Preserving historical fabrics in Iran in comparison to western countries is a newly established endeavor. This concern grew in Europe from several years ago and synchronous to modernization of societies. Technological developments in the twentieth century, providing the possibility to generate multiple copies of artworks firstly heralded a new age, in which Art, previously available only to the elite, was taken and brought among the ruck.

It is said both inthe native and foreign sourcesthat the original Avesta “written on 12,000 prepared cow-skins, and with gold ink,” was burnt together with other treasures and books when Alexander of Macedonia set Parsgarde (Persepolis) on fire. (1) In other sources, it is said that there were actually two copies, one kept in Shapigan treasury and the other in the “citadel of writings” dejnebeshteh (2) whose exact location had never been found, thus a mystery.

On the eve of the ninth anniversary of Bam earthquake, an expert in the field of world heritage, Dr. Shahriar Adle reported on new discoveries of ancient altars in Afraz (Bam Fault) and the identification of the first layers of Bam citadel (Arg-e-Bam)`s ancient defensive wall...

The great art exhibition held on Persian Gardens at Tehran Museum of Contemporary Arts in 2004 and registration of Persian Gardens on the list of UNESCO World Heritage in 2011, make it opportune to refer to a vital significant point hidden from the eyes of researchers of the subject so far: Persian Garden is the manifestation of a wise-humanist process with its form and geometry naturally following this process...

In the north eastern part of the Persian Gulf in Iran, there is a region called Fars today and Parse in the past. In this mountainous region there is a mountain previously called Mehr (love) and now called Rahmat (Mercy) with a 2500 years old ruined palace still dazzling on its skirts, remaining from the Achaemenid reign over Iran from c.550 to 330BC...