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https://www.youtube.com/watch?v=ZeDZYdosmOk

The Persian Garden has its roots in history. The Persian Garden is the simple of heaven and the elements installed there all create a sense of value and beauty to the place. In this video we visit Tehran’s Persian Garden and learn more about this unique place

https://www.youtube.com/watch?v=qS7hDdwjII4

https://www.youtube.com/watch?v=D-Lgy5W8Oss

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https://www.youtube.com/watch?v=ORbgSVxgQQo

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https://www.youtube.com/watch?v=fkEZd4wLh7I

https://www.youtube.com/watch?v=XYqFEefPTOY

The Persian Garden – UNESCO World Heritage Centre

whc.unesco.org › … ›

World Heritage Centre › The List

Jun 27, 2011 – These gardens, dating back to different periods since the 6th century BC, also feature buildings, pavilions and walls, as well as sophisticated …

The Persian Garden

The property includes nine gardens in as many provinces. They exemplify the diversity of Persian garden designs that evolved and adapted to different climate conditions while retaining principles that have their roots in the times of Cyrus the Great, 6th century BC. Always divided into four sectors, with water playing an important role for both irrigation and ornamentation, the Persian garden was conceived to symbolize Eden and the four Zoroastrian elements of sky, earth, water and plants. These gardens, dating back to different periods since the 6th century BC, also feature buildings, pavilions and walls, as well as sophisticated irrigation systems. They have influenced the art of garden design as far as India and Spain.

Outstanding Universal Value

Brief synthesis

The Persian Garden consists of a collection of nine gardens, selected from various regions of Iran, which tangibly represent the diverse forms that this type of designed garden has assumed over the centuries and in different climatic conditions. They reflect the flexibility of the Chahar Bagh, or originating principle, of the Persian Garden, which has persisted unchanged over more than two millennia since its first mature expression was found in the garden of Cyrus the Great’s Palatial complex, in Pasargadae.  Natural elements combine with manmade components in the Persian Garden to create a unique artistic achievement that reflects the ideals of art, philosophical, symbolic and religious concepts. The Persian Garden materialises the concept of Eden or Paradise on Earth.

Read more: https://whc.unesco.org/en/list/1372/

World Heritage

Heritage is our legacy from the past, what we live with today, and what we pass on to future generations. Our cultural and natural heritage are both irreplaceable sources of life and inspiration.

The Persian Garden – UNESCO World Heritage Centre

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Rosa persica  https://www.iranicaonline.org/articles/gol

(Ṯābeti: Hulthemia persica; Pers. varak), a low shrub (50-60 cm high), with a reddish brown macula at the base of the yellow petals of its simple flowers; habitat: the steppes of Azerbaijan, Hamadān, Qazvin, Tehran, Semnān and Dāmḡān, Gorgān, Khorasan, etc.; also found in Afghanistan (Herat) and Turkmenistan

https://www.youtube.com/watch?v=1w_1-Y4vXVg

Persian Roses particularly belong to Shiraz, the cultural capital of Iran. In fact, many people around the world know Shiraz by its enhancing Persian Roses.

Persian red rose is believed to be popular among the roses. It has a long, jagged stem and dark green leaves. This flower has a good aroma, so its aromas are used in cosmetics and hygiene products.   Shiraz Roses

Persian Red Rose

Shiraz Rose

The best time to travel to Shiraz is in the spring, in May. When there is no news from the crowds of Norouz, as well as flamboyant flowers, Persian Rose, Mohammadi, Narges and Baboonai flowers have flown a flower festival in the city. It should breathe the city’s air with the smell of colorful flowers.

Persian Pink Rose

Different Colors Of Persian Roses

Persian Roses are produced in 4 colors, and all are available on the market during the whole year. Pink Roses are so favorable by Iranian which is reflected on the Persian architecture and aesthetic monuments, such as Pink Mosque and beautiful Persian gardens in Shiraz.

Persian Rose , Eram Garden

Differences Between Persian And Dutch Roses:

Appearance of buds: Difference in the appearance of Dutch and Persian roses in the form that the stalks of Persian rose is full of thorns, and also red roses of Persian with ordinary petals and bright red and Dutch rose with the petal is dark-red. Shiraz Roses

Duration of Rose Shelf: The most important difference is the duration of flowering or its useful life, so that the useful life of roses in Iran is between 3 and 6 days and the Dutch rose in the life of 10 to 20 days is not comparable to its Iranian counterpart.

Persian Roses are more suitable for gardens, and they are more durable when you plant them on the garden not to pick them for the vase. Persian Rose

Pink Rose , Shiraz

Persian Rose, Persian Tour!

Iran Destination offers a variety of Iran Tours to help you to explore the  Persian Gardens as easy as possible.  By contact to our experienced and skilled tour operators, we’d help you to visit the most amazing highlights of Iran. Don’t hesitate to contact us! 

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From : https://en.garden-landscape.com/persian-roses-new-from-orient-9384

Persian Roses: The New From The Orient

The Content Of The Article:

• Blossom beauty from Iran
• An optimal location prevents diseases
• From buying roses to planting

The fascinating flower look with basal stain is known from hibiscus and some shrub peonies. Meanwhile, there is the sexy eye in the center of bright peel blossoms even in roses. For some time, a whole range of new varieties on the market, which cause a stir as Persian roses (Rosa Persica hybrids). Their exotic look is enhanced by exotic beauties with oriental-looking names like ‘Queen of Sheba’ or ‘Alissar Princess of Phenicia’ of the Persian Rose (Rosa persica).

Blossom Beauty From Iran

The Persian rose comes from steppe-like areas in Iran and neighboring countries. In leaves and flowers, it differs so much from other roses that it long formed its own genus. Therefore, the varieties are sometimes found under the botanical name Hulthemia hybrids. For over 40 years, the Wild Rose from the Orient has been cultivating rose grower all over the world. In their homeland, the robust species grows proverbially like weeds, but in our climate it has failed so far in the field.

Persian roses ‘Esther Queen of Persia’ (left) and ‘Eyeconic’ (right)

So how was it possible to unite the beautiful savage with the advantages of modern, often-flowering garden roses? The breakthrough brought breeding with crossed Persian roses that had originated in England since the 1960s. Finally, there are garden-suitable varieties that are no longer available only to lovers. The Persica hybrids can be used as bedding or shrub roses. Read all: https://en.garden-landscape.com/persian-roses-new-from-orient-9384

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How the World’s Best Rose Water Is Made Great Big Story You’ve probably spritzed rose water on your face, or drank rose water tea. It’s trendy now, though the aromatic liquid has been a staple for centuries in the Middle East. The world’s best rose water is made by experts like Moshen Ghaffari in Iran’s Qamsar District. The soil content, sea level, temperature and gentle winds make the area perfect for growing roses. Moshen’s family uses copper pots to produce “double-fired” rose water. How many freshly-picked flowers does it take to make one liter? The answer might surprise you.

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Persian gardens From Wikipedia, the free encyclopedia

https://www.youtube.com/watch?v=43kX_QWHy6M

Asian Art Museum Dr. David Stronach, University of California, Berkeley, professor emeritus of Near Eastern art and archaeology, kicks off the museum’s new Perspectives on Persian Art lecture series with a talk about the influence of traditional Persian gardens in Asia and Europe. From 1961 to 1963 Stronach directed excavations of the royal garden of Cyrus the Great (559–530 BCE) at Pasargadae, in Southwest Iran. Since that time he has studied connections between the royal gardens of Mesopotamia—the gardens associated with Nineveh and Babylon—and the gardens at Pasargadae. It was at Pasargadae that Cyrus appears to have introduced the first example of a fourfold garden layout (a type known in Persian as chaharbagh). Such gardens remain in use not only in present-day Iran but also in India and Spain.

Read more: From Wikipedia, the free encyclopedia or https://wiki2.org/en/Persian_gardens

Eram Garden is a famous historic Persian garden in Shiraz, Iran

The tra­di­tion and style of gar­den de­sign rep­re­sented by Per­sian gardens or Iran­ian gardens (Per­sian: باغ ایرانی‎), an ex­am­ple of the par­adise gar­den, has in­flu­enced the de­sign of gar­dens from An­dalu­sia to India and beyond.^[1][2] The gar­dens of the Al­ham­bra show the in­flu­ence of Per­sian gar­den phi­los­o­phy and style in a Moor­ish palace scale, from the era of al-An­dalus in Spain. Hu­mayun’s Tomb and Taj Mahal have some of the largest Per­sian gar­dens in the world, from the era of the Mughal Em­pire in India.

Concept and etymology

A schematic diagram of a Persian garden. Note the quadripartite structure with focal water feature, connecting aqueducts, and surrounding trees, as well as the placement of the palace

From the time of the Achaemenid Em­pire, the idea of an earthly par­adise spread through Per­sian lit­er­a­ture and ex­am­ple to other cul­tures, both the Hel­lenis­tic gar­dens of the Se­leu­cid Em­pire and the Ptolemies in Alexan­dria. The Aves­tan word pairidaēza-, Old Per­sian *paridaida-, Me­dian *paridaiza- (walled-around, i.e., a walled gar­den), was bor­rowed into Akka­dian, and then into Greek An­cient Greek: πα­ρά­δει­σος, ro­man­ized: parádeisos, then ren­dered into the Latin paradīsus, and from there en­tered into Eu­ro­pean lan­guages, e.g., French par­adis, Ger­man Paradies, and Eng­lish par­adise.

As the word ex­presses, such gar­dens would have been en­closed. The gar­den’s pur­pose was, and is, to pro­vide a place for pro­tected re­lax­ation in a va­ri­ety of man­ners: spir­i­tual, and leisurely (such as meet­ings with friends), es­sen­tially a par­adise on earth. The Com­mon Iran­ian word for “en­closed space” was *pari-daiza- (Aves­tan pairi-daēza-), a term that was adopted by Chris­t­ian mythol­ogy to de­scribe the gar­den of Eden or Par­adise on earth.

The gar­den’s con­struc­tion may be for­mal (with an em­pha­sis on struc­ture) or ca­sual (with an em­pha­sis on na­ture), fol­low­ing sev­eral sim­ple de­sign rules. This al­lows a max­i­miza­tion, in terms of func­tion and emo­tion, of what may be done in the gar­den.

History

Gardens outside of the Palace of Darius I of Persia in Persepolis.

Per­sian gar­dens may orig­i­nate as early as 4000 BC, but it is clear that this Iran­ian tra­di­tion began with the Achaemenid dy­nasty around the 6th cen­tury BCE. Dec­o­rated pot­tery of that time dis­plays the typ­i­cal cross plan of the Per­sian gar­den. The out­line of Pasar­gadae, built around 500 BC, is still view­able today. Clas­si­cal Ira­ni­ans were seen by the Greeks as the ‘great gar­den­ers’ of an­tiq­uity; Cyrus II (known also as Cyrus the Younger) is al­leged to have told the Spar­tan com­man­der Lysander that he gar­dened daily when not cam­paign­ing, and had him­self laid out the park at Sardis, which he called his ‘par­adise’ (a Greek cor­rup­tion of the Old Per­sian word for garden).

Dur­ing the suzerainty of the Sasan­ian Em­pire, under the in­flu­ence of Zoroas­tri­an­ism, water in art grew in­creas­ingly im­por­tant. This trend man­i­fested it­self in gar­den de­sign, with greater em­pha­sis on foun­tains and ponds in gar­dens.

Dur­ing the Umayyad and Ab­basid pe­ri­ods, the aes­thetic as­pect of the gar­den in­creased in im­por­tance, over­tak­ing util­ity. Dur­ing this time, aes­thetic rules that gov­ern the gar­den grew in im­por­tance. An ex­am­ple of this is the chahār bāgh (چهارباغ), a form of gar­den that at­tempts to em­u­late the Abra­hamic no­tion of a Gar­den of Eden, with four rivers and four quad­rants that rep­re­sent the world. The de­sign some­times ex­tends one axis longer than the cross-axis and may fea­ture water chan­nels that run through each of the four gar­dens and con­nect to a cen­tral pool.

Under the Ab­basid dy­nasty (8th cen­tury AD), this type of gar­den be­came an in­te­gral part of rep­re­sen­ta­tional architecture.

The Per­sian gar­den is a land­scape gar­den, de­signed in­di­vid­u­ally and cre­ated in­ten­tion­ally as a space em­bed­ded in the aes­thetic and spir­i­tual con­text of its past and con­tem­po­rary cul­tural, po­lit­i­cal, and so­cial en­vi­ron­ment. Hall­marks of these for­mal gar­dens are a geo­met­ric lay­out fol­low­ing geo­met­ric and vi­sual prin­ci­ples, im­ple­mented to na­ture by water chan­nels and basins which di­vide the en­closed space into clearly de­fined quar­ters, a prin­ci­ple that has be­come known as Cha­har Bagh (four gar­dens), wa­ter­works with chan­nels, basins, foun­tains and cas­cades, pavil­ions, promi­nent cen­tral axes with a vista, and a plan­ta­tion with a va­ri­ety of care­fully cho­sen trees, herbs. and flow­ers. The old-Iran­ian word for such gar­dens “pari-daizi’ ex­presses the no­tion of an earthly par­adise that is in­her­ent to them. As such, they are a metaphor for the di­vine order and the uni­fi­ca­tion and pro­tec­tion of the ones who do good. Their coun­ter­parts on earth ful­fill a sim­i­lar func­tion. These prin­ci­ples are brought to per­fec­tion in the gar­dens of the em­peror as the “good gardener”.

Notwith­stand­ing a for­mal stan­dard­iza­tion, the land­scape gar­dens also re­flect di­ver­sity and de­vel­op­ment, bound to func­tion, re­gional and chrono­log­i­cal char­ac­ter­is­tics, as well as tech­no­log­i­cal, know how per­sonal pref­er­ences, am­bi­tions, and de­mands. Per­sian gar­dens are multi-func­tional: they not only serve con­tem­pla­tion and re­lax­ation, but are also a rep­re­sen­ta­tion and man­i­fes­ta­tion of power. De­sign­ing and im­ple­ment­ing a gar­den demon­strates the oc­cu­pa­tion of land, hold­ing au­di­ences and cel­e­brat­ing vic­to­ries or mar­riages in these gar­dens sig­nal su­pe­ri­or­ity, or so­cial and po­lit­i­cal bonds. Start­ing from the 12th to 13th cen­tury, tombs for mem­bers of the royal fam­ily or im­por­tant per­son­al­i­ties were placed into such for­mal gar­dens, pro­vid­ing be­liev­ers a chance to ben­e­fit from the spir­i­tu­al­ity of a ven­er­ated per­son and the par­tic­u­lar aura of the garden.

The in­va­sion of Per­sia by the Mon­gols in the thir­teenth cen­tury led to a new em­pha­sis on highly or­nate struc­ture in the gar­den. Ex­am­ples of this in­clude tree pe­onies and chrysan­the­mums. The Mon­gols then car­ried a Per­sian gar­den tra­di­tion to other parts of their em­pire (no­tably India).

Bagh-e Babur in Kabul, Afghanistan

Mughal gardens at the Taj Mahal

The Mughal em­peror Babur in­tro­duced the Per­sian gar­den to India, at­tempt­ing to repli­cate the cool, re­fresh­ing aura of his home­land in the Fer­ghana Val­ley through the con­struc­tion of Per­sian-style gar­dens, like those at other Timurid cities like Samarkand and Herat. Babur was a zeal­ous gar­dener and per­son­ally de­signed and su­per­vised at least ten gar­dens in his cap­i­tal of Kabul in mod­ern Afghanistan, such as the Bagh-e Babur, where he recorded the al­lure of the pome­gran­ate, cherry and or­ange trees he had planted. Though his em­pire soon ex­panded as far as north-cen­tral India, he ab­horred the stag­nant heat and drab en­vi­ron­ment of the hot, dusty plains of India; he was thus in­terred at Bagh-e Babur in Kabul by his widow in 1544.

The Aram Bagh of Agra was the first of many Per­sian gar­dens he cre­ated in India it­self. Mughal gar­dens have four basic re­quire­ments, sym­bol­iz­ing four al­le­gor­i­cal es­sen­tials for the af­ter­life: shade, fruit, fra­grance and run­ning water, and this pat­tern was used to build many Per­sian gar­dens through­out the In­dian sub­con­ti­nent, such as the Shal­i­mar Gar­dens of La­hore, the Shal­i­mar Bagh and Nishat Bagh of Kash­mir, and the Taj Mahal gar­dens. The Taj Mahal gar­dens em­body the Per­sian con­cept of an ideal par­adise gar­den, and were built with ir­ri­ga­tion chan­nels and canals from the Ya­muna River. These gar­dens have re­cently been re­stored to their for­mer beauty after decades of pol­lu­tion by the In­dian au­thor­i­ties, who cut down the fruit- and shade-bear­ing veg­e­ta­tion of the garden.

The Safavid dy­nasty (sev­en­teenth to eigh­teenth cen­tury) built and de­vel­oped grand and epic lay­outs that went be­yond a sim­ple ex­ten­sion to a palace and be­came an in­te­gral aes­thetic and func­tional part of it. In the fol­low­ing cen­turies, Eu­ro­pean gar­den de­sign began to in­flu­ence Per­sia, par­tic­u­larly the de­signs of France, and sec­on­dar­ily that of Rus­sia and the United King­dom. West­ern in­flu­ences led to changes in the use of water and the species used in bed­ding.

Tra­di­tional forms and style are still ap­plied in mod­ern Iran­ian gar­dens. They also ap­pear in his­toric sites, mu­se­ums and af­fixed to the houses of the rich.

Elements of the Persian garden

Chehel Sotoun pavilion and garden in Isfahan

Sun­light and its ef­fects were an im­por­tant fac­tor of struc­tural de­sign in Per­sian gar­dens. Tex­tures and shapes were specif­i­cally cho­sen by ar­chi­tects to har­ness the light.

Iran‘s dry heat makes shade im­por­tant in gar­dens, which would be nearly un­us­able with­out it. Trees and trel­lises largely fea­ture as bi­otic shade; pavil­ions and walls are also struc­turally promi­nent in block­ing the sun.

