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Address:
Fin Garden, Kashan, Iran
Tel.: (+98-21) 4477
Opening hours: 8-18 ; Sunday to Thursday
Type of Museum: General
Type of Objects: Archeological, Ethnological
and Crafts
Fin Garden is a
Palace that combines the architectural features of Safavid,
Zand and Qajar periods. It counts among the most beautiful
ancient parks of Iran as regards its location, bountiful
natural fountains called Solomon, numerous old trees,
pools and stream of water.
Kashan Museum was erected in the western part of Fin
Garden, upon the order of the late Seyed Mohammad Taqi
Mostafavi, former Director General of the Archeological
Department.
This
building consist of large and small halls and a vast
basement. It contains archeological, ethnological and
crafts. The archeological objects were excavated in Tappeh
Sialk, Choqa Zanbil, Hassanlu, Khorvin, Lorestan,..
The building, housing Kashan Museum, was built in 1968, in
harmony with the historical monuments within Fin Garden,
covering 900 sq. m and comprising eight vast galleries,
each displaying items from Iranian culture and
civilization in various historic periods.
In Gallery one, artifacts discovered in "Sialk
Hill" (Kashan) and "Ismail-abad Hill" (Savojblaq,
Karaj), dating back from late fifth millennium to early
first millennium B.C., are exhibited.
Most of the objects from "Sialk" are
earthenware. Items from the first stratum are scare. Those
from the second stratum are mostly brick-red, whereas
those from the third stratum speak of a distinct progress
in materials and decorative patterns. Most of these are
buff-colored and decorated with animal motifs. The
evolution of "Sialk" civilization could be
clearly assessed by viewing the objects from 6th stratum,
such as various pottery items, decorated with all kinds eye pleasing
motifs, bronze and silver utensils, dating back to the
early first millennium B.C.
"Ismail-abad Hill" counts among the significant residence
spots of Iranian prehistory. Artifacts unearthed from the
tombs of this site include vases with a base, bowls
without base, basket-like vessels, narrow-rimmed bowls and
conical jars generally made of earth and decorated with
black motifs.
In Gallery Two, artifacts discovered in Susa, Azerbaijan,
Khorvin and Lorestan, could be admired.
Situated 3 km to the East of Karkheh River, Susa was
originally the capital of Elamites, and later became one
of the capitals of Achaemenid Monarch. Artifacts, gathered
in the ruins of Susa, are divided in two groups, according
to civilizations from which they were originally derived:
Susa I, whose artifacts date back to 4000 years B.C.
Susa II, whose artifacts, including ceramic goddess
figurines, metallic ornamental objects and bronze
tools and utensils, belong to 2000 years before B.C.
Khorvin is the name of a village situated 80 km to the
North-east of Tehran. Artifacts from this region have
mostly been discovered in a cemetery on a hill, close by
this locality. One of the most interesting among these, is
a vessel decorated with four animal heads. Artifacts,
unearthed here, relate to 1000 years B.C.
4000 years ago, in Lorestan, in the fertile valley of
Zagros range, lived a turbulent tribe known as Cassites.
Its men often invaded Mesopotamian plain, threatening
Babylonian Empire. Ultimately, during 18th century B.C.,
they conquered it, and were able to reign over it for 5
centuries.
Artifacts obtained from this region display the taste,
arts and civilization of this mountain-dwelling tribe.
Later on, arts of Cassites were imitated by other tribes,
living on Iranian plateau. Attractive bronze objects,
discovered in their tombs, show that they used to inter
the weapons of the deceased together with their owners.
On show in Gallery Three are ceramic, bronze and stone
objects left behind by Parthian and Sassanid, and
discovered during excavations made in Garmi (Azerbaijan),
Susa and throughout Guilan province.
Parthian was an Iranian tribe, who defeated Selucid and
installed the reign of Arsacid (Ashkani) dynasty, by Ashk
in 520 B.C. Between Alexander's invasion to Iran and the
reign of the last Arsacid monarch, that is for some five
centuries, a new art combining Greek and Iranian elements
flourished. During this period, sculpture acquired
importance.
Sassanid dynasty was founded in 226 A.D., by Ardeshir I (Babakan).
Sasaanid considered themselves the descendants of
Achaemenid, and therefore tried to revive Achaemenid arts.
Thus, they were interested in chiseling and carving scene
of hunts, wars or festivities on silver or stone.
Other artifacts exhibited in this gallery include gold and
silver coins from Parthian to Zand period.
The first king to install the use of coins in Iran, was
Darius I, Achaemenid Emperor. Pre-Islamic coins bore
effigies of kings and rulers, whereas in Islamic period,
there were replaced by writing on both faces of coins.
During Qajar era, effigies of kings once again appeared on
coins.
In Galleries Four and Five, antique precious artifacts
(after Islam) are to be viewed. After Arab invasion to
Iran, Sassanid arts continued to flourish here and there
throughout the country for some 300 years, and then was
the time that it was influenced by Arabic signs, due to
the new social conditions.
During this time, regions of Susa, Istakhr, Rey and Gorgan
were centers of ceramic production. In these, ancient
traditions were combined with new methods. A new style was
created by decorating vessels with inscriptions in Kufic
script. Alongside simple calligraphic decoration on
vessels, polychrome decoration on white background, also
came into being, and soon acquired outstanding fame.
Various examples of these, which have been discovered in
Neishabour and Susa, belong to 9th and 10th centuries A.D.
During Seljuk and Mongol periods, art of ceramic
production reached its peak of perfection.
In the course of 12-13th centuries A.D., production of enameled
glassware flourished. Carpet weaving, ceramic production
and metalwork acquired exceptional vogue in Safavid
period.
Durind Zand and Qajar periods, oil painting became current
practice, and the use of this medium in decorating papier
mache and wooden objects such as mirror-cases, boxes and
pen-boxes became quiet popular.
In Gallery Six, specimen of calligraphic works by Qajar
artists, in script such as Nastaliq, Nasq and
Shekasteh-Nastaliq are exhibited.
In Galleries Seven and Eight, contemporary handicrafts of
various regions of Iran are displayed. Among these,
porcelain were deserve special mention. Also, figurines
clad with typical garments of various regions of the
country are particularly attractive.
Other parts of these galleries comprise display of fabric,
ceramic and wood inlay crafted by artists of Fine Art
Workshops, as well as works by local Kashanian artists and
gifts donated by art-lovers. In the end of this part,
Iranian Ethnology section is displayed.
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