Appearance of the Persian skyey garden 9786006873428

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IN THE NAME OF GOD

Appearance of the

PERSIAN SKYEY GARDEN

~J~b 4-:-'~;s ~ =LY'J~J~Jy; Written and researched by

Dr. YaghQub Daneshdoust

Kalhor Publishing House

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Acknowledgment With thanks and gratitude to the all loving God, who has guided and lighted my path in life and there after I would like to acknowledge my deep debt and gratitude to all the people from the prehistoric to historical times who through their art, be it illustrations on stone, pottery or designs for woven paintings on carpets that have amazed us and addressed the future. They have expressed themselves with such beauty and eloquence that we today are astonished at the beauty and the communicative power of their works. I also like to thank all museums and libraries in Iran and the world for my deductions and my thanks to the weavers of original carpets and their dedication and love for their work and Kamran Fazel for his contribution to the English translation. Finally, thanks to architect Mr.Beheshti and his colleagues in Cultural Heritage and Tourism Organization and to our colleagues in Jahan Pira consulting engineering.

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Index Acknowledgment .............................................................. 7

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Introduction ......................................................................... 10

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The Author's methodology and research ...13

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Proving that checkered designs in prehistoric times were used to show greenery or gardens ...................................................................................... 21

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Continuance of the use of checkered designs throughout historical periods .......... 35 Proof of the use of bird like wing designs in prehistoric era to make the garden celestial ........................................................................................... 45

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i)l.,....,I ulJ'! Continuance of the use of wing designs throughout historical periods to create the celestial or the Skyey Garden ............................... 59

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The formation of the Persian Skyey Garden (celestial garden) ................................................ 69

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Skyey Garden on Persian carpets ................ 89

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Terminology for the Skyey Garden in Persian carpet designs .................................................... 109

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10 Other areal planning of the Skyey Garden on Persian carpets ...................................................... 115 11

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12 Recognition of the historical passage and culture of the Persian Skyey Garden ............ 171

13 Research testament ................................................. 183 14 conclusion ......................................................................... 195

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1 Introduction After the completion of my studies in architecture and urban design, for the last 45 years have supervised the restoration of historical building's in the greater Khorasan province and during all this time I have carried out a research to gain a knowledge and an awareness of the Persian Garden. I have visited and studied all the historical Persian Gardens in Iran and some in other countries. I have been responsible for the restoration and renovation of seven of these Gardens 1. I also redesigned and constructed a new Persian Garden for Ferdosi's mausoleum. I have been a member of the International Council on monuments and sites under UNESCO for decades. I have written a series of three book's on the city ofTabas under the title: Ta bas the city that was; one of which deal's with the Gardens of Ta bas. At present I am in the process of writing a series of book's on the Persian Garden which have become voluminous and thus their completion and subsequent publication will take some time, therefor I endeavored to first publish a primary introduction in Farsi and English to explain the concept behind the origin and the very seed of the Persian Garden so that a part of the ancient Persian culture becomes known to the Iranians and the world in general. A greater effort in this regard will be made in the follow up second and third books. The other significant aim of this book is to familiarize Iranians, Irano-philes and the Persian Speaking people to the cultural past of this nation. thus becoming empowered by these peer-less cultural legaeies to become more able to encounter the immethodical influence of the English Language on Persian that now with the aid of the global internet is quite formidable. Therefor all Persian speaking people should vitalize and animate their national language as an international identity and Iranian tribes such as Kords,Turks,Lors and Arabs should keep Persian alive without any bias and use their own language within familiar and family circles, keeping Persian alive is of enormous importance for all our Literature and unique and matchless poetry is in that language. l.Seven Gardens: 1- Golshan Garden in Tabas. 2- Garden and Palace ofKakh-e-Khorshid in Kalat. 3- Shokatabad Garden in Birjand. 4- Akbarieh Garden in Birjand. 5- Imamzadeh Mahrugh and Khayam Garden in ishabour. 6- Attar Garden in Nishabour. 7- Ghadamgah Garden near Nishabour.

