The Persian Garden

The English word paradise comes from Old Persian pairi-daēza, "an enclosure around" — the walled royal park first described by Xenophon in the time of Cyrus the Great. From the start the Persian garden was an act of cosmology: four watercourses radiating from a central pool, their geometry standing in for the four rivers of paradise (later Eden) and the four cardinal directions.

Cyrus's own garden at Pasargadae (c. 540 BCE), excavated in the 1960s, already shows the plan in stone: rectilinear water channels lined with cut limestone, shaded colonnades, perfumed plantings of cypress, myrtle and pomegranate. Every later Persian garden — and every Mughal and Andalusian one — quotes it.

The genius of the Persian garden is not the geometry but the plumbing. On the central Iranian plateau, with under 250 mm of annual rainfall, no garden can exist without the qanat — a sloping underground aqueduct, sometimes 70 km long, that taps the alpine water-table and delivers it by gravity, evaporation-free, to the garden's highest corner. From there the water falls through a precisely graded system of joubs (channels), howz (pools) and chadar (water-staircases) that aerate and cool it by audible degrees.

In 2011 UNESCO inscribed nine gardens as a single serial property — "The Persian Garden" — recognising the continuity of a single design tradition from the 6th century BCE to the 19th century CE.

Classical sources (Avicenna's Canon, the Irshad al-Zira'a of 1515) prescribe a standard repertoire: cypress (sarv) for eternity, plane (chenar) for shade, pomegranatefor fertility, jasmine and damask rose (gol-e Mohammadi) for scent, citrus and quince for colour, and underplantings of violet, narcissus and tulip — the bulb that travelled north through Ottoman Istanbul to seventeenth-century Holland.

"A rose petal from the garden of a friend is dearer to me than a hundred tulips of strangers."