The heat also makes water im­por­tant, both in the de­sign and main­te­nance of the gar­den. Ir­ri­ga­tion may be re­quired, and may be pro­vided via a form of tun­nel called a qanat, that trans­ports water from a local aquifer. Well-like struc­tures then con­nect to the qanat, en­abling the draw­ing of water. Al­ter­na­tively, an an­i­mal-dri­ven Per­sian well would draw water to the sur­face. Such wheel sys­tems also moved water around sur­face water sys­tems, such as those in the cha­har bāgh style. Trees were often planted in a ditch called a juy, which pre­vented water evap­o­ra­tion and al­lowed the water quick ac­cess to the tree roots.

The Per­sian style often at­tempts to in­te­grate in­doors with out­doors through the con­nec­tion of a sur­round­ing gar­den with an inner court­yard. De­sign­ers often place ar­chi­tec­tural el­e­ments such as vaulted arches be­tween the outer and in­te­rior areas to open up the di­vide be­tween them.

Descriptions

Shazdeh Garden is one of the largest gardens of Kerman Province.

An early de­scrip­tion (from the first half of the fourth cen­tury BCE) of a Per­sian gar­den is found in Xenophon‘s Oe­co­nom­i­cus in which he has Socrates re­late the story of the Spar­tan gen­eral Lysander‘s visit to the Per­sian prince Cyrus the Younger, who shows the Greek his “par­adise at Sardis”. In this story Lysander is “as­ton­ished at the beauty of the trees within, all planted at equal in­ter­vals, the long straight rows of wav­ing branches, the per­fect reg­u­lar­ity, the rec­tan­gu­lar sym­me­try of the whole, and the many sweet scents which hung about them as they paced the park”

Fin Garden in Kashan

The old­est rep­re­sen­ta­tional de­scrip­tions and il­lus­tra­tions of Per­sian gar­dens come from trav­el­ers who reached Iran from the west. These ac­counts in­clude Ibn Bat­tuta in the four­teenth cen­tury, Ruy González de Clav­ijo in the fif­teenth cen­tury and En­gel­bert Kaempfer in the sev­en­teenth cen­tury. Bat­tuta and Clav­ijo made only pass­ing ref­er­ences to gar­dens and did not de­scribe their de­sign, but Kaempfer made care­ful draw­ings and con­verted them into de­tailed en­grav­ings after his re­turn to Eu­rope. They show charbagh-type gar­dens that fea­tured an en­clos­ing wall, rec­tan­gu­lar pools, an in­ter­nal net­work of canals, gar­den pavil­ions and lush plant­ing. There are sur­viv­ing ex­am­ples of this gar­den type at Yazd (Dowlatabad) and at Kashan (Fin Gar­den). The lo­ca­tion of the gar­dens Kaempfer il­lus­trated in Is­fa­han can be iden­ti­fied.

Styles

The six pri­mary styles of the Per­sian gar­den may be seen in the fol­low­ing table, which puts them in the con­text of their func­tion and style. Gar­dens are not lim­ited to a par­tic­u­lar style, but often in­te­grate dif­fer­ent styles, or have areas with dif­fer­ent func­tions and styles.

	Classical	Formal	Casual
Public	Hayāt	Meidān	Park
Private	Hayāt	Chahār Bāgh	Bāgh

Hayāt

Naghsh-i Jahan square, the charbagh Royal Square (Maidan) in Isfahan, constructed between 1598 and 1629

Sunset at Nishat Bagh Gardens

Laleh Park, Tehran

Pub­licly, it is a clas­si­cal Per­sian lay­out with heavy em­pha­sis on aes­thet­ics over func­tion. Man-made struc­tures in the gar­den are par­tic­u­larly im­por­tant, with arches and pools (which may be used to bathe). The ground is often cov­ered in gravel flagged with stone. Plant­i­ngs are typ­i­cally very sim­ple – such as a line of trees, which also pro­vide shade.

Pri­vately, these gar­dens are often pool-cen­tred and, again, struc­tural. The pool serves as a focus and source of hu­mid­ity for the sur­round­ing at­mos­phere. There are few plants, often due to the lim­ited water avail­able in urban areas.

Meidān

This is a pub­lic, for­mal gar­den that puts more em­pha­sis on the bi­otic el­e­ment than the hayāt and that min­imises struc­ture. Plants range from trees, to shrubs, to bed­ding plants, to grasses. Again, there are el­e­ments such as a pool and gravel path­ways which di­vide the lawn. When struc­tures are used, they are often built, as in the case of pavil­ions, to pro­vide shade.

Chahar Bāgh Main article: Charbagh

These gar­dens are pri­vate and for­mal. The basic struc­ture con­sists of four quad­rants di­vided by wa­ter­ways or path­ways. Tra­di­tion­ally, the rich used such gar­dens in work-re­lated func­tions (such as en­ter­tain­ing am­bas­sadors). These gar­dens bal­ance struc­ture with green­ery, with the plants often around the pe­riph­ery of a pool and path based struc­ture.

Park

Much like many other parks, the Per­sian park serves a ca­sual pub­lic func­tion with em­pha­sis on plant life. They pro­vide path­ways and seat­ing, but are oth­er­wise usu­ally lim­ited in terms of struc­tural el­e­ments. The pur­pose of such places is re­lax­ation and so­cial­i­sa­tion.

Bāgh Main article: Bāgh (garden)

Like the other ca­sual gar­den, the park, bāgh em­pha­sizes the nat­ural and green as­pect of the gar­den. Un­like the park it is a pri­vate area often af­fixed to houses and often con­sist­ing of lawns, trees, and ground plants. The wa­ter­ways and path­ways stand out less than in the more for­mal coun­ter­parts and are largely func­tional. The pri­mary func­tion of such areas is fa­mil­ial re­lax­ation.

World Heritage Sites

UNESCO World Heritage Site
Location	Iran
Includes	Ancient Garden of Pasargadae Bagh-e Eram Bagh-e Chehel Sotun Bagh-e Fin Bagh-e Abas Abad Bagh-e Shahzadeh Bagh-e Dolat Abad Bagh-e Pahlavanpur Bagh-e Akbariyeh
Criteria	Cultural: (i), (ii), (iii), (iv), (vi)
Reference	1372
Inscription	2011 (35th session)
Area	716.35 ha (2.7658 sq mi)
Buffer zone	9,740.02 ha (37.6064 sq mi)

1. Pasargad Garden at Pasargadae, Iran (WHS 1372-001)
2. Eram Garden, Shiraz, Iran (WHS 1372-002)
3. Chehel Sotoun, Isfahan, Iran (WHS 1372-003)
4. Fin Garden, Kashan, Iran (WHS 1372-004)
5. Abbasabad Garden, Abbasabad, Mazandaran, Iran (WHS 1372-005)
6. Shazdeh Garden, Mahan, Kerman Province, Iran (WHS 1372-006)
7. Dolatabad Garden, Yazd, Iran (WHS 1372-007)
8. Pahlevanpour Garden, Iran (WHS 1372-008)
9. Akbarieh Garden, South Khorasan Province, Iran (WHS 1372-009)
10. Taj Mahal, Agra, India (WHS 252)
11. Humayun’s Tomb, New Delhi, India (WHS 232bis)
12. Shalimar Gardens, Lahore, Pakistan (WHS 171-002)
13. Gardens of Babur, Kabul, Afghanistan (WHS —)
14. Generalife, Granada, Spain (WHS 314-001)

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GARDEN

MULTIPLE AUTHORS https://www.iranicaonline.org/articles/garden-index

referring to a garden estate, intended primarily for pleasure, numerous gardens mentioned in historical texts are designated by name, either of the founder, or of the flora or fauna associated with them and Poetical names….

Read More: https://www.iranicaonline.org/articles/garden-index

BĀḠ ii. General

In Iranian agriculture, the word bāḡ, though usually translated as “garden,” means more precisely an enclosed area bearing permanent cultures—i.e., all kinds of cultivated trees and shrubs, as opposed to fields under annual crops (zamīn-e zīr-e kešt or kešt-e sālāna)—in land-use statistics (the Village Gazetteer of 1966) as well as in everyday speech. It includes orchards (bāḡ-e mīva), vineyards (bāḡ-e mow), olive groves (bāḡ-e zeytūn), tea plantations (bāḡ-e čāy), but not vegetable gardens (sabzīkārī or ṣayfīkārī).

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GOL O BOLBOL, rose and nightingale, a popular literary and decorative theme.

 “rose and nightingale,” a popular literary and decorative theme. Together, rose and nightingale are the types of beloved and lover par excellence; the rose is beautiful, proud, and often cruel, while the nightingale sings endlessly of his longing and devotion.

From The Encyclopædia Iranica https://www.iranicaonline.org/articles/gol-o-bolbol

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Paradise Plants Garden Centre, Garden Center, Comox Valley, Courtenay, Comox. Landscaping, Landscape Design, Landscapers install irrigation, sprinklers, ..

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At Paradise Park Resort you can enjoy camping in our tranquil country setting, and be within walking distance of the beautiful 7 miles of golden sandy beaches.

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The Paradise Gardens of Persia

From Iran Review by Hedieh Ghavidel 

For the ancient Persians the symbol of eternal life was a tree with a stream at its roots. The sacred miracle tree contained the seeds of all within itself.

Tree planting was a sacred occupation and this reverence was deeply seated in the souls of the Persians.

Historical accounts tell us about gardens named Paradise filled with all things fair and good that the earth can bring forth.

The Persian Paradise garden gets its name from the old Persian word pairadaeza, meaning an enclosed area. The Achaemenid idea of an earthly paradise eventually infiltrated other cultures and was later translated into Latin as hortus conclusus, the enclosed garden, which came to symbolize the Garden of Eden.

Subsequently the English word paradise has its roots in the old Persian word pairadaeza.

The first writer to make reference to a Persian garden using the word “paradise” was the Greek narrator Xenophon. The word appears in Avestan text only in the form of Pairadaeza.

The Old Testament describes Pleasure gardens as sacred enclosures rising in terraces planted with trees and shrubs, forming an artificial hill such as the Hanging Gardens of Babylon.

Not only were palaces and temples enclosed within gardens, but every city had private and sometimes public gardens which were opened to all during Persian New Year celebrations.

Persian gardens were places where shade and cool water could be privately enjoyed. They were places of spiritual solace, meeting places for friends and formal adjuncts to the houses or palaces they surrounded.

For more than three thousand years, the Persian garden has been the focus of Iranian imagination, influencing the country’s art as well as literature.

Persian garden carpet

The lavish use of flowers in such gardens inspired the weaving of floral designs into what are known as garden-carpets.

Persian gardens influenced garden design around the world and became the foundation of Islamic and later European garden traditions, an example of which can be seen in the Mughal gardens of India namely the Taj Mahal in Agra.

The paved and tiled Andalusian courtyards with arcades, pools and fountains testify to their Persian roots.

It is reputed that the main design for the Versailles Gardens has replicated the outlines of the paradise gardens of Pasargadae and provided inspiration for the gardens of the Louvre.

The remains of a garden pavilion, Pasargadae

According to historical accounts, paradise gardens were primarily hunting-parks with fruit-trees grown for food. The bronze works datable to 1000 BCE unearthed in Luristan province are adorned with trees next to streams.

The first excavations at the ruins of the palaces in Persepolis ignored the question of gardens and neglected Garden Archaeology, the scientific study of the physical evidence of gardens recovered through excavation.

However, palaces scattered according to no rule and raised above three terraces with large open stairways brought to the mind of Garden archaeologists the simplest form of Persian garden; a rectangle of water, with enough of a flow to give it life and movement, and a raised platform to view it from.

An example of a Chahar Bagh water channel, Pasargadae

Further excavation in Pasargadae led to the discovery of the first monumental garden, at least in western Asia, securing a place for Persian gardens in the history of garden design.

Archaeologists discovered that the four-fold garden accords with the traditional Persian garden plan known today as Chahar Bagh.

Considering the fact that the Achaemenid monarch Cyrus was known as the “King of the Four Quarters”, it can be asserted that later-day Persian gardens owed their origins to the novel garden plan of Cyrus.

The Chahar Bagh plan is a quadrangular/rectangular canal pattern in which waterways or pathways are used to quarter the garden, a layout intended to bring to mind the four rivers of the Garden of Eden.

All Persian gardens have vertical lines in their design, a central structure built on the highest point of the garden, a main waterway, a large pool in front of the structure to reflect the building, and a close relationship with nature.

Earth, water, vegetation and atmosphere are the most important elements in paradise gardens. Underground water canals called Qanat irrigated the gardens which were often built on slopes to facilitate the natural flow of water or create artificial waterfalls.

Trees and flowers are planted in gardens based on their usefulness; therefore, a Persian garden has more fruit trees, then shade trees and finally flowers.

Achaemenid inscriptions bear witness to the importance of symmetrical designs in Persian gardens. The Chahar Bagh School stresses the necessity of planting trees and flowers in regular rows.

Fruit trees bring to mind rebirth and spring; strictly aligned sycamore trees, the symbol of eternal life, provide shade while roses, jasmines and other flowers intoxicate with their heavenly scent.

The most basic feature of a Persian garden is the enclosure of the cultivated area, which excludes the wildness of nature, includes the tended greenery of the garden and makes elaborate use of water in canals, ponds, rills and sometimes fountains.

A recurring theme in many paradise gardens is the contrast between the formal garden layout and the informality provided by free-growing plants.

Persians placed great importance on having their tombs surrounded by woodlands and gardens. According to historical accounts, the tomb of Cyrus the Great was enclosed by four gardens and a grove.

This tradition has continued to the present time and can be seen at the graves of prominent Iranian figures such as the poets Hafez and Sa’di in Shiraz.

The resting place of Hafiz, Shiraz, Iran

The resting place of Hafiz, a famous tourism hub, pleases the eyes of visitors with its cypresses, poplars, cedars flowering shrubs and rose bushes.

Persian gardens are pleasances of water, meadow, trees and flowers in which buildings take a subordinate position.

To this day, the size and beauty of these gardens continues to amaze visitors sitting under the shade of cypress trees to enjoy looking at the sky reflected in the central pool while taking in the sweet aroma of beautiful flowers.

Read more: http://www.iranreview.org/content/Documents/The_Paradise_Gardens_of_Persia.htm

Source: http://www.presstv.ir/detail.aspx?id=54141&sectionid=3510304

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https://www.youtube.com/watch?v=I9yQbkBTlps

Paradise garden

Read more: From Wikipedia, the free encyclopedia or https://wiki2.org/en/Paradise_garden

The par­adise garden is a form of gar­den of Old Iran­ian ori­gin, specif­i­cally Achaemenid which is for­mal, sym­met­ri­cal and most often, en­closed. The most tra­di­tional form is a rec­tan­gu­lar gar­den split into four quar­ters with a pond in the cen­ter, a four-fold de­sign called cha­har bagh (“four gardens”). One of the most im­por­tant el­e­ments of par­adise gar­dens is water with ponds, canals, rills, and foun­tains all being com­mon fea­tures. Scent is an es­sen­tial el­e­ment with fruit-bear­ing trees and flow­ers se­lected for their fra­grance.

It is also often re­ferred to as an Is­lamic gar­den. The form of gar­den spread through­out Egypt and the Mediter­ranean dur­ing the Mus­lim Ara­bic con­quests, reach­ing as far as India and Spain.

Etymology

Orig­i­nally de­nom­i­nated by a sin­gle noun de­not­ing “a walled-in com­pound or gar­den“, from “pairi” (“around”) and “daeza” or “diz” (“wall”, “brick”, or “shape”), philoso­pher and his­to­rian Xenophon of Athens trans­lated the Per­sian pairi­daeza into the Greek pa­radeisos.^[2]:8 This term is used for the Gar­den of Eden in Greek trans­la­tions of the Old Tes­ta­ment.^[2]:8

In Per­sian, the word par­dis means both par­adise and garden.^[2]:8

The idea of the en­closed gar­den is often re­ferred to as the par­adise gar­den be­cause of ad­di­tional Indo-Eu­ro­pean con­no­ta­tions of “paradise”.

History

The old­est Per­sian gar­den of which there are records be­longed to Cyrus the Great, in his cap­i­tal at Pasar­gadae in the province of Fars to the north of Shi­raz. It is the old­est in­tact lay­out that sug­gests el­e­ments of the par­adise garden.^[2]:7 Likely planted with cy­press, pome­gran­ate and cherry, the gar­den had a geo­met­ri­cal plan and stone wa­ter­courses. These wa­ter­courses formed the prin­ci­pal axis and sec­ondary axes of the main gar­den at Pasar­gadae, pre­fig­ur­ing the four-fold de­sign of the cha­har bagh.^[2]:8 In the Achaemenid Em­pire, gar­dens con­tained fruit trees and flow­ers, in­clud­ing the lily and rose. In 330 BC Alexan­der the Great saw the tomb of Cyrus the Great and recorded that it stood in an ir­ri­gated grove of trees.^[3]

It is be­lieved that the Achaemenid kings built par­adise gar­dens within en­closed royal hunt­ing parks, a tra­di­tion in­her­ited from the As­syr­i­ans, for whom the rit­ual lion hunt was a rite that au­then­ti­cated kingship. The As­syr­i­ans in turn had in­her­ited their land­scap­ing tech­niques from the Babylons.

The four-fold layout was later reinterpreted in Islamic terms by Muslim Arabs after the 7th-century conquest of Persia, becoming associated with the Abrahamic concept of paradise and the Garden of Eden. Genesis 2:10 reads, “And a river went out of Eden to water the garden; and from thence it was parted, and became into four heads.”^[4] and the Prophet Muhammad spoke of four rivers: of water, milk, wine and honey.^[5]

By the 13th century the gardens had spread with Islam throughout Egypt, Mediterranean north Africa and into Spain. This style of garden came into India during the 16th century in the reign of Prince Babur, the first Emperor of the Mughal Empire.^[2]:9 Most Mughal gardens came to have a tomb or pavilion in the centre, the most famous of which is the Taj Mahal although with the decline of the Mughal Empire and British colonial rule, the original garden has been substantially changed.^[6]

Features

The essential plan of a paradise garden is a four-fold layout (charbagh) with a pond or fountain in the centre. Later designs incorporated a pavilion or mausoleum when they began to develop into elaborate status symbols. The rectangular or rectilinear design is typically quartered by water channels made using the ancient qanat system.

An important and common feature is the elaborate use of water, often in canals, ponds, or rills, sometimes in fountains, and less often in waterfalls. This created the soothing sound of running water and also had the practical purpose of cooling the air.

