Tourism Information of Shiraz
Shiraz is the fifth-most-populous city of Iran and the capital of its Fars Province, which has been historically known as Pars. As of the 2016 national census, the population of the city was 1,565,572 people. The city is located in southwestern Iran on the rudkhaneye khoshk which is seasonal river.
It has a moderate climate and has been a regional trade center for over a thousand years. Shiraz is one of the oldest cities of ancient Iran.
Famous for its wine, it is both a historic site and an attractive modern city, with gardens, shrines, and mosques. Shīrāz is the birthplace of the Persian poets Saʿdī and Ḥāfeẓ, whose garden tombs, both resplendently renovated, lie on the northern outskirts.
Crafts
Qashqai Carpets & Gabe
Carpet weaving
Leather
Wooden works
Clay works
Brocade weaving
Khatam (inlaid work)
Engraving on metal
Silver work
Ceramic
Tiles
Nasir-Ol Molk Mosque is one of the most ancient mosques of Shiraz and undoubtedly one of the most beautiful sites in Iran. Nasir-Ol Molk Mosque, also known as the Pink Mosque or Rainbow Mosque, looks like an ordinary Islamic mosque at first sight, but as the sun rises, the art of architecture turns the mosque into a huge kaleidoscope. Sunlight, passing through mosaic windows, paints the walls and floor carpets with hundreds of colors. Magic will vanish in a couple of hours, so plan your visit for an early morning.
In 1876, Mirza Hassan Ali Khan who was famous to be called Nasir-Ol Molk, Fars province ruler, decided to leave a mosque as a memory of himself for the next generations. He was the son of Ghavam-Ol Molk and one of Qajar noblemen and known to be a just and fair ruler. Accordingly, he constructed the mosque and the construction was finished after 12 years in 1925.
Nasir-Ol Molk Mosque is one of the most ancient mosques of Shiraz and undoubtedly one of the most beautiful sites in Iran. Nasir-Ol Molk Mosque, also known as the Pink Mosque or Rainbow Mosque, looks like an ordinary Islamic mosque at first sight, but as the sun rises, the art of architecture turns the mosque into a huge kaleidoscope. Sunlight, passing through mosaic windows, paints the walls and floor carpets with hundreds of colors. Magic will vanish in a couple of hours, so plan your visit for an early morning.
In 1876, Mirza Hassan Ali Khan who was famous to be called Nasir-Ol Molk, Fars province ruler, decided to leave a mosque as a memory of himself for the next generations. He was the son of Ghavam-Ol Molk and one of Qajar noblemen and known to be a just and fair ruler. Accordingly, he constructed the mosque and the construction was finished after 12 years in 1925.
Probably the most celebrated Persian poet, whether among Iranians or literature enthusiasts from around the world, is Khaje Shams al-din Mohammad known as Hafez. The 14th-century poet has profoundly influenced and continues influencing Persian poetry, and invariably evokes admiration of his readers. His words, masterfully mingled with mystical concepts, and embellished finely with oratory, have served as more than a collection of poems for Iranians during the centuries. As a custom, mostly in special ceremonies like Yalda or Nowroz, people close their eyes and open Hafez’s poem collection randomly, hoping the poet will tell their fortune.
From the 17th to 19th centuries, the tombs of famous poets in Shiraz were the main destinations for travelers. Hafez’s mausoleum, locally called Hafeziyeh, is located in the northern edge of the city, in the middle of the pretty garden of Mossalla. As you enter from the southern section, a pretty sour orange orchard (Narenjestan) with water streams and rows of flowers draw your attention. Hafez’s tombstone sits solemnly in the center.
Probably the most celebrated Persian poet, whether among Iranians or literature enthusiasts from around the world, is Khaje Shams al-din Mohammad known as Hafez. The 14th-century poet has profoundly influenced and continues influencing Persian poetry, and invariably evokes admiration of his readers. His words, masterfully mingled with mystical concepts, and embellished finely with oratory, have served as more than a collection of poems for Iranians during the centuries. As a custom, mostly in special ceremonies like Yalda or Nowroz, people close their eyes and open Hafez’s poem collection randomly, hoping the poet will tell their fortune.
From the 17th to 19th centuries, the tombs of famous poets in Shiraz were the main destinations for travelers. Hafez’s mausoleum, locally called Hafeziyeh, is located in the northern edge of the city, in the middle of the pretty garden of Mossalla. As you enter from the southern section, a pretty sour orange orchard (Narenjestan) with water streams and rows of flowers draw your attention. Hafez’s tombstone sits solemnly in the center.
From the 17th to 19th centuries, the tombs of famous poets in Shiraz were the main destinations for travelers. Hafez’s mausoleum, locally called Hafeziyeh, is located in the northern edge of the city, in the middle of the pretty garden of Mossalla. As you enter from the southern section, a pretty sour orange orchard (Narenjestan) with water streams and rows of flowers draw your attention. Hafez’s tombstone sits solemnly in the center.
Sadie’s mausoleum is in the north-east of Shiraz. Set in a pleasant garden, the present tomb was built in 1952 and replaces an earlier much simpler construction. Unlike Hafez, Sa’di traveled extensively in Iraq and Syria, where he was even taken prisoner by the Crusaders. Upon his return to Shiraz, Sa’di wrote his most famous works, the Bustan (The Orchard) and the Golestan (The Rose Garden), which moral tales are written either in verse or in a mixture of prose and verse. Sa’di is said to have died in 1290 at the grand age of 101.
