Monday, January 30, 2006
234. تاريخ ِ شفاهي ي ِ زرتشتيان: پذيره اي گرم از كرمان
Dear Touraj Daryaee and other friends
dorood
I am a Zoroastrian priest living in Kerman, Iran.
1) I have gathered many historical significant items of interest to Zoroastrians and have worked hard doing that for the past 20 years. My efforts have resulted in establishment of the Iranian Zoroastrian Anthropological Museum at Kerman's Atashkadeh. We have obtained many photos, letters and documents written on cloth or papers that are subject to rotting/decaying due to age.
2) I have written more than 20 articles /papers /essay /tractates. All of them are mostly based on Gathic studies. Some of my findings have been presented at Seminar, and/or printed in local newspapers.However, I need help to save these documents of our history and in disseminating information contained in these documents.
Khoda Negahdar,
Mobedyar Mehran Gheibi,
Kerman, Iran.
Sunday, January 29, 2006
233. آتش ِ جشن ِ سَده، آتش ِ مهر ِ وطن است
* سرود ِ جشن ِ سَده را كه گروه همسرايان جوان زرتشتي در ايران اجراكرده اند، در
دکتر تورج پارسي
پيشگفتار
در فلسفه ي ايران كهن ، ناپايداري جهان به معناي ناپايداري زندگي نيست ، چرا كه زندگي در جهان ناپايدار ـ يا به گفته ي حافظ " جهان بي بنياد " ـ قانونمندي خود را دارد. زندگي سرشار از زيبايي است و انسان در آن پراميد و بي بيم در راستاي مسئوليت خود گام بر مي دارد تا بتواند از بار بي آيين انديشه هاي » اهريمني « كاسته و بر اساس نيكي هاي سه گانه، با شادماني به ساختن جهاني نو ، آباداني جهان و پيشرفت آن بپردازد تا شايسته زندگي و نام جاودانه گردد.
در اين "جهان زاياي بارآور" شادي و آبادي پيوند و پيوستي تنگاتنگ دارند و، بر اين اصل و بنيان، دريوزگي و قلندري و نكوهش جهان مادي بي معناست. انسان در ين نگاه فلسفی منفي گرايي، يعني پشت كردن به دنيا را مذموم شمرده و عشق به هستي را در هر گام نيك خود جلوه گر مي سازد و چشمان ستايشگر و نيايش بر خود را بر همه ي داده هاي اهورايي مي دوزد، نيرو مي گيرد و نيرو مي بخشد و ميدان عشق را همچون سمندر در آتش با شيدايي طي مي كند . پويش او بر مبناي اعتبار و باور به قانون اشه است و در جام جهان بين او زندگي كنوني تداركي براي جهان پسين نيست . انسان دراين آيين، در گسترش جهان و تكامل و رسايي آفرينش همراه و همگام اهوره مزداست . او گناهكار ازلي نيست كه در به روي ببندد و نفس خويش را به طناب بكشد تا به رستگاري دسترس يابد. رستگاري در گام هاي بلند نيك اوست. اصل گزينش بر پايه انديشيدن و سنجيدن استوارست و انسان با خردمندي اين را نيوشيده است.
شادي در آيين ايراني بنياني پراعتبار دارد . نگاهي كوتاه به راز و رمز آفرينش به روشن شدن مطلب ياري خواهد داد . بنا بر آنچه در بندهش آمده است، نخست آسمان و به ياري آسمان شادي آفريده شد ... يعني پيش از موجوديت انسان. پس شادي از نخستين گاه آفرينش، با هستي همزبان ، همزمان و همگام است. در اين جا اين موضوع روشن مي شود كه شادي به نشانه ي درون مايه هستي از ويژگي هاي آفرينش است. مطرح شدن شادي به عنوان يك اصل عمده دراين نظام فكري بسيار شايان نگرش است؛ چرا كه شادي، نيك كرداري و پايه ي اعتماد آدمي است در زندگي. هرچند مرگ نقطه ي پاياني آدمي قلمداد مي شود ولي در همين ختم هم آغازي و وصلي هست يا به بياني ديگر سيكل ديگري بر مبناي نظم گيهاني (اشه) مي آغازد .اين چنين است كه در آيين ايراني بر مرگ تن مويه كردن روا نمي باشد؛ چرا كه مويه و ماتم شگرد ديگر ِ اهريمن است تا انسان را به ورطه ي بيزاري از هستي انداخته و از بار اعتمادش بكاهد. مويه خزان لحظه ي آدمي، زنگ كركننده اي است كه حتا زمين را هم ناشاد مي كند.