Aromatic flowers and fruit-bearing trees are quintessential elements. The ground where the flora were planted was sunken or the walkways raised so that passers-by would be able to easily pluck fresh fruit as they walked throughout the garden. Olive, fig, date and pomegranate were ubiquitous and symbolically important. Orange trees arrived from India via the Silk Road by the 11th century and were incorporated for their fragrance and the beauty of their flowers.^[7]

They are typically enclosed by high walls providing shade and protection, especially desirable in the harsh, arid climate where this type of garden flourished.

Interpretation

Much of the use and symbolism of the paradise garden is thought to have derived from the Garden of Eden, despite most elements of the design pre-dating the Abrahamic religions.

The four-fold design appears to echo the Garden of Eden, which in the Book of Genesis is described as having a central spring that feeds four rivers, which each flow out into the world beyond. In the Quran, the Garden is described as being abundant with material delights including delicious foods and constantly flowing water.

Having emerged in the desert, the thirst and gratitude for water are abundant in Islamic traditions. In the Quran, rivers are the primary constituents of the paradise, and references to rain and fountains abound. In the Quran 31:30: “God preferred water over any other created thing and made it the basis of creation, as He said: ‘And We made every living thing of water’.”

Water is associated with the virtues of purity and obedience: “Then the water was told, ‘Be still’. And it was still, awaiting God‘s command. This is implied water, which contains neither impurity nor foam” (Tales of the Prophets, al-Kisa’).

Although the concept of chahar bagh gardens representing ‘paradise on earth’ predates the Islamic adoption of the style, the paradisaical retreats of the Persians became known as “the embodiment of the celestial paradise promised to a practicing Muslim”.^[2]:11 Gardens representing paradise on earth or paradise gardens spread throughout the Muslim-conquered world and developed into different, grander and more elaborate styles.

Influence

The paradise garden is one of the few original and fundamental kinds of garden from which all gardens in history derive, sometimes in combinations. In its simplest form, the paradise garden consists of a formal, rectangular pool, having a flow just sufficient to give it movement, and a dais from which to observe it. However, a pavilion provides more permanent shelter than the original tent. Strictly aligned, formally arranged trees, especially the chenar or Platanus, provide shade.

Many of the Islamic horticultural traditions and later European traditions derive from that of the paradise garden. Examples of the paradise garden and its derivations are present in many of the historic gardens of Islamic and European nations. In the east, by way of the Persian garden it gave rise to the Mughal gardens of India, a late example of which is the garden of the Taj Mahal in Agra. In the farthest west, it informed the paved and tiled courtyards, arcades, and pools and fountains of Moorish Andalusia. The fundamental design of the Gardens of Versailles in France almost replicates the paradise gardens of Pasargad, and the gardens of the Louvre in Paris appear inspired by them. Another example is the Bahá’í Terraces and Mansion of Bahjí on Mount Carmel in Israel, both of which have extensive gardens of intricate design.

Read more: https://wiki2.org/en/Paradise_garden

Charbagh

Read more: From Wikipedia, the free encyclopedia or https://wiki2.org/en/Charbagh

see Chahar Bagh.See also: Persian Gardens, Bagh (garden)

Layout of the Charbagh at the Tomb of Jahangir in Lahore

See also: Persian Gardens, Bagh (garden), and Paradise garden

Layout of the Charbagh at the Tomb of Jahangir in Lahore

Babur celebrates the birth of Humayun in the charbagh of Kabul

Charbagh on an incomplete Persian “garden carpet”, 17th century

Charbagh or Cha­har Bagh (Per­sian: چھار باغ‎ chahār bāgh, Hindi: चा­र­बाग़ chārbāgh, Urdu: چار باغ‎ chār bāgh, mean­ing “four gar­dens”) is a Per­sian and Indo-Per­sian quadri­lat­eral gar­den lay­out based on the four gar­dens of Par­adise men­tioned in the Qur’an. The quadri­lat­eral gar­den is di­vided by walk­ways or flow­ing water into four smaller parts.^[1] They are found in coun­tries through­out West­ern Asia and South Asia, in­clud­ing Iran and India.

Concept

The quadri­lat­eral Charbagh con­cept is in­ter­preted as the four gar­dens of Par­adise men­tioned in Chap­ter (Surah) 55, Ar-Rah­man “The Ben­e­fi­cient”, in the Qur’an:

And for him, who fears to stand be­fore his Lord, are two gar­dens. (Chap­ter 55: Verse 46)
And be­side them are two other gar­dens. (Chap­ter 55: Verse 62)

One of the hall­marks of Charbagh gar­den is the four-part gar­den laid out with axial paths that in­ter­sect at the gar­den’s cen­tre. This highly struc­tured geo­met­ri­cal scheme, called the cha­har bagh, be­came a pow­er­ful method for the or­ga­ni­za­tion and do­mes­ti­ca­tion of the land­scape, it­self a sym­bol of po­lit­i­cal territory.^[3]

Famous Charbagh gardens

Naghsh-i Jahan square, the charbagh Royal Square (Maidan) in Isfahan, constructed between 1598 and 1629

The Chahrbagh-e Ab­basi (or Charbagh Av­enue) in Is­fa­han, Iran, built by Shah Abbas the Great in 1596, and the gar­den of the Taj Mahal in India are the most fa­mous ex­am­ples of this style. In the Charbagh at the Taj Mahal, each of the four parts con­tains six­teen flower beds.

In India, the Char Bagh con­cept in im­pe­r­ial mau­soleums is seen in Hu­mayun’s Tomb in Delhi in a mon­u­men­tal scale. Hu­mayan’s fa­ther was the Cen­tral Asian Con­queror Babur who suc­ceeded in lay­ing the basis for the Mughal dy­nasty in the In­dian Sub­con­ti­nent and be­came the first Mughal em­peror. The tra­di­tion of par­adise gar­den brought to India by the Mughals, orig­i­nally from Cen­tral Asia, which is found at Babur‘s tomb, Bagh-e Babur, in Kabul.^[4]

This tra­di­tion gave birth to the Mughal gar­dens de­sign and dis­played its high form in the Taj Mahal — built by Mughal em­peror Shah Jahan, the great, great, grand­son of the Cen­tral Asian Con­queror Babur, as a tomb for his favourite In­dian wife Mum­taz Mahal, in Agra, India. Un­like most such tombs, the mau­soleum is not in the cen­tre of the gar­den, how­ever ar­chae­o­log­i­cal ex­ca­va­tions have re­vealed an­other gar­den op­po­site in­di­cat­ing that his­tor­i­cally the mau­soleum was cen­tered as in tomb gar­den tradition.^[5] The gar­den fea­tures Ital­ian cy­press trees (Cu­pres­sus sem­per­virens) that sym­bol­ize death. Fruit trees in the gar­den sym­bol­ize life. The gar­den at­tracts many birds, which are con­sid­ered one of the fea­tures of the gar­den.

In Pak­istan, the Mughal Shal­i­mar Gar­dens and the gar­den in the Tomb of Je­hangir in La­hore are based on the Charbagh con­cept.

Contemporary

A charbagh is lo­cated on the roof top of the Is­maili Cen­tre in South Kens­ing­ton, Lon­don.^[6] The Del­e­ga­tion of the Is­maili Ima­mat, lo­cated on Sus­sex Drive in the Cana­dian cap­i­tal Ot­tawa, On­tario con­tains a charbagh in a mod­ern setting. The Is­maili Cen­ter and Aga Khan Mu­seum in Toronto fea­tures a mod­ern in­ter­pre­ta­tion of a charbagh be­tween the buildings.

Read more: https://wiki2.org/en/Charbagh

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Related Links:

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221 Best Persian Paradise Gardens images in 2020 …

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The Persian Garden has its roots in history. The Persian Garden is the simple of heaven and the elements installed there all create a sense of value and beauty to the place. In this video we visit Tehran’s Persian Garden and learn more about this unique place.

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How the World’s Best Rose Water Is Made Great Big Story You’ve probably spritzed rose water on your face, or drank rose water tea. It’s trendy now, though the aromatic liquid has been a staple for centuries in the Middle East. The world’s best rose water is made by experts like Moshen Ghaffari in Iran’s Qamsar District. The soil content, sea level, temperature and gentle winds make the area perfect for growing roses. Moshen’s family uses copper pots to produce “double-fired” rose water. How many freshly-picked flowers does it take to make one liter? The answer might surprise you.

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This is the World’s Most Expensive Spice |National Geographic

https://www.youtube.com/watch?v=qfUrLteNu8E&list=LLufu-9kyxqrmew98dmOZKhw&index=2126

Discover how this region in northern Iran produces the world’s most expensive spice.
Do you know what the world’s most expensive spice is? Known for its distinct flavor and ability to give food a golden yellow color, saffron is a highly-prized spice that is primarily produced in northern Iran. It comes from the stigmas of crocus flowers that thrive under the region’s dry climate. Knowledge of saffron’s intricate cultivation that has been passed in Iran from generation to generation. Besides cooking, saffron is also used in traditional medicine to treat cardiovascular issues and for possible cancer prevention.

About National Geographic: National Geographic is the world’s premium destination for science, exploration, and adventure. Through their world-class scientists, photographers, journalists, and filmmakers, Nat Geo gets you closer to the stories that matter and past the edge of what’s possible.

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Explore the dramatic history of the world’s most expensive spice in Saffron: A Global History. Literally worth their weight in gold, sunset-red saffron threads are prized internationally. Saffron can be found in cave art in Mesopotamia, in the frescoes of ancient Santorini, in the dyed wrappings of Egyptian mummies, in the saffron-hued robes of Buddhist monks, and in unmistakable dishes around the world. It has been the catalyst for trade wars as well as smuggling schemes and used in medicine and cosmetics. Complete with delicious recipes and surprising anecdotes, this book traces the many paths taken by saffron, revealing the allure of a spice sought globally by merchants, chefs, artists, scientists, clerics, traders, warriors, and black-market smugglers.

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The Saffron Tales: Recipes From The Persian Kitchen

by Yasmin Khan  | Sep 27, 2016Hardcover$37.00

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Saffron (Crocus sativus): Production and Processing

by M Kafi, A. Koocheki, et al. | Jan 4, 2006$87.95

Saffron is a precious spice which is mainly grown in Iran, India, Spain, Greece, Italy, Pakistan, Morocco, and central Asian countries. Until recently, saffron was perceived only for its value as a spice. However, with recent research findings pointing to the medicinal properties of saffron such as its antimicrobial, anticarcinogenic and antioxidant effects, interest in this plant has increased. The book presents a comprehensive account of saffron which includes the historical background, acerage underproduction, yield and applications, botanical ecophysiology, production technology, irrigation, pests, diseases and weeds, genetics, sterility, reproduction and production of secondary metabolites by in vitro method, economic aspects, indigenous knowledge in saffron production, processing, chemical composition and quality control, and research strategies.

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Pistachio

From Wikipedia, the free encyclopedia or https://wiki2.org/en/Pistachio

The pistachio a member of the cashew family, is a small tree originating from Central Asia and the Middle East. The tree produces seeds that are widely consumed as food.

As of 2017, Iran accounted for over half the world’s production of pistachios.

Pistacia vera (Kerman cultivar) fruits ripening

Roasted pistachio seed with shell

History

The pis­ta­chio tree is na­tive to re­gions of Cen­tral Asia, in­clud­ing pre­sent-day Iran and Afghanistan.^[4][5][6] Ar­chae­ol­ogy shows that pis­ta­chio seeds were a com­mon food as early as 6750 BCE.^[7] The mod­ern pis­ta­chio P. vera was first cul­ti­vated in Bronze Age Cen­tral Asia, where the ear­li­est ex­am­ple is from Djarku­tan, mod­ern Uzbek­istan.

Pistachio nuts from Persia

Pistachio production, 2018
Country	(tonnes)
Iran	551,307
United States	447,700
Turkey	240,000
China	74,828
Syria	43,299
World	1,390,269
Source: FAOSTAT of the United Nations

Consumption

Pistachio Turkish delight

The ker­nels are often eaten whole, ei­ther fresh or roasted and salted, and are also used in pis­ta­chio ice cream, kulfi, spumoni, pis­ta­chio butter,^[27][28] pis­ta­chio paste^[29] and con­fec­tions such as baklava, pis­ta­chio chocolate,^[30] pis­ta­chio halva,^[31] pis­ta­chio lokum or bis­cotti and cold cuts such as mor­tadella. Amer­i­cans make pis­ta­chio salad, which in­cludes fresh pis­ta­chios or pis­ta­chio pud­ding, whipped cream, and canned fruit.

Nutrition

Nutritional value per 100 g (3.5 oz)
Energy	2,351 kJ (562 kcal)
Carbohydrates	27.51 g
Sugars	7.66 g
Dietary fiber	10.3 g
Fat	45.39 g
Saturated	5.556 g
Monounsaturated	23.820 g
Polyunsaturated	13.744 g
Protein	20.27 g
Vitamins	Quantity%DV†
Vitamin A equiv.lutein zeaxanthin	1205 μg
Thiamine (B1)	76%0.87 mg
Riboflavin (B2)	13%0.160 mg
Niacin (B3)	9%1.300 mg
Pantothenic acid (B5)	10%0.52 mg
Vitamin B6	131%1.700 mg
Folate (B9)	13%51 μg
Vitamin C	7%5.6 mg
Vitamin D	0%0 μg
Vitamin E	15%2.3 mg
Vitamin K	13%13.2 μg
Minerals	Quantity%DV†
Calcium	11%105 mg
Iron	30%3.92 mg
Magnesium	34%121 mg
Manganese	57%1.2 mg
Phosphorus	70%490 mg
Potassium	22%1025 mg
Zinc	23%2.2 mg
Other constituents	Quantity
Water	4 g
Link to USDA database entry
Unitsμg = micrograms • mg = milligramsIU = International units
†Percentages are roughly approximated using US recommendations for adults. Source: USDA Nutrient Database

Raw pis­ta­chios are 4% water, 45% fat, 28% car­bo­hy­drates, and 20% pro­tein (table). In a 100 gram ref­er­ence amount, pis­ta­chios pro­vide 562 calo­ries and are a rich source (20% or more of the Daily Value or DV) of pro­tein, di­etary fiber, sev­eral di­etary min­er­als, and the B vi­t­a­mins, thi­amin (76% DV) and vi­t­a­min B₆ (131% DV) (table). Pis­ta­chios are a mod­er­ate source (10–19% DV) of cal­cium, ri­boflavin, vi­t­a­min B₅, fo­late, vi­t­a­min E, and vi­t­a­min K (table).

The fat pro­file of raw pis­ta­chios con­sists of sat­u­rated fats, mo­noun­sat­u­rated fats and polyun­sat­u­rated fats. Sat­u­rated fatty acids in­clude palmitic acid (10% of total) and stearic acid (2%). Oleic acid is the most com­mon mo­noun­sat­u­rated fatty acid (51% of total fat) and linoleic acid, a polyun­sat­u­rated fatty acid, is 31% of total fat. Rel­a­tive to other tree nuts, pis­ta­chios have a lower amount of fat and calo­ries but higher amounts of potas­sium, vi­t­a­min K, γ-to­co­pherol, and cer­tain phy­to­chem­i­cals such as carotenoids, and phy­tos­terols.

Research and health effects

In July 2003, the United States Food and Drug Ad­min­is­tra­tion ap­proved the first qual­i­fied health claim spe­cific to con­sump­tion of seeds (in­clud­ing pis­ta­chios) to lower the risk of heart dis­ease: “Sci­en­tific ev­i­dence sug­gests but does not prove that eat­ing 1.5 ounces (42.5 g) per day of most nuts, such as pis­ta­chios, as part of a diet low in sat­u­rated fat and cho­les­terol may re­duce the risk of heart disease”. Al­though a typ­i­cal serv­ing of pis­ta­chios sup­plies sub­stan­tial calo­ries (nu­tri­tion table), their con­sump­tion in nor­mal amounts is not as­so­ci­ated with weight gain or obe­sity.

Pis­ta­chio con­sump­tion ap­pears to mod­estly lower sys­tolic and di­as­tolic blood pres­sure in per­sons with­out di­a­betes mel­li­tus.

Read more: From Wikipedia, the free encyclopedia

https://www.youtube.com/watch?v=iPMfKwOc_2w

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Category:Iranian inventions –

Wikipediaen.wikipedia.org › wiki › Category:Iranian_inventions

100’s of “Iranian inventions“. The following 116 pages are in this category

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Polo From Wikipedia Read more: https://wiki2.org/en/Polo

Polo (Persian: چوگان‎, chowgān) is an Iranian horseback mounted team sport. It is one of the world’s oldest known team sports.

The concept of the game and its variants date back from the 6th century BC to the 1st century AD. The sport originated from equestrian games played by nomadic Iranian peoples . Polo was at first a training game for cavalry units, usually the Persian king’s guard or other elite troops. It is now popular around the world, with well over 100 member countries in the Federation of International Polo. It is played professionally in 16 countries. It was an Olympic sport from 1900 to 1936.

Players playing polo

Polo match between the United Kingdom and Spain at Club Puerta de Hierro, 1922.

Polo has been called “the sport of kings”. It has become a spectator sport for equestrians and society, often supported by sponsorship. Read more: https://wiki2.org/en/Polo

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Queen Elizabeth visited homeland

In 1961, England’s Queen Elizabeth II paid a state visit to homeland where she and Prince Philip were hosted by Shah Mohammad Reza Pahlavi at Isfahan, capital and Persepolis. Elizabeth returned for another visit in 1975. He was the second and last monarch of the House of Pahlavi of the persian monarchy.

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Caviar From Wikipedia https://wiki2.org/en/Caviar

Caviar (also known as caviare; from Persian: خاویار‎,  is a food consisting of salt-cured roe of the family Acipenseridae. Caviar is considered a delicacy and is eaten as a garnish or a spread. Iran is a sub­stan­tial pro­ducer of caviar. Iran­ian caviar is col­lected from stur­geons near Ban­dar Torka­man.

Russian and Iranian caviar tins: Beluga to the left, Ossetra in middle, Sevruga to the right

Caviar substitutes

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Cucumber From Wikipedia https://wiki2.org/en/Cucumber

Persian cucumbers, which are mini, seedless, and slightly sweet, are available from Canada during the summer, and all year-round in the US. Easy to cut and peel, they are 10–18 cm (4–7 in) long, on average. They are commonly eaten chopped up in plain yogurt with mint, or sliced thin and long with salt and lemon juice.

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1. Paradise Gardens

In this series, Monty travels across the Islamic world and beyond in search of paradise gardens.

