Golestan Palace

The Golestan Palace

• The Marble Throne room (Takht-e Marmar) of the Golestan Palace
• Karim Khani Nook veranda at the Golestan Palace
• Iranian art gallery in the Golestan Palace, Negarhane
• The Reception Hall of the Golestan Palace, Talar-e Salam
• The Shams al-Emarat Building in the Golestan Palace
• The Emarat-e-Badgir Palace in the Golestan Complex
• The Aks Khaneh Summer Pavilion at the Golestan Palace
• The Talar-e Almas in the Golestan Palace
• The White Palace of the Golestan Complex, Kah-e Abyaz
• The Golestan Palace Today

The Golestan Palace is one of the most popular tourist attractions in Tehran. It is located in the city center on the territory of Arg Citadel, that was based during Safavid period in XVI century. The founder of the Zand dynasty, Karim Khan (ruled 1763-1779), also appreciated this place. However the most active construction work was during the Qajar epoch (1795-1925) – unique dynasty that confirmed the Persian position on the global stage. It also determined the economic and cultural development of the country for years ahead. The part of the complex that is available for visitors does not let you to fully understand its original size. Most buildings of the Golestan Palace were demolished and others were partly reconstructed during the Pahlavi epoch (1925-1979), the last Iranian dynasty.

The Golestan Palace territory includes several separate buildings and the large garden. It is based on the traditional Persian design for the regular gardens "chaharbagh" (pers. "four gardens"). The idea is to divide sections of space into four rectangular or square sectors using paths, canals with water, pools and fountains. The visitors of the Golestan Palace usually go clockwise, walking around the garden and enjoying the architecture of the Palace. Every room is interesting in its own way although they are all built in a recognizable Persian style: the shift between deep arched muqarnas (niche-iwan) and enclosed halls, the abundance of mirror mosaic in the interiors and the multicolored tiles on the facades.

The Marble Throne room (Takht-e Marmar) of the Golestan Palace

Takht-e Marmar (The Marble Throne room) is the first historically and ceremonially important building of the Golestan Palace that visitors see walking by the long pool. Karim Khan Zand chose this place to be the throne room back in 1759. It is one of the oldest buildings that have survived to our days.

The open-air and decorated with mirror mosaic art (Aina-kari) arched terrace, where the throne stands, is a traditional reception hall – talar – that is common in Persian residential architecture. This hall is particularly called Talar-e Salam, the Salam or Reception Hall. The ceremonial tradition of the ruler’s meeting with petitioners dates back to the Achaemenid epoch. It hasn’t lost its value even in the XIX century. The throne’s history is especially interesting because it gave the place its name. Initially, the Peacock throne was used for the meetings. The shape and decoration were inspired by the Indian shah’s throne that was transferred from Delhi after its takeover in 1739. It was taken out to the terrace for every meeting, which affected the state of the wooden base. That's why the second representative of the Qajar dynasty, Fath Ali Shah (1797-1834) ordered the manufacture of a new throne that does not require movement. Also the time of the formation of the "Qajar period" in art and history was during his reign.

The design of the throne for the Golestan Palace was made by the first Qajar court painter (nakkash-bashi), Mirza Baba. The throne was carved from alabaster by Isfahan craftsmen. The throne’s supports are made in the shape of angels and demons, steps are decorated with lion statues. The whole composition refers to the legend about Solomon’s throne, which in the Muslim tradition was moved from place to place by the djinn. The throne is a rare example of Islamic art. There is a figured tank for rose water at the platform. The talar niche is also luxuriously decorated. There are two mirrors that Fath Ali Shah got from the Russian emperor.

Karim Khani Nook veranda at the Golestan Palace

You can find Karim Khani Nook veranda decorated with tiles at the corner of the same building. It is also known as Khalvat-e-Karim Khani.This small part of the whole complex of 1759 was used as the Karim Khan Zand's residence. Once, in the middle of the terrace, there was a pond with a fountain that was connected to the Palace using grooves. Passion for the gurgling water is a unique feature of the Persian landscape architecture. According to the memoirs of contemporaries Nasir al-Din Shah Qajar (1848-1896) really loved this small terrace of the Golestan Palace. Thanks to his taste and efforts the Palace has got a modern look. As a big fan of hookah Shah used to sit alone at the terrace and as it thought gave it the second name "khalvat" that means "cozy corner". By a fateful coincidence, it is there where his white marble tombstone with a portrait is displayed now. The Iranian Shahs sought to imitate their distant Achaemenid predecessors by imprinting themselves in the stone. This trend was influenced by the interest in antiquity and archaeology.

