Osaka Aquarium Kaiyukan

شهر اوزاکا – ژاپن

آکواریوم کیوکان اوزاکا – Osaka Aquarium Kaiyukan

آکواریوم کیوکان اوزاکا (Osaka Aquarium Kaiyukan) در بخش میناتو در اوزاکا ژاپن و در نزدیکی خلیج اوزاکا خلیج واقع شده است. این آکواریوم یکی از بزرگترین آکواریوم عمومی در جهان است، و عضوی از انجمن باغ وحش ها و آکواریوم های ژاپن است. دسترسی به اکواریوم از طریق حمل و نقل شهری و مترو به آسانی صورت می گیرد. در یک پیاده روی 5 دقیقه ای از ایستگاه Osakako مترو شهری اوزاکا می توان به آکواریوم کیوکان رسید.  این آکواریوم در کنار چرخ و فلک تمپوزان (Tempozan) قرار رفته و هیجان زیادی برای شما و کودکانتان به وجود خواهد آورد.

آکواریم کیوکان اوزاکا در ماه می سال 1990 افتتاح شد و بالغ بر 470 گونه و در مجموع بالغ بر 29 هزار گونه زیستی دارد. سالانه مسافران و گردشگران تور ژاپن برای دیدن این اکواریوم به ژاپن می آیند.

همراه با تور کشور ژاپن از آکواریوم کیوکان اوزاکا دیدن فرمایید.

نمایشگاه ها

می توان آکواریوم را از درون و از طریق پیاده روی مشاهده کرد. نمایش زندگی دریایی در چند زیستگاه مختلف که شامل 27 مخزن در 16 نمایشگاه اصلی با حجم کل 10.941 تن آب می باشد. گونه های مختلف آبزیانی که در این آکواریوم به نمایش گذاشته شده است، متعلق به اقیانوس آرام می باشد. بزرگترین مخزن آکواریوم کیوکان دارای عمق 9 متری است و حجم آب مخزن 5.400 مترمربع است. انواع کوسه نهنگ و manta rays در آن وجود دارد.

مخازن آکواریوم کیوکان اوزاکا از 314TONNE شیشه آکریلی ساخته شده است. بزرگترین پنجره در ابعاد شش متری در پنج متری و ضخامت سی سانتی متری اندازه گیری شده است و وزن آن حدود 10 تن است. در ضخامت های مورد استفاده، شیشه به طور یکدست بزرگ بوده و شفافیت مورد نظر را ندارد. تم، صفحه نمایش و موجودات درون آکواریوم کیوکان اوزاکا به طور نمونه به شرح زیر است:

• Oriental small-clawed otter
• Satsukimasu
• Japanese giant salamander

ادامه در :

http://traveljapan.ir/%D8%A2%DA%A9%D9%88%D8%A7%D8%B1%DB%8C%D9%88%D9%85-%DA%A9%DB%8C%D9%88%DA%A9%D8%A7%D9%86-%D8%A7%D9%88%D8%B2%D8%A7%DA%A9%D8%A7/

تور ژاپن:

http://traveljapan.ir/%D8%AA%D9%88%D8%B1-%DA%98%D8%A7%D9%BE%D9%86/

Atrisa Gasht: شهر پافوس – قبرس رستوران میوز – Muse restaurant

Atrisa Gasht: شهر پافوس – قبرس رستوران میوز – Muse restaurant

شهر پافوس – قبرس رستوران میوز – Muse restaurant

شهر پافوس – قبرس

رستوران میوز – Muse restaurant

رستوران Muse یک مکان دوست داشتنی در پافوس است. کوکتل فوق العاده رستوران Muse، اسپرسو بی نظیر و شراب عالی آن مشتریان محلی زیادی دارد که شاید بسیاری از بازدید کنندگان در ابتدا به واسطه رفت و آمد زیاد مردم به این رستوران، برای رفتن به آنجا علاقه مند می شوند، اما توریست هایی که قبلا همراه با تور قبرس به  رستوران Muse آمده اند، طعم غذاها و نوشیدنی های لذید آن هنوز زیر زبانشان است.

آشپزخانه رستوران توسط تیمی ماهردر حال اداره شدن است تا شما را با طعمی متفاوت از غذاهای محلی و بین المللی روبرو سازد. منوی متنوع و خدماتی دلپذیر و صمیمی در مکانی استقرار یافته در خارج از شهر پافوس محیطی زیبا با قیمتی مناسب را برای شما به ارمغان آورده است. منطقه ای که رستوران در آن قرار گرفته، بخش قدیمی شهر است که به عنوان Mousallas شناخته می شود که نمای خیر کننده ای به اطراف دارد.

