ally ▁as ▁a ▁space ▁embedded ▁in ▁the ▁a est h etic ▁and ▁spiritual ▁context ▁of ▁its ▁past ▁and ▁contemporary ▁cultural , ▁political ▁and ▁social ▁environment . ▁Hall marks ▁of ▁these ▁formal ▁gard ens ▁are ▁a ▁geometric ▁layout ▁following ▁geometric ▁and ▁visual ▁principles , ▁implemented ▁to ▁nature ▁by ▁water ▁channels ▁and ▁bas ins ▁which ▁divide ▁the ▁en closed ▁space ▁into ▁clearly ▁defined ▁qu arters , ▁a ▁principle ▁that ▁has ▁become ▁known ▁as ▁ch ah ar ▁bag h ▁( four ▁gard ens ), ▁water ▁works ▁with ▁channels , ▁bas ins , ▁f ount ains ▁and ▁cas c ades , ▁pav il ions , ▁a ▁prominent ▁central ▁axes ▁with ▁a ▁vista , ▁and ▁a ▁plant ation ▁with ▁a ▁variety ▁of ▁carefully ▁chosen ▁trees , ▁her bs . ▁and ▁flowers . ▁The ▁old - I ran ian ▁word ▁for ▁such ▁gard ens ▁" par i - da izi ' ▁express es ▁the ▁notion ▁of ▁an ▁earth ly ▁parad ise ▁which ▁is ▁inher ent ▁to ▁them . ▁As ▁such , ▁they ▁are ▁a ▁met ap hor ▁for ▁the ▁divine ▁order ▁and ▁the ▁un ification ▁and ▁protection ▁of ▁the ▁ones ▁who ▁do ▁good . ▁Their ▁counter parts ▁on ▁earth ▁ful fill ▁a ▁similar ▁function . ▁These ▁principles ▁are ▁brought ▁to ▁per fection ▁in ▁the ▁gard ens ▁of ▁the ▁em peror ▁as ▁the ▁" good ▁gard ener ". ▁Not with standing ▁a ▁formal ▁standard ization , ▁the ▁landscape ▁gard ens ▁also ▁reflect ▁divers ity ▁and ▁development , ▁bound ▁to ▁function , ▁regional ▁and ▁chron ological ▁characteristics ▁as ▁well ▁as ▁techn