The glorious architecture of Iran, like a piece of gem, has been constantly glittering among other architectural monuments of the world and has occupied a worthy place in the world of art. It was in the reign of the Safavids, that the city of Isfahan reached such a renown and elegance which was called "half of the world".
Among what has remained from the age of the Safavids, there still exists  a school, bazaar and  caravansaray complex which sparkles like a piece of jewelry at the side of Chahar Bagh street.
This complex was built at the time of king Sultan Hossein of Safavids about 300 years ago. King Soltan Hossein attributed this magnificent complex of building to his mother. That is why; it is called "the school and caravansaray of Madar-shah" (which means king's mother).
Along with economical prosperity in the Safavids age, the construction of utilitarian monuments such as bazaar, bridges, dams, pigeon towers, water supplies, inns, mosques and schools was the vogue of time. The caravansaries did not just provide lodging for the passengers and passers-by or were not centers of loading or landing of the caravans. The urban caravansaries were appropriate places for storing goods and commercial exchanges.
In reconstruction of the caravansaries, the main attempt has been to preserve the general shape. Madar-Shah caravansaray likewise owns a square courtyard in the middle, each side of which amounts to eighty meters. In reconstruction of this caravansaray, this dusty courtyard has changed into a garden imbued with plants and colorful flowers. A stream flows through this courtyard, which is called Farshadi stream. At each side of this courtyard is located a verandah at the two sides of which are aligned two-storey chambers.
Simplicity and strength of this building with its open pleasant area is reminiscent of the glory and grace of Naghsh-e-Jahan square which is the precious treasure left from the Persia of the Safavids periods.
At this time, according to the suggestion of Andre Goddard who was then the counselor of Archeology Bureau, Iran Insurance Company came to save the monument. The company consented to the alteration of the caravansary to a hotel and approved of the plan of the hotel building which was later called King Abbas hotel (1336 A.H). In this way, not only was a valuable historical monument saved but also the memory of its first use as the lodging of the passengers and tourists was preserved in the new form it assumed. Besides, a scenic and elegant space was provided for the tourists in such a celebrated city as Isfahan. Now, the gurgling of water and the color of Persian gardens, images from the grandeur of Islamic architecture, the eloquent artistic designs carved on the forehead of the lofty walls and verandas, the landscape of the picturesque turquoise dome of Chaharbagh Madresseh are images which are printed on the minds of the guests as such that these images can hardly ever be consigned to oblivion.
The company finally started the construction of the hotel in the summer of 1337 and finished it at the end of 1345. In reconstructing the caravansary, they were committed to two objectives: The preservation of the originality of the outward facade and the renovation of the caravansary's chambers and remodeling them into the hotel rooms.
In 1351, Iran Insurance Company decided to expand the hotel. The expansion was possible only at the eastern side. Thus, by purchasing 11500 square meters of land at this side, the annex or adjacent section of the hotel was built which can be considered an independent and well-furnished hotel by itself. By passing more than 30 years from hotel servicing, most sections of the hotel had been ruined and needed reconstructions. After inspections of engineers, the reconstruction of the hotel in many phases started at first months of 1374 and ended at first months of 1379. The above actions include the reconstruction of rooms, halls, kitchens, and engine houses, electrical and mechanical installations of hotel. The interior decoration of Abbasi hotel is endowed with such a high quality and quantity, each part of which deserves due attention and description.

Chehel-Sotoon Hall
It has a capacity of 400 people in 2 floors. Skilled personnel serve you at ceremonies and conferences in this unique hall.

Zarrin Hall
With a capacity of 80 people in so-called cinema form and 40 in U-from and with enough audio-visual facilities as well as internet service, this hall is a good place for different conferences. To eat and drink at a break, there are two other halls that you can use: Chehel-sotoon and Naghsh-e-jahan.

Abbasi Hall
The biggest and the most beautiful among all with a capacity of 500 people and enough facilities in a good and enjoyable atmosphere this hall is ready to hold big conferences.

Naghsh-e-Jahan Hall
It is suitable for seminars, exhibitions and private ceremonies with a capacity of 40 persons.

Pardis Hall
With a capacity of 15 persons and also with enough facilities it is a beautiful and quiet place for meetings.

Firouzeh Hall
This hall can hold 150 persons for seminars and exhibitions. It has all facilities for this purpose.