Iranian art gallery in the Golestan Palace, Negarhane

The next part of the Golestan Palace is a Negarhane (Iranian art gallery) reveals the museum section of the complex. There you can find masterpieces of Persian and European art. Negarhane is fully dedicated to easel painting. It is divided by theme and time and demonstrates the evolution and development of style during the XIX century. Early Qajar paintings by such artists as Mirza Baba, Mihr 'Ali, Abu'l-Hassan Ghaffari, better known by the Sani al-Mulk title ("The Crafter of the Kingdom"), are exhibited in the southern section. The phenomenon of Persian easel painting of XIX century is distinctive. This type of art is based on exotic combination of the European techniques, knowledge of chiaroscuro, perspective and the art of portrait with a love for excessive decorativeness, details, abundance of jewelry and luxury ornaments that are common for Persian miniature. The portrait of the ruler got special importance in the early Qajar period during the Fath-Ali Shah's reign. It became an essential part of the diplomatic gifts. The Northern section used to be the seat of the guard during the Pahlavi period. Here after the reconstruction you can find works by masters of the late Qajar style and Muhammad Ghaffari (1847-1940) stands out especially. The ex Nasir al-Din Shah's court artist, who studied in Europe, gained his fame under the Kamal al Mulk title ("The Perfection of the Kingdom"). The master's works show the final transition of Persian painting into the stream of realistic art in the spirit of the Wanderers.

The Reception Hall of the Golestan Palace, Talar-e Salam

The next section of the Golestan Palace includes the central two-storey area – the reception hall (Talar-e Salam), famous mirror hall, and several other rooms. These rooms form a museum complex, showcasing rich gifts from European monarchs.

It is believed that Naser al-Din Shah proposed the idea of constructing a museum hall. The idea appeared after the Shah’s visits to European museums and galleries. He was the first Persian monarch to visit Europe and Russia in 1873, 1878, and 1889. Lots of what he saw greatly impressed the monarch, and he sought to bring some of it back to Iran. This is what happened to the museum hall of the Golestan Palace, remarkably bright and spacious for the traditional architecture of the region. A high vault is supported by arches on wide columns, adorned with delicate stuccowork made in European style. The lighting from chandeliers glimmers in the mirrored mosaic. Only the colourful ceramic tiles on the floor remind visitors that they are in an Iranian interior.

The adjacent mirror hall of the Golestan Palace is famous for a painting by the court artist Kamal al-Mulk. He depicted the posh interior and a half-length portrait of Naser al-Din sitting by the window (the painting itself is placed in the adjacent Reception Hall). Previously, the hall held the chief treasures of the monarchs: the Peacock Throne and the Kiani Crown, sometimes referred to as the "Pearl Crown". Made for the coronation of the Shahs, its design evolved with each monarch. The first version appeared under the Zands, and the final version was achieved during the reign of Fath-Ali Shah. This last version has 300 emeralds, 1,500 spinels, 1,800 pearls, and hundreds of diamonds. Today, a replica is on display, while the original is kept in the National Bank of Iran.

The museum rooms here contain a range of treasures significant to Persian history, along with collections gifted to the Qajar Shahs by European monarchs. Of particular interest are items belonged to Persian rulers. For example, the helmet of Shah Ismail, founder of the Safavid dynasty (1501–1736), the bow and arrows of Nader Shah Afshar (r. 1736–1747), whose campaign in Delhi enriched the Persian treasury with diamonds, emeralds, and rubies, as well as the crown of Agha Mohammad Khan, founder of the Qajar dynasty, and the armband of Fath-Ali Shah. The Golestan Palace also has a collection of European porcelain: sets depicting battles of Napoleon’s army, gifts from Wilhelm II, Queen Victoria, and Nicholas I.

In a separate room, the Hawz Khaneh (the Pool Room), there is a collection of 19th-century kings' portraits. Here, you can see portraits of Alexander III, whose malachite set is displayed nearby, and other Russian and European monarchs. The room was initially intended to be a cool space and some sort of hub for the palace’s water-cooling system. This system is now inactive, as the humidity could damage the paintings.

In the adjacent the Hall of Brilliance (Talar-e-Berilian), mirrored glass and shimmering chandeliers are used. This construction of the early 19th-century replaced the Crystal Hall. Later, during the Pahlavi era, the hall was used to receive official guests of the court.

The Shams al-Emarat Building in the Golestan Palace

The Shams ol-Emareh building (“Edifice of the Sun”) has become the main “calling card” of the Golestan Palace, constructed by the order of Naser al-Din Shah. Enthusiastic about incorporating European elements into urban design, Naser did a lot to improve Tehran. He also wished to admire the fruits of his labour. According to his idea, that new five-storey palace would offer views both of the garden and of the bustling streets and the low-rise panorama of the city at that time.

