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This
is the English introduction of the following book:
Compiled by Isfahan Contemporary Arts Museum
Researchers: Mohammad Ali Sarami,
Gholam Reza Nasrollahi
Introduction: Hosein Majlesi
Photographer: Majid Kourang Beheshti
Texts: Mahmoud Maheronnaghsh, Mohammad
Rahim Okhovvat, Mahmoud Darvish, Abbas Rostamiyan, Hosein Masjedi,
Akbar Mikhak, Ahmad Montazer and Mohammad Ali Sarami
Designer: Maehdi Roshanaei
Thulth calligraphy of the cover: Abbas
Ghena-at
Editor: Nasrin Mehr Mohammadi
Execution Manager: Mohammad Ali Sarami
Prepress & Production: Shahriyar
Graphic
Translator: Meysam Yazdi, Mohammad Ali
Sarami
Publisher: Recreational and Cultural
Organization of Isfahan Municipality
| October
2006, Isfahan, Iran |
One of the most valuable and considerable documents
since the beginning of the current Islamic century that we have
received from Isfahan is the map of Reza Khan, called “Dar al-Saltane
(Royal District) Map of Isfahan”, which was prepared between the
years of 1920 and 1923 AD. Studies on this map have shown that
streets such as Chahar Bagh (Four Orchades), Hezar Jirib Chahar Bagh,
Kelisa ye Maryam (Saint Mary Cathedral) and Abbas-abad were built in
the Safavid dynasty. Some other streets like Donbal-e-Roudkhaneh
(Riverside), Bagh Takht (The Throne Garden), Khoush,
Bimarestan-e-Engilisiha (The British Hospital), Mostahlak and some
others have been built around this period of time.
The study of the map and its marginal texts show that new street
construction in Isfahan dates back to the current Islamic century;
this is the time that cars have come to the urban culture and there
is need for streets to be established. Since repairing buildings on
the side of streets and renovating old edifices, especially
commercial units, was done with a logical rhythm, harmonized with
the entrances of houses, constructing and establishing streets was
completely different in those times, compared to that of
contemporary period. In fact, it had been the harmonization of a
kind of continuity in an introvert urban thought that considered
every element in the city as having an inner and internal part.
In addition to fulfilling the special need of driving cars in a
western fashion, streets formed the continuity of bazaars, which are
considered as the essence of urban passages. Therefore the streets
were built by necessity, without any roofs, and instead trees were
planted on the side of the streets. But, still streets were
considered as an urban element and were named in a form and style of
historical-urban style. Some great changes occurred in the type and
form of architecture, especially as a result of European approaches
toward urban architecture, but we still see the continuity of
Persian architecture and its link to the great and grand Persian
architectural works.
In different districts of Isfahan, there are lots of evidences for
proving this claim, that among them we can point to the façade
construction of houses, brick work through the rhythm of commercial
shops, beautiful entrances to houses and other things such as inns,
mosques, bathhouses, attics, capitals, Saqa-khaneh (Public drinking
water places), porticos and beautiful protuberant flower plaster
carving epigraphs. It should be added that you can see ancient
Iranian and also European influences and impressions in the works of
those architects, who had studied in Europe.
Studies on the elements of some of these edifices from different
historical periods and even the very valuable public buildings of
those times can show the continuity of this Iranian architectural
period very well.
In the historical buildings of this period, including the end of
Ahmad Shahi era till the end of Reza Khan era, are looked after and
preserved and even in some cases repaired, restore or revived. We
can be hopeful that the endmost historical and cultural values
linked to the history of Iran and Isfahan architecture and urban
planning, would remain for the next generations.
Renovating historical areas should be paid a special attention; it
should be forbidden to build any building in these areas and the
renovation plans should be scrutinized and approved by professional
groups, so that they regain their historical and artistic values.
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