side of this square and at the northern side Keisaria gate opens into the Isfahan Grand . Today, Namaaz-e Jom'eh (the Muslim Friday prayer) is held in the Shah Mosque.
In 1598, when Shah Abbas decided to move the capital of his empire from the north-western city of to the central city of Isfahan, he initiated what would become one of the greatest programmes in Persian history; the complete remaking of the city. By choosing the central city of Isfahan, fertilized by the Zāyande roud ("The life-giving river"), lying as an oasis of intense cultivation in the midst of a vast area of arid landscape, he both distanced his capital from any future assaults by the Ottomans and the Uzbeks, and at the same time gained more control over the Persian Gulf, which had recently become an important trading route for the Dutch and British East India Companies.
The chief architect of this colossal task of urban planning was Shaykh Bahai (Baha' ad-Din al-`Amili), who focused the programme on two key features of Shah Abbas's master plan: the Chahar Bagh avenue, flanked at either side by all the prominent institutions of the city, such as the residences of all foreign dignitaries, and the Naqsh-e Jahan Square ("Exemplar of the World"). Prior to the Shah's ascent to power, Persia had a decentralized power-structure, in which different institutions battled for power, including both the military (the ) and governors of the different provinces making up the empire. Shah Abbas wanted to undermine this political structure, and the recreation of Isfahan, as a Grand capital of Persia, was an important step in centralizing the power. The ingenuity of the square, or Maidān, was that, by building it, Shah Abbas would gather the three main components of power in Persia in his own backyard; the power of the clergy, represented by the Masjed-e Shah, the power of the merchants, represented by the Imperial Bazaar, and of course, the power of the Shah himself, residing in the Ali Qapu Palace.
The Maidan was where the Shah and the people met. Built as a two story row of shops, flanked by impressive architecture, and eventually leading up to the northern end, where the Imperial Bazaar was situated, the square was a busy arena of entertainment and business, exchanged between people from all corners of the world. As Isfahan was a vital stop along the Silk Road, goods from all the civilized countries of the world, spanning from Portugal in the West, to the Middle Kingdom in the East, found its ways to the hands of gifted merchants, who knew how to make the best profits out of them.
The Royal Square was also admired by Europeans who visited Isfahan during Shah Abbas' reign. Pietro Della Valle conceded that it outshone the Piazza Navona in his native Rome.
During the day, much of the square was occupied by the tents and stalls of tradesmen, who paid a weekly rental to the government. There were also entertainers and actors. For the hungry, there were readily available cooked foods or slices of melon, while cups of water were handed out for free by water-carriers paid for by the shop-keepers. At the entrance to the Imperial Bazaar, there were coffee-houses, where people could relax over a cup of fresh coffee and a water-pipe. These shops can still be found today, although the drink in fashion for the past century has been tea, rather than coffee. At dusk, the shop-keepers packed up, and the huzz and buzz of tradesmen and eager shoppers bargaining over the prices of goods would be given over to dervishes, mummers, jugglers, puppet-players, acrobats and prostitutes.

27/11/2015

Shāh Chérāgh (Persian: شاه چراغ) is a funerary monument and in Shiraz, Iran, housing the of the brothers Ahmad and Muhammad, sons of Mūsā al-Kādhim and brothers of ‘Alī ar-Ridhā. The two took refuge in the city during the persecution of Shia Muslims.
The tombs became celebrated pilgrimage centres in the 14th century when Queen Tashi Khatun erected a mosque and theological school in the vicinity.
Shāh-é-Chérāgh is for "King of the Light". The site was given this name due to the nature of the discovery of the site by Ayatullah Dastghā'ib (the great grandfather of the contemporary Ayatullah Dastghā'ib). He used to see light from a distance and decided to investigate the source. He found that the light was being emitted by a grave within a graveyard. The grave that emitted the light was excavated, and a body wearing an armor was discovered. The body was wearing a ring saying al-‘Izzatu Lillāh, Ahmad bin Mūsā, meaning "The Pride belongs to God, Ahmad son of Musa". Thus it became known that this was the burial site of the sons of Mūsā al-Kādhim.
The site is the most important place of pilgrimage within the city of Shiraz. Ahmad came to Shiraz at the beginning of the third Islamic century (approximately 900 AD), and died there. During the rule of Atabeg Abū Sa'id Zangi (~1130s AD) of the Zengid dynasty, the chief minister to the monarch by the name of Amir Muqarrab al-din Badr al-din built the tomb chamber, the dome, as well as a colonnaded porch. The mosque remained this way for roughly 200 years before further work was initiated by Queen Tash Khātūn (the mother of Shāh Abū Ishāq Injū) during the years 1344-1349 (745-750 AH). She carried out essential repairs, constructed an edifice, a hall of audience, a fine college, and a tomb for herself on the south side. She also presented a unique Qur'an of thirty volumes, written in golden Sols characters with gold decoration, in the style of the calligraphist of that period, Yahya Jamali. The date written on the Qur'an indicates that they were written from 1344-1345 (754-746 AH). Nothing now remains of the buildings set up by Queen Tash Khātūn, but the Qur'ans have remained and are preserved in the Pars Museum.