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Proving that checkered designs in prehistoric times were used to show greenery or gardens Among the designs on prehistoric pottery with abbreviated or special schematic symbols there are checkered drawings with dyed and plain intermediate squares. These checkered designs can be seen on numerous pottery excavated in ancient sites in Persia such as: Susa, Sialk near Kashan, Tall-e-bakon in Marv -dasht Pars province, Tall-e-Malian 36 k.m north of Shiraz, Godin-Tapeh 6 k.m to Kang-avar town and others. According to this survey I have come to the conclusion that these checkered designs represent greenery or meadows and this fact is also confirmed by pictorial documents form later eras and also from historical periods, such as Fig 44: a bowl from Godin - Tapeh between Hamadan and Kermanshah (5500-

5000 B.C.) show's a goat or mouflon on a meadow or greenery which is represented as a checkered pattern. Re. 4 Fig. 45, 45+(1) shows a bowl from the ancient site of Gabrestan - tapeh in Dasht -e- Gazvin (4000 B.c.) with goats or mouflons running on a meadow which is also represented by a checkered pattern. ( Re. 5) The third bowl from Susa's cemetery depicts the same scenery, see Fig 46 . ( Re. 6) Also observe another bowl from Susa's cemetery from the forth millennium before Christ which has a checkered pattern depicting a garden flooring with trees in it. Fig 47 ( Re. 7) Among the scattered decorated bricks excavated from the floor of the Colored Room in Babajan Building in Lorestan from 850-800 B.C. there are many square tiles with cross designs. An example of which with a checkered surface has a Char-Bagh like design that can be seen in Fig. 48. Re. 8. Fig 49 is a drawing illustrating a Char -Bagh (the four gardens) on a Babajan brick from Loresan (800 B.c.), in this drawing the four sections of this garden are depicted in checkered designs which indicates that the checkered design represent grass and greenery. ( Re. 9) On the upper section of the design on a large vessel from 11am Fig. 50 (2800 B.c.) there is a remainder of a checkered design with trees on it. These trees confirm that the checkered floor represents the green bed of the garden and greenery. (This vessel is kept in Louvre museum.) Re. 10 A bowl designed and modeled in Susa depicts the four gardens with the four sections of greenery illustrated in checkered designs under the four goats horns. The goats bellies form the perimeter of the central pool with the specific design that signifies water. Fig. 51 Re. 11 The symmetrical promenades and the trees that surround the beddings and the center or the central focal point depict a beautiful Char-Bagh that could well serve as a schema and a pattern for future ones.

21

This design in historical terms is three centuries older than Cyrus's garden in Pasargad . The symmetrical promenades and the trees that surround the beddings and the center or the centra l foca l point depict a beautiful Char-Bagh that could well serve as a schema and a pattern for future ones. Th is design in historical terms is three centuries older than Cyrus's garden in Pasargad .

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A bowl from Godin hill between Hamadan and Kerman Shah (5500-5000 BC.) shows a mouflon on a meadow or a green field which has been depicted by a checkered - pattern. Re . 4 Fig 44

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This earthenware vessel found in Tappeh Gabrestan (grave yard hill) Dasht-e-Gazivins archeological site 45 blonging 4th millenium B.C. shows an ibex or mouflons runing on a meadow which has been depicted by a checkerd pattern.

