Isfahan: Historic Squares, Mosques and Gardens

Explore Isfahan through several distinct themes on a trip focused on architectural history and urban spaces. Meidan Emam combines a public square with a clearly arranged architectural ensemble; Chehel Sotoun offers a perspective on gardens, a pavilion and paintings. Masjed-e Jāme’ is more than a historic mosque: it is still used for prayer.

Meidan Emam: Square and Architectural Ensemble

At the heart of Isfahan lies the public square Meidan Emam, also known as Naghsh-e Jahan (“Image of the World”) and formerly called Meidan-e Shah. Two-storey arcades enclose the square. On its four sides are Sheikh Lotfallah Mosque to the east, Ali Qapu Pavilion to the west, Qeyssariyeh Portico to the north and the Royal Mosque to the south. The cardinal directions make the arrangement of the four buildings an essential part of the square’s appearance. To understand the ensemble, it is therefore important to consider not only each individual building but also its position on a particular side of the square.

The portico on the north side leads to the two-kilometre-long Esfahan Bazaar. This extends the view from the buildings around the square to the bazaar as another part of the historic urban space. The square’s history encompasses more than its architecture: the wide, sandy esplanade was used for celebrations, walks, public executions, polo games and the gathering of troops. This range of uses is part of the square’s history and differs from an architectural view of its arcades and buildings.

Masjed-e Jāme’: History and Use for Prayer

Masjed-e Jāme’ is in the historic centre of Isfahan and is Iran’s oldest Friday mosque. It is still used for prayer. The site thus combines its historical significance with a religious use in the present day—a different focus from the former public and ceremonial uses of Meidan Emam’s esplanade.

Chehel Sotoun: Garden and Pictorial History

Chehel Sotoun offers another perspective on Isfahan’s architectural history: the Persian garden features a central pavilion. The grounds were laid out under Shah Abbas I and expanded under Shah Abbas II. The site’s architectural history thus comprises two distinct stages, each associated with one of the two rulers.

Paintings in the central hall depict Shah Abbas I, Shah Abbas II and Shah Tahmasb receiving rulers from Turkestan and the Indian ruler Homayoun. Also depicted is the battle between Shah Ismail and the Uzbeks. Some paintings were overpainted during the Qajar period. The hall therefore brings together different historical scenes, while alterations to individual paintings are also part of their history. The garden, pavilion and paintings offer different points of interest if you are interested in Isfahan’s historic architecture and art.

Khaju Bridge: Historical Functions

During the Safavid period, Khaju Bridge was used primarily as a dam. The building on the bridge known as the Shahneshin also served a specific purpose historically: leaders and kings watched swimming and boat races on an artificial lake from there. At Khaju, the bridge’s function as a dam can therefore be distinguished from the building’s function as a viewing point. This adds the history of a bridge and its former use to Isfahan’s other points of interest.

When planning your trip, you can choose among these themes according to the perspective that interests you most: the spatial design of a public square, a mosque still used for worship, gardens and paintings, or the historical function of a bridge.

For the general travel overview: Isfahan.