Aeeneh Hall
It consists of 3 halls:
Aeeneh hall no. 1, the main Aeeneh hall and Aeeneh hall no. 3
The main Aeeneh hall has a capacity of 200 people in classic form and 70 in  U-form.
Aeeneh hall no. 1 has a capacity of 70 people and Aeeneh hall no. 3 a capacity of 60.
All these three halls are used for different seminars.
For all the meetings and seminars, if you want, we can arrange services like: tribune, decorating (with flowers), music, national hymn, audio-visual facilities (like video projector, data projector, slide, filming, different microphones), breaks (eating and drinking), placards, directional stands, propaganda banners.

Chehel-sotoon Restaurant
This big and magnificent restaurant has two floors, and also a unique decoration. It has a capacity of 400 people. The second floor is used as the breakfast hall every day from 7:00 to 10:00 where you can have breakfast as a buffet. The ground floor is used as the main restaurant for lunch all the year from 12:00 to 15:00, and for dinner in autumn and winter from 16:00 to 22:30. You are served with different Iranian and continental foods.

The Traditional Teahouse
It is located on the north side of the garden, in a unique atmosphere. We welcome you in spring and summer outside, and in autumn and winter inside the teahouse, from 18:00 to 23:00.

Ali Quapoo Restaurant
It has beautiful gildings and plaster moldings dating back to Safavid era. With a capacity of 30 persons, this restaurant is suitable for ceremonies and private meetings.

Zarrin Restaurant
It has paintings in arabesque style as well as gilding style. This restaurant can hold up to 100 people and is suitable for serving at breaks and even lunch and dinner.

The Garden "Restaurant and Coffee Shop"
In the garden of the hotel you are served with Iranian and continental foods, hot and cold sandwiches and different drinks, during spring and summer. You can listen to a pleasant music around some beautiful pools and you can also see the blue dome of Madreseh Chahar-Bagh.

Cheshm – Andaz Restaurant
With a view of the beautiful city of Isfahan ,it is located on the roof of the hotel. From there, you can also see Chahar-Bagh School, Imam Square, Ali Quapoo, Imam Mosque and Mount Sofeh. This restaurant is open in spring and summer from 7 pm to 11 pm.

Coffee Shop
The coffee shop is located in the main lobby. We serve you there with different drinks and foods (hot and cold) in a very enjoyable atmosphere. It is open 24 hours.

The plaster moulding and the painting of the ceiling of the large hall are modeled after Alighapou palace. The paintings on the pieces of wood, known as Tabl-o-Toranj in front of the reception, are reminiscent of Chehelsotoun in traditional Persian paintings. The plaster moulding, illumination and paintings between the ground and the first floors, fretworks, the intricate wooden lattice works on the light bulbs are all manifestations of traditional Persian art and manufactures of Isfahan Architectural School. On the first floor, the two tableaus made of convex mirror encrusted stalactites with designs of peacock, a cedar tree, and blossoms endow the entrance hall with a particular splendour. To adorn the ceiling of the above floor, the craftsmen have employed an innovative and novel style, which is a combination of plaster moulding and colored convex mirror works. To provide the pieces of the ceiling's bits of convex mirror, sixteen thousand colored carboys were prepared in a special furnace, used for the same purpose. These carboys were first coated with mercury and then changed to mirrors. Then the carboys were broken and two hundred thousand pieces of colored convex mirrors, which are used in the plastering of the ceiling, were cut bit by bit. The plaster moulding has extended to the lower parts of the special stairs of the hall. There, one can better see the amazing delicacy and deftness with which the moulding is done. The plastering area amounts to 300 square meters; the wooden pieces, all cut with hands and fixed on the pillars and the walls, come to 80 square meters; the length of the wooden rows above the pillars and the walls amount to 75 meters. The wooden railings of the special stairs of the entrance hall are made of fifty-year-old plane trees which are modeled after the railings of Hashtbehesht (Eight paradises) and which all display the masterly expertise of the craftsmen. The wooden works, both on the walls and on the pillars, the railings and the furnishings were designed by Mr. Ebrahimian, who was inspired by the various original Persian styles and then were made by the late Master Chaichi. IN the eastern side of the entrance hall, there exists a teahouse on whose western wall one of the masterpieces of the late Master Yasaei Shajanian caresses the eye of every observer. This painting's design and colors are reminiscent of the Safavid artistic school; it very well equals the masterpieces of this school. The sash windows and the old doors made of mirror and glass and the new-built pillars in between, which harmonize with the very antique works, are of special attractions of this part of the hotel.

