Recollection of the Past: King Nader's Tomb by Hooshang Seyhoon

A view of King Nader's statue from the entrance.

Construction of the tomb commenced on 22 Mehr 1335 SH (October 14, 1956). It was handed over on 25 Khordad 1338 SH (June 15, 1959) and inaugurated in Farvardin 1342 SH (March 1963).

The tomb building, with an area of 800 square meters, has three iwans — eastern, southern, and western — connected to one another, and is situated within a garden of 15,469 square meters.

The bronze statue of Nader was cast by the Italian foundry Bruni based on the plaster model by Master Abolhassan Sadighi in 1957, and was installed on 13 Shahrivar 1339 SH (September 4, 1960). According to historians of the Afsharid era, Nader Shah during his lifetime had ordered the construction of a tomb for himself and his family.

The author of Nader's Illustrious Affairs, while naming Nader's undertakings, refers to the construction of the tomb: "By the most exalted command, it was ordered that on the boulevard beside the Chaharbagh-e Shahi buildings in Mashhad, a tomb of brick and clay be erected, and these structures were completed in the year 1145 AH."

The aforementioned tomb, amid the unrest and political turmoil of that era and afterwards, fell into ruin. In Khorasan, another structure was built upon Nader's burial site, which also suffered damage and deterioration. The new tomb of Nader was erected through the efforts of the National Monuments Society, based on the design of engineer Hooshang Seyhoon, within a garden of 15,469 square meters.

Experience of the Space

These days, experiencing a satisfying architectural space is not easily possible. Our everyday life passes amid the din of busy streets and uniform buildings. For this reason, I could not believe that after a hot morning of photographing in the busy streets and alleys of the city center, at noon on 26 Mordad, a paradise awaited me just a few steps away at Shohada Square in Mashhad, and when I saw it, I was astonished at how I had for years contented myself with my memory of this beautiful complex and had not taken a step to renew it.

Inner space of the tomb (top left). Roof and lateral lighting (top right). View of the tomb entrance (bottom).

First Step

From the first encounter at the entrance, amidst the commotion, congestion, honking, smoke, and noise, the axe-like fences — as if the weapons of soldiers ready for battle were signaling from beneath the sidewalk pavement — guided me to the entrance of the complex, and suddenly a vista appeared on the horizon that was like a cool breeze in that hot weather.

The Tomb

The tall stone mass lends a particular grandeur and magnificence to the ensemble. The first impression of the King Nader Tomb complex is one of greatness — a worthy celebration of the grandeur of Iran's history. Heavy and majestic volumes, deep and heavy chiaroscuro, impactful scales, dazzling textures, and sculptures — from the very entrance, we see Nader and his soldiers in the distance, drawing the eye and mind toward themselves. Nader is mounted on horseback, and three soldiers of the Naderi era attend him. This bronze statue, standing 12.5 meters tall, is the work of Master Abolhassan Sadighi.

If we set aside this statue and its magnificent stone tower — composed of irregular stone blocks secured upon a concrete structure — we arrive at the main building: a heavy mass resting upon multi-faceted sturdy columns. The infantry, marching calmly under their commander's leadership toward the front, their movement visible in the mesmerizing play of their shadows' light and dark.

Upon entering the company of these soldiers, darkness suddenly overwhelms the space, and we reach the particular tranquility of the tomb — a semi-dark space with a cladding of red travertine and uniform concrete blocks that protrude irregularly from the wall. The four-sided concrete ceiling with triangular, patterned skylights around it draws a faint light inside. Nader rests in a corner of this mysterious space beneath a beautiful gravestone.

Concrete blocks in contrast with red stone (left). Second hall gutter (top right). Inner space of the tower (bottom right).

The Museum

Two small halls connected to the central hall of the tomb, which from the outside are clad in irregular stone blocks similar to those used in the tower, and inside are simple and modest, hold weapons, rifles, and garments.

Each of these two halls has its own independent character from the outside. The first, with an irregular concrete lattice, and the second, with volumes protruding from the ceiling, have formed water features.

At the entrance to the second hall, facing a corridor that opens to the outside to cast slender bands of light upon the entrance, a marble bust of the king — the work of Master Sadighi — is placed. After passing through all the ups and downs, when we return to the hall once more, we prefer the darkness within to the brightness outside. Here, one can sit briefly upon the platforms and contemplate. In the glow of the lights near the ceiling, one can feel the weight and heaviness of the space.

The Tower

His meticulous attention to design has not been concealed in any part of this ensemble. The management building, library, guardhouse, greenhouse, and grounds — flower beds, water features, pools, benches, and other landscape elements — have all been beautifully designed. His design obsession, combined with simplicity and refinement, has presented a praiseworthy ensemble to our cultural heritage: the Naderi Tomb Complex.

Panoramic view of the complex (top). Administrative building (bottom left). Pond and sculpture (bottom right).