Monty Don begins his exploration in Spain, where he discovers the basic building blocks of paradise gardens at the Alhambra. In Morocco, he learns about the wide variety of these gardens, and in Iran he sees the influence of the gardens of old Persia, and visits some of the most.

Monty Don’s Paradise Gardens ep.1

Monty Don’s Paradise Gardens ep.2

Monty Don’s Paradise Gardens ep.2 continues his quest to uncover the secrets of paradise gardens. Having mastered their basic building blocks in Spain, Morocco and Iran, Monty sets out to explore the wide variety of gardens offering a slightly different vision of Paradise. In Turkey Monty is dazzled by an extraordinary display of the Ottoman Empire’s favourite flower – the tulip – and learns of its sacred significance. At Topkapi palace, the heart of this vast Eastern empire he learns how this sacred value was extended to all plants, landscapes and even panoramic views in a way that created gardens that rejoiced in nature.

Monty Don’s Paradise Gardens ep.2

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https://www.youtube.com/watch?v=cMcb8gXC8Cs

Around the World in 80 Gardens is a television series of 10 programmes in which British gardener and broadcaster Monty Don visits 80 of the world’s most celebrated gardens. The series was filmed over a period of 18 months and was first broadcast on BBC Two at 9.00pm on successive Sundays from 27 January to 30 March 2008. A book based on the series was also published.

https://www.youtube.com/watch?v=qT-8I8XeE6U

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Shiraz

Read more From Wikipedia, the free encyclopedia https://wiki2.org/en/Shiraz

Shiraz  Persian: شیراز‎, is the fifth-most-populous city of Iran and the capital of Fars Province also known as Pars (پارس, Pārs) and Persis (Persia). At the 2016 census, the population of the city was 1,869,001 and its built-up area with “Shahr-e Jadid-e Sadra” (Sadra New Town) was home to 1,565,572 inhabitants. Shiraz is located in the southwest of Iran on the “Rudkhaneye Khoshk” (The Dry River) 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 Persia.

The earliest reference to the city, as Tiraziš, is on Elamite clay tablets dated to 2000 BC. The modern city was founded or restored by the Umayyads in 693 and grew prominent under the successive Iranian Saffarid and Buyid dynasties in the 9th and 10th–11th centuries, respectively. In the 13th century, Shiraz became a leading center of the arts and letters, due to the encouragement of its ruler and the presence of many Persian scholars and artists. It was the capital of Persia during the Zand dynasty from 1750 until 1800. Two famous poets of Iran, Hafez, and Saadi are from Shiraz, whose tombs are on the north side of the current city boundaries.

Shiraz is known as the city of poets, literature, wine (despite Iran being an Islamic republic since 1979), and flowers. It is also considered by many Iranians to be the city of gardens, due to the many gardens and fruit trees that can be seen in the city, for example, Eram Garden. Shiraz has had major Jewish and Christian communities. The crafts of Shiraz consist of inlaid mosaic work of triangular design; silver-ware; pile carpet-weaving and weaving of kilim, called gilim and jajim in the villages and among the tribes

Clockwise from top: Skyline of Shiraz, Tomb of Saadi, Shah Cheragh shrine, Nasir ol Molk Mosque, Eram Garden, Karim Khan Citadel and Tomb of Hafez.

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World language From Wikipedia https://wiki2.org/en/World_language

A world language is one that is spoken internationally and learned and spoken by numerous people as a second language.

Historically, Aramaic, Ancient Greek, Latin, Classical Chinese, Persian, Sanskrit, and Classical Arabic have also functioned as world languages due to their previous standings as lingua francas over large parts of the world.

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English Language, From Wikipedia

English is a West Germanic language that was first spoken in early medieval England and eventually became a global lingua franca. It is named after the Angles, one of the ancient Germanic peoples that migrated to the area of Great Britain that later took their name, England. Both names derive from Anglia, a peninsula on the Baltic Sea. English is most closely related to Frisian and Low Saxon, while its vocabulary has been significantly influenced by other Germanic languages, particularly Old Norse (a North Germanic language), as well as Latin and French. Read all: English Language, From Wikipedia

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About 80 percent of the entries in any English dictionary are borrowed.

According to one study, the percentage of modern English words derived from each language group are as follows:
Latin (including words used only in scientific / medical / legal contexts): ~29%
French (Latin): ~29%
Germanic: ~26%
Others: ~16%

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List of English words of Persian origin From Wikipedia https://wiki2.org/en/List_of_English_words_of_Persian_origin

As Indo-European languages, English and Persian are daughter languages of their common ancestral Proto-Indo-European, and still share many cognate words of similar forms. Examples of these include: English (mother) and Persian (mādar), English (father) and Persian (pedar), English (daughter) and Persian (dokhtar), English (brother) and Persian (barādar) and English (name) and Persian (nām).

Many words of Persian origin have made their way into the English language through different, often circuitous, routes. Some of them, such as “paradise“, date to cultural contacts between the Persian people and the ancient Greeks or Romans and through Greek and Latin found their way to English. Persian as the second important language of Islam has influenced many languages in the Muslim world such as Arabic and Turkish, and its words have found their way beyond that region.

In contrast, intrepid English traders operated in Mediterranean seaports of the Levant from the 1570s, and some vocabulary describing features of Ottoman culture found their way into the English language. Thus many words in the list below, though originally from Persian, arrived in English through the intermediary of Ottoman Turkish language.

Many Persian words also came into English through Urdu during British colonialism. Persian was the language of the Mughal court before British rule in India even though locals in North India spoke Hindusthani.

Other words of Persian origin found their way into European languages—and eventually reached English at second-hand—through the Moorish-Christian cultural interface in the Iberian peninsula during the Middle Ages thus being transmitted through Arabic. List of 100s Persian words from 1000s words in the English language. Read all of them : https://wiki2.org/en/List_of_English_words_of_Persian_origin

https://www.youtube.com/watch?v=a9ZdC6wZnks

A lingua franca  also known as a bridge language, common language, trade language, auxiliary language, vehicular language, or link language, is a language or dialect systematically used to make communication possible between groups of people who do not share a native language or dialect, particularly when not one of the speakers’ native languages. Lingua francas have developed around the world throughout human history, sometimes for commercial reasons (so-called “trade languages” facilitated trade), but also for cultural, religious, diplomatic and administrative convenience, and as a means of exchanging information between scientists and other scholars of different nationalities.

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Fara Zaban بیان تقویم میلادی و نحوه بیان تاریخ به انگلیسی – فصل های سال به انگلیسی – ماه ها به انگلیسی در این درس آموزش زبان انگلیسی در گروه فرا زبان با موضوع طریقه نوشتن تاریخ میلادی به عدد و تاریخ به انگلیسی و همچنین اسامی ماه های سال و فصل ها به انگلیسی همراه شما زبان آموزان گرامی هستیم. معمولا سوال در مورد تاریخ تولد به انگلیسی و یا بیان تقویم میلادی به انگلیسی و همچنین ماه تولد به انگلیسی جزء موارد پرکاربرد در مکالمات روزمره انگلیسی می باشد. اینکه بدانید نحوه بیان تاریخ به انگلیسی چگونه است و ماه های سال به انگلیسی با تلفظ صحیحشان چگونه هستند تاثییر زیادی بر محارت های گفتاری شما می گذارند. در این درس ما کوشیده ایم به این موارد به طور کامل پاسخ بدهیم.

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Persian language From Wikipedia https://wiki2.org/en/Persian_language

Persian, also known by its Farsi (فارسی, Fārsī, [fɒːɾˈsiː], is a Western Iranian language belonging to the Iranian branch of the Indo-Iranian subdivision of the Indo-European languages.

It is a pluricentric language predominantly spoken and used officially within Iran, Afghanistan and Tajikistan in three mutually intelligible standard varieties, namely Iranian Persian, Dari Persian (officially named Dari since 1958) and Tajiki Persian. It is also spoken natively in the Tajik variety by a significant population within Uzbekistan, as well as within other regions with a Persianate history in the cultural sphere of Greater Iran. It is written officially within Iran and Afghanistan in the Persian alphabet, a derivation of the Arabic script, and within Tajikistan in the Tajik alphabet, a derivation of Cyrillic.

The Persian language is a continuation of Middle Persian, the official religious and literary language of the Sasanian Empire (224–651 CE), itself a continuation of Old Persian, which was used in the Achaemenid Empire (550–330 BC). It originated in the region of Fars (Persia) in southwestern Iran. Its grammar is similar to that of many European languages

Persian has left a considerable influence on its neighboring languages, including other Iranian languages, the Turkic languages, Armenian, Georgian and the Indo-Aryan languages (especially Urdu). It also exerted some influence on Arabic,^[21] while borrowing vocabulary from it under medieval Arab rule. The Persian language was the chosen official language for bureaucracy even among those who were not native speakers, for example the Turks in the Ottoman Empire, or the Pashtuns in Afghanistan who preferred it over their native tongue Pashto before the 20th century.

There are approximately 110 million Persian speakers worldwide, including Persians, Tajiks, Hazaras, Caucasian Tats and Aimaqs. Read more: https://wiki2.org/en/Persian_language

Persian literature (Persian: ادبیات فارسی‎, Adabiyâte fârsi, pronounced [ʔædæbiːˌjɒːte fɒːɾˈsiː]) comprises oral compositions and written texts in the Persian language and is one of the world’s oldest literatures. It spans over two-and-a-half millennia. Its sources have been within Greater Iran including present-day Iran, Iraq, Afghanistan, the Caucasus, and Turkey, regions of Central Asia (such as Tajikistan) and South Asia where the Persian language has historically been either the native or official language. For example, Rumi, one of the best-loved Persian poets, born in Balkh (in modern-day Afghanistan) or Wakhsh (in modern-day Tajikistan), wrote in Persian and lived in Konya (in modern-day Turkey), at that time the capital of the Seljuks in Anatolia. The Ghaznavids conquered large territories in Central and South Asia and adopted Persian as their court language. There is thus Persian literature from Iran, Mesopotamia, Azerbaijan, the wider Caucasus, Turkey, Pakistan, Bangladesh, India, Tajikistan and other parts of Central Asia. Not all Persian literature is written in Persian, as some consider works written by ethnic Persians or Iranians in other languages, such as Greek and Arabic, to be included. At the same time, not all literature written in Persian is written by ethnic Persians or Iranians, as Turkic, Caucasian, and Indic poets and writers have also used the Persian language in the environment of Persianate cultures.

A scene from the Shahnameh describing the valour of Rustam

William Shake­speare re­ferred to Iran as the “land of the Sophy”. Some of Per­sia’s best-beloved me­dieval poets were Sufis, and their po­etry was, and is, widely read by Sufis from Mo­rocco to In­done­sia.

The influence of Persian literature on world literature notable , and also, described as one of the great literatures of humanity.

Read more: https://wiki2.org/en/Persian_literature

List of Persian poets and authors Read all: From Wikipedia https://wiki2.org/en/List_of_Persian_poets_and_authors

The list is not comprehensive, but is continuously being expanded and includes Persian writers and poets from Iran, Afghanistan,Tajikistan, Uzbekistan, and Turkmenistan. This list is alphabetized by chronological order.

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Gardens of Persia by Penelope Hobhouse , Erica Hunningher Paperback$140.00

A distinguished chronicle of the Persian garden that explores its profound spiritual, historical, and virtually unacknowledged influence on the development of Western garden design in the 21st century.Gardens of Persia demonstrates world-renowned author Penelope Hobhouse’s rare ability to combine meticulous research and a practical knowledge of gardens and plants with a love of garden history and travel. By telling the story of the development of gardens throughout the Persian culture’s 5,000-year-old history, she imparts a passionate view of the Persian paradise garden as a model for today’s gardeners.

Buildings, water, and plants combine to give the gardens of Persia a beautiful spiritual quality that has served to inspire garden design across time and diverse cultures. Indeed, Ms. Hobhouse begins with the oldest living garden, Pasargadae, created by Cyrus the Great in 550 BC. It represented paradise on earth and spawned other gardens to be seen as settings for sacred contemplation and spiritual nourishment. In later centuries, these gardens evolved further around the world as representations for romance, power, prestige, and symbols of the afterlife.

Gardens of Persia is beautifully illustrated with Jerry Harpur’s specially commissioned photographs of Persian gardens as well as with similarly inspired ones from around the world, and with lovely images of sumptuous carpets and Persian miniatures. Full-color photographs throughout

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Flowers from a Persian Garden and Other Papers W. A. Clouston Paperback$16.95

The smiling Garden of Persian Literature”: a Garden which I would describe, in the Eastern style, as a happy spot, where lavish Nature with profusion strews the most fragrant and blooming flowers, where the most delicious fruits abound, which is ever vocal with the plaintive melancholy of the nightingale, who, during day and night, “tunes her love-laboured song”: … where the voice of Wisdom is often heard uttering her moral sentence, or delivering the dictates of experience.—Sir W. Ouseley.

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Iran has opened possibly the world’s biggest bookstore

21 Jul 2017

1. John McKennaSenior Writer, Formative Content

In a country where literary censorship is official government policy, the fact that Iran has opened what could be the world’s biggest bookstore is all the more astonishing.

Located in the Abbasabad Hills in the north-east of the Iranian capital, the Tehran Book Garden was officially opened in July.

Its opening was described by Tehran mayor Mohammad Baqer Qalibaf as “a big cultural event in the country so that our children can make better use of this cultural and academic opportunity”.

The Book Garden hosts bookshops, an art gallery and 10 theatres and amphitheatres.

It also has a dedicated section for children and young adults that houses age-appropriate literature and offers a variety of activities aimed at encouraging reading.

According to Newsweek, more than 400,000 titles are available for children.

World beater?

Construction of the Tehran Book Garden was completed in 2016. It occupies a 110,000 square-metre site within the Abbasabad Complex, which also includes the Sacred Defence Garden Museum and the National Library and Archives of Iran.

The internal space hosting its bookstores, galleries and theatres measures 65,000 square metres.

If all of this indoor space is counted, then the book garden easily wins the title of the world’s largest bookstore.

The current Guinness world record holder is the Barnes & Noble Bookstore on Fifth Avenue, New York City. However, this US store, less than a quarter of the size of the Tehran Book Garden, closed its doors to customers in 2014.

Easing censorship

The Book Garden was first proposed back in 2004, due to the popularity of the Tehran International Book Fair showing a clear appetite among Iranians to both read and discuss books.

Following decades of literary censorship, Iran today is a country of 78 million people with just 1500 book shops.

In previous years publishers have been known to be banned and books confiscated at the book fair.

However, when Iran’s supreme leader Ayatollah Ali Khamenei spent time speaking with avant-garde publishers at the book fair in 2015, some believed it was a sign that restrictions on what could and could not be published within the Islamic Republic were being loosened.

The Financial Times credits the centrist government of president Hassan Rouhani with allowing Iran to be more culturally open.

Previously banned novels such as Tracy Chevalier’s Girl With a Pearl Earring, To Have and Have Not by Ernest Hemingway, and Dostoevsky’s The Gambler have all in recent years been published in Farsi.

Equally, the length of time it takes to vet books has shortened from several years to a few months.

However, censorship remains in place.

Despite the Islamic Republic’s Ministry of Culture and Islamic Guidance claiming that 8,000 books had been published in 2016, it last year introduced a new series of bans to counter a “Western cultural onslaught”.

Mohammad Selgi, head of book publishing at the ministry, said words such as wine, the names of foreign animals and pets, and names of certain foreign presidents were banned from publication.

These latest censures come in addition to a series of bans on Iranian authors introduced by the government of previous president Mahmoud Ahmadinejad. Books banned include Mahmoud Dowlatabadi’s prize-winning novel The Colonel, which takes a critical look at the fallout from the Islamic Revolution of 1979.ShareLicense and Republishing

World Economic Forum articles may be republished in accordance with the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License, and in accordance with our Terms of Use.Written by

John McKenna, Senior Writer, Formative Content

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See more : Iran Mall Public Library

(کتابخانه ایران‌ مال)

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Iran Mall #1 Biggest mall in the world, Like Iranian Bazaars, biggest and oldest market, business and shopping center in the world.

https://www.youtube.com/watch?v=XMQvVhRrEfY

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Persian Gardens & Garden Pavilions by Donald N. Wilber

Hardcover from $69.99 Kindle$9.99

This Persian gardening book showcases classic gardens and pavilions and presents gardening advice for the aspiring amateur landscaper looking to add an Eastern flair to his or her yard.

The garden has always had a special meaning for Persian (Iran). The Persian garden, with its flowing pools, fountains, waterways, rows of tall trees, rich arrays of fruit trees and flowers, and cool pavilions, has represented an image of paradise.

Persian Gardens & Garden Pavilions is both a comprehensive survey and an appreciation of this Persian tradition of gardens and garden pavilions. The text traces the historical development of Persian gardens, describes their basic features, presents existing examples, and discusses the literature and tradition behind them. 

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Hardcover $118.98

For more than three thousand years, the Persian garden has been a focus of Iran’s national imagination, influencing its art, literature, and even religion. The Persian garden’s inspirational role has, however, extended far beyond the land of its origin; its precepts have exerted a profound influence on garden design around the world. The Persian Garden: Echoes of Paradise chronicles the history of the Persian garden, from the magnificent sanctuaries and hunting parks of fifth-century b.c. Persepolis to the magical nightingale gardens of nineteenth-century Tehran. All were seen as a kind of earthly paradise (the English word paradise has its roots in the old Persian word pairi-daeza meaning a walled space). To an astonishing extent, that vision seems justified.

This book was meticulously researched and created over a period of six years in, Paris, Tehran and Washington by photographer, Mehdi Khansari and architect Minouch Yavari, together with the renowned Persian architect and architectural historian Reza Moghtader. It explains the philosophy behind Persian garden design and offers an authoritative account of its developmentintroducing new historical material in the process. This extraordinary story is enhanced by vivid descriptions of Persian gardens as seen through the eyes of travelers to Iran during the past five hundred years. Over 240 illustrations in full color, complement the text. They include magnificent color photographs, old plates and engravings, as well as exquisite architectural renderings and plans of the sites and the gardens. A selection of the finest Persian garden-carpets, textiles, miniature paintings, stone reliefs, painted tiles, pottery, and poetry, augment the reader’s experience of an ancient art form that for centuries has sought to meld the physical and the spiritual.

