In what was once the heart of Tehran is this monument to the glories and excesses of the Qajar rulers. Between Imam Khomeini Sq and the bazaar, the Golestan Palace complex is made up of several grand buildings set around a carefully manicured garden. You must buy a separate ticket for each building.
Although there was a Safavid-era citadel on this site, it was Nasser al-Din Shah (r 1848–96), impressed by what he’d seen of European palaces, who built it into the ‘Palace of Flowers’ you see today. Originally it was much bigger, with inner and outer sections to encompass offices, ministries and private living quarters, but several surrounding buildings were pulled down under the Pahlavis.
The following description assumes you start your visit at the Ivan-e Takht-e Marmar, then continue in a clockwise direction around the courtyard.
Ivan-e Takht-e Marmar Audience hall
From the ticket office, walk along the long pool to the Ivan-e Takht-e Marmar (Marble Throne Verandah), a mirrored, open-fronted audience hall dominated by a magnificent throne. The throne is supported by human figures and constructed from 65 pieces of yellow alabaster mined in Yazd. It was made in the early 1800s for Fath Ali Shah (r 1797–1834), a monarch who managed a staggering (and quite likely very tiring) 200-odd wives and 170 offspring. This hall was used on ceremonial occasions, including the Napoleon-style self-coronation of Reza Shah in 1925.
After leaving the Ivan-e Takht-e Marmar you’ll come to an opensided corner known as Khalvat-e Karim Khani (Karim Khan Nook), all that remains of a 1759 building that served as Karim Khan Zand’s (r 1750–79) Tehran residence. But it was Nasser al-Din Shah who enjoyed this elevated terrace most, smoking qalyan (water pipe) and perhaps contemplating his next asset sale as qanat (underground chanel) water bubbled out of the marble fountain nearby. His marble tombstone now stands on the terrace.
Negar Khane Art museum
Continuing. you’ll come to the Negar Khane (Art Gallery), which displays a fine collection of Qajar-era art. It was the brainchild of Nasser al-Din Shah, who had been particularly captivated by European museums. Especially interesting are the portraits of the shahs wearing the jewels and crowns you can see in the National Jewels Museum, and pictures of everyday life in 19th-century Iran by Kamal ol-Molk and Mehdi.
Talar-e Ayaheh museum
After being closed for almost 30 years the dazzling Talar-e Ayaheh (Hall of Mirrors) is now open to the public. Built between 1874 and 1877 the hall was dedicated to the Peacock Throne before it was moved to the National Jewels Museum. More recently it was used for the coronation of Mohammad Reza Shah in 1967 (25 years after he came to power) and royal weddings. Today it and two adjoining halls house gifts including a large green malachite vase from Russia and 13 huge chandeliers.
Other Buildings Historic buildings
Further east is the Howze Khaneh (Pool Room), named for the small pool and fountain in its centre. It houses a collection of paintings and sculptures of 19th-century European royalty – generously given to their Qajar counterparts by the same European monarchs.
At the east end of the garden, the imposing Shams-Al Emarat (Edifice of the Sun) blends European and Persian architectural traditions. Born of Nasser al-Din Shah’s desire to have a palace that afforded him a panoramic view of the city, it was designed by master architect Moayer al-Mamalek and built between 1865 and 1867. Inside, a sequence of mirrored and tiled rooms house a collection of photographs, together with yet more furniture and vases gifted by European monarchs.
Next door you’ll see four soaring badgirs (windtowers, used for air-con), rising above the recently restored Emarat-e Badgir , first erected in the reign of Fath Ali Shah. The interior has typically ostentatious mirror work and is worth a quick look. In the basement the Aks Khaneh (Historic Photograph Gallery) exhibits a fascinating collection of photographs depicting Qajar court life; look particularly for the picture showing the inside of a Zoroastrian tower of silence, with bodies in varying states of decay, and the shot of ‘freaks and dwarfs’.
Next up, the tiny Talar-e Almas (Diamond Hall) displays a range of decorative arts – especially 18th- and 19th-century French ceramics – in a room with red walls and a tiled floor. The attractive teahouse underneath might well be more appealing.
After wandering back through the gardens you’ll come to the Ethnographical Museum near the main entrance, featuring a range of mannequins in traditional ethnic costumes.