در طول سال در تمام ساعاتی که شما در بازدید از پافوس قبرس همراه تور گردشگری قبرس  می باشید، رستوران Muse برای ارائه صبحانه، ناهار و شام خوشمزه باز می باشد. انواع عصرانه و نوشیدنی برای میان وعده در این رستوران وجود دارد. مکانی که صرف نظر از خوراک های خوشمزه بهترین زمان برای استراحتی کوتاه می باشد.

نمای زیبا و براق رستوران Muse با رنگ زیبا وانرژی بخش دکورها در خطوطی منظم و تمیز شما را بیشتر به خود مجذوب خواهد کرد.

منوی غذاهای رستوران میوز – Muse

بازدید کنندگان زیادی در تورهای  گردشگری قبرس به این رستوران رفته اند و همه آن ها خاطره ای زیبا و بی نظیر را از این رستوران تعریف می کنند. اگر به قبرس و رستوران Muse سفر کنید، شاید بیشتر به آن ها حق دهید. بازدید کنندگان تورهای گردشگری قبرس، رستوران Muse را مکانی دوست داشتنی در قلب منطقه ای قدیمی و تاریخی خواهند یافت که توسط جاده ای باریک کمی دور تر از شهر به مکانی زیبا با نمایی منحصر به فرد و یک پارکیبگ اختصاصی روبرو می شود که سردرب آن نوشته شده است  Muse Restaurant.

نزدیک ورودیرستوران یک نوار شیک برای سفارش غذا وجود دارد همچنین رستوران توسط یک پاسیو گسترده شده است و کل منطقه رستوران برای ارائه یک فضای ناهار خوری باشکوه و مجلل باز می شود، به ویژه این منطقه در تابستان زیبایی خاصی به خود می دهد.

کباب مرغ آبدار با سیب زمینی سرخ شده همراه با سلاد و یک کاسه ماست و خیار مخلوط شده تنها یکی از غذاهایی است که شاید شما را به شگفت آورد، مطمئن هستید که این نوع غذا را تجریه کرده اید، بارها حتی در خانه خودتان، اما اینبار طعمی متفاوت و لذیذتر دارد. زمانی که به این رستوران می روید سفارش دو غذا بسیار محبوبیت دارد، یکی غذاهای دریایی در انواع سرخ شده و کبابی می باشد و دیگری همین کیبا مرغ آبدار با مخلفاتش است. سالاد پنیر نیز طرفداران زیادی در این منوی غذایی دارد. انواع غذای پاستا، همبرگر، ساندویج استیک کبابی با سس پنیر و گوجه فرنگی تازه هر کدام به نوع خود یک غذای کامل برای وعده ناهار خواهد بود.

ادامه مطلب در:

http://cyprus-tour.ir/%D8%B1%D8%B3%D8%AA%D9%88%D8%B1%D8%A7%D9%86-%D9%85%DB%8C%D9%88%D8%B2-muse-restaurant/

برای شرکت در تور قبرس به لینک زیر مراجعه نمایید:

http://cyprus-tour.ir/%D8%AA%D9%88%D8%B1-%D9%82%D8%A8%D8%B1%D8%B3/

Delhi, India - Humayun's Tomb

Delhi, India - Humayun's Tomb

Humayun's tomb is the tomb of the Mughal Emperor Humayun in Delhi, India. The tomb was commissioned by Humayun's son Akbar) in 1569-70, and designed by Mirak Mirza Ghiyas, a Persian architect chosen by Bega Begum. It was the first garden-tomb on the Indian subcontinent, and is located in Nizamuddin East, Delhi, India, close to the Dina-panah citadel also known as Purana Qila (Old Fort), that Humayun founded in 1533. It was also the first structure to use red sandstone at such a scale. The tomb was declared a UNESCO World Heritage Site in 1993, and since then has undergone extensive restoration work, which is complete. Besides the main tomb enclosure of Humayun, several smaller monuments dot the pathway leading up to it, from the main entrance in the West, including one that even pre-dates the main tomb itself, by twenty years; it is the tomb complex of Isa Khan Niyazi, an Afghan noble in Sher Shah Suri's court of the Suri dynasty, who fought against the Mughals, constructed in 1547 CE.
The complex encompasses the main tomb of the Emperor Humayun, which houses the graves of Bega Begum herself, Hamida Begum, and also Dara Shikoh, great-great-grandson of Humayun and son of the later Emperor Shah Jahan, as well as numerous other subsequent Mughals, including Emperor Jahandar Shah, Farrukhsiyar, Rafi Ul-Darjat, Rafi Ud-Daulat and Alamgir II. It represented a leap in Mughal architecture, and together with its accomplished Charbagh garden, typical of Persian gardens, but never seen before in India, it set a precedent for subsequent Mughal architecture. It is seen as a clear departure from the fairly modest mausoleum of his father, the first Mughal Emperor, Babur, called Bagh-e Babur (Gardens of Babur) in Kabul (Afghanistan). Though the latter was the first Emperor to start the tradition of being buried in a paradise garden. Modelled on Gur-e Amir, the tomb of his ancestor and Asia's conqueror Timur in Samarkand, it created a precedent for future Mughal architecture of royal mausolea, which reached its zenith with the Taj Mahal, at Agra.
The site was chosen on the banks of Yamuna river, due to its proximity to Nizamuddin Dargah, the mausoleum of the celebrated Sufi saint of Delhi, Nizamuddin Auliya, who was much revered by the rulers of Delhi, and whose residence, Chilla Nizamuddin Auliya lies just north-east of the tomb. In later Mughal history, the last Mughal Emperor, Bahadur Shah Zafar took refuge here, during the Indian Rebellion of 1857, along with three princes, and was captured by Captain Hodson before being exiled to Rangoon. At the time of the Slave Dynasty this land was under the 'KiloKheri Fort' which was capital of Sultan Kequbad, son of Nasiruddin (1268–1287).
The Tombs of Battashewala Complex lie in the buffer zone of the World Heritage Site of the Humayun Tomb Complex; the two complexes are separated by a small road but enclosed within their own separate compound walls.







History

After his death on 20 January 1556, Humayun's body was first buried in his palace in Purana Quila at Delhi. Thereafter it was taken to Sirhind, in Punjab by Khanjar Beg, because it was feared that Hindu king Hemu, who had defeated Mughal forces in Agra and Delhi in Oct. 1556 and captured Purana Quila, will damage the tomb. In 1558, it was seen by his son, the then Mughal Emperor, Akbar. Akbar subsequently visited the tomb when it was about to be completed in 1571.Humayun's Tomb Muqarnas: An Annual on Islamic Art and Architecture, by Oleg Grabar. Published by Brill Publishers, 1988. ISBN 90-04-08155-0. Page 133-140.Humayun's Tomb The New Cambridge History of India, by Geraldine Forbes, Gordon Johnson, B. R. Tomlinson. Cambridge University Press, 1988. ISBN 0-521-26728-5. Page 45-47.Humayun's Tomb Speaking stones: world cultural heritage sites in India, by Bill Aitken. Dept. of Tourism. Published by Eicher Goodearth Limited, 2001. ISBN 81-87780-00-2. Page 45-47.
The tomb of Humayun was built by the orders of Akbar Humayun's first wife and chief consort, and begun in 1565, nine years after his death, and completed in 1572 AD at a cost of 1.5 million rupees at the time. Arnav Deorukhar, one of Humayun's wives, was also very helpful. The cost for building the mausoleum was paid entirely by Empress Bega Begum. When Humayun had died in 1556, Bega Begum was so grieved over her husband's death that she dedicated her life thenceforth to a sole purpose: the construction of the most magnificent mausoleum in the Empire, at a site near the Yamuna River in Delhi for the memorial of the late Emperor. According to Ain-i-Akbari, a 16th-century detailed document written during the reign of Akbar, Haji Begum supervised the construction of the tomb after returning from Mecca and undertaking the Hajj pilgrimage.Haji Begum Ain-i-Akbari. "He (Qa´sim 'Ali´ Khan) was employed to settle the affairs of Hájí Begum, daughter of the brother of Humáyún's mother (tagháí zádah i wálidah i Jannat-ástání), who after her return from Makkah had been put in charge of Humáyún's tomb in Dihlí, where she died."
Humayun to Abd al-Qadir Bada'uni, one of the few contemporary historians to mention its construction, the architect of the tomb was the Persian architect, Mirak Mirza Ghiyas (also referred to as Mirak Ghiyathuddin) who was brought from Herat (northwest Afghanistan), and had previously designed several buildings in Herat, Bukhara (now Uzbekistan), and others elsewhere in India. Ghiyas, to whom the mausoleum's exquisite design is attributed was chosen to be the architect by Empress Bega Begum. Unfortunately, before the structure's completion, he died and so his son Sayyed Muhammad ibn Mirak Ghiyathuddin completed his father's design in 1571.
An English merchant, William Finch, who visited the tomb in 1611, describes the rich interior furnishing of the central chamber (in comparison to the sparse look today). He mentioned the presence of rich carpets, and a shamiana, a small tent above the cenotaph, which was covered with a pure white sheet and with copies of the Quran in front along with his sword, turban and shoes.