به همين دليل باورمند به اين بينش، به ستايش و نيايش منش نيك و كار مي ايستد تا در برابر تباهي و تاريكي و شيون و مويه پايداري كند .
منش نيك را مي ستاييم
پايداري در برابر تاريكي را
بازتاب چنين انديشه اي را در هيژده سنگ نبشته ي شاهان هخامنشي ـ از داريوش بزرگ تا اردشير سوم ـ به روشني مي توان ديد:
بغ بزرگ است اهوره مزدا
او كه اين آسمان را آفريد
او كه شادي آفريد
مردم را .
بر مبناي چنين آموزشي است كه ايراني مي كوشد تا راستي را در كارهايش از ميان نبرد، باچشماني روشن و پاك به زمين و خورشيد و.... بنگرد . دستان را براي آباداني بكاربرد و از روي خرد بر دامنه ي روشنايي بيفزايد. برآمد ِ نهايي ي چنين بينشي تبلور شادي است در جهاني كه به گفته ي داريوش شاه شاهان در نقش رستم : اهوره مزدا آنرا زيبا آفريده است.
همه ي مزدا آفريده ها زيبا هستند و انسان بخشي از اين زيبايي است و زايش او نيز سزاوار نيايش و شادي است از اين جهت بنا به گزارش هردوت : ايرانيان نخستين مردماني هستند كه زادروز خود را جشن مي گيرند و به شادي مي ايستند در اين بينش زندگي و شادي همزاد و همراهند. جشن ها برآيند كار و آباداني است و آباداني روشنايي است.
جشن آتش
آتش اندر دل بهمن چه بود ، هست يقين / شرري كش ز پدر در دل هموار بود
اين سده آتش افروخته دارد ، كه درست / لاله رخ ، گرم اثر ، عاشق كردار بود
گر چه اين آتش ما اندك و خردست ولي / هست مشتي كه نماينده خروار بود
آتش جشن سده آتش مهر وطن است / كاندرين ملك نخواهد كه شب تار بود
خرّم است اين سده و شادروان باد كه گفت / شب جشن سده را حرمت بسيار بود
دكتر محمّد دبير سياقي
ــ سده
ــ آذرگان
ــ ارديبهشت گان
در اوستا آتش به شكل آتر و درسنگ نوشته هاي هخامنشي و پارسي باستان، آتر و آثر آمده است. در
آتش از آفريده هاي هفتگانه مادي است كه همچون " اخگري ازانديشه آفريده شده و " بدو درخششي از روشني بيكران " داد ه شده است » آن گونه تني نيكو كه آتش را درخور است خويشكاري آتش در دوران اهريمني ، پرستاري مردم كردن و خورش ساختن و از ميان بردن سردي است. "
در سال شمار ايراني روز دوم هرماه به نام امشاسپند اشه وهيشت Asavehista
چندي از نام هاي مردمان درفروردين يشت برگرفته ازواژه آتش است ، از آن جمله مي توان از آترپات Aterpat يا آذرباد ، آترچيتر Aterecithraيا آذرچهر ، آترخوارنه Aterexvarnah يا دارنده فر آذري ، آتردات Ateredata يا آذرداد يا آتش داد ، آترداينگهو Ateredäinghu يا از كشور آذر ، آترزنتو Aterezäntu يا ناحيه ي آتش ، آترسوه Ateresäväh يا دارنده سود آذر ، آترونوش Aterewänshä يا آذرنوش كه به چم دوست دارنده ي آتش است ، نام برد. استان آترپاتكان يا آذرپاتكان يا آذربايجان و شهر آذرشهر نيز از يادمان هاي نام آتشند.
دريسنه، هات 17/11 از پنج آتش نام مي برد:
آتش برزي سونگه كه آتش بهرام است Berezisävänghä
آتش وهوفريان به چم دوستدار نيكي كه گرماي تن مردمان و چهارپايان است Vohu fryanä.
آتش اوروازيشت بچم شادماني دهنده تر كه در گياهان هست Urvazishtä .
آتش وازيشت بچم آتش درون ابرها يا رعد و برق است. Vazishtä
آتش اسپنيشت به چم آتشي است كه در گرزمان درپيش اهوره مزدا فروزان است. Spenishtä .
