Iran Poets Tombs



Different Kind of Attraction




 Persian lyric poet Hafiz (born Khwāja Šamsu d-Dīn Muḥammad Hāfez-e Šīrāzī) (born between 1310 and 1337, believed to have died at age 69). Hafez learnt the Quran by heart at an early age.   (that is in fact the meaning of the word Hafez) His poems are collected in Divan e Hafez. William Jones translated his work into English in 1771.

He grew up in Shiraz. Very little is known about his life, but it is thought that he may have memorized the Qur’an after hearing his father recite passages. When his father died, he left school to work at a bakery and as a copyist. Hafiz became a poet at the court of Abu Ishak and also taught at a religious college. He is one of the most celebrated of the Persian poets, and his influence can be felt to this day. As the author of numerous ghazals expressing love, spirituality, and protest, he and his work continue to be important to Iranians, and many of his poems are used as proverbs or sayings.


Hafezieh (Hafiz’s tomb)

Hafiz’s tomb is in Musalla Gardens in Shiraz. If you want to leave your round world just dive to his poems.

One of the great poets of Iran and world.

Goethe, the German poet was influenced by Hafez and he has a poem about him.

The atmosphere of his tomb is awesome.

You can listen to traditional music there.

Note: West–östlicher Divan (West–Eastern Diwan) is a diwan, or collection of lyrical poems, by the German poet Johann Wolfgang von Goethe. It was inspired by the Persian poet Hafez.

Saadi Shirazi

Saadi Shirazi with full name as Abu-Mohammad Moshref-al-din Muslih-bin-Abdolla-bin-Moshref Saadi Shirazi (born in 585 or near 606 AH equal to 589 SH and 1210 AD in Shiraz- passed away in 691 AH, equal to 670 or 671 SH or 1292 AD) is a famous, Persian and Iranian poet and writer. His reputation is mostly for his strong, catchy and rhythmic poetry and prose. His position among literary community is so significant that he has been nicknamed as wordsmith, king of word, Sheikh-e-Ajal (death) and even absolutely, master. His popular works are Gulestan in prose and Bostan Masnavi in convergent measure (rhythm of Shah nameh (epopee) by Ferdowsi) and moreover, sonnets and his poetries. Collection of his works is called complete works of Saadi. Some parts of his works has been translated into German and French.

Saadi has been buried in a monastery where was his living place and now it is his tomb. Mohsen Foroughi, an Iranian modern architect, designed tomb of Saadi in 1330.

 Saadieh (Shrine of saadi)

The shrine is located at the end of Boustan street next to the Delgosha park at the hillside of northeast of Shiraz. Around the shrine, there are graves of several great religious men. The shrine of Sheikh Mosharraf-ol-din Ibn-e Mosleh-ol-din-e Saadi Shirazi is registered in the National Heritage Association with the registration number 1010, on 11 November 1974.

The building is in Iranian-style with eight columns of brown stone located in front of the tomb. The main building is decorated with white stones and tiled works. The shrine is cube-shaped from the outside, but octagonal from the inside.

The main foundation of the shrine is about 257 square meters. The main building of the shrine contains two perpendicular porches and the tomb of Sheikh is located in the corner of these porches. A Turquoise-colored tiled dome has been built over the tomb.

The tombstone is located in the middle of an octagonal building with a tile roof decorated with turquoise-colored tiles. There are seven epigraphs on seven sides of the building chosen from parts of Sheikh’s books such as Golestan, Boustan, and Generalities (Kolliat) of Saadi. The building on the left is connected to a portico where there are seven arches.


The coin pool:

In front of the portico there is a pool where people throw coins in order to fulfill their prayers.


The aqueduct:

There is an aqueduct down under the depth of ten meters of the courtyard of the shrine, where the water contains sulfur and mercury material. The underground water flows into the "piscina".


The piscina:

The pool is located on the left side of the shrine. It is octagonal inside and its foundation is approximately 25 to 30 square meters and is connected through 28 stairs to the courtyard of the shrine. The tiled works of inside the piscine is mainly in Seljuk style.