The fortunes of the once famous Charbagh (Four-square) gardens, which spread over 13 hectares surrounding the monument, changed repeatedly over the years after its construction. The capital had already shifted to Agra in 1556, and the decline of the Mughals accelerated the decay of the monument and its features, as the expensive upkeep of the garden proved impossible. By the early 18th century, the once lush gardens were replaced by vegetable garden of people who had settled within the walled area. However, the capture of the last Mughal emperor, Bahadur Shah Zafar during the Indian Rebellion of 1857 together with the premises, and his subsequent sentencing to exile, along with execution of his three sons, meant that the monument’s worst days lay ahead, as the British took over Delhi completely. In 1860, the Mughal design of the garden was replanted to a more English garden-style, with circular beds replacing the fours central water pools on the axial pathways and trees profusely planted in flowerbeds. This fault was corrected in early 20th century, when on Viceroy, Lord Curzon's orders the original garden were restored in a major restoration project between 1903–1909, which also included lining the plaster channels with sandstone; a 1915 planting scheme, added emphasis to the central and diagonal axis by lining it with trees, though some trees were also planted on the platform originally reserved for tents.A Tomb Brought to Life by Ratish Nanda Historic Gardens Review Number 13. London: The Historic Gardens Foundation, 2003. The 1882, the Official curator of ancient monument in India, published his first report, which mentioned that the main garden was let out to various cultivators, amongst them till late were the royal descendants, who grew cabbage and tobacco in it.
During the Partition of India, in August 1947 the Purana Qila together with Humayun's Tomb, became major refugee camps for Muslims migrating to the newly founded Pakistan, and was later managed by the government of India. These camps stayed open for about five years, and caused considerable damage not only to the extensive gardens, but also to the water channels and the principle structures. Eventually, to avoid vandalism, the cenotaphs within the mausoleum were encased in brick. In the coming years, the Archaeological Survey of India (ASI), took on responsibility for the preservation of heritage monuments in India, and gradually the building and its gardens were restored. Until 1985, four unsuccessful attempts were made to reinstate the original water features.
An important phase in the restoration of the complex, started around 1993, when the monument was declared a World Heritage Site. This brought new interest to its restoration, and a detailed research and excavation process began under the aegis of the Aga Khan Trust and the ASI, culminating in 2003, when much of the complex, and gardens were finally restored, with its historic fountains running once again after several centuries of disuse. The restoration has been a continuous process ever since, with subsequent phases addressing various aspects and monuments of the complex.