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Fig 45+(1)This design depicts a row of mouflons that circle the vessell on a checkered surface. Scale 1:2. 4000 B.C

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Re. 7 47 -The checkered parts of this bowl depicts the green grass beddings of a garden with the trees and other parts in mid-section

This vessel (4200 B.C.) was excavated from the first tombs in Susa's cemetery photograph by the author in Louvre Museum

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4 Continuance of the use of checkered designs throughout historical periods The use of checkered designs to depict greenery and gardens which was extremely wide spread in prehistoric times continues into historical periods retaining the same meaning which is the depiction of greenery, grassland or the garden floor and bedding. On a plate (Fig. 52) from the 3rd century AH (10th Century AD.) in luster ware from Susa there are a number of checkered designs next to the designs representing flower beds and thus together they depict a beautiful garden layout of grass and flower beds. Re. 12 On many pottery designs from the 13th Century AD. (7 century A.H.) with a variety of warm colors such as golden brown luster ware and where no green or other color exists in order to show the green foliage of a cypress tree a checkered design is used with every other square enamel ed. The checkered design on cypress trees depict the same idea or schema of greenery that was found in prehistoric pottery or on the design for the celestial or Paradise garden. Fig. 53, 54, 55 show pottery from the same period exhibited in Abgineh museum in Tehran, the Victoria and Albert museum London and Cairo museum. Re: 13 , 13+1,13+2,13+1,13+2 Occasionally on the pottery from the 7th. Century A.H. (13th century AD.) in addition to the popular use of warm col ors, blue or green colors are used. In these cases in addition to the use of the green or blue colors the checkered design is again used to emphasize the greenery of the cypress tree see Fig. 56 Re. 14 A plate from the 7th Century A.H. (13th Century AD.) showing a cypress tree with checkered foliage in blue coloring. The continuation of the use of the checkered design for the representation of greenery and grass throughout historical periods can be seen on a plate from the 11 Th. Century AH (17th Century AD.) from Agh Kand region which depicts a central round checkered garden with plants in green with circular design growing out of it with flowers and birds on them on a yellow and brown background. See Fig. 57 Re. 15

35

52- A luster ware plate from early 10 th century found in Susa The checkered surfaces of verdurous grass next to the floral beds give a beautiful arrangement to this garden .(This type of luster ware is culled Zarin fam . ) Re . 12

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53 - A luster ware plate from 13th century .The cedar trees in this plate have a checkered surface to emphasize their greenery. Photograph by the author. Abgineh Museum Teheran. Re .13

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Fig 56: An over glaze 13 century bowl from Saveh. The cedar tree depicted in the this bowl has a checkered surface in order to enhance its greenery. Re.14

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64- These Examples of prehistoric designs from varius excavated sites have been arranged in order to show how the design of the quartering of the world (No.64) gains wings or wing-lets to enable it to depict its increasing strength more wing lets are added to the point that each dividing line appears like a birds wing. (no.68). the strongest examples are potterys excavated in Tap-e-sialk of Kashan and in an intact plate discovered in the Burnt City in which the figure for the quartering of the world covers the whole surface of the plate. with wing Lets all along its length. Re.22 64- Pieces of pottery excavated in Susian south western Iran . From Tap-e-down. the designs of the quartering of the world (No.64)

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67- In this piece of potte ry from the prehistoric era execavated in Choga-M ish. The designe of he quartering of the world has 3 wi ng-let s. Re.25