Sadie’s mausoleum is in the north-east of Shiraz. Set in a pleasant garden, the present tomb was built in 1952 and replaces an earlier much simpler construction. Unlike Hafez, Sa’di traveled extensively in Iraq and Syria, where he was even taken prisoner by the Crusaders. Upon his return to Shiraz, Sa’di wrote his most famous works, the Bustan (The Orchard) and the Golestan (The Rose Garden), which moral tales are written either in verse or in a mixture of prose and verse. Sa’di is said to have died in 1290 at the grand age of 101.
One of the most attractive monuments of Shiraz is Zand Complex which consists of Arg-e Karim Khani, Vakil Mosque, Vakil Bathhouse, Vakil Bazaar, Water Reservoir and Nazar Garden.The complex is really beautiful and attractive and you can see a complete complex comprised of a bazaar full of stores, a bath house for getting clean, an amazing mosque for saying prayers, a castle as the residential place of the king of Iran, a garden and a museum for receiving the foreign dignitaries and finally a water reservior.
One of the most attractive monuments of Shiraz is Zand Complex which consists of Arg-e Karim Khani, Vakil Mosque, Vakil Bathhouse, Vakil Bazaar, Water Reservoir and Nazar Garden.The complex is really beautiful and attractive and you can see a complete complex comprised of a bazaar full of stores, a bath house for getting clean, an amazing mosque for saying prayers, a castle as the residential place of the king of Iran, a garden and a museum for receiving the foreign dignitaries and finally a water reservior.
Naqsh-e Rustam, also known as The Necropolis, is an ancient necropolis located about 12 km northwest of Persepolis. It includes a group of ancient Iranian rock reliefs cut into the cliff, from both the Achaemenid and Sassanid periods. It lies a few hundred meters from Naqsh-e Rajab, with a further four Sassanid rock reliefs, three celebrating kings and one a high priest. Naqsh-e Rustam is the necropolis of the Achaemenid dynasty (c. 550–330 BC), with four large tombs cut high into the cliff face. These have mainly architectural decoration, but the facades include large panels over the doorways, each very similar in content, with figures of the king being invested by a god, above a zone with rows of smaller figures bearing tribute, with soldiers and officials. The three classes of figures are sharply differentiated in size. The entrance to each tomb is at the centre of each cross, which opens onto a small chamber, where the king lay in a sarcophagus. Well below the Achaemenid tombs, near ground level, are rock reliefs with large figures of Sassanian kings, some meeting gods, others in combat. The most famous shows the Sassanian king Shapur I on horseback, with the Roman Emperor Valerian bowing to him in submission, and Philip the Arab (an earlier emperor who paid Shapur tribute) holding Shapur’s horse, while the dead Emperor Gordian III, killed in battle, lies beneath it (other identifications have been suggested). This commemorates the Battle of Edessa in 260 AD when Valerian became the only Roman Emperor who was captured as a prisoner of war, a lasting humiliation for the Romans. The placing of these reliefs clearly suggests the Sassanid intention to link themselves with the glories of the earlier Achaemenid Empire. The oldest relief at Naqsh-e Rustam dates back 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 Rustam (“Rustam Relief” or “Relief of Rustam”) because the relief was locally believed to be a depiction of the mythical hero Rustam.
Founded by Darius I in 518 B.C., Persepolis was the capital of the Achaemenid Empire. It was built on an immense half-artificial, half-natural terrace, where the king of kings created an impressive palace complex inspired by Mesopotamian models. The importance and quality of the monumental ruins make it a unique archaeological site.
Persepolis, whose magnificent ruins rest at the foot of Kuh-e Rahmat (Mountain of Mercy) in south-western Iran, is among the world’s greatest archaeological sites. Renowned as the gem of Achaemenid (Persian) ensembles in the fields of architecture, urban planning, construction technology, and art, the royal city of Persepolis ranks among the archaeological sites which have no equivalent and which bear unique witness to a most ancient civilization. The city’s immense terrace was begun about 518 BCE by Darius the Great, the Achaemenid Empire’s king. On this terrace, successive kings erected a series of architecturally stunning palatial buildings, among them the massive Apadana palace and the Throne Hall (“Hundred-Column Hall”).
Inspired by Mesopotamian models, the Achaemenid kings Darius I (522-486 BCE), his son Xerxes I (486-465 BCE), and his grandson Artaxerxes I (465-424 BCE) built a splendid palatial complex on an immense half-natural, half-artificial terrace. This 13-ha ensemble of majestic approaches, monumental stairways, throne rooms (Apadana), reception rooms, and dependencies is classified among the world’s greatest archaeological sites. The terrace is a grandiose architectural creation, with its double flight of access stairs, walls covered by sculpted friezes at various levels, contingent Assyrianesque propylaea (monumental gateway), gigantic sculpted winged bulls, and remains of large halls. By carefully engineering lighter roofs and using wooden lintels, the Achaemenid architects were able to use a minimal number of astonishingly slender columns to support open area roofs. Columns were topped with elaborate capitals; typical was the double-bull capital where, resting on double volutes, the forequarters of two kneeling bulls, placed back-to-back, extend their coupled necks and their twin heads directly under the intersections of the beams of the ceiling.
Persepolis was the seat of government of the Achaemenid Empire, though it was designed primarily to be a showplace and spectacular centre for the receptions and festivals of the kings and their empire. The terrace of Persepolis continues to be, as its founder Darius would have wished, the image of the Achaemenid monarchy itself, the summit where likenesses of the king reappear unceasingly, here as the conqueror of a monster, there carried on his throne by the downtrodden enemy, and where lengthy cohorts of sculpted warriors and guards, dignitaries, and tribute bearers parade endlessly.