The facade of the building became a symbol not only of the Golestan but also of the Qajar capital itself for many years. Two square towers, each with a two-storey terrace end with roofed pavilions. A small clock tower rises on the roof between them. The lower floor opens onto the courtyard with an open talar hall decorated in mirror mosaic technique. It is framed by two tall windows, above which the sun and lion pictures – the national symbol of the Qajars – can be seen. The exterior walls of the palace are adorned with tiles created during the golden age of ceramic production in the Qajar era. A vibrant lemon yellow, bright blue, and deep pink are the three dominant colours of the facade. In addition to blooming bushes and elaborate floral arrangements, the decoration includes tiles depicting landscapes in the European style.

The main meetings were held on the ground floor, which is now open to the public. The Shah’s quarters were on the second floor, where French carpets and mechanical peacock clock – a gift from Queen Elizabeth – were also kept.

The Emarat-e-Badgir Palace in the Golestan Complex

Nearby the Emarat-e-Badgir Palace stands. It is complemented by four towers with air channels known as badgirs, or “wind catchers”. This engineering marvel has been known in Iran since ancient times, providing ventilation and ensuring air circulation in such a way that hot air would not linger in the room, while cool air would, creating a refreshing effect. Beyond their engineering function, the towers certainly added aesthetic appeal, rising above the building’s line and creating the effect of upward-reaching minarets. The badgirs of the Golestan Palace are adorned with colourful tiles and topped with golden domes, lending a festive appearance to the structure. The palace itself consists of a central hall, two side rooms, and a pool in the basement level.

The palace chambers are decorated with mirrorwork and intricate wall and ceiling mosaics, including painted medallions. The floors are covered with polychrome tiles, and the spiral columns feature delicate paintings. The rooms have large stained-glass windows, or orsi windows, with stained-glass patterns.

The Aks Khaneh Summer Pavilion at the Golestan Palace

The Aks Khaneh Summer Pavilion was originally intended for enjoying a cool rest. After restoration, it began to serve as a museum dedicated to photography of the Qajar-era. Sultan Naser al-Din had a passion for photography from a young age, receiving equipment as a gift from either Nicholas I or Queen Victoria. He studied under European masters and during his travels abroad, rarely missed an opportunity to visit a famous photographer's studio or pose for portraits. In Iran, Antoin Sevruguin was his court photographer, though the Shah himself was also prolific – his well-known, sometimes whimsical and candid photos of the harem still spark debates about their authenticity online. The museum collection includes the Shah’s own photographs, works by other photographers, and photographic equipment. The phenomenon of Qajar photography has gained international recognition in recent years, inspiring not only researchers but also artists, who create imitations and stylisations.

The Talar-e Almas in the Golestan Palace

The small Talar-e Almas is notable as one of the oldest buildings in the complex, constructed during the Fath-Ali Shah's reign. The building received its name from its distinctive mirror decoration. A unique feature of this hall is its pointed arch niches, decorated with intricate muqarnas structures (also known as “honeycomb vaults” or “stalactites”) covered in mirrors. The mirrors reflect and fragment light from various angles, capturing sunlight from the tall stained-glass windows. The hall displays items from Fath-Ali's era, including several portraits and weaponry. The building’s basement now has a museum café.

The White Palace of the Golestan Complex, Kah-e Abyaz

The “White Palace” (Kah-e Abyaz) is typically the final stop for visitors touring the Golestan Palace and is the latest addition to the complex.

The building was constructed in 1883 during the final years of Naser al-Din Shah's reign to house a collection of gifts sent to him by the Ottoman Sultan. The central hall was designed to hold a large Turkish carpet, with portraits of European monarchs adorning the walls. The building combines elements of European style, evident in both the facade and interior design, yet its layout follows the Persian model of a garden palace, with verandas opening onto both sides of a formal garden. The palace got its name from the use of white marble and plaster in its decoration.

The Golestan Palace Today

The Golestan Palace building in Tehran served administrative functions for many years, housing the offices of prime ministers and belonging to the Ministry of Culture before becoming an Ethnographic Museum. In the typically illustrative style of Iranian museums, the halls feature scenes of daily life, handicrafts, and musical instruments. The museum boasts Iran's most extensive collection of traditional costumes from various regions and provinces, representing different social and religious groups. This collection highlights the diversity of clothing styles and variations across Iran. Given Tehran’s modern dress code, it's hard to imagine these outfits without understanding Persia’s past.

The Golestan Palace is an obvious yet often underappreciated part of Iranian history. It is frequently only given a cursory look, despite the treasures it houses that reveal much about not only 19th-century Persian culture but also the history of many Western nations.