The mosque again underwent necessary repairs in 1506 (912 AH - under the reign of Shāh Ismā‘īl I), which were initiated by the guardian of the mosque at the time, Mirza Habibullah Sharifi. The mosque was again repaired in 1588 (997 AH) when half of the structure collapsed as a result of an earthquake. During the nineteenth century, the mosque was damaged several times and was subsequently repaired. In 1827 (1243 AH), Fat'h ‘Alī Shāh Qājār presented an railing for the tomb. Another earthquake shook the mosque in 1852 (1269 AH), and repairs were carried out by Muhammad Nasir Zahir ad-Dawla.
Finally, the late Nasirol'molk repaired the dome, but on account of the numerous cracks, in 1958 the whole dome was removed, and in its place an iron structure, which was lighter, and likely to last longer, in the shape of the original dome, was made at the cost of the people of Shiraz. The present building consists of the original portico, with its ten columns, on the eastern side, a spacious sanctuary with lofty alcoves on four sides, a mosque on the western side of the sanctuary, and various rooms. There are also numerous tombs contiguous to the Mausoleum.
The decorative work in a mosaic of mirror glass, the inscriptions in stucco, the ornamentation, the doors covered with panels of silver, the portico, and the wide courtyard are most attractive. The tomb, with its latticed railing, is in an alcove between the space beneath the dome and the mosque. And this custom of placing the tomb in this position, so that it is not directly under the dome, is to be seen in other famous places of pilgrimage in the city of Shiraz, and may be considered a special feature of Shiraz shrines. Two short minarets, situated at each end of the columned portico, add impressiveness to the Mausoleum, and to the spacious courtyard, which surrounds it on three sides. The Shah-e-Cheragh Mausoleum was registered on the 20th of the month, Bahman, 1318, under No. 363 in the list of the national monuments of Iran.

16/11/2015

pasagadae

(from Ancient Greek: Πασαργάδαι from Persian: Pāsārgād) was the capital of the under Cyrus the Great who had issued its construction (559–530 BC); it was also the location of his tomb. It was a city in ancient Persia, located near the city of Shiraz (in Pasargad County), and is today an archaeological site and one of Iran's World Heritage Sites.
Cyrus the Great began building the capital in 546 BC or later; it was unfinished when he died in battle, in 530 or 529 BC. The remains of the tomb of Cyrus' son and successor II have been found in Pasargadae, near the fortress of Toll-e Takht, and identified in 2006.[2]

Pasargadae remained the capital of the Achaemenid empire until Cambyses II moved it to ; later, founded another in Persepolis. The archaeological site covers 1.6 square kilometres and includes a structure commonly believed to be the mausoleum of Cyrus, the fortress of Toll-e Takht sitting on top of a nearby hill, and the remains of two royal palaces and gardens. Pasargadae Persian Gardens provide the earliest known example of the Persian chahar bagh, or fourfold garden design (see Persian Gardens).

Recent research on Pasargadae’s structural engineering has shown that Achaemenid engineers built the city to withstand a severe earthquake, what would today be classified as 7.0 on the Richter magnitude scale.

The first capital of the Achaemenid Empire, Pasargadae lies in ruins 43 kilometers from Persepolis, in present-day Fars province of Iran.
Pasargadae was first archaeologically explored by the German archaeologist Ernst Herzfeld in 1905, and in one excavation season in 1928, together with his assistant Friedrich Krefter (de). Since 1946, the original documents, notebooks, photographs, fragments of wall paintings and pottery from the early excavations are preserved in the Freer Gallery of Art, Smithsonian Institution, in Washington, DC. After Herzfeld, Sir Aurel Stein completed a site plan for Pasargadae in 1934.[7] In 1935, Erich F. Schmidt produced a series of aerial photographs of the entire complex.
From 1949 to 1955, an Iranian team led by Ali Sami worked there.[9] A British Institute of Persian Studies team led by David Stronach resumed excavation from 1961 to 1963.[10][11][12] It was during the 1960s that a pot-hoard known as the Pasargadae Treasure was excavated near the foundations of 'Pavilion B' at the site. Dating to the 5th-4th centuries BC, the treasure consists of ornate Achaemenid made from gold and precious gems and is now housed in the National Museum of Iran and the British Museum.[13] After a gap, work was resumed by the Iranian Cultural Heritage Organization and the Maison de l'Orient et de la Méditerranée of the University of Lyon in 2000.