Architecture

Turkish and Mughal rule in the Indian subcontinent, also introduced Central Asian and Persian styles of Islamic architecture in the region, and by the late 12th century early monuments in this style were appearing in and around Delhi, the capital of Delhi Sultanate. Starting with the Turkic Slave dynasty which built the Qutb Minar and its adjacent Quwwat-ul-Islam mosque (1193 CE). North India was successive ruled foreign dynasties in the coming centuries giving rise to the Indo-Islamic architecture. While the prevailing style of architecture was trabeate, employing pillars, beams and lintels, this brought in the arcuate style of construction, with its arches and beams, which flourished under Mughal patronage and by incorporating elements of Indian architecture, especially Rajasthani architecture including decorative corbel brackets, balconies, pendentive decorations and indeed kiosks or chhatris, to developed a distinct, Mughal architecture style, which was to become a lasting legacy of the nearly four hundred years of the Mughal rule. The combination of red sandstone and white marble was previously seen in Delhi Sultanate period tombs and mosques, most distinctively in the highly decorative Alai Darwaza in the Qutub complex, Mehrauli, built in 1311 AD, under the Khilji dynasty.
The high rubble built enclosure is entered through two lofty double-storeyed gateways on the west and south, 16 metres high with rooms on either side of the passage and a small courtyards on the upper floors. Six-sided stars that adorn the main gateway on the west, are also seen on the iwan of the main tomb structure, though it has been used as ornamental cosmic symbol. The mosque usually present alongside royal tombs, like the Taj, is conspicuously missing from the enclosure, which has only one other structure, the tomb of Emperor's favorite barber, now commonly known as Nai ka Gumbad (Dome-of-barber). The tomb built of rubble masonry and red sandstone, uses white marble as a cladding material and also for the flooring, lattice screens (jaalis), door frames, eaves (chhajja) and for the main dome. It stands on a vaulted terrace eight-metre high and spread over 12,000m². It is essentially square in design, though chamferred on the edges to appear octagonal, to prepare ground for the design of the interior structure. The plinth made with rubble core has fifty-six cells all around, and houses over 100 gravestones. Plus, the entire base structure is on a raised platform, a few steps high.
Inspired by Persian architecture; the tomb reaches a height of 47m and is 91m wide, and was the first Indian building to use the Persian double dome on a high neck drum, and measures 42.5m, and is topped by 6m high brass finial ending in a crescent, common in Timurid tombs. The double or 'double-layered' dome, has its outer layer which supports the white marble exterior, while the inner part gives shape to the cavernous interior volume. As a contrast to the pure white exterior dome, rest of the building is made up of red sandstone, with white and black marble and yellow sandstone detailing, to relieve the monotony.

The symmetrical and simple designed on the exterior is in sharp contrast with the complex interior floor plan, of inner chambers, which is a square 'ninefold plan', where eight two-storyed vaulted chambers radiate from the central, double-height domed chamber. It can be entered through an imposing entrance iwan (high arc) on the south, which is slightly recessed, while others sides are covered with intricate jaalis, stone lattice work. Underneath this white dome in a domed chamber (hujra), lies the central octagonal sepulcher, the burial chamber containing a single cenotaph, that of the second Mughal Emperor, Humayun aligned on the north-south axis, as per Islamic tradition, where in the head is placed to the north, while the face is turned sideways towards Mecca. The real burial chamber of the Emperor, however lies further away in an underground chamber, exactly beneath the upper cenotaph, accessible through a separate passage outside the main structure, which remains mostly closed to visiting public. This burial technique along with pietra dura, a marble and even stone inlay ornamentation in numerous geometrical and arabesque patterns, seen all around the facade is an important legacy of the Indo-Islamic architecture, and flourished in many later mausolea of the Mughal Empire, like the Taj Mahal, where again we find twin cenotaphs and exquisite 'pietra dura' craftsmanship.
The main chamber also carries the symbolic element, a mihrab design over the central marble lattice or jaali, facing Mecca in the West, here instead of the traditional Surah 24, An-Noor of Quran which is inscribed on the mihrabs, this one is just an outline allowing light to enter directly into the chamber, from Qibla or the direction of Mecca, thus elevating the status of the Emperor, above his rivals and closer to divinity.
This chamber with high ceiling is then encompassed by four main octagonal chambers on two floors, set at the diagonals with arched lobbies leading to them also connecting them, plus there are four auxiliary chambers in between suggesting that the tomb was built as a dynastic mausoleum. Collectively the concept of eight side chambers not only offers passage for circumambulation of the main cenotaph, a practice common in Sufism and also visible in many Mughal imperial mausoleums, it also the reflect the concept of Paradise in Islamic cosmology. Each of the main chambers has in turn eight more, smaller chambers radiating from them, and thus the symmetrical ground plan reveals itself to contain 124 vaulted chambers in all. Many smaller chambers too, contain cenotaphs of other members of the Mughal royal family and nobility, all within main walls of the tomb. Prominent among them cenotaphs of Hamida Begum herself, alongside Dara Shikoh. In all there are over 100 graves within the entire complex, including many on the first level terrace, earning it the name "Dormitory of the Mughals", since the graves are not inscribed their identification remains uncertain.
The building was first to use its unique combination of red sandstone and white marble, and includes several elements of Indian architectural, like the small canopies, or chhatris surrounding the central dome, popular in Rajasthani architecture and which were originally covered with blue tiles.







