Chehel Sotoun (also Chehel Sotoon) is a pavilion in the middle of a park at

Chehel Sotoun

Chehel Sotoun (also Chehel Sotoon) is a pavilion in the middle of a park at the far end of a long pool, in Isfahan built by Shah Abbas II to be used for the Shah’s entertainment and receptions. In this palace, Shah Abbas II and his successors would receive dignitaries and ambassadors, either on the terrace or in one of the stately reception halls.

Built as a pleasure pavilion and reception hall, using the Achaemenid-inspired talar (columnar porch) style, this beautifully proportioned palace is entered via an elegant terrace that perfectly bridges the transition between the Persian love of gardens and interior splendour. The 20 slender, ribbed wooden pillars of the palace rise to a superb wooden ceiling with crossbeams and exquisite inlay work. Chehel Sotun means ‘40 pillars’ – the number reflected in the long pool in front of the palace.

The only surviving palace on the royal precinct that stretched between Naqsh-e Jahan (Imam) Sq and Chahar Bagh Abbasi St, this Safavid-era complex is reputed to date from 1614; an inscription uncovered in 1949, however, says it was completed in 1647 under the watch of Shah Abbas II. Either way, the palace on this site today was rebuilt after a fire in 1706.

As with Ali Qapu, the palace contains many frescoes and paintings on ceramic. Many of the ceramic panels have been dispersed and are now in the possession of major museums in the west. They depict specific historical scenes such as a reception for an Uzbek King in 1646, when the palace had just been completed; a banquet in honor of the Emir of Bukhara in 1611; the battle of Chalderan against the Ottoman Sultan Selim II in 1514 in which the Persians fought without firearms; the welcome extended to the Mughal Emperor, Humayun who took refuge in Iran in 1544; the battle of Taher-Abad in 1510 where the Safavid Shah Ismail I vanquished and killed the Uzbek King. A more recent painting depicts Nadir Shah’s victory against the Indian Army at Karnal in 1739. There are also less historical, but even more aesthetic compositions in the traditional miniature style which celebrate the joy of life and love.

The magnificent talar or verandah is the dominant feature of the palace and the slender columns, over 40m tall, which support it are cut from single chenar trees (platanus orientalis). The roof is also made from chenar tree beams and inset with complex decoration. The surface of much of the throne room is still covered with mirrored glass and this probably also was used on the pillars, as it was in the palace of Ali Qapu, so as to give the appearance of a roof floating in the air.

Looking out over the pool from the Verandah, one is able to appreciate the importance attached historically by Persians to the concept of “talar” which fulfilled their love of sitting in the garden while they were protected from the light and heat.

On the outside of the building there are some particularly interesting pictures of European figures, presumably based on the ambassadors and their retinue who would have stayed in the palace from time to time.

The Great Hall (Throne Hall) is a gem, richly decorated with frescoes, miniatures and ceramics. The upper walls are dominated by historical frescoes on a grand scale, sumptuously portraying court life and some of the great battles of the Safavid era – the two middle frescoes (Nos 114 and 115) date from the Qajar period but the other four are original. From right to left, above the entrance door, the armies of Shah Ismail do battle with the Uzbeks; Nader Shah battles Sultan Mohammed (astride a white elephant) on an Indian battleground; and Shah Abbas II welcomes King Nader Khan of Turkestan with musicians and dancing girls.

On the wall opposite the door, also from right to left, Shah Abbas I presides over an ostentatious banquet; Shah Ismail battles the janissaries (infantrymen) of Sultan Selim; and Shah Tahmasp receives Humayun, the Indian prince who fled to Persia in 1543. These extraordinary works survived the 18th-century invasion by the Afghans, who whitewashed the paintings to show their disapproval of such extravagance. Other items, including Safavid forebear Safi od-Din’s hat, are kept in a small museum.

The palace’s garden, Bagh-e Chehel Sotun, is an excellent example of the classic Persian garden form and was recently added to Unesco’s World Heritage list. An ancient fallen pine resting on a plinth gives a sense of the great age of the garden. The polished noses of the lions on the standing water spouts at the head of the decorative pool hint at this being a favourite spot for a photograph of the garden’s perfect symmetry. Art students have set up a calico shop at the garden’s entrance selling Iran’s popular printed fabric.

Tags:40 pillars, Ali Qapu, Bagh-e Chehel Sotun, Chehel Sotoon, Chehel Sotoun, Chehel Sotun, Forty Columns, Mughal Emperor, palace’s garden, Persian garden, Shah Abbas, Shah Ismail, Unesco’s World Heritage, Uzbek King

Chehel Sotoun

Chehel Sotoun

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