16/11/2015

Naqsh-e Rostam

"Naqsh-e Rostam" redirects here. For the administrative subdivision of Iran, see Naqsh-e Rostam Rural District.
Naqsh-e Rustam Naqŝe Rostam
Naqsh-e rostam.JPG
Ka'ba-ye (cube shaped construction in the foreground) against the backdrop of Naqsh-e Rustam.
Naqsh-e Rustam is located in Iran
Naqsh-e Rustam
Shown within Iran
Coordinates 29°59′20″N 52°52′29″ECoordinates: 29°59′20″N 52°52′29″E
Type Necropolis
Naqsh-e Rustam (Persian: Naqŝe Rostam Persian pronunciation: [næɣʃeɾosˈtæm]) is an ancient necropolis located about 12 km northwest of Persepolis, in Province, Iran. It lies a few hundred meters from Naqsh-e Rajab.
The oldest relief at Naqsh-i Rustam dates to c. 1000 BC. Though it is severely damaged, it depicts a faint image of a man with unusual head-gear and is thought to be Elamite in origin. The depiction is part of a larger mural, most of which was removed at the command of Bahram II. The man with the unusual cap gives the site its name, Naqsh-e Rostam, "Rostam Inscription", because the relief was locally believed to be a depiction of the mythical hero .

16/11/2015

Delgosha Garden

is one of the gardens in Shiraz, Iran near Tomb of Sa’di and it belongs to the pre-Islamic era of the Empire.

In dynasty, Delgosha Garden was one of most famous gardens in Shiraz. Some of the buildings in this garden were constructed in dynasty. Most of the trees in this 7.5 hectare garden are citrus such as Orange and sour orange. The main building which has three stories with two entrances in two sides and a porch in the middle floor with a view of pool is a sign of glorious days. The Sa’di’s Tomb Canal is passing through this garden.

02/11/2015

Afif-Abad Garden (Persian: باغ عفیف آباد - Bāq e Afif-Ābād), originally the Golshan Garden (Persian: باغ گلشن - Bāq e Golshan), is a museum complex in Shiraz, Iran.

Located in the affluent Afif-Abad district of Shiraz, the complex was constructed in 1863. It contains a former royal mansion, a historical weapons museum, and a Persian garden, all open to the public.
The Golshan Garden is one of the oldest gardens in Shiraz.

During the Safavid dynasty, it was used as a palace by the Safavid Kings.

The current main building was constructed by Mirza Ali Mohammad Khan Qawam II in 1863. He bought a nearby qanat to water his garden. After his death, the garden was eventually inherited by Afife, thus being called "Afif-Abad".

In 1962, it was restored by the army. It now functions as a weapons .