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7 The formation of the Persian Skyey Garden (celestial garden) With regard to the research on the checkered design on prehistoric potteries it becomes evident that they depict greenery and gardens and the continuation of this practice into historic eras was also documented. The research on bird wing designs of the prehistoric era and pictorial evidence introduced clearly shows that for the prehistoric man the wing is the only instrument for flight or remaining in the sky. Thus to whatever object that is shown to be in motion, revolving or in the sky he added wings. The continuance of this practice into historic periods was also documented. With regard to the above mentioned conclusions the design from the prehistoric era discovered on potteries from Susa, with checkered squares and wings for flight on each corner; depict:((A garden that is in the sky)) See: Fig. 76,77 Re. 32.33 A bowl from Susa Fig 80 which shows two Skyey Gardens with checkered surfaces facing each other with four great wings attached to the corners of the garden. This means that the Iranians from prehistoric times believed that there is a beautiful and pleasant garden with luxuriant greenery in the sky. The Archeologist date these prehistoric designs on potteries from Susa one at 4200 years before Christ. Figures 76 and 77 show designs on Susa potteries that depict Skyey Gardens with very little variance with checkered designs in different scales. Re. 32. 33 These designs of the two Skyey Gardens do not show any lay - out or arrangement of the garden and their checkered squares alternately painted that depict the verdure ofluxuriant greenery. However in the third design Re. 35 a tendency towards the designing and the lay - out of a garden is apparent and within the square of this garden the Persian (Iranian) garden is some how beginning and the attention towards the four principal directions is perceived and the four wings are attached to the four corners with a more free and advance design keeping the garden in flight and in the sky, see Fig. 78 and perspective 79. Why the primary designs of the Skyey Garden were only found in Susa specially in the first layer; can be attributed to the mastery of the painters and potters of that era who were able to convey the concept of the garden and it being in flight and thus depict the Skyey Garden fully and beautifully. In his book : Ancient Iranian Archaeology Louis Vandenberg regarding the skill of Susa' s potters states: ((the designs on potteries found in the first layer of Susa reach the hight of perfection, however the rest of the potteries excavated after Susa one are inferior in artistic skill in comparison .)) Re. 36

69

During my research on Iranian prehistoric artifacts in the Louver museum on Susa 1 period which spanned for 400 years, from 4200 to 3800 before Christ Re. 37 which is an acceptable time span for the checkered design of the Skyey Garden to develop and gain garden planning, another important point to note is that by observing the Skyey Garden as shown in Fig. 76, 77, 78 ( from bottom to top ) it becomes apparent that the older the design the more rigid and simple and with the passage of time the design gains more form and curvature and little by little the core of the Persian Garden appears. Please see Fig 80 and 90+ 1, a vessel from Susa on which Susa's potters with great expertise have depicted two square skyey Gardens with checkered Surfaces and on all their corners a great wing has been carefully drawn in order to keep it in the sky. On each Side two watercourses can be seen with waves depicted to show its flow. The most potent factor that forms the design of the Persian Garden or paradise is the fundamental attention to the four principal directions. In an earthenware plate excavated in the Burnt City in Sistan. ( 3200 - 1800 B.C.) the attention to the four principal directions are manifest and is clearly depicted by a cross formed by four arrows with large arrow - heads. Re. 38, 39 Observe the specialty of these plates in Fig 81 and 82. Hence we find other plates excavated in the same Burnt City with a garden design which has been divided by two diagonal streams into four sections. Alongside the streams beautiful trees have been planted. Re. 40,41,42 See examples of these plates in Fig. 83 , 84 and 85. These are the oldest designs that document the (four garden - four stream) layout found to date, or a Char - Bagh with four streams. Through extensive research on numerous potteries excavated in Sialk hill in Kashan from 1000 to 800 B.C. that support a great variety of beautiful designs including the checkered designs that depict greenery, there are also the use of simple wing designs that show gardens in the sky. A more simple design is introduced first that shows a four - garden with four streets on its axes. There are four wings at the end of each street placing it in the sky. For more clarity the designs surrounding the garden have been omitted Re. 43 Fig 86 shows both the original design and the edited version. The second design found among different pottery vessels excavated in Sialk hill from the prehistoric era Re. 44 shows a larger four - garden with four (mian - kart1 ) on its two axis. These four (mian - karts) and their extentions have divided the garden into four sections and each section on the four corners has been divided into smaller sectors. It appears that the perimeter of the garden has trees planted on it. Four wings are keeping the garden in the sky See Fig. 87. Considering the size of the four gardens depicted in this vessel and the previous Fig. 86 that cover almost all the surface of the vessels the application of Large wings as shown in figures 76, 77, 78, and 79 is not possible thus smaller wings have been drawn. The vessel from Susa shown in Fig. 51 also depicts small wings that were drawn in this manner due to the lack of space. These two samples excavated in Sialk hill in Kashan, and some other designs lack wings and are Earthly Four Gardens. Fig. 88, 89 and 90 Re. 45, 46, 4 7. These are in reality the primary patterns of the Persian Four Garden. This indicates that the primary formation of the Persian Four Garden began in 4200 before Christ. Shown in Figs 76, 77 and 78. The formation of the Char - Bagh (four - gardens) design in the ancient Skyey Garden and the earthly Four Gardens and the conveyance and the reciprocation of thoughts and the visionary concept of their various beauties and the creation of their samples caused the formation of the beautiful Persian Four Garden which were built in Persia and their design was adapted by many other nations around the world. The commendation of the multiple and diverse beauty of the Persian garden in the world has made the Persian word for garden: Paradise a synonym with the Greek ward Paradaisos and hence Paradise for Heaven. 1. M - Kart is a long rectangular garden bed for grass or trifolium.