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Paradise As a Garden: In Persia and Mughal India (World Landscape Art and Architecture Series)

by Elizabeth B. Moynihan  Hardcover $33.86

A study of the Paradise Garden in Persia from the sixth through the seventeenth century explores its design, architectural development, and relation to the Paradise myth and ancient nature worship

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Gulistan Saadi (The Rose Garden Saadi)

by Sheikh Muslih-uddin Sa’di Shirazi, Lt Col (R) Muhammad Ashraf Javed, et al.  Kindle $2.99

Gulistan Saadi (گلستان سعدی) (The Rose Garden Saadi) written by Sheikh Muslih-uddin Sa’di Shirazi (1258) in Persian. Translated in English by Sir Edwin Arnold, Edited & Formatted by Lt Col (R) Muhammad Ashraf Javed.

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The Gulistan of Saadi in English Language: SHEIKH SAADI (GOLESTAN SAADI Book 13)RICHARD AUTHOR…Kindle Edition$9.00

Laudation to the God of majesty and glory! Obedience to him is a cause of approach and gratitude in increase of benefits. Every inhalation of the breath prolongs life and every expiration of it gladdens our nature; wherefore every breath confers two benefits and for every benefit gratitude is due. Whose hand and tongue is capable To fulfil the obligations of thanks to him? Words of the most high: Be thankful, O family of David, and but few of my servants are thankful. It is best to a worshipper for his transgressions To offer apologies at the throne of God, Although what is worthy of his dignity No one is able to accomplish. The showers of his boundless mercy have penetrated to every spot, and the banquet of his unstinted liberality is spread out everywhere. He tears not the veil of reputation of his worshippers even for grievous sins, and does not withhold their daily allowance of bread for great crimes. O bountiful One, who from thy invisible treasury Suppliest the Guebre and the Christian with food, How could’st thou disappoint thy friends, Whilst having regard for thy enemies? He told the chamberlain of the morning breeze to spread out the emerald carpet and, having commanded the nurse of vernal clouds to cherish the daughters of plants in the cradle of the earth, the trees donned the new year’s robe and clothed their breast with the garment of green foliage, whilst their offspring, the branches, adorned their heads with blossoms at the approach of the season of the roses. Also the juice of the cane became delicious honey by his power, and the date a lofty tree by his care. Cloud and wind, moon and sun move in the sky That thou mayest gain bread, and not eat it unconcerned. For thee all are revolving and obedient.

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The Gulistan (Persian: گلستان‎ Golestȃn “The Rose Garden”) is a landmark of Persian and Shia Islamic Irfan/Sufi literature, perhaps its single most influential work of prose. Written in 1259 CE, it is one of two major works of the Persian poet Sa’di, considered one of the greatest medieval Persian poets. It is also one of his most popular books, and has proved deeply influential in the West as well as the East. The Gulistan is a collection of poems and stories, just as a rose-garden is a collection of roses. It is widely quoted as a source of wisdom and esoterics. The well-known aphorism still frequently repeated in the western world, about being sad because one has no shoes until one meets the man who has no feet “whereupon I thanked Providence for its bounty to myself” is from the Gulistan.

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The Gulistan (Rose Garden) of Sa’di: Bilingual English and Persian Edition with Vocabulary Paperback – August 1, 2017

by Sa’di Shirazi (Author), Thackston M. Wheeler (Author) Hardcover $64.95

Review

Is the Gulistan the most influential book in the Iranian world? In terms of prose, it is the model, which all writers of Persian seek to emulate. In terms of moral, philosophical or practical wisdom, it is endlessly quoted to either illustrate or prove a point. Sir John Malcolm even relates being told that it is the basis of the law of the Persians. It also traveled abroad. Voltaire, Goethe, Arnold, Longfellow, Emerson, Thoreau, Melville, and Franklin discovered, read, and took inspiration from the work. Moreover, travelers to Iran have often point out that to understand the mind of the inhabitants, one should read the Gulistan.
Written some seven and a half centuries ago by Sa di of Shiraz the Gulistan or Rose Garden is a collection of moral stories divided into eight themes: The Conduct of Kings, The Character of Dervishes, The Superiority of Contentment, The Benefits of Silence, Love and Youth, Feebleness and Old Age, The Effects of Education, and The Art of Conversation. In each section stories are told from which the reader learns how to behave in a given situation. Sa di can be moral. Honesty gives God pleasure. I haven t seen anyone get lost on the right road. He may be practical. If you can t stand the sting, don t put your finger into a scorpion s hole. He is philosophical in these lines which are engraved at the entrance of the United Nations: The members of the human race are limbs one to another, for at creation they were of one essence. When one limb is pained by fate, the others cannot rest. 
The Gulistan is considered the essence of elegant but simple Persian prose. For 600 years, it was the first book placed in the learner s hand. In Persian-speaking countries today, quotations from the Gulistan appear in every conceivable type of literature and is the source of numerous everyday proverbial statements, much as Shakespeare is in English.
This is the first complete English translation of the Gulistan in more than a century. Wheeler M. Thackston, Professor of Persian at Harvard University, has faithfully translated Sa di into clear contemporary English. To help the student, the original Persian is presented facing the English translation. A 3,600 word Persian-English and Arabic-English glossary is included to aide with the more difficult meanings.
The Gulistan is imbued with a practical wisdom of life. Sa di recognizes people for what they are. Every personality type that exists is found in the Rose Garden, the good, the bad, the weak, the strong, the pious, the impious, honest folk, and the most conniving of cheats. Hypocrites abound, foolish kings appear with their wily ministers, wise rulers vie with their malevolent courtiers, boastful young warriors turn tail and run. The beauty of Sa di s wisdom is that it is timeless. What is expressed is in a setting so close and familiar to the modern experience that it is as relevant today as it was six hundred years ago.

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The Gulistan of Saadi: In Persian with English Translation (Persian Edition)

by Saadi Shirazi | Jul 28, 2016 Paperback$24.99 $9.99

One of the Greatest Persian Books of All Time!

Born in Shiraz, Iran, in 1184, Saadi is considered one of the greatest Persian poets of all time. Saadi’s two books, the poetic Bostan, or Orchard (in 1257), and the prose Gulistan, the Rose Garden (in 1258), are regarded as supreme accomplishments of Persian literature. The Persian literature and culture are deeply indebted to Saadi’s publications.  

The Gulistan (The Rose Garden) is a landmark of Persian literature, and one of the most influential works of prose in Persian. Written in 1258 CE, it is considered as one of the greatest medieval Persian poets. The Gulistan is a collection of stories and poems, just as a rose-garden is a collection of roses.  
The translation appearing in this book is provided by Edward Rehatsek in 1888. This bilingual book can be useful for students and enjoyable for poetry lovers of any age. Not only will poems and stories improve your Persian language, but they’ll help your understanding of Persian culture. Students will have ample opportunities to enrich their Persian learning experience and extend a range of language abilities through exploring these poems.  

The English – Persian Glossary at the end of the book can help Persian students better understand keywords in the poems. 

Enjoy reading one of the best Perisan books in history!

Ideal for self-study as well as for classroom usage.  For Advanced Persian Learners.

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The Gulistan Or Rose Garden Of Sa’di Paperback – November 28, 2009

by Muslih-Uddin Sa’di (Author) Hardcover $25.00

The Gulistan is among the most famous works of Persian literature by one of Persia’s greatest poets, Muslih-uddin Sa’di Shirazi. Born in Shiraz sometime between 1184 and 1210 CE, Sa’di received his education in Baghdad and spent several decades in travel and pilgrimage. In 1256, Sa’di returned to Shiraz. He wrote the Gulistan in 1258, the same year that the Mongols sacked Baghdad. The Gulistan or Rose Garden of Sa’di, intended as a “mirror for princes,” includes prose didactic tales interspersed with short verses. The book is divided into eight parts: The Manners of Kings, The Morals of Dervishes, The Excellence of Contentment, The Advantages of Silence, Love and Youth, Weakness and Old Age, The Effects of Education, and Rules for Conduct in Life. This classic translation by Edward Rehatsek has been edited and updated with a new introduction by David Rosenbaum.

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Saadi Shirazi

From Wikipedia, the free encyclopedia https://wiki2.org/en/Saadi_(poet)

also known as Saadi of Shiraz (سعدی شیرازی, Saʿdī Shīrāzī; born 1210; died 1291 or 1292), was a major Persian poet and prose writer of the medieval period. 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 poets of the classical literary tradition, earning him the nickname “Master of Speech” (استاد سخن ostâd-e soxan) or simply “Master” (استاد ostâd) among Persian scholars. He has been quoted in the Western traditions as well.^[1]Bustan is considered one of the 100 greatest books of all time according to The Guardian.

Biography

Saadi was born in Shi­raz, Iran, ac­cord­ing to some, shortly after 1200, ac­cord­ing to oth­ers some­time be­tween 1213 and 1219. In the Golestan, com­posed in 1258, he says in lines ev­i­dently ad­dressed to him­self, “O you who have lived fifty years and are still asleep”; an­other piece of ev­i­dence is that in one of his qasida poems he writes that he left home for for­eign lands when the Mon­gols came to his home­land Fars, an event which oc­curred in 1225.

In the Bustan and Golestan Saadi tells many colourful anecdotes of his travels, although some of these, such as his supposed visit to the remote eastern city of Kashgar in 1213, may be fictional.^[15] The unsettled conditions following the Mongol invasion of Khwarezm and Iran led him to wander for thirty years abroad through Anatolia (where he visited the Port of Adana and near Konya met ghazi landlords), Syria (where he mentions the famine in Damascus), Egypt (where he describes its music, bazaars, clerics and elites), and Iraq (where he visits the port of Basra and the Tigris river). In his writings he mentions the qadis, muftis of Al-Azhar, the grand bazaar, music and art. At Halab, Saadi joins a group of Sufis who had fought arduous battles against the Crusaders. Saadi was captured by Crusaders at Acre where he spent seven years as a slave digging trenches outside its fortress. He was later released after the Mamluks paid ransom for Muslim prisoners being held in Crusader dungeons.

Saadi visited Jerusalem and then set out on a pilgrimage to Mecca and Medina.^[16] It is believed that he may have also visited Oman and other lands in the south of the Arabian Peninsula.

Because of the Mongol invasions he was forced to live in desolate areas and met caravans fearing for their lives on once-lively silk trade routes. Saadi lived in isolated refugee camps where he met bandits, Imams, men who formerly owned great wealth or commanded armies, intellectuals, and ordinary people. While Mongol and European sources (such as Marco Polo) gravitated to the potentates and courtly life of Ilkhanate rule, Saadi mingled with the ordinary survivors of the war-torn region. He sat in remote tea houses late into the night and exchanged views with merchants, farmers, preachers, wayfarers, thieves, and Sufi mendicants. For twenty years or more, he continued the same schedule of preaching, advising, and learning, honing his sermons to reflect the wisdom and foibles of his people. Saadi’s works reflect upon the lives of ordinary Iranians suffering displacement, agony and conflict during the turbulent times of the Mongol invasion.

Saadi Shirazi is welcomed by a youth from Kashgar during a forum in Bukhara.

Saadi mentions honey-gatherers in Azarbaijan, fearful of Mongol plunder. He finally returns to Persia where he meets his childhood companions in Isfahan and other cities. At Khorasan Saadi befriends a Turkic Emir named Tughral. Saadi joins him and his men on their journey to Sindh where he meets Pir Puttur, a follower of the Persian Sufi grand master Shaikh Usman Marvandv.

He also refers in his writings about his travels with a Turkic Amir named Tughral in Sindh (Pakistan across the Indus and Thar), India (especially Somnath, where he encounters Brahmans), and Central Asia (where he meets the survivors of the Mongol invasion in Khwarezm). Tughral hires Hindu sentinels. Tughral later enters service of the wealthy Delhi Sultanate, and Saadi is invited to Delhi and later visits the Vizier of Gujarat. During his stay in Gujarat, Saadi learns more about the Hindus and visits the large temple of Somnath, from which he flees due to an unpleasant encounter with the Brahmans. Katouzian calls this story “almost certainly fictitious”.^[18]

Saadi came back to Shiraz before 1257 CE / 655 AH (the year he finished composition of his Bustan). Saadi mourned in his poetry the fall of Abbasid Caliphate and Baghdad‘s destruction by Mongol invaders led by Hulagu in February 1258.

Works

Bustan and Gulistan

Main articles: Bustan and Gulistan

The first page of Bustan, from a Mughal manuscript.

Gulistan Saadi (Calligraphy of Golestan Saadi in Nastaliq script)

Sa’di’s best known works are Bus­tan (The Or­chard) com­pleted in 1257 and Gulis­tan (The Rose Gar­den) com­pleted in 1258. Bus­tan is en­tirely in verse (epic metre). It con­sists of sto­ries aptly il­lus­trat­ing the stan­dard virtues rec­om­mended to Mus­lims (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

Other works
In ad­di­tion to the Bus­tan and Gulis­tan, Saadi also wrote four books of love poems (ghaz­als), and num­ber of longer mono-rhyme poems (qasi­das) in both Per­sian and Ara­bic. There are also qua­trains and short pieces, and some lesser works in prose and poetry. To­gether with Rumi and Hafez, he is con­sid­ered one of the three great­est ghazal-writ­ers of Per­sian poetry.
Bani Adam
Main article: Bani Adam


A copy of Saadi Shirazi’s works by the Bosniak scholar Safvet beg Bašagić (1870–1934)

Saadi is well known for his apho­risms, the most fa­mous of which, Bani Adam, is part of the Gulis­tan. In a del­i­cate way it calls for break­ing down all bar­ri­ers be­tween human beings:
The orig­i­nal Per­sian text is as follows:
بنى آدم اعضای یکدیگرند
که در آفرینش ز یک گوهرند
چو عضوى بدرد آورَد روزگار
دگر عضوها را نمانَد قرار
تو کز محنت دیگران بی غمی
نشاید که نامت نهند آدمی
banī ādam a’zā-ye yekdīgar-and
ke dar āfarīn-aš ze yek gowhar-and
čo ‘ozvī be dard āvarad rūzgār
degar ‘ozvhā-rā na-mānad qarār
to k-az mehnat-ē dīgarān bīqam-ī
na-šāyad ke nām-at nahand ādamī
The lit­eral trans­la­tion of the above is as fol­lows:
“The chil­dren of Adam are the mem­bers of each other,
who are in their cre­ation from the same essence.
When day and age hurt one of these members,
other mem­bers will be left (with) no serenity.
If you are un­sym­pa­thetic to the mis­ery of others,
it is not right that they should call you a human being.”
The above ver­sion with yekdīgar “one an­other” is the usual one quoted in Iran (for ex­am­ple, in the well-known edi­tion of Mo­ham­mad Ali For­oughi, on the car­pet in­stalled in the United Na­tions build­ing in New York in 2005, on the Iran­ian (500 rials) coin since 1387 Solar Hijri cal­en­dar (i.e. in 2008), and on the back of the 100,000-rial ban­knote is­sued in 2010); ac­cord­ing to the scholar Habib Yagh­mai is also the only ver­sion found in the ear­li­est man­u­scripts, which date to within 50 years of the writ­ing of the Golestan. Some books, how­ever, print a vari­a­tion banī ādam a’zā-ye yek peykar-and (“The sons of Adam are mem­bers of one body”), and this ver­sion, which ac­cords more closely with the ha­dith quoted below, is fol­lowed by most Eng­lish trans­la­tions.
The fol­low­ing trans­la­tion is by H. Vahid Dastjerdi:
Adam’s sons are body limbs, to say;
For they’re cre­ated of the same clay.
Should one organ be trou­bled by pain,
Oth­ers would suf­fer se­vere strain.
Thou, care­less of peo­ple’s suffering,
De­serve not the name, “human being”.
This is a verse trans­la­tion by Ali Salami:
Human be­ings are limbs of one body indeed;
For, they’re cre­ated of the same soul and seed.
When one limb is af­flicted with pain,
Other limbs will feel the bane.
He who has no sym­pa­thy for human suffering,
Is not wor­thy of being called a human being.
And by Richard Jef­frey Newman:
All men and women are to each other
the limbs of a sin­gle body, each of us drawn
from life’s shim­mer­ing essence, God’s per­fect pearl;
and when this life we share wounds one of us,
all share the hurt as if it were our own.
You, who will not feel an­other’s pain,
you for­feit the right to be called human.
Sec­re­tary-Gen­eral Ban Ki-moon said in Tehran: “[…] At the en­trance of the United Na­tions there is a mag­nif­i­cent car­pet – I think the largest car­pet the United Na­tions has – that adorns the wall of the United Na­tions, a gift from the peo­ple of Iran. Along­side it are the won­der­ful words of that great Per­sian poet, Sa’adi”:
All human be­ings are mem­bers of one frame,
Since all, at first, from the same essence came.
When time af­flicts a limb with pain
The other limbs at rest can­not remain.
If thou feel not for other’s misery
A human being is no name for thee. […]
Ac­cord­ing to the for­mer Iran­ian For­eign Min­is­ter and Envoy to the United Na­tions, Mo­ham­mad Ali Zarif, this car­pet, in­stalled in 2005, ac­tu­ally hangs not in the en­trance but in a meet­ing room in­side the United Na­tions build­ing in New York.
Bani Adam was used by the British rock band Cold­play in their song بنی آدم, with the title Bani Adam writ­ten in Per­sian script. The song is fea­tured on their 2019 album Every­day Life.
Legacy and poetic style