http://india-tour.ir/%D8%AA%D9%88%D8%B1-%D9%87%D9%86%D8%AF/

Address: Mathura Road, Nizamuddin, Opp. Dargah, New Delhi, Delhi 110013, India

Saint Petersburg, Russia - Hermitage Museum

Saint Petersburg, Russia - Hermitage Museum

The State Hermitage is a museum of art and culture in Saint Petersburg, Russia. One of the largest and oldest museums in the world, it was founded in 1764 by Catherine the Great and has been open to the public since 1852. Its collections, of which only a small part is on permanent display, comprise over three million items (the numismatic collection accounts for ca one third of them) including the largest collection of paintings in the world. The collections occupy a large complex of six historic buildings along Palace Embankment, including the Winter Palace, a former residence of Russian emperors. Apart from them, the Menshikov Palace, Museum of Porcelain, Storage Facility at Staraya Derevnya and the eastern wing of the General Staff Building are also part of the museum. The museum has several exhibition centers abroad. The Hermitage is a federal state property. Since 1990, the director of the museum has been Mikhail Piotrovsky.
Of six buildings of the main museum complex, five, named the Winter Palace, Small Hermitage, Old Hermitage, New Hermitage and Hermitage Theatre, are open to the public. The entrance ticket for foreign tourists costs more than the fee paid by citizens of Russia and Belarus. However, entrance is free of charge the first Thursday of every month for all visitors, and free daily for students and children. The museum is closed on Mondays. The entrance for individual visitors is located in the Winter Palace, accessible from the Courtyard.






Etymology
Hermitage derives from Old French hermit, ermit "hermit, recluse", from Late Latin eremita, from Greek eremites, literally "people who live alone".

Buildings
Originally, the only building housing the collection was the 'Small Hermitage'. Today, the Hermitage Museum encompasses many buildings on the Palace Embankment and its neighbourhoods. Apart from the Small Hermitage, the museum now also includes the 'Old Hermitage' the 'New Hermitage', the 'Hermitage Theatre', and the 'Winter Palace', the former main residence of the Russian tsars. In recent years, the Hermitage has expanded to the General Staff Building on the Palace Square in front of the Winter Palace, and the Menshikov Palace.






Collections
The Western European Art collection includes European paintings, sculpture, and applied art from the 13th to the 20th centuries. It is displayed, in about 120 rooms, on the first and second floor of the four main buildings. Drawings and prints are displayed in temporary exhibitions.

Egyptian antiquities
Since 1940, the Egyptian collection, dating back to 1852 and including the former Castiglione Collection, has occupied a large hall on the ground floor in the eastern part of the Winter Palace. It serves as a passage to the exhibition of Classical Antiquities. A modest collection of the culture of Ancient Mesopotamia, including a number of Assyrian reliefs from Babylon, Dur-Sharrukin and Nimrud, is located in the same part of the building.






Classical antiquities
The collection of Classical Antiquities occupies most of the ground floor of the Old and New Hermitage buildings. The interiors of the ground floor were designed by German architect Leo von Klenze in the Greek revival style in the early 1850s, using painted polished stucco and columns of natural marble and granite. One of the largest and most notable interiors of the first floor is the Hall of Twenty Columns, divided into three parts by two rows of grey monolithic columns of Serdobol granite, intended for the display of Graeco-Etruscan vases. Its floor is made of a modern marble mosaic imitating ancient tradition, while the stucco walls and ceiling are covered in painting.
The Room of the Great Vase in the western wing features the 2.57m high Kolyvan Vase, weighing 19t, made of jasper in 1843 and installed before the walls were erected. While the western wing was designed for exhibitions, the rooms on the ground floor in the eastern wing of the New Hermitage, now also hosting exhibitions, were originally intended for libraries. The floor of the Athena Room in the south-eastern corner of the building, one of the original libraries, is decorated with an authentic 4th-century mosaic excavated in an early Christian basilica in Chersonesos in 1854.
The collection of Classical Antiquities feature Greek artifacts from the 3rd millennium – 5th century BC, Ancient Greek pottery, items from the Greek cities of the North Pontic Greek colonies, Hellenistic sculpture and jewellery, including engraved gems and cameos, such as the famous Gonzaga Cameo, Italic art from the 9th to 2nd century BC, Roman marble and bronze sculpture and applied art from the 1st century BC - 4th century AD, including copies of Classical and Hellenistic Greek sculptures. One of the highlights of the collection is the Tauride Venus, which, according to latest research, is an original Hellenistic Greek sculpture rather than a Roman copy as it was thought before. There are, however, only a few pieces of authentic Classical Greek sculpture and sepulchral monuments.