02/11/2015

Abū-Muhammad Muslih al-Dīn bin Abdallāh Shīrāzī[3] (Persian: ابومحمد مصلح‌الدین بن عبدالله شیرازی), better known by his pen-name Saadi (سعدی Saʿdī), also known as Saadi of (سعدی شیرازی Saadi Shirazi), was one of the major Persian poets and literary men of the medieval period. He is not only famous in Persian-speaking countries, but has been quoted in western sources as well. He is recognized for the quality of his writings and for the depth of his social and moral thoughts. Saadi is widely recognized as one of the greatest of the classical literary .
His best known works are (The Orchard) completed in 1257 and (The Rose Garden) in 1258.[6] Bostan is entirely in verse (epic metre). It consists of stories aptly illustrating the standard virtues recommended to (justice, liberality, modesty, contentment) and reflections on the behavior of dervishes and their ecstatic practices. Gulistan is mainly in prose and contains stories and personal anecdotes. The text is interspersed with a variety of short poems which contain aphorisms, advice, and humorous reflections, demonstrating Saadi's profound awareness of the absurdity of human existence. The fate of those who depend on the changeable moods of kings is contrasted with the freedom of the dervishes.
Regarding the importance of professions Saadi writes:
O darlings of your fathers, learn the trade because property and riches of the world are not to be relied upon; also silver and gold are an occasion of danger because either a thief may steal them at once or the owner spend them gradually; but a profession is a living fountain and permanent wealth; and although a professional man may lose riches, it does not matter because a profession is itself wealth and wherever you go you will enjoy respect and sit on high places, whereas those who have no trade will glean crumbs and see hardships.
Saadi is also remembered as a panegyrist and lyricist, the author of a number of odes portraying human experience, and also of particular odes such as the lament on the fall of Baghdad after the Mongol invasion in 1258. His lyrics are found in Ghazaliyat (Lyrics) and his odes in Qasa'id (Odes). He is also known for a number of works in Arabic.
In the Bustan, Saadi writes of a man who relates his time in battle with the Mongols:
In Isfahan I had a friend who was warlike, spirited, and shrewd....after long I met him: "O tiger-seizer!" I exclaimed, "what has made thee decrepit like an old fox?"
He laughed and said: "Since the days of war against the Mongols, I have expelled the thoughts of fighting from my head. Then did I see the earth arrayed with spears like a forest of reeds. I raised like smoke the dust of conflict; but when Fortune does not favour, of what avail is fury? I am one who, in combat, could take with a spear a ring from the palm of the hand; but, as my star did not befriend me, they encircled me as with a ring. I seized the opportunity of flight, for only a fool strives with Fate. How could my helmet and cuirass aid me when my bright star favoured me not? When the key of victory is not in the hand, no one can break open the door of conquest with his arms.
The enemy were a pack of leopards, and as strong as elephants. The heads of the heroes were encased in iron, as were also the hoofs of the horses. We urged on our Arab steeds like a cloud, and when the two armies encountered each other thou wouldst have said they had struck the sky down to the earth. From the raining of arrows, that descended like hail, the storm of death arose in every corner. Not one of our troops came out of the battle but his cuirass was soaked with blood. Not that our swords were blunt—it was the vengeance of stars of ill fortune. Overpowered, we surrendered, like a fish which, though protected by scales, is caught by the hook in the bait. Since Fortune averted her face, useless was our shield against the arrows of Fate.

02/11/2015

The of Hafez and its associated memorial hall, the Hāfezieh (حافظیه), are two memorial structures erected in the northern edge of Shiraz, Iran, in memory of the celebrated Persian Hafez. The open pavilion structures are situated in the Musalla Gardens on the north bank of a seasonal river and house the marble tomb of Hafez. The present buildings, built in 1935 and designed by the French architect and archaeologist André Godard, are at the site of previous structures, the most well-known of which was built in 1773. The tomb, its gardens, and the surrounding memorials to other great figures are a focus of in .
Hafez was born in Shiraz in 1315 and died there in 1390. A beloved figure of the Iranian people, who learn his verses by heart, Hafez was prominent in his home town and held a position as the court poet.[1] In his memory, a small, dome-like structure was erected in Shiraz near his grave at Golgast-e Mosalla in 1452 at the order of Babur Ibn-Baysunkur, a Timurid governor. The Golgast-e Mosalla were gardens (now known as Musalla Gardens) that featured in Hafiz's poetry. With a surface of over 19,000 square metres, the gardens were also home to one of Shiraz's cemeteries, and Babur had a pool built here at the same time as the memorial. Believing they were ordered by omens in Hafez's poetry, Abbas I of Persia and Nader Shah both carried out separate restoration projects in the following 300 years.
A much more substantial memorial was constructed in the gardens in 1773 during the reign of Karim Khan Zand. Situated on the north bank of the seasonal Rudkhaneye Khoshk river in the Musalla Gardens, the Hāfezieh consisted of four central columns, with two rooms built at the east and west end and with the north and south sides remaining open. The building split the gardens into two regions, with the orange grove in the front and the cemetery in the back. The actual tomb was outside of the structure, in the middle of the cemetery, with a marble slab placed over the grave. The marble was engraved by a calligrapher with excerpts from Hafez's poetry.
The tomb was restored in 1857 by a governor of , and a wooden enclosure was built around the tomb in 1878, by another governor of Fars. Following this, the site became a subject of controversy, when, in 1899, Ardeshir, a Parsi from India began to build a shrine around Hafez's grave. Although the philanthropist Parsi had obtained permission from a ulema of Shiraz to build the iron and wood shrine, a doctor of religious law with some authority in Shiraz, ʿAli-Akbar Fāl-Asiri, objected to a Zoroastrian building over the grave of a Muslim. With his followers, he destroyed the half-built construction. The people of Shiraz protested the destruction and the government ordered the rebuilding of the monument, but Fāl-Asiri opposed them and pronounced that he would destroy any building raised there, even if it were erected by the king himself.[2]
The site remained in ruins for two years, until 1901 when Prince Malek Mansur Mirza Shao es-Saltaneh placed a decorative iron transenna around Hafez's tomb. It was inscribed with verse and the names of the patrons of the transenna

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