Saadi dis­tin­guished be­tween the spir­i­tual and the prac­ti­cal or mun­dane as­pects of life. In his Bus­tan, for ex­am­ple, spir­i­tual Saadi uses the mun­dane world as a spring board to pro­pel him­self be­yond the earthly realms. The im­ages in Bus­tan are del­i­cate in na­ture and sooth­ing. In the Gulis­tan, on the other hand, mun­dane Saadi low­ers the spir­i­tual to touch the heart of his fel­low way­far­ers. Here the im­ages are graphic and, thanks to Saadi’s dex­ter­ity, re­main con­crete in the reader’s mind. Re­al­is­ti­cally, too, there is a ring of truth in the di­vi­sion. The Sheikh preach­ing in the Khan­qah ex­pe­ri­ences a to­tally dif­fer­ent world than the mer­chant pass­ing through a town. The unique thing about Saadi is that he em­bod­ies both the Sufi Sheikh and the trav­el­ling mer­chant. They are, as he him­self puts it, two al­mond ker­nels in the same shell.
Saadi’s prose style, de­scribed as “sim­ple but im­pos­si­ble to im­i­tate” flows quite nat­u­rally and ef­fort­lessly. Its sim­plic­ity, how­ever, is grounded in a se­man­tic web con­sist­ing of syn­onymy, ho­mophony, and oxy­moron but­tressed by in­ter­nal rhythm and ex­ter­nal rhyme.
Chief among these works is Goethe‘s West-Oestlicher Divan. Andre du Ryer was the first Eu­ro­pean to pre­sent Saadi to the West, by means of a par­tial French trans­la­tion of Gulis­tan in 1634. Adam Olear­ius fol­lowed soon with a com­plete trans­la­tion of the Bus­tan and the Gulis­tan into Ger­man in 1654.
In his Lec­tures on Aes­thet­ics, Hegel wrote (on the Arts trans­lated by Henry Paolucci, 2001, p. 155–157):
Pan­the­is­tic po­etry has had, it must be said, a higher and freer de­vel­op­ment in the Is­lamic world, es­pe­cially among the Per­sians … The full flow­er­ing of Per­sian po­etry comes at the height of its com­plete trans­for­ma­tion in speech and na­tional char­ac­ter, through Mo­hammedanism … In later times, po­etry of this order [Fer­dowsi’s epic po­etry] had a se­quel in love epics of ex­tra­or­di­nary ten­der­ness and sweet­ness; but there fol­lowed also a turn to­ward the di­dac­tic, where, with a rich ex­pe­ri­ence of life, the far-trav­eled Saadi was mas­ter be­fore it sub­merged it­self in the depths of the pan­the­is­tic mys­ti­cism taught and rec­om­mended in the ex­tra­or­di­nary tales and leg­endary nar­ra­tions of the great Jalal-ed-Din Rumi.
Alexan­der Pushkin, one of Rus­sia’s most cel­e­brated poets, quotes Saadi in his work Eu­gene One­gin, “as Saadi sang in ear­lier ages, ‘some are far dis­tant, some are dead’.” Gulis­tan was an in­flu­ence on the fa­bles of Jean de La Fontaine. Ben­jamin Franklin in one of his works, DLXXXVIII A Para­ble on Persecution, quotes one of Bus­tan of Saadi’s para­ble, ap­par­ently with­out know­ing the source. Ralph Waldo Emer­son was also in­ter­ested in Sadi’s writ­ings, con­tribut­ing to some trans­lated edi­tions him­self. Emer­son, who read Saadi only in trans­la­tion, com­pared his writ­ing to the Bible in terms of its wis­dom and the beauty of its narrative.
The French physi­cist Nico­las Léonard Sadi Carnot‘s third given name is from Saadi’s name. It was cho­sen by his fa­ther be­cause of his great in­ter­est to­ward Saadi and his poems, Lazare Carnot.
Voltaire was very thrilled with his works es­pe­cially Gulis­tan, even he en­joyed being called “Saadi” in his friends’ cir­cle.
U.S. Pres­i­dent Barack Obama quoted the first two lines of this poem in his New Year’s greet­ing to the peo­ple of Iran on March 20, 2009, “But let us re­mem­ber the words that were writ­ten by the poet Saadi, so many years ago: ‘The chil­dren of Adam are limbs to each other, hav­ing been cre­ated of one essence.'”
National commemoration of ‘Saadi Day’




Saadi-Shirazi’s commemoration day
An­nu­ally, on April 21 (Apr. 20 in leap years) a crowd of for­eign tourists and Ira­ni­ans gather at Saadi’s tomb in order to mark the day.
This com­mem­o­ra­tion day is held on the 1st of Or­dibehesht, the sec­ond month of the Solar Hijri cal­en­dar (see Iran­ian cal­en­dar), the day on which Saadi states that he fin­ished the Golestan in 1256.
Mausoleum






Saadi’s mau­soleum in Shi­raz, Iran
 




Mo­saic in his mau­soleum
 




Tomb of Saadi in his mau­soleum
 




Tomb of Sheikh Saadi by Eugène Flandin, 1851
 




Tomb of Saadi by Pas­cal Coste, 1867
 




Tomb of Saadi from sky, April 20, 2014
 




Tomb of Saadi’s en­trance, April 20, 2014
 




The en­trance part of Saadi’s tomb, Sep 18 2017
 




In­side tomb of Saadi-Shi­razi, 18 De­cem­ber 2016

Mausoleum

Read more https://wiki2.org/en/Saadi_(poet)

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Gulistan (book)

From Wikipedia, the free encyclopedia https://wiki2.org/en/Gulistan_(book)

Part of a series on
Saadi Shirazi
Books
BustanGulistan
Related Topics
Nicolas Léonard Sadi CarnotMarie François Sadi Carnot
Monuments
Tomb of Saadi • Saadi Metro Sta­tion •Saadi Literary Award

Sa’di in a Flower garden, from a Mughal manuscript of the Golestan, ca. 1645. Saadi is on the right.

The Golestan (Per­sian: گُلِستان‎, also translit­er­ated as Gulistân and Gulis­tan “The Flower Gar­den”) is a land­mark of Per­sian lit­er­a­ture, per­haps its sin­gle most in­flu­en­tial work of prose. Writ­ten in 1258 CE, it is one of two major works of the Per­sian poet Sa’di, con­sid­ered one of the great­est me­dieval Per­sian poets. It is also one of his most pop­u­lar books, and has proved deeply in­flu­en­tial in the West as well as the East. The Golestan is a col­lec­tion of poems and sto­ries, just as a flower-gar­den is a col­lec­tion of flow­ers. It is widely quoted as a source of wis­dom. The well-known apho­rism still fre­quently re­peated in the west­ern world, about being sad be­cause one has no shoes until one meets the man who has no feet “where­upon I thanked Prov­i­dence for its bounty to my­self” is from the Golestan.

The min­i­mal­ist plots of the Golestan’s sto­ries are ex­pressed with pre­cise lan­guage and psy­cho­log­i­cal in­sight, cre­at­ing a “po­etry of ideas” with the con­ci­sion of math­e­mat­i­cal formulas. The book ex­plores vir­tu­ally every major issue faced by hu­mankind, with both an op­ti­mistic and a sub­tly satir­i­cal tone. There is much ad­vice for rulers, in this way com­ing within the mir­ror for princes genre. But as East­wick com­ments in his in­tro­duc­tion to the work, there is a com­mon say­ing in Per­sian, “Each word of Sa’di has sev­enty-two mean­ings”, and the sto­ries, along­side their en­ter­tain­ment value and prac­ti­cal and moral di­men­sion, fre­quently focus on the con­duct of dervishes and are said to con­tain Sufi teach­ings. Idries Shah elab­o­rates fur­ther. “The place won by the Golestan as a book of moral up­lift in­vari­ably given to the lit­er­ate young has had the ef­fect of es­tab­lish­ing a basic Sufic po­ten­tial in the minds of its readers.”

Contents

• 1 Reasons for composition
• 2 Structure
  • 2.1 Chapter 1, story 34
  • 2.2 Chapter 2, story 7
  • 2.3 Chapter 3, story 28
  • 2.4 Chapter 5, story 5
• 3 Influence
  • 3.1 In Europe
• 4 Translations
• 5 United Nations quotation
• 6 Notes
• 7 Further reading
• 8 External links

Reasons for composition

The poet Sa’di converses by night with a young friend in a garden. Miniature from Golestan. Herat, 1427. Chester Beatty Library, Dublin; workshops of Baysunghur.

In his in­tro­duc­tion Sa’di de­scribes how a friend per­suaded him to go out to a gar­den on 21 April 1258. There the friend gath­ered up flow­ers to take back to town. Sa’di re­marked on how quickly the flow­ers would die, and pro­posed a flower gar­den that would last much longer:Of what use will be a dish of flowers to thee?Take a leaf from my flower-garden.A flower endures but five or six daysBut this flower-garden is always delightful.

There fol­low the words il­lus­trated in the Per­sian minia­ture, be­lieved to be by the Mughal painter Go­vard­han, shown at the top of the article:”حالی که من این حکایت بگفتم دامن گل بریخت و در دامنم آویخت که الکریم اذا وعدَ وفا‎hāl-ī ke man īn hekāyat begoftam, dāman-e gol berīxt o dar dāman-am āvixt, ke al-karimu eza va’ada vafā“When I said this, he poured out the skirt of flowers and hung on my skirt, saying ‘The generous man, if he promises, keeps his word!’ “

Sa’di con­tin­ues, “On the same day I hap­pened to write two chap­ters, namely on po­lite so­ci­ety and the rules of con­ver­sa­tion, in a style ac­cept­able to or­a­tors and in­struc­tive to letter-writers.”. In fin­ish­ing the book, Sa’di writes that, though his speech is en­ter­tain­ing and amus­ing, “it is not hid­den from the en­light­ened minds of sahib­dils (pos­ses­sors of heart), who are pri­mar­ily ad­dressed here, that pearls of heal­ing coun­sel have been drawn onto strings of ex­pres­sion, and the bit­ter med­i­cine of ad­vice has been mixed with the honey of wit”.

Structure

The opening page from the introduction

After the in­tro­duc­tion, the Golestan is di­vided into eight chap­ters, each con­sist­ing of a num­ber of sto­ries, dec­o­rated with short poems:1. The Manners of Kings2. On the Morals of Dervishes3. On the Excellence of Contentment4. On the Advantages of Silence5. On Love and Youth6. On Weakness and Old Age7. On the Effects of Education8. On Rules for Conduct in Life

Al­to­gether the work con­tains some 595 short poems in Per­sian, con­sist­ing on av­er­age of just under two cou­plets each, in a va­ri­ety of metres; there are also oc­ca­sional verses in Ara­bic.

Some sto­ries are very brief. The short poems which dec­o­rate the sto­ries some­times rep­re­sent the words of the pro­tag­o­nists, some­times the au­thor’s per­spec­tive and some­times, as in the fol­low­ing case, are not clearly at­trib­uted:

Chapter 1, story 34

One of the sons of Harunu’r-rashid came to his fa­ther in a pas­sion, say­ing, “Such an of­fi­cer’s son has in­sulted me, by speak­ing abu­sively of my mother.” Harun said to his no­bles, “What should be the pun­ish­ment of such a per­son?” One gave his voice for death, and an­other for the ex­ci­sion of his tongue, and an­other for the con­fis­ca­tion of his goods and ban­ish­ment. Harun said, “O my son! the gen­er­ous part would be to par­don him, and if thou canst not, then do thou abuse his mother, but not so as to ex­ceed the just lim­its of re­tal­i­a­tion, for in that case we should be­come the ag­gres­sors.”They that with raging elephants make warAre not, so deem the wise, the truly brave;But in real verity, the valiant areThose who, when angered, are not passion’s slave.An ill-bred fellow once a man reviled,Who patient bore it, and replied, “Good friend!Worse am I than by thee I could be styled,And better know how often I offend.”

Since there is lit­tle bi­o­graph­i­cal in­for­ma­tion about Sa’di out­side of his writ­ings, his short, ap­par­ently au­to­bi­o­graph­i­cal tales, such as the fol­low­ing have been used by com­men­ta­tors to build up an ac­count of his life.

Chapter 2, story 7

I re­mem­ber that, in the time of my child­hood, I was de­vout, and in the habit of keep­ing vig­ils, and eager to prac­tise mor­ti­fi­ca­tion and aus­ter­i­ties. One night I sate up in at­ten­dance on my fa­ther, and did not close my eyes the whole night, and held the pre­cious qur’an in my lap while the peo­ple around me slept. I said to my fa­ther, “Not one of these lifts up his head to per­form a prayer. They are so pro­foundly asleep that you would say they were dead.” He replied, “Life of thy fa­ther! it were bet­ter if thou, too, wert asleep; rather than thou shouldst be back­bit­ing peo­ple.”Naught but themselves can vain pretenders mark,For conceit’s curtain intercepts their view.Did God illume that which in them is dark,Naught than themselves would wear a darker hue.

The young athlete is marooned on a pillar. Chester Beatty Library, Dublin.

Most of the tales within the Golestan are longer, some run­ning on for a num­ber of pages. In one of the longest, in Chap­ter 3, Sa’di ex­plores as­pects of un­der­tak­ing a jour­ney for which one is ill-equipped:

Chapter 3, story 28

An ath­lete, down on his luck at home, tells his fa­ther how he be­lieves he should set off on his trav­els, quot­ing the words:As long as thou walkest about the shop or the houseThou wilt never become a man, O raw fellow.Go and travel in the worldBefore that day when thou goest from the world.

His fa­ther warns him that his phys­i­cal strength alone will not be suf­fi­cient to en­sure the suc­cess of his trav­els, de­scrib­ing five kinds of men who can profit from travel: the rich mer­chant, the elo­quent scholar, the beau­ti­ful per­son, the sweet singer and the ar­ti­san. The son nev­er­the­less sets off and, ar­riv­ing pen­ni­less at a broad river, tries to get a cross­ing on a ferry by using phys­i­cal force. He gets aboard, but is left stranded on a pil­lar in the mid­dle of the river. This is the first of a se­ries of mis­for­tunes that he is sub­jected to, and it is only the char­ity of a wealthy man that fi­nally de­liv­ers him, al­low­ing him to re­turn home safe, though not much hum­bled by his tribu­la­tions. The story ends with the fa­ther warn­ing him that if he tries it again he may not es­cape so luck­ily:The hunter does not catch every time a jackal.It may happen that some day a tiger devours him.

Chapter 5, story 5

In the fifth chap­ter of The Golestan of Saadi, on Love and Youth, Saadi in­cludes ex­plicit moral and so­ci­o­log­i­cal points about the real life of peo­ple from his time pe­riod (1203-1291). The story below by Saadi, like so much of his work, con­veys mean­ing on many lev­els and broadly on many top­ics. In this story, Saadi com­mu­ni­cates the im­por­tance of teach­ers ed­u­cat­ing the “whole child”—cog­ni­tively, morally, emo­tion­ally, so­cially, and eth­i­cally–using, as often in the book, ho­mo­erotic at­trac­tion as a motif. Even though adults and teach­ers have been ac­corded great sta­tus and re­spect in Iran­ian cul­ture and his­tory, in Saadi’s story, he shows that a young boy has great wis­dom in un­der­stand­ing his ed­u­ca­tional needs.A schoolboy was so perfectly beautiful and sweet-voiced that the teacher, in accordance with human nature, conceived such an affection towards him that he often recited the following verses:I am not so little occupied with you, O heavenly face,That remembrance of myself occurs to my mind.From your sight I am unable to withdraw my eyesAlthough when I am opposite I may see that an arrow comes.Once the boy said to him: “As you strive to direct my studies, direct also my behavior. If you perceive anything reprovable in my conduct, although it may seem approvable to me, inform me thereof that I may endeavor to change it.” He replied: “O boy, make that request to someone else because the eyes with which I look upon you behold nothing but virtues.”The ill-wishing eye, be it torn outSees only defects in his virtue.But if you possess one virtue and seventy faultsA friend sees nothing except that virtue. Note: for the sake of utmost correct pronunciation, in the text above the word Golestan has been corrected in spelling and may differ from the spelling which exists in the english sources.

Influence

Sa’di’s Golestan is said to be one of the most widely read books ever produced. From the time of its com­po­si­tion to the pre­sent day it has been ad­mired for its “inim­itable simplicity”, seen as the essence of sim­ple el­e­gant Per­sian prose. Per­sian for a long time was the lan­guage of lit­er­a­ture from Ben­gal to Con­stan­tino­ple, and the Golestan was known and stud­ied in much of Asia. In Per­sian-speak­ing coun­tries today, proverbs and apho­risms from the Golestan ap­pear in every kind of lit­er­a­ture and con­tinue to be cur­rent in con­ver­sa­tion, much as Shake­speare is in English. As Sir John Mal­colm wrote in his Sketches of Persia in 1828, the sto­ries and max­ims of Sa’di were “known to all, from the king to the peasant”.

In Europe

The Golestan has been sig­nif­i­cant in the in­flu­ence of Per­sian lit­er­a­ture on West­ern cul­ture. La Fontaine based his “Le songe d’un habi­tant du Mogol” on a story from Golestan chap­ter 2 story 16: A cer­tain pious man in a dream be­held a king in par­adise and a devo­tee in hell. He in­quired, “What is the rea­son of the ex­al­ta­tion of the one, and the cause of the degra­da­tion of the other? for I had imag­ined just the re­verse.” They said, “That king is now in par­adise owing to his friend­ship for dar­weshes, and this recluse is in hell through fre­quent­ing the pres­ence of kings.”Of what avail is frock, or rosary,Or clouted garment? Keep thyself but freeFrom evil deeds, it will not need for theeTo wear the cap of felt: a darwesh beIn heart, and wear the cap of Tartary.

Voltaire was fa­mil­iar with works of Sa’di, and wrote the pref­ace of Zadig in his name. He men­tions a French trans­la­tion of the Golestan, and him­self trans­lated a score of verses, ei­ther from the orig­i­nal or from some Latin or Dutch translation.

Sir William Jones ad­vised stu­dents of Per­sian to pick an easy chap­ter of the Golestan to trans­late as their first ex­er­cise in the lan­guage. Thus, se­lec­tions of the book be­came the primer for of­fi­cials of British India at Fort William Col­lege and at Hai­ley­bury Col­lege in England.

In the United States Ralph Waldo Emer­son who ad­dressed a poem of his own to Sa’di, pro­vided the pref­ace for Glad­win’s trans­la­tion, writ­ing, “Saadi ex­hibits per­pet­ual va­ri­ety of sit­u­a­tion and in­ci­dent … he finds room on his nar­row can­vas for the ex­tremes of lot, the play of mo­tives, the rule of des­tiny, the lessons of morals, and the por­traits of great men. He has fur­nished the orig­i­nals of a mul­ti­tude of tales and proverbs which are cur­rent in our mouths, and at­trib­uted by us to re­cent writ­ers.” Henry David Thoreau quoted from the book in A Week on the Con­cord and Mer­ri­mack Rivers and in his re­marks on phil­an­thropy in Walden.

Note: for the sake of ut­most cor­rect pro­nun­ci­a­tion, in the text above the word Golestan has been cor­rected in spelling and may dif­fer from the spelling which ex­ists in the eng­lish sources.

Translations

Frontispiece of André du Ryer’s translation

Saʿdi was first in­tro­duced to the West in a par­tial French trans­la­tion by André du Ryer (1634). Friedrich Ochsen­bach based a Ger­man trans­la­tion (1636) on this. Georgius Gen­tius pro­duced a Latin ver­sion ac­com­pa­nied by the Per­sian text in 1651. Adam Olear­ius made the first di­rect Ger­man translation.