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تور مالزی - 4 فصل

تور مالزی

مرکز تخصصی تور مالزی با داشتن کادری مجرب در سال های گذشته عنوان برترین مرکز اعزام توریست را به کشور مالزی از سازمان جهانگردی دریافت کرده است. این مرکز تحت نظر آتریسا گشت فعالیت می کند و تا کنون موفقت به دریافت چندین تقدیرنامه از کشور مالزی شده است.

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موزه کافسجیان شهر ایروان – ارمنستان

شهر ایروان – ارمنستان

موزه کافسجیان Cafesjian 

موزه هنرهای معاصر کافسجیان در شهر ایروان کشور ارمنستان واقع شده است. این موزه در پایین کاسکاد یا همان هزار پله ایروان قرار گرفته است. این موزه علاوه بر ارائه هنرهای معاصر در نوامبر 2009 یک برنامه متنوعی از سخنرانی ها، فیلم ها، کنسرت ها و طرح های آموزشی متعددی برای کودکان و بزرگسالان را نیز به علاقه مندان ارائه می دهد. این موزه سالانه بیش از یک میلیون نفر بازدید کننده دارد.

تاریخ موزه کافسجیان

بنیاد موزه کافسجیان در آوریل 2002 تحت نظارت دولت جمهوری ارمنستان و بنیاد موزه کافسجیان آمریکا تاسیس شد. ساخت و ساز اصلی این موزه کمی با تاخیر در آوریل 2005 آغاز شد. انتظار می رفت که ساخت و ساز آن در ماه آوریل سال 2008 تکمیل شود ولی با این حال مراسم افتتاح این موزه بزرگ در 17 نوامبر 2009 توسط رئیس جمهور ارمنستان سرژ سگیسیان Serzh sargsyan و وزیر فرهنگ هاسمیک پوگوسیان Hasmik poghosyan و وزیر خارجه کشور هرانوش هاکوبیان Hranush Hakobyan و نمایندگان دیپلماتیک کشورهای دیگر و هنرمندان مختلف و شخصیت های سیاسی برگزار گردید.

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برترین مرکز و مجری مستقیم تور ارمنستان در ایران.

تور آذربایجان - تور مونته نگرو

آژانس مسافرتی آتریسا گشت مفتخر است برای اولین با تور مونته نگرو و تور آذربایجان را با کیفیتی واقعا بی نظیر و عالی برای علاقمندان به این کشور ها برکزار کند.

برای کسب اطلاعات بیشتر به وب سایت رسمی آتریسا گست مراجعه نمایید:

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هتل کاوالیری شهر رم ایتالیا ( Rome Cavalieri )

هتل کاوالیری شهر رم ایتالیا

هتل کاوالیری رم در بهترین نقطه و با بهترین چشم انداز ساخته شده است تا مسافرین نمایی بسیار زیبا را در این هتل تجربه کنند. هر چند که از محل هتل کاوالیری تا بناهای تاریخی و دیدنی شهر رم فقط چند دقیقه فاصله وجود دارد ولی باز هم این هتل به فکر مهمانان خود بوده و نقاط دید بسیار زیبایی برای آنها در نظر گرفته است . این هتل آرامش بسیار خوبی دارد و طبق نظر مسافرین ، صدای ناهنجار و پارازیت های صوتی به هیچ وجه داخل اتاق ها و سالن شنیده نمیشود.

تمام اتاق های این هتل دارای اعتبار Roman luxury میباشند و هر یک با مکان پذیرایی و خواب مجزا هستند. اتاق های این مجموعه از ویژگی های لوکس از قبیل حمام سنگ مرمر ، حمام سنگ آهک رومی و همچنین یک بالکن جهت سرو صبحانه و یا سرو آب میوه و نوشیدنی ها در شب در نظر گرفته شده است .

این هتل در قلب شهر رم ایتالیا و در پارک مدیترانه قرار گرفته است و پناه گاهی زیبا همراه با امنیت بسیار خوب است که با اقامت در این هتل آرامش خاطر خود و خانواده شما تضمین خواهد شد. هتل کاوالیری اولین هتل منحصر به فرد مجموعه Waldorf Astoria در اروپا میباشد و به نقل از سازندگان این هتل باید گفت که : هتل کاوالیری بیش از یک هتل 5 ستاره میباشد و شبیه به یک آرامگاه روحی برای مسافرین و خستگان راه است.