استوره شناسي آتش
شاهنامه پيدايش يا كشف آتش را به هوشنگ پيشدادي پيوند مي دهد و انديشه را چنين مي نماياند :
يك روز هوشنگ با گروهي از ياران به سوي كوه مي رفت ناگاه ماري » سيه رنگ و تيره تن و تيزتاز« ــ نماد اهريمن ــ پديدار شد . هوشنگ دلير و چالاك به زور كياني سنگي به سويش پرتاب كرد :
برآمد به سنگ گران سنگ خرد/ همان و همين سنگ گرديد خرد
فروغي پديد آمد از هردو سنگ/ دل سنگ گشت از فروغ آذرنگ
نشد مار كشته و ليكن ز راز/ پديد آمد آتش از آن سنگ باز
اهوره مزدا براي رودرويي و پاسداري از زندگي آتش مي آفريند، اين آتش به خار و خاشاك افتاد و فروزان گشت، هوشنگ به ستايش مي ايستد :
جهاندار پيش جهان آفرين/ نيايش همي كرد و خواند آفرين
كه او را فروغي چنين ايزدي / پرستيد بايد اگـر بخردي
شب آمد برافروخت آتش چو كوه/ همان شاه در گرد او با گروه
يكي جشن كرد آنشب و باده خورد/ سده نام آن جشن فرخنده كـــرد
زهوشنگ ماند اين سده يادگار/ بسي باد چون او دگر شهـريار
مري بويس احتمال مي دهد كه جشن سده باز مانده اي از دوره هاي هنـدو- اروپايي بدوي باشد :
كشف آتش يا انرژي، نخستين انقلاب زندگي بشرست. پس از اين كشف فرهنگ و تمدن بشري سامان مي يابد :
وز آن پس جهان يكسر آباد كرد/ به آتش ز آهن جدا كرد سنگ
سر ِ مايه كرد آهن آب گون / كزان سنگ خارا كشيدش برون...
چو بشناخت، آهنگري پيشه كرد / از آهنگر ي اره و تيشه كرد
چو اين كرده شد چاره ي آب ساخت / ز دريايها رودها را بتاخت
به جوي و به رود آبها راه كرد/ به فرخندگي رنج كوتاه كرد
چرا گاه مردم بدان برفزود / پراكند پس تخم و و كشت و درود
بدان ايزدي جاه و فرّ كيان / ز نخچير گور و گوزن ژيان
جدا كرد گاو و خر و گوسفند/ بورز آوريد آنچه بُد سودمند
جهاندار هوشنگ با هوش گفت / بداريد شان را جدا جفت جفت
بديشان بورزيد و بديشان خوريد / همي باج را خويشتن پروريد
ز پويندگان هر كه مويش نكوست / بكشت وزايشان برآهيخت پوست
چو سنجاب و قاقم چو روباه گرم / چهارم سمور ست كش موي نرم
اما پيش از دست يابي به آتش ، مردمان خوراكشان ميوه و رخت شان برگ بود:
از آن پيش كاين كارها شد بسيج/ نبد خوردني ها جز از ميوه هيچ
همه كار مردم نبودي به برگ / كه پوشيدني شان همه بود برگ
نام سده
از پي تهنيت ِ روز ِ نو آمد بر ِ شاه/ سده ي فرّخ روز دهم بهمن ماه
ازاول دي ماه تا دهم بهمن ، چله يا چهله بزرگ ناميده مي شود.بيست روز آخر بهمن هم در فرهنگ مردم كوچه به چله كوچك معروف است . اوج سرما چهار روز آخر چله بزرگ و چهار روز اول چله كوچك است كه به چار چار شهرت دارد .بنا به گزارش بيروني سده يعني پنجا ه روز و پنجا ه شب به نوروز مانده « (يعني بيست روز بهمن به اضافه سي روز اسفند)، يا به تعبير زيباي خراساني ها : پنجاه به نوروز و سد به برداشت فراورده هاي كشاورزي مانده است .
روستاييان خراساني به مدت سه روز يعني از يازدهم تا سيزدهم بهمن به مناسبت جشن سده به شادي مي پردازند . چرا كه سده بلنداي سال شماريست كه از سويي نشان مي دهد به نوروز جمشيدي پنجاه روز بيش نمانده و بزودي زمستان سياه جاي به بهار خواهد داد و از سويي دورنماي سد روزه ي برداشت خرمن را نمايان مي سازد به همين دليل پيش از فرارسيدن جشن از كوچك و بزرگ ، پياده و سوار به كـــــوه و صحرا مي روند و پشته هايي از خار و خاشاك به روستا آورده و پسينگاه روز دهم بهمن بر بلندترين بام خانه روستا گردآمده و بوته ها را روي هم انباشته كرده چون آفتاب نهان گشت و شب روستا را زير چادر خود كشيد ، بزرگ خانواده آتش به خــرمن بوته ها مي زند همين كه تابش آتش تاريكي را شكست داد ، فرياد شادماني كه نيايشي ساده و پاكست با پايكوبي و دست افشاني خواندن سرود سده آغاز مي شود :
آي