The Golestan has been trans­lated into many lan­guages. It has been trans­lated into Eng­lish a num­ber of times: Stephen Sul­li­van (Lon­don, 1774, se­lec­tions), James Du­moulin (Cal­cutta, 1807), Fran­cis Glad­win (Cal­cutta, 1808, pref­ace by Ralph Waldo Emer­son), James Ross (Lon­don, 1823), S. Lee (Lon­don, 1827), Ed­ward Back­house East­wick (Hart­ford, 1852; re­pub­lished by Oc­ta­gon Press, 1979), John­son (Lon­don, 1863), John T. Platts (Lon­don, 1867), Ed­ward Henry Whin­field (Lon­don, 1880), Ed­ward Re­hat­sek (Ba­naras, 1888, in some later edi­tions in­cor­rectly at­trib­uted to Sir Richard Bur­ton), Sir Edwin Arnold (Lon­don, 1899), Launcelot Al­fred Cran­mer-Byng (Lon­don, 1905), Cel­wyn E. Hamp­ton (New York, 1913), and Arthur John Ar­berry (Lon­don, 1945, the first two chap­ters). More re­cent Eng­lish trans­la­tions have been pub­lished by Omar Ali-Shah (1997) and by Wheeler M. Thack­ston (2008).

The Uzbek poet and writer Gafur Gulom trans­lated The Golestan into the Uzbek lan­guage.

Note: for the sake of ut­most cor­rect pro­nun­ci­a­tion, in the text above the word Golestan has been cor­rected in spelling and may dif­fer from the spelling which ex­ists in the eng­lish sources.

United Nations quotation

Main article: Bani Adam

This well-known verse, part of chap­ter 1, story 10 of the Golestan, is woven into a car­pet which is hung on a wall in the United Na­tions build­ing in New York:

بنی‌آدم اعضای یکدیگرند
که در آفرينش ز یک گوهرندچو عضوى به‌درد آورَد روزگار
دگر عضوها را نمانَد قرارتو کز محنت دیگران بی‌غمی
نشاید که نامت نهند آدمی

Human beings are members of a whole,In creation of one essence and soul.If one member is afflicted with pain,Other members uneasy will remain.If you have no sympathy for human pain,The name of human you cannot retain.

U.S. Pres­i­dent Barack Obama quoted this in his video­taped Nowruz (New Year’s) greet­ing to the Iran­ian peo­ple in March 2009: “There are those who in­sist that we be de­fined by our dif­fer­ences. But let us re­mem­ber the words that were writ­ten by the poet Saadi, so many years ago: ‘The chil­dren of Adam are limbs to each other, hav­ing been cre­ated of one essence.'”

Note: for the sake of ut­most cor­rect pro­nun­ci­a­tion, in the text above the word Golestan has been cor­rected in spelling and may dif­fer from the spelling which ex­ists in the eng­lish sources.

Dancing dervishes on a double-page composition from an illustrated manuscript of the Golestan Iran, ca. 1615

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GOLESTĀN-E SAʿDI From https://www.iranicaonline.org/articles/golestan-e-sadi

GOLESTĀN-E SAʿDI, probably the single most influential work of prose in the Persian tradition, completed in 656/1258 by Mošarref-al-Din Moṣleḥ, known as Shaikh Saʿdi of Shiraz (for the confusion about his name, see Ṣafā, III/1, pp. 584-614). It was dedicated to the Salghurid Atabeg in Fārs, Moẓaffar-al-Din Abu Bakr b. Saʿd b. Zangi (G51), and his son, Saʿd (G54), as well as the vizier Faḵr-al-Din Abu Bakr b. Abi Naṣr (G55; concerning these dedicatees see Qazvini, pp. 721-31, 747-49). Saʿdi hoped his work would also cause future readers to remember the “dervishes” in their prayers. He evidently did not appear at court in person to present the Golestān, feeling it inappropriate to the station of the dervishes with whom he associated (ṭāʾefa-ye darvišān), though this group did feel an obligation to acknowledge their benefactors (šokr-e neʿmat-e bozorgān wājeb). Saʿdi apologizes for the delay in presenting a token of service to the court, perhaps suggesting that he had not submitted any work since the dedication of the Bustān (q.v.) in the previous year.

https://www.youtube.com/watch?v=kvJVhmUReY0

https://www.youtube.com/watch?v=_SEDVywVAqQ

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National Library Building of Iran

Gulshan I Raz: The Mystic Rose Garden Of Sa’d Ud Din Mahmud Shabistari (1880)

by Sa’d Ud Din Mahmud Shabistari, Muhammad Bin Yahya Lahiji, et al. Hardcover$30.36 Paperback$19.90

Gulshan i Raz was composed in A.H. 717 (A.D. 1317), in answer to fifteen questions on the doctrines of the Sufis, or Muhamrnadan Mystics, propounded by Amir Syad Hosaini,1 a celebrated Sufi doctor of Herat. The authors name was Sad uddin Mahinud Shabistari, so called from his birth-place, Shabistar,2 a village near Tabriz, in the province of A zarbaijan. From a brief notice of his life in the Mujalis ul Ushshak, repeated in substance in the Haft I klim, the Sajina i Khushgu, and the Riaz ush Slniara, it would appear that he was bom about the middle of the seventh century of the Hejira (A.D. 1250), and that he died at Tabriz, where he had passed the greater part of his life, in A.H. 720. The only particulars of his life recorded in these Tazkiras are, that he was devotedly attached to one of his disciples named Shaikh I brahim, and that in addition to the Gulshan i Raz he wrote treatises entitled Hakk ul Yakin and Risala i Shahid. No further information as to the circumstances of his life and times is to be found in the poem itself or in the commentary, but we know from the Habib us Siyar and other chronicles3 that his birth was about contemporaneous with the incursion of the heathen Moghuls under Hulaku Khan, the conquest of Persia, Syria and Mesopotamia, and the downfall cf the A bbaside Khalifs, or Vicars of God. And living as he did 1H is life is given in the Nafliat ul Uns of Jami. This name is sometimes written Jabistar or Chabistar. The Persian cliim is usually expressed by the A rabic shin. Ouseley, I bn Haukal, 156. See Malcolm, History of Persia, ii. 252.
(Typographical errors above are due to OCR software and don’t occur in the book.)

Gulshan-i Raz

From Wikipedia, the free encyclopedia

Gul­shan-i Raz or Gul­shan-e Raz (Per­sian: گلشن راز‎, “Rose Gar­den of Se­crets”) is a col­lec­tion of poems writ­ten in the 14th cen­tury by Sheikh Mah­moud Shabestari. It is con­sid­ered to be one of the great­est clas­si­cal Per­sian works of the Is­lamic mys­ti­cal tra­di­tion known in the west as Su­fism. The poems are mostly based on Irfan, Islam, Su­fism and sci­ences de­pen­dent on them.

The book was writ­ten about 1311 in rhyming cou­plets. It was writ­ten in re­sponse to sev­en­teen queries con­cern­ing Sufi meta­physics posed to “the Sufi literati of Tabriz” by Rukh Al Din Amir Husayn Harawi (d. 1318).^[1] It was also the main ref­er­ence used by François Bernier when ex­plain­ing Su­fism to his Eu­ro­pean friends (in: Let­tre sur le Qui­etisme des Indes; 1688). In Eng­lish the book’s title is var­i­ously given as “Gar­den of Se­crets,” “The Gar­den of Mys­tery,” “The Mys­tic Rose Gar­den,” or “The Se­cret Rose Gar­den.”

Sufi poet Sheikh Alvān of Shi­raz trans­lated Gul­shan-i Raz into Azeri Turk­ish verse.^[2]

This is the open­ing verse of Gul­shan-i Raz:

به نام آنکه جان را فکرت آموخت / چراغ دل به نور جان برافروخت
In the name of Him who taught the soul to think,

and kin­dled the heart’s lamp with the light of soul

Life and work

Shabis­tari was born in the town of Shabestar near Tabriz in 1288 (687 AH), where he re­ceived his education. He be­came deeply versed in the sym­bolic ter­mi­nol­ogy of Ibn Arabi. He wrote dur­ing a pe­riod of Mon­gol in­va­sions.

His most fa­mous work is a mys­tic text called The Se­cret Rose Gar­den (Gul­shan-i Rāz) writ­ten about 1311 in rhyming cou­plets (Math­nawi). This poem was writ­ten in re­sponse to sev­en­teen queries con­cern­ing Sufi meta­physics posed to “the Sufi literati of Tabriz” by Rukh Al Din Amir Husayn Harawi (d. 1318).^[6] It was also the main ref­er­ence used by François Bernier when ex­plain­ing Su­fism to his Eu­ro­pean friends (in: Let­tre sur le Qui­etisme des Indes; 1688)

Other works in­clude The Book of Felicity (Sa’adat-nāma) and The Truth of Cer­tainty about the Knowl­edge of the Lord of the Worlds (Ḥaqq al-yaqīn fi ma’rifat rabb al-‘alamīn. The for­mer is re­garded as a rel­a­tively un­known po­etic mas­ter­piece writ­ten in khafif meter, while the later is his lone work of prose.

Life and work

Shabis­tari was born in the town of Shabestar near Tabriz in 1288 (687 AH), where he re­ceived his education. He be­came deeply versed in the sym­bolic ter­mi­nol­ogy of Ibn Arabi. He wrote dur­ing a pe­riod of Mon­gol in­va­sions.

His most fa­mous work is a mys­tic text called The Se­cret Rose Gar­den (Gul­shan-i Rāz) writ­ten about 1311 in rhyming cou­plets (Math­nawi). This poem was writ­ten in re­sponse to sev­en­teen queries con­cern­ing Sufi meta­physics posed to “the Sufi literati of Tabriz” by Rukh Al Din Amir Husayn Harawi (d. 1318).^[6] It was also the main ref­er­ence used by François Bernier when ex­plain­ing Su­fism to his Eu­ro­pean friends (in: Let­tre sur le Qui­etisme des Indes; 1688)

Other works in­clude The Book of Felicity (Sa’adat-nāma) and The Truth of Cer­tainty about the Knowl­edge of the Lord of the Worlds (Ḥaqq al-yaqīn fi ma’rifat rabb al-‘alamīn. The for­mer is re­garded as a rel­a­tively un­known po­etic mas­ter­piece writ­ten in khafif meter, while the later is his lone work of prose.

شیخ محمود شبستری (سعدالدّین محمودبن امین‌الدّین عبدالکریم‌بن یحیی شبستری)
زادروز	۶۸۷ هجری قمری شبستر
درگذشت	۷۲۰ هجری قمری (۳۳ سالگی)
آرامگاه	شبستر
محل زندگی	شبستر و تبریز
ملیت	ایرانی
استاد	امین‌الدین و بهاءالدین یعقوب تبریزی
شناخته‌شده برای	عارف و شاعر
دین	تصوف و عرفان
آثار	مثنوی گلشن راز به نام آن که جان را فکرت آموخت،«حق الیقین»،«شاهد نامه»

سعدالدّین محمودبن امین‌الدّین عبدالکریم‌بن یحیی شبستری (معروف به شیخ محمود شبستری) یکی از عارفان و شاعران سدهٔ هشتم هجری‌ست.^[۱] با توجه به مطالب مندرج در کتاب روضات الجنان جلد ۲، وی معاصر شیخ بابا ابی شبستری (متوفی به سال ۷۴۰) بوده و در همان سال فوت نموده، لذا سن شیخ محمود شبستری در زمان فوت باید ۵۲ یا ۵۳ بوده باشد.^[۲] وی از مشاعر عرفای ایران است و بیشتر شهرت او به خاطر اثر معروفش گلشن راز است.

آثار وی را می‌توان به دو دسته منظوم و منثور بخش کرد.

آثار منظوم[ویرایش]

• گلشن راز
• سعادت نامه
• کنز الحقایق

آثار منثور[ویرایش]

• حقّ‌الیقین
• مرآةالمحقّقین
• شاهد (یا شاهدنامه)

گلشن راز مقالهٔ اصلی: گلشن راز

مثنوی گلشن راز مهم‌ترین و مشهورترین اثر منظوم محمود شبستری است که در بردارندهٔ اندیشه‌های عرفانی وی و حدود هزار بیت می‌باشد. با وجود حجم اندکش، این کتاب یکی از یادگارهای پرارزش و بلندنام ادبیات عرفانی کهن فارسی است، که در آن بیان مفاهیم صوفیانه با شور، شوق، و روانی ویژه‌ای همراه گردیده است. مطابق شیوهٔ معمول عطار و مولانا، در این‌جا نیز، از حکایات و تمثیلات برای بیان و عرضهٔ مؤثّر معانی عرفانی و حکمی استفاده شده‌است.^[۵]

شبستری این مثنوی را در پاسخ به پرسش‌های امیر حسینی هروی سروده است. در هفدهم ماه شوال سال ۷۱۷ فرستاده‌ای از خراسان مشکلات و مسائل مربوط به فهم و تبیین پاره‌ای از رموز و اشارات عرفانی را در قالب نامه‌ای منظوم در مجلسی با حضور شبستری می‌خواند.^[۶]

این اثر تا کنون به دفعات چاپ گردیده‌است. یکی از موثق‌ترین نسخه‌های چاپ شده به کوشش دکتر جواد نوربخش می‌باشد که براساس ۸ نسخه خطی و ۲ نسخه چاپی معتبر تصحیح و منتشر گردیده‌است.^[۳]

این کتاب، تا کنون، به زبان‌های ترکی، آلمانی،فرانسوی، انگلیسی، و نیز اردو ترجمه شده‌است.

شرح‌های بر گلشن را

عرفای بنام شروح مفصلی بر «گلشن راز» نگاشته‌اند از آنجمله:^[۳]فرانسوی

• منظومه غنچه باز در شرح گلشن راز جلال الدین علی میر ابوالفضل عنقا عارف قرن سیزدهم هجری
• شرح کمال الدین حسینی اردبیلی (الهی) معاصر شاه اسماعیل اول
• نسایم گلشن از شاه داعی الی الله
• شرح لاهیجی از محمد بن یحیی لاهیجی
• شرح مظفرالدین علی شیرازی
• شرح منسوب به عبدالرحمن جامی
• شرح ادریس بن حسام الدین بدیعی
• شرح شیخ بابا نعمت‌الله بن محمود نخجوانی
• شرح حاج میرزا ابراهیم شریعتمدار سبزواری
• شرح قاضی میر حسین یزدی
• شرح منظوم اسیری
• شرح حسام الدین علی بدلیسی (پدر ادریس بدلیسی نویسندهٔ کتاب هشت بهشت)
• شرح حسین الهی قمشه ای : انتشارات علمی و فرهنگی (۱۳۷۷)

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By Mohsen Mohammadi

Iran, UNESCO to celebrate 700th anniversary of “The Secret Rose Garden”

TEHRAN – Iran and UNESCO will jointly celebrate the 700th anniversary of the composing of “The Secret Rose Garden” (Gulshan-i Raz), a collection of poems by Iranian mystic and poet Sa’d-ud-Din Mahmud Shabistari (1288–1340), Iran’s Organization of Cultural Heritage, Tourism, and Handicrafts Organization (CHTHO) announced on Sunday.

“The book contains moral standards for the world,” CHTHO official Farhad Nazari said in a press release. 

“The book was written to instill moral into humanity and also to help people achieve a balance between their souls and bodies, as well as to prevent extremism, violence and damage to the environment,” he added.

He said that the Republic of Azerbaijan also will collaborate in organizing the celebration and added that so far, over 40 books have been written about “The Secret Rose Garden”, which also known as “The Mystic Rose Garden”.

According to Nazari, the book has previously been translated into English, French, German, Turkish and Urdu.

The report gave no more details about the celebration. 

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گرامیداشت ثبت گلشن راز توسط یونسکو در همایش ملی شیخ محمود شبستریچهارشنبه ۱۵ اردیبهشت ۱۳۹۵سرویس شهرستانها: معاون فرهنگی و هنری اداره کل فرهنگ و ارشاد اسلامی آذربایجان شرقی گفت: ثبت هفتصدمین سالگرد تالیف گلشن راز در سال ۲۰۱۶ و ۲۰۱۷ توسط یونسکو در همایش ملی شیخ محمود شبستری گرامی داشته می‌شود.

محمد حسن چمیده فر افزود: در این همایش دو روزه که امروز و فردا در شبستر برگزار می‌شود، از تندیس و کتاب «چراغ جان»، آخرین اثر تحقیقی در خصوص شخصیت و اندیشه و زندگی شیخ محمود شبستری، رو نمایی می‌شود. وی افزود: کتاب «چراغ جان» اثر تحقیقی محمد طاهری خسرو شاهی توسط اداره کل فرهنگ و ارشاد اسلامی آذربایجان شرقی به چاپ رسیده است.وی با بیان این‌که همایش بزرگداشت یاد و نام «شیخ محمود شبستری» شاعر و عارف شهیر آذربایجان در شهر شبستر، زادگاه وی، برگزار می‌شود، ادامه داد: در روز دوم همایش، مدرسه گلشن راز افتتاح و از ۱۸ تابلو خط استادان بنام خوشنویسی کشور با موضوع گلشن راز رونمایی می‌شود.چمیده‌فر اظهار داشت:شیخ محمود شبستری صاحب منظومه کم نظیر و پرمحتوای گلشن راز است که نقشی مهم در توسعه عرفان اصیل اسلامی در جهان بر عهده داشته است

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ثبت مشاهیر برجسته ایران‌ در فهرست مشاهیر علم و ادب یونسکو

ثبت مشاهیر برجسته ایران‌ در فهرست مشاهیر علم و ادب یونسکو

طبق پیگیری‌های کمیسیون ملی یونسکو و همکاری دفتر نمایندگی جمهوری اسلامی ایران در یونسکو، نام سه تن از مشاهیر برجسته کشورمان در سال 2015 در مرحله مقدماتی در فهرست مشاهیر علم و ادب یونسکو ثبت شد.