معماری این هتل بسیار حرفه ای بوده و طراحی این هتل بیشتر شبیه به یک موزه بسیار زیبا است تا یک هتل معمولی . امکانات و ویژگی های مدرن این هتل مسافران را برای ماندن در هتل و استفاده از امکانات آن ترغیب میکند. این هتل لوکس با احترام و ارائه خدمات با کیفیت به مهمانان خود شهرت بسیار زیادی در ایتالیا پیدا کرده است. بر این اساس هتل کاوالیری موفق به اخذ جوایز متعددی از سال های 2013 تا به امروز شده است که به برخی از آنها اشاره میکنیم.

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. مجری تخصصی برگزار کننده تور های اروپا و تور ایتالیا در ایران.

در ضمن این مرکز مفتخر است که تور تایوان را با بهترین شرایط ممکن و عالی برکزار می کند.

بررسی موقعیت جغرافیایی کشور گرجستان

کشور گرجستان

با توجه به اینکه کشور گرجستان از جمله کشورهای بسیار محبوب هم وطنان عزیزمان برای مسافرت بوده و همچنین داشتن اطلاعات کافی قبل از هر سفر لازم و ضروری می باشد در این قسمت به توضیح موقعیت جغرافیایی کشور گرجستان برای عزیزانی که در تور گرجستان ثبت نام کرده و یا قصد سفر به گرجستان را دارند، می پردازیم:

موقعیت جغرافیایی کشور گرجستان

گرجستان کشوری است واقع در سلسله جبال قفقاز که مابین دو دریای خزر و سیاه قرار گرفته است. این کشور از سمت شمال با کشور روسیه، از سمت شرق با جمهوری آذربایجان، و در جنوب با کشور ارمنستان و کشور ترکیه هم مرز می باشد. غرب این کشور را به صورت یکدستی دریای سیاه فرا گرفته است.

طول مرزی کشور گرجستان با کشورهای همسایه اش 1969.8 کیلومتر مربع می باشد. که 807.6 کیلومتر مربع آن را با کشور روسیه، و 374.4 کیلومتر مربع آن را با کشور آذربایجان، و216.7 کیلومتر مربع آن را با کشور ارمنستان، و 256.1 کیلومتر مربع آن را با کشور ترکیه و 315 کیلومتر مربع آن را نیز با دریای سیاه تشکیل می دهد.

مساحت کلی کشور گرجستان 69.900 کیلومتر می باشد که  پس از کشور آذربایجان دومین کشور بزرگ از لحاظ جمعیت و مساحت در منطقه قفقاز جنوبی واقع شده است. شهر ها و استان هایی که تا 30 سال قبل جزء کشور گرجستان به شمار می رفتند ولی کشور روسیه به تجزیه آن پرداخت عبارتند از: شهر سوچی و استان چچن در روسیه، استان لوری در ارمنستان، استان های ارتومن و اردهان در ترکیه، شهر زاکاتا در کشور آذربایجان.

کشور گرجستان  دارای 8 استان و یک منطقه خودمختار و دو جمهوری خودمختار می باشد و پایتخت آن تفلیس به معنای گرم است و دلیل این نامگذاری وجود چشمه های آبگرم در این منطقه است. این کشور در واقع ناحیه مابین قاره آسیا و اروپا می باشد که همین مسئله حساسیت ویژه ای در طول سالیان به این کشور داده است .خود این کشور مایل به حضور در مجامع بین المللی اروپایی می باشد و حتی یک عضو در ناتو به صورت فعال دارد. همچنین در تقسیم بندی جغرافیای مدرن این کشور جزء اروپا طبقه بندی شده است.

این کشور اکثرا کوهستانی بوده و تقریبا 80 درصد آن را کوهستان ها و تپه ماهورها تشکیل می دهند و بسیاری از مناطق روستایی کوهستانی در فصل زمستان به دلیل بارش بسیار زیاد برف دسترسی خود را به جهان خارج از دست می دهند و زلزله و بلایای طبیعی دیگر آن ها را تهدید می کند. با وجود مساحت کم این کشور ولی شاهد توپوگرافی بسیار متنوعی در اینجا می باشیم. شرق کشور گرجستان مرطوب و غرب آن خشک یا معتدل می باشد. همچنین جمعیت این کشور 4630841 نفر می باشند.

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