70

78- A Skyey Garden with advance wings for flight and a garden lay out on its surface. The carved prolongation of the wings and winglets shows that the artist is responding to the prespective element and is close to the truth. Re. 34

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Figures related to the numbers 76, 77, 78 are in the next page.

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81-An illustration on a bowl from the Burnt City (3200-1800 B.C) with the aid of four grand arrows shows the powerful propensity towards the four directions. it is this deep rooted inclination that forms the base for the design of the Char Bagh in the skyey Garden. please see the designe on the plate in Fig 78, from the Burnt City (23 cm diameter and 10 cm hight) and also designs on three other plates in Fig 83-Re 40, Fig 84 Re.41 and Fig 85 Re.42 that show four earthly gardens and each with four streams that meet in the center of the garden forming beautiful Char Baghs.

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8 Skyey Garden on Persian carpets In addition to the design on ancient pottery and its continuance throughout historical periods the Persian carpet has also been a vast canvas for the portrayal of ancient thoughts. The reflection of these thoughts and concepts have been depicted in the various designs that remain in the Persian carpets. Considering that kilims and Gabbehs are mainly used by rural or tribal people and designs are more easily depicted on them they have accumulated and exhibit more of the wishes and concepts that are depicted on Persian kilims or carpets. The Skyey or the celestial garden is one of those contemplations that has embroided itself and is reflected by the designs on Persian carpets and kilims. Due to the fact that the designs on old carpets are not as durable as on pottery and all have worn out and have decayed, however at present the ancient designs due to the continuance of the archaic patterns of ancient designs and schemas have thus remained in the cultural heritage and memory of the Persian carpet weavers. The earliest depiction of a persian carpet in historical documents is in Plutarchs Lives also known as, Parallel lives edited by A.H. Clough, page 185: The king (Xerxes) commanded Themistocles to speak freely concerning the affairs of Greece. Themistocles replied "that a mans discourse was like a rich Persian carpet, the beautiful figures and patterns of which can only be shown by spreading and exending it out, when it is folded up, they are obscured and lost, and therefore he desired time." Themistocles's statmemt regarding the Persian Carpet shows that even in that bygone era the Persian Carpet enjoyed international cultural renown and was celebrated worldwide as a beautiful and regal object to such an extend that its excellence was used as an example in everydey discourse.Re. 4 7 +1 The oldest remaining Persian carpet is the Pazyryc carpet which was woven during the Achaemenian era in 5TH century 8.C. and discovered in 1949 in an archaeological excavation in the ice of Pazyryc valley in Alti mountains in Russia and the freezing conditions were the cause for the preservation of this carpet. This carpet is on exhibition in the Hermitage museum in St. Petersburg. Re. 48 See Fig. 91