اسامی این شخصیت‌ها عبارت است:
– هزارویکصد و پنجاهمین سال تولد محمد زکریای رازی
– هفتصدمین سال نگارش کتاب گلشن راز، شیخ محمود شبستری
– هزاروپنجاهمین سالروز تولد سیدمرتضی علم الهدی
دبیرخانه یونسکو پس از دریافت اسامی مشاهیر پیشنهاد شده از طرف کشورها، اسامی آنها را در اختیار کمیته‌های تخصصی مربوط در معاونت‌های فرهنگی، علوم انسانی و اجتماعی، علوم طبیعی و ارتباطات یونسکو قرار می دهد. این کمیته‌ها پس از بررسی، نتایج به‌دست آمده را دوباره در اختیار دبیرخانه یونسکو قرار می دهند. پس از طی این فرایند، دبیرخانه فهرست تاییدشده مشاهیر را به شورای اجرایی ارسال می کند تا در صورت تصویب در شورا، در نشست کنفرانس عمومی (اکتبر 2015) تصویب نهایی شود.
باتوجه به جایگاه بسیار مهم ثبت جهانی مشاهیر در فهرست مشاهیر علم و ادب یونسکو و رقابت جدی کشورهای عضو باهدف بالابردن توان چانه‌زنی فرهنگی و هنجارسازی در مجامع بین‌المللی، لزوم شناسایی و معرفی مشاهیر ایران و نیز برگزاری همایش‌ها، بزرگداشت‌ها و انتشار و انعکاس آموزه‌های مفاخر ایران-زمین در حوزه داخلی و بین‌المللی از اهمیت به‌سزایی در عرصه فرهنگ داخلی و جهانی برخوردار است.
علاقه‌مندان می توانند اسامی مشاهیر کشورمان را که تاکنون در فهرست مشاهیر یونسکو ثبت‌شده است در لینک زیر مشاهده کنند:
http://www.irunesco.org/index.php?option=com_content&view=article&id=1730

Garden of Mystery: The Gulshan-i Raz of Mahmud Shabistari

by Mahmud Shabistari Garden of Mystery, the ‘Gulshan-i Raz’, holds a unique position in Persian Sufi literature. It is a compact and concise exploration of the doctrines of Sufism at the peak of their development that has remained a primary text of Sufism throughout the world from Turkey to India. It comprises a thousand lines of inspired poetry taking the form of answers to questions put by a fellow mystic. It provides a coherent literary bridge between the Persian ‘school of love’ poetry and the rapidly growing number of metaphysical and gnostic compositions from what had come to be known as the school of the ‘Unity of Being’. Translated by Robert Darr who has for thirty-five years been a student of classical Islamic culture. 

https://www.youtube.com/watch?v=f5xyP16g_t8

https://www.youtube.com/watch?v=Zt8zggOUWao

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Related Links:

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https://www.youtube.com/watch?v=w1sFPqO9tRQ

https://www.youtube.com/watch?v=8e6C1ysIiRQ

Traditional Persian Cats Wikipedia

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Iran From Wikipedia https://wiki2.org/en/Iran

Iran  ( ایران‎ ) also called Persia is a country in Western Asia.

Iran is home to one of the world’s oldest civilizations, beginning with the formation of the Elamite kingdoms in the fourth millennium BC. It was first unified by the Iranian Medes in the seventh century BC, and reached its territorial height in the sixth century BC, when Cyrus the Great founded the Achaemenid Empire, which stretched from Eastern Europe to the Indus Valley, making it one of the largest empires in history. The empire fell to Alexander the Great in the fourth century BC and was divided into several Hellenistic states. An Iranian rebellion established the Parthian Empire in the third century BC, which was succeeded in the third century AD by the Sasanian Empire, a major world power for the next four centuries.

Ruins of the Gate of All Nations, Persepolis

Iran has the world’s second largest proved gas reserves after Russia, with 33.6 trillion cubic metres, and the third largest natural gas production after Indonesia and Russia. It also ranks fourth in oil reserves with an estimated 153,600,000,000 barrels. It is OPEC‘s second largest oil exporter, and is an energy superpower, with considerable influence in international energy security and the world economy.

The country’s rich cultural legacy is reflected in part by its 22 UNESCO World Heritage Sites, the third largest number in Asia and 10th largest in the world. Historically a multi-ethnic country, Iran remains a pluralistic society comprising numerous ethnic, linguistic, and religious groups, the largest being Persians, Azeris, Kurds, Mazandaranis and Lurs.

GDP (PPP)	2019 estimate
• Total	$1.471 trillion[7] (18th)
• Per capita	$17,662[7] (66th)
GDP (nominal)	2019 estimate
• Total	$458.500 billion[

A bas-relief at Persepolis, depicting the united Medes and Persians

Tomb of Cyrus the Great, founder of the Achaemenid Empire, in 

lin D. Roosevelt, and Winston Churchill—issued the Tehran Declaration to guarantee the post-war independence and boundaries of Iran. During the rest of World War II, Iran became a major conduit for British and American aid to the Soviet Union and an avenue through which over 120,000 Polish refugees and Polish Armed Forces fled the Axis advance.

Mount Damavand, Iran’s highest point, is located in Amol, Mazenderan.

Haft-Seen, a customary of Nowruz, the Iranian New Year

Iran’s official New Year begins with Nowruz, an ancient Iranian tradition celebrated annually on the vernal equinox. It is enjoyed by people adhering to different religions, but is considered a holiday for the Zoroastrians. It was registered on the UNESCO‘s list of Masterpieces of the Oral and Intangible Heritage of Humanity in 2009, described as the Persian New Year, shared with a number of other countries in which it has historically been celebrated.

Nowruz From Wikipedia https://wiki2.org/en/Nowruz

Nowruz (Persian: نوروز‎, pronounced [nowˈɾuːz]; lit. ‘ “new day”‘) is the Iranian New Year, also known as the Persian New Year, which is celebrated worldwide by various ethno-linguistic groups.

Nowruz has Iranian and Zoroastrian origins; however, it has been celebrated by diverse communities for over 7,000 years in Western Asia, Central Asia, the Caucasus, the Black Sea Basin, the Balkans, and South Asia. It is a secular holiday for most celebrants that is enjoyed by people of several different faiths, but remains a holy day for Zoroastrians, Bahais, and some Muslim communities

Illumination of the Earth by the Sun on the day of equinox

Nowruz is the day of the vernal equinox, and marks the beginning of spring in the Northern Hemisphere. It marks the first day of the first month (Farvardin) of the Iranian calendars. It usually occurs on March 21 or the previous or following day, depending on where it is observed. The moment the Sun crosses the celestial equator and equalizes night and day is calculated exactly every year, and families gather together to observe the rituals.

While Nowruz has been celebrated since the reform of the Iranian Calendar in the 11th century CE to mark the new year, the United Nations officially recognized the “International Day of Nowruz” with the adoption of UN resolution 64/253 in 2010. Read more: https://wiki2.org/en/Nowruz

https://www.youtube.com/watch?v=hh0jhYc3Wqg

https://www.youtube.com/watch?v=i2LnZ43qPYA

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solstice celebration Introduction to Yalda Night or Chelleh Shab-e Yalda  MUN Iranians

https://www.youtube.com/watch?v=5UHIPQ0e_jo

Cuisine Main article: Iranian cuisine

Chelow kabab (rice and kebab), one of Iran’s national dishes

Due to its va­ri­ety of eth­nic groups and the in­flu­ences from the neigh­bor­ing cul­tures, the cui­sine of Iran is di­verse. Herbs are fre­quently used, along with fruits such as plums, pome­gran­ate, quince, prunes, apri­cots, and raisins. To achieve a bal­anced taste, char­ac­ter­is­tic fla­vor­ings such as saf­fron, dried lime, cin­na­mon, and pars­ley are mixed del­i­cately and used in some spe­cial dishes. Onion and gar­lic are com­monly used in the prepa­ra­tion of the ac­com­pa­ny­ing course, but are also served sep­a­rately dur­ing meals, ei­ther in raw or pick­led form.

Iran­ian cui­sine in­cludes a wide range of main dishes, in­clud­ing var­i­ous types of kebab, pilaf, stew (khoresh), soup and āsh, and omelette. Lunch and din­ner meals are com­monly ac­com­pa­nied by side dishes such as plain yo­gurt or mast-o-khiar, sabzi, salad Shi­razi, and tor­shi, and might fol­low dishes such as bo­rani, Mirza Qasemi, or kashk e badem­jan as the ap­pe­tizer.

The Azadi Stadium in Tehran is West Asia’s largest football stadium.

Sports in Iran

With two-thirds of the population under the age of 25, many sports are played in Iran.

Iran is most likely the birthplace of polo, locally known as čowgān, with its earliest records attributed to the ancient Medes. Freestyle wrestling is traditionally considered the national sport of Iran, and the national wrestlers have been world champions on many occasions. Iran’s traditional wrestling, called košti e pahlevāni (“heroic wrestling”), is registered on UNESCO‘s Intangible Cultural Heritage list.

Read more: https://wiki2.org/en/Iran

Sports in Iran

Football has been regarded as the most popular sport in Iran, with the men’s national team having won the Asian Cup on three occasions. The men’s national team has maintained its position as Asia’s best team, ranking 1st in Asia and 33rd in the world according to the FIFA World Rankings (as of May 2020).

Volleyball is the second most popular sport in Iran. Having won the 2011 and 2013 Asian Men’s Volleyball Championships, men’s national team is currently the strongest team in Asia, and ranks eighth in the FIVB World Rankings (as of July 2017).

Basketball is also popular, with men’s national team having won three Asian Championships since 2007.

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Iron Age gold cup from Marlik 3000 years old

Iran’s oldest literary tradition is that of Avestan, the Old Iranian sacred language of the Avesta, which consists of the legendary and religious texts of Zoroastrianism and the ancient Iranian religion, with its earliest records dating back to the pre-Achaemenid times.

Of the various modern languages used in Iran, Persian, various dialects of which are spoken throughout the Iranian Plateau, has the most influential literature. Persian has been dubbed as a worthy language to serve as a conduit for poetry, and is considered one of the four main bodies of world literature. In spite of originating from the region of Persis (better known as Persia) in southwestern Iran, the Persian language was used and developed further through Persianate societies in Asia Minor, Central Asia, and South Asia, leaving massive influences on Ottoman and Mughal literatures, among others.

Iran has a number of famous medieval poets, most notably Rumi, Ferdowsi, Hafez, Saadi Shirazi, Omar Khayyam, and Nezami Ganjavi. Iranian literature also inspired writers such as Johann Wolfgang von Goethe, Henry David Thoreau, and Ralph Waldo Emerson.

Tomb of Hafez, the medieval Persian poet whose works are regarded as a pinnacle in Persian literature and have left a considerable mark on later Western writers, most notably Goethe, Thoreau, and Emerson

The blos­som­ing lit­er­a­ture, phi­los­o­phy, math­e­mat­ics, med­i­cine,

While there are ancient relations between the Indian Vedas and the Iranian Avesta, the two main families of the Indo-Iranian philosophical traditions were characterized by fundamental differences, especially in their implications for the human being’s position in society and their view of man’s role in the universe.

The Cyrus Cylinder, which is known as “the first charter of human rights“, is often seen as a reflection of the questions and thoughts expressed by Zoroaster, and developed in Zoroastrian schools of the Achaemenid era. The earliest tenets of Zoroastrian schools are part of the extant scriptures of the Zoroastrian religion in Avestan. Among them are treatises such as the Zatspram, Shkand-gumanik Vizar, and Denkard, as well as older passages of the Avesta and the Gathas

Education in Iran is centralized and divided into K-12 education plus higher education. Elementary and secondary education is supervised by the Ministry of Education and higher education is under supervision of Ministry of Science, research and Technology and Ministry of Health and Medical Education (medical fields). As of September 2015, 93% of the Iranian adult population are literate. In 2008, 85% of the Iranian adult population were literate, well ahead of the regional average of 62%. This rate increases to 97% among young adults (aged between 15 and 24) without any gender discrepancy. By 2007, Iran had a student to workforce population ratio of 10.2%, standing among the countries with highest ratio in the world. Each year, 20% of government spending and 5% of GDP goes to education, a higher rate than most other developing countries. 50% of education spending is devoted to secondary education

Foreign languages

See also: Iran Language Institute and Media in Iran

Per­sian is of­fi­cially the na­tional lan­guage of Iran. Ara­bic, as the lan­guage of Koran, is taught grades 7-12. In ad­di­tion to Ara­bic, stu­dents are re­quired to take one for­eign lan­guage class in grades 7-12. Al­though other for­eign lan­guages such as Ger­man, French, Span­ish and Chi­nese are of­fered in most urban schools, Eng­lish con­tin­ues to be the most de­sired language.

Ka­noun-e-Zabaan-e-Iran or Iran’s Lan­guage In­sti­tute af­fil­i­ated to Cen­ter for In­tel­lec­tual De­vel­op­ment of Chil­dren and Young Adults was founded in 1979. Per­sian, Eng­lish, French, Span­ish, Ger­man, Russ­ian and Ara­bic are taught to over 175,000 stu­dents dur­ing each term.

Eng­lish lan­guage is stud­ied in first and sec­ond high school. How­ever, the qual­ity of Eng­lish ed­u­ca­tion in schools is not sat­is­fac­tory and most of stu­dents in order to ob­tain a bet­ter Eng­lish flu­ency and pro­fi­ciency have to take Eng­lish courses in pri­vate in­sti­tutes.

Be­fore 2018, some pri­mary schools also taught Eng­lish. How­ever, in Jan­u­ary 2018, a se­nior ed­u­ca­tional of­fi­cial an­nounced that teach­ing Eng­lish is banned in pri­mary schools, in­clud­ing non-gov­ern­ment pri­mary schools.

Presently, there are over 5000 for­eign lan­guage schools in the coun­try, 200 of which are sit­u­ated in Tehran. A few tele­vi­sion chan­nels air weekly Eng­lish and Ara­bic lan­guage ses­sions, par­tic­u­larly for uni­ver­sity can­di­dates who are prepar­ing for the an­nual en­trance test

As of 2013, 4.5 million students are enrolled in universities, out of a total population of 75 million. Iranian universities graduate almost 750,000 annually

Education in Iran From Wikipedia
The adult literacy rated 93.0% in September 2015
According to the Webometrics Ranking of World Universities (as of January 2017), Iran’s top five universities include Tehran University of Medical Sciences (478th worldwide), the University of Tehran (514th worldwide), Sharif University of Technology (605th worldwide), Amirkabir University of Technology (726th worldwide), and the Tarbiat Modares University (789th worldwide)

Sharif University of Technology, Amirkabir University of Technology, and Iran University of Science and Technology also located in Tehran are nationally well known for taking in the top undergraduate Engineering and Science students; and internationally recognized for training competent under graduate students. It has probably the highest percentage of graduates who seek higher education abroad.

K.N.Toosi University of Technology is among most prestigious universities in Tehran. Other major universities are at Shiraz, Tabriz, Isfahan, Mashhad, Ahvaz, Kerman, Kermanshah, Babolsar, Rasht, and Orumiyeh. There are about 50 colleges and 40 technological institutes.

In 2009, 33.7% of all those in the 18–25 age group were enrolled in one of the 92 universities, 512 Payame Noor University branches, and 56 research and technology institutes around the country. There are currently some 3.0 million university students in Iran and 1.0 million study at the 500 branches of Islamic Azad University. Iran had 1 million medical students in 2011.In September 2012, women made up more than 60% of all universities’ student body in Iran.^[35] This high level of achievement and involvement in high education is a recent development of the past decades.  According to UNESCO world survey, Iran has the highest female to male ratio at primary level of enrollment in the world among sovereign nations, with a girl to boy ratio of 1.22:1.

Field of study	2010	Remarks
Engineering and construction	31%	Highly developed with one of the highest graduation rates in the world.
Social science, business and law	23%	Limited because of ideology issues but is developing rapidly.
Humanities and the arts	14%
Science	10%	Highly developed with one of the highest graduation rates in the world..

Statistics

• As of 2016 Iran has the 5th highest number of STEM graduates worldwide with 335,000 annual graduates.
• In 2010, 64% of the country’s population was under the age of 30.
• There are approximately 92,500 public educational institutions at all levels, with a total enrollment of approximately 17,488,000 students.
• According to 2008 estimates, 89.3% of males and 80.7% of females over the age of 15 are literate; thus 85% of the population is literate. Virtually all children of the relevant age group enrolled into primary schools in 2008 while enrollment into secondary schools increased from 66% in 1995 to 80% in 2008. As a result, youth literacy rates increased from 86% to 94% over the same period, rising significantly for girls.
• A <i>literacy corps</i> was established in 1963 to send educated conscripts to villages. During its first 10 years, the corps helped 2.2 million urban children and 600,000 adults become literate. This corps was replaced with the Literacy Movement Organization after the Islamic Revolution.
• In 1997, there were 9,238,393 pupils enrolled in 63,101 primary schools, with 298,755 teachers. The student-to-teacher ratio stood at 31 to 1. In that same year, secondary schools had 8,776,792 students and 280,309 teachers. The pupil-teacher ratio at the primary level was 26 to 1 in 1999. In the same year, 83% of primary-school-age children were enrolled in school. As of 1999, public expenditure on education was estimated at 4.6% of GDP (not budget).
• In 2007, the majority of students (60%) enrolled in Iranian universities were women.
• According to UNESCO world survey, Iran has the highest female to male ratio at primary level of enrollment in the world among sovereign nations, with a girl to boy ratio of 1.22 : 1.00.
• Each year, 20% of government spending and 5% of GDP goes to education, a higher rate than most other developing countries. 50% of education spending is devoted to secondary education and 21% of the annual state education budget is devoted to the provision of tertiary education.

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https://www.youtube.com/watch?v=y-tkCftIoWA

https://www.youtube.com/watch?v=60IDTAg33K0

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https://www.youtube.com/watch?v=V6pn9Ppkl2Q

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[Here in the www.4seasonsgardensplus.com are some of the best motivational, promotional, informational, and educational documentaries, sample books, eBooks, videos, audio, music, pictures, links about (Four Seasons Gardening) to learn, watch, read, listen, and enjoy with satisfaction.] [The related links and third-party sites are the best in their field and offer the best products and services. Please visit their sites and support them as best as possible. Copyrighted materials are for fair use only. To use these materials for any other purpose, the user must contact the copyright holders to get permission.]
Promotional Guide: only charge some members and companies membership and promotional fees.
For buyers, prices are the same, as they buy directly from Amazon and other companies. By making a purchase here, buyers can access lots of promotional content and support the goal to keep these services free for all visitors to www.4seasonsgardensplus.com.

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