In the northern side of the hotel and to the right of the coffee house, eight modern suites have been built. Each suite with a living room, a bedroom with all modern facilities benefits from an original Persian grandeur. In the construction of these suites the original shape and structure of the old chambers are preserved. The same thick walls and the same old dome-like ceiling are standing there as before. In proportion with this old structure, especially in the two north- eastern suites, the same intricate and decorative Safavid crafts are used. The living room of the ground- floor suite is built according to a style known as "Shir va Shekar" ; the Safavid illuminations and the small hall of the upper suite, as far as the subtlety and skill in painting is concerned, is one of the unique sections. In this lobby, there is not a single point deprived of the creative pencil and brush of Esfahani artists. The embellishments of other rooms, composed to the above-mentioned parts, are plainer, but they still remind us of the Safavid and Qajar architectural techniques. To the left of the coffee rooms, walls, window sashes and shelves whose architectural originality and plainness are reminiscent of the prosperous days of Madar- Shah caravansary and the last years of Safavid's reign.

Reconstruction of old monuments, their preparation for modern uses, protection and of the old facade, and the constructive operations behind that old facade are different and crucial tasks which require much care and intricacy. The refinement of an old work on monument, the preservation of the structure and its architectural identity should be the main objective along with its fortification. Neither of these objectives should overshadow the other one. This factor in reconstruction of Abbassi Hotel, especially the rebuilding of its central open area was highly important or essential. The gravity of problem depends on many factors including the antiquity and originality of Abbasi Hotel, its neighborhood with other highly valuable historical works, and its artistic rank in the core of one of the most brilliant world's architectural schools: Safavid architectural of Esfahan. Undoubtedly, one of the most glorious parts of the hotel is its garden, which can be considered as one of the samples of these areas, which has a reputation as "Persian Garden" all over the world. Persian Garden is a delectable example of an innovation, which fuses artificiality with naturalness. A fusion of water and vegetation, golden divisions, the harmony between internal and external areas, the consistency of human artifacts with natural phenomena, and briefly, the creation of delightful and tranquil atmosphere are among some of the idiosyncrasies of Persian gardens. In both artificial and natural domains, whether in tree plantations or flower arrangements, whether in water circulation or water sprays, whether in the enclosures or in the openings, an appropriate order gives one such a sense of security that, along with the dominant presence of nature, causes a peaceful and desirable atmosphere. In reconstruction of the garden of Abbasi hotel, the architects designs and craftsmen have born in mind all these peculiarities, which have been indeed achieved and substantiated with a relative perfection. In the northern side of the hotel, just opposite to the door, which opens to the hall of the hotel, there is located a parlor with high tiled walls and ceilings and two double storey verandas in both sides. This parlor is now used as a traditional coffee house, in the past when this place was used as a caravansary, a door from the northern verandah opened toward the rear of the market place. Now, this verandah is reconstructed and tranquility of the garden of the hotel. Reinforce of the roundabout facade of the courtyard with bricks and concrete in the same old style and view, has both preserved the building architectural identity and guaranteed the strength of the building for centuries.

Quran is the divine book of Islam, it is the last divine book which was sent to Mohammed (p.b.u.h) to lead and train man. Quran is a boundless ocean and an endless treasury of exalted learning, knowledge and instruction, which is able to provide mankind wills on the best way and lead him to the highest accomplishments. The word of God is light of the heart and insight of the mind. It begins with delight and promises and concludes with peace and hope. In addition to all welfare facilities and services, Abbasi Hotel exposes to exhibition of glorious and peerless Qurans in Quran exhibition, dear guests can watch these monuments there: Original Qurans: There are various original Qurans from Teimory, Safavid and Qajar period in different sizes (arm tying, pocket, janamazi, roghi, rahli& soltani). Their papers are starched cream of thick, khanbaliq & samarqandi. Printed Querns: In this part the best- printed Qurans from the most famous writers of previous times are exhibited. For example hand writings of Ebn-e- Bavvab (413 A.H. , creator of naskhi script), Ahmad Neirizi( 1155 A.H., he separated Sols script from Naskhi), Habibollh Fazaeli (the most famous contemporary writer of Quran), in addition the first full color printed Quran from 50 years ago increases the attractiveness of this collection. Old Manuscript Frames: These frames from different times (from the first A.H. century to the Qajar period ) & in different kinds of writing such as Kuffic, Mohaqeq, Reihan, Naskhi and complex writings are arranged so that show changing calligraphy from the first kind of Kuffic to naskhi. Contemporary Frames: In another part of exhibition manuscripts of the most famous contemporary writers such as Amikhani, Shirazi, Kaboli &… who have written verses of Quran in recent years are exhibited. There is a library beside Quran museum, which contains various books in literature, society, history, geography, religion, psychology and roman. These books are Persian, English and French. This collection is open from 9 to 17.