Omar Khayyam



Omar Khayyam, Arabic in full Ghiyāth al-Dīn Abū al-Fatḥ ʿUmar ibn Ibrāhīm al-Nīsābūrī al-Khayyāmī (born May 18, 1048, Neyshābūr [also spelled Nīshāpūr], Khorāsān [now Iran]—died December 4, 1131, Neyshābūr), Persian mathematician, astronomer, and poet, renowned in his own country and time for his scientific achievements but chiefly known to English-speaking readers through the translation of a collection of his robāʿīyāt (“quatrains”) in The Rubáiyát of Omar Khayyám (1859), by the English writer Edward FitzGerald. His name Khayyam (“Tentmaker”) may have been derived from his father’s trade. He received a good education in the sciences and philosophy in his native Neyshābūr before traveling to Samarkand (now in Uzbekistan), where he completed the algebra treatise, Risālah fiʾl-barāhīn ʿalā masāʾil al-jabr waʾl-muqābalah (“Treatise on Demonstration of Problems of Algebra”), on which his mathematical reputation principally rests. In this treatise he gave a systematic discussion of the solution of cubic equations by means of intersecting conic sections. Perhaps it was in the context of this work that he discovered how to extend Abu al-Wafā’s results on the extraction of cube and fourth roots to the extraction of nth roots of numbers for arbitrary whole numbers n. He made such a name for himself that the Seljuq sultan Malik-Shāh invited him to Eṣfahān to undertake the astronomical observations necessary for the reform of the calendar. (See The Western calendar and calendar reforms.) To accomplish this an observatory was built there, and a new calendar was produced, known as the Jalālī calendar. Based on making 8 of every 33 years leap years, it was more accurate than the present Gregorian calendar, and it was adopted in 1075 by Malik-Shāh. In Eṣfahān he also produced fundamental critiques of Euclid’s theory of parallels as well as his theory of proportion. In connection with the former his ideas eventually made their way to Europe, where they influenced the English mathematician John Wallis (1616–1703); in connection with the latter he argued for the important idea of enlarging the notion of number to include ratios of magnitudes (and hence such irrational numbers as √2 and π).



In its present 1970s form, Khayyam's mausoleum is like a giant calligraphic vase with diamond-shaped lozenges cut out to leave an airy net of criss-crossed marble. Tickets include entrance to a tiny Khayyam museum but the foreigner fee still seems steep and the monument is easily visible for free from the nearby Imamzadeh-ye Mahrugh.The complex is at the southeastern terminus of bus 10 (IR5000), or 15 minutes' drive (5km) from central Khayyam Sq.

Ferdowsi "the Lord of the Word"


Abu ʾl-Qasim Ferdowsi Tusi (c. 940–1020), or Ferdowsi, was a Persian poet and the author of the immortal epic of Shahnameh ("Book of Kings"), which is the world’s longest epic poem created by a single poet, and the national epic of Iran and the Greater Iran. Having drafted the Shahnameh under patronage of the Samanid and the Ghaznavid courts of Iran, Ferdowsi is celebrated as the most influential figure in Persian literature and one of the greatest in the history of literature. He is widely regarded as the greatest poet in the Persian language. He was called "The Lord of the Word" and "The Savior of Persian Language". Ferdowsi is celebrated as the most influential figure in Persian literature and one of the greatest in the history of literature. He was called "the Lord of the Word" and "the Savior of the Persian Language".



Ferdowsi was born into a family of Iranian landowners (dehqans) in 940 in the village of Paj, near the city of Tus, in the Khorasan region of the Samanid Empire, currently in the Razavi Khorasan Province of northeastern Iran. Little is known about Ferdowsi’s early life. The poet had a wife, who was probably literate and came from the same dehqan class. He had a son, who died aged 37, and was mourned by the poet in an elegy which he inserted into the Shahnameh.