89

Through extensive research and study on the designs and patterns of Persia carpets and kilims I have reached the conclusion that there are still designs on carpets and kilims in museums, privet collections and the Bazaars that contain the chechered surfaces with standing goats or mouflons next to it or roaming on its surface indicate and depict the verdurous greenery of the meadows and grasslands. PLease see the design on the saddle bag in Fig 92 Re.49. This exceptional design for carpets has a bewildering similarity to the designs on ancient pottery and it testifies that Persian taste in art and carpet design has persisted and endured from prehistoric times till the present day. Please see Fig 93 Re.SO. On some carpets cypress tree designs can be seen with their foliage depicted with a checkerd design in order to emphasize their verdurous greenery. Please see Fig 94, 95, 95+(1) and 96 and 97,97+(1), 97+(2), 97+(3) and their captions. In research done in order to recognize and identify Skyey Gardens on Persian carpets, wing and wing like design simply and beautifully point to and mark Skyey Gardens as they are kept in flight and in the sky. Please see Fig 98, 98+(1), 99, 99+1+(1), 99+2, 99+2+(1). The wing like figures on the Skyey Gardens on Persian carpets that have a linear design are closer and more similar to the designs on ancient pottery. As the usage of linear wings to put the garden in the sky and in flight continued at some point in time the depiction of a number of birds instead of linear wings, which is more comprehensible and realistic, was adopted. At the begining of this movement the bird designs or schemas and their Skyey Gardens are extremely delicate and are displayed with the use of a few lines. Some kinds of Skyey Garden designs in which birds keep the garden in the sky the extension of the birds necks constitute the design of the garden or a Char-Bagh (the four gardens).

90

91- The complete design and layout of the Pazyryc Carpet (a section of the carpet) this beautiful carpet is the oldest Persian carpet which was woven in the Achaeminan era (559 - 330 B.C.) and luckily due to the freezing glacial conditions has remained in tact This carpet is in the Hermitage Museum in St .Petersburg.. Re-48

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92- The checkered designs on this saddle-bag (khorjin) represents greenery with three goats or mouflons standing over it, is similar in an astonishing way to the prehistoric checkered designs on pottery, they are alike and related (see Fig 44, 45 and 46 ) the only difference is that pottery designs are painted freely but the designs on the saddle - bag are woven with its possibilities and limitations. Saddle-bag of the Lours from Kohgilvieh Early 20th century (0.48 x 0.80 m) . Private collection, Tehran. Re - 49

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93- 20 th century Gabben from Fars province shows sheep and goats grazing on a green surface with checkered designs to duplicate and enhance the verdure of the meadow. ReSO

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94 - Gabbeh with checkered Cypress tree design on a checkered layout Even though colors such as reds, oranges browns blacks etc ... are used in the background never the less the cypress trees are checkered in order to express the verdure and the greenery of the trees. In conclusion the design of the carpet is checkered within a checkered or green within green 268 x 202 Cm. Manijeh collection .Re - 53 Of .u.L!. - °if o.;W

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96 - In this carpet four Skyey Gardens with linear wings are depicted. The verdurous nature of the surface is emphasized with a checkered design ( late 19th century carpet from Fars 139 x 253 cm.) Re - 52

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97 Figural rug, Qashghai Dogozlu clan, Shish Boluk Tribe. Southwest Iran. Early 20 th century 124x216 cm . In the design of the Trees and bushes a checkered pattern is adapted in order to emphasize the verdurous greenary. Re 51 ~I..,.~.)~ JI...:...>.)~

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110- Re 60 Twelve Skyey Gardens each mounted on the Necks of twelve birds are in flight. The multicolor surface shows a four grass bed design. this saddle-bag woven as a kilim was Purchased from Firouzeh village. near Nisha bur. Current Century.

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.,, A Garden carpet depicting the gate of paradise Fig 113+1 woven in lsfahan . Early 19th century A.O. The beauty; the abundance and copousness of Re73 the sky, the multifariousness of the flowers and floral and fruit trees. the water flows and beautiful birds in flight, in manifest positions; and the river... the effort in carpet designer has imagined. General pavilions on high and lofty points, an inflorescence of blossoms and flowers, an endless beauty.

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