Ferdowsi was buried in his own garden, burial in the cemetery of Tus having been forbidden by a local cleric. A Ghaznavid governor of Khorasan constructed a mausoleum over the grave and it became a revered site. The tomb, which had fallen into decay, was rebuilt between 1928 and 1934 by the Society for the National Heritage of Iran on the orders of Rezā Shāh, and has now become the equivalent of a national shrine.


According to legend, Sultan Mahmud of Ghazni offered Ferdowsi a gold piece for every couplet of the Shahnameh he wrote. The poet agreed to receive the money as a lump sum when he had completed the epic. He planned to use it to rebuild the dykes in his native Tus. After thirty years of work, Ferdowsi finished his masterpiece. The sultan prepared to give him 60,000 gold pieces, one for every couplet, as agreed. However, the courtier Mahmud had entrusted with the money despised Ferdowsi, regarding him as a heretic, and he replaced the gold coins with silver.

 Ferdowsi was in the bath house when he received the reward. Finding it was silver not gold, he gave the money away to the bathkeeper, a refreshment seller and the slave who had carried the coins. When the courtier told the sultan about Ferdowsi’s behaviour, he was furious and threatened to execute him. Ferdowsi fled Khorasan, having first written a satire on Mahmud, and spent most of the remainder of his life in exile.

Mahmud eventually learned the truth about the courtier’s deception and had him either banished or executed. By this time, the aged Ferdowsi had returned to Tus.

The sultan sent him a new gift of 60,000 gold pieces, but just as the caravan bearing the money entered the gates of Tus, a funeral procession exited the gates on the opposite side: the poet had died from a heart attack.

Bābā āher ʿOryān


Bābā Ṭāher ʿOryān, Ṭāher also spelled Ṭāhir (born c. 1000, Loristan or Hamadan, Iran—died after 1055, Hamadan), one of the most revered early poets in Persian literature.

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Most of his life is clouded in mystery. He probably lived in Hamadan. His byname, ʿOryān (“The Naked”), suggests that he was a wandering dervish, or mystic. Legend tells that the poet, an illiterate woodcutter, attended lectures at a religious college, where he was ridiculed by the scholars and students because of his lack of education and sophistication. After experiencing a vision in which philosophic truths were revealed to him, he returned to the school and spoke of what he had seen, astounding those present by his wisdom. His poetry is written in a dialect of Persian, and he is most famous for his du-baytī (double distichs), exhibiting in melodious and flowing language a sincerity and spirituality with profound philosophical undertones. Bābā Ṭāher is highly revered even now in Iran, and a mausoleum was erected for him in Hamadan in 1965 (restored 2004). Many of his poems have been translated into English in E. Heron-Allen’s The Laments of Baba Tahir (1902), A.J. Arberry’s Poems of a Persian Sūfī (1937), and in Mehdi Nakhosteen’s The Rubáiyyát of Bábá Táhir Oryán (1967).



The baba Taher Oryan Mausoleum is located in the northern part of Hamedan city in a square with his name.

The structure of the mausoleum has been renovated multiple times and the main tomb goes back to the Saljuk period when an Octagonal brick tower was built on Baba Taher’s tomb. This tower was replaced by another structure in the Pahlavi period. The current structure was built in 1975 by Mohsen Foroughi and the design was based on the first structure.

The Mausoleum is a 10 * 10 Built using concrete to ensure the endurance and the foundation was built using Lime and Stones. The monument consists of many charters which are used to let the light in, and the eight pillars the tombstone and the steps have all been made out of carved granite. The roof is decorated using mosaic tile work. Inside the tomb are marble slabs the color of parchment with poems written in black calligraphy surrounding the marble slabs are borders of translucent Stone. There are also 24 inscriptions showing 24 poems from Baba Taher Oryan which are located around the mausoleum.

Mohammad-Hossein Shahriar


Seyed Mohammad Hussein Behjat Tabrizi better known by his pen name Shahriyar was born in Tabriz, northwestern Iran in 1905. His father, Haj Mir Agha Khashknabi was a famous attorney in Tabriz and a respected man with a taste for literature. Shahriyar's mother as put by the poet in his famous piece entitled' Oh, My Mother' was also familiar with the world of poetry. Shahryar's childhood was more or less intertwined with revolutionary moves and conflicts in his hometown Tabriz and thus along with his family, Shayriyar moved to the Khashknab village. Shahriyar started his preliminary studies by reading the famous collection of poetry of classical Iranian poet, Saadi called Golestan and a number of other old books. At the same time he became acquainted with another great Iranian Poet, Hafez. Shayriyar was so fond of Hafez that once he said: "I owe whatever I have to Hafez." Later Shahriyar went to Tehran and continued his studies in the capital at the Darolfonoun School and then began his studies in the field of medicine.



This passionate poet began by composing tragic poetry. Many of his bittersweet memories are reflected in his books Hazyan-e Del, Heydar Baba, and Mumiyai. Heydar Baba, composed in Turkish and later translated into Persian, was for a long time on the top ten best-seller list in Tehran. Heydar Baba is the name of a mountain where the poet spent his childhood. He also wrote a book of epic poems, Takht-e Jamshid.

He was interested in humanistic issues and in his poem "A letter to Einstein" he criticized the result of his scientific work that was abused as the nuclear weapon.

Shahriar’s verse takes diverse forms, including lyrics, quatrains, couplets, odes, and elegies. One of his love poems, Hala Chera, was set to music by Rouhollah Khaleghi. The composition for orchestra and solo voice became one of his most well-known works. One of the major reasons for the success of Shahriar’s work is the sincerity of his words. Since he uses slang and colloquial language in the context of poetry, his poems are understandable and effective for a broad segment of the public.

Shahriar was a talented calligrapher, played the setar very well, and had a keen interest in music. He was a very close friend of the Persian musician and highly respected teacher Abdulhossein Saba.



Maqbarat-o-shoara  or the Mausoleum of Poets (Mazār-e Shāerān or Mazār-e Sorāyandegān) is a graveyard belonging to classical and contemporary poets, mystics and other notable people, located in the Surkhab district of Tabriz in Iran. It was built by Tahmaseb Dolatshahi in the mid-1970s while he was the Secretary of Arts and Cultures of East Azarbaijan.

On the east side of Sayyed Hamzeh's grave and Ghaem Magham's grave, there is a graveyard containing the graves of important poets, mystics, scientists and well-known people of Tabriz. The Mausoleum was first mentioned by the medieval historian Hamdollah Mostowfi in his Nozhat ol-Gholub. Hamdollah mentions it being located in what, at the time, was the Surkhab district of Tabriz.

Since the 1970s, there have been attempts to renovate the graveyard area. Some work has been carried out like the construction of a new symbolic building on this site.

The first poet buried in this complex is Asadi Tusi (999-1072).



Abū Ḥamīd bin Abū Bakr Ibrāhīm (c. 1145 – c. 1221; Persian ‎), better known by his pen-names Farīd ud-Dīn and ʿAṭṭār ( Attar means pharmacist), was an Iranian poet, theoretician of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and Sufism.

According to Edward G. Browne, Attar as well as Rumi and Sana'i, as evident from the fact that their poetry abounds with praise for the first two caliphs Abu Bakr and Umar ibn al-Khattāb - who are detested by Shia mysticism.[14] According to Annemarie Schimmel, the tendency among Shia authors to include leading mystical poets such as Rumi and Attar among their own ranks, became stronger after the introduction of Twelver Shia as the state religion in the Safavid Empire in 1501.

The Seven Valleys of spirituality (conference of the birds)

Attar has described the seven stages of spirituality in the conference of the birds:

The Valley of Quest

The Valley of Love

The Valley of Understanding

The Valley of Independence and Detachment

The Valley of Unity

The Valley of Astonishment and Bewilderment

The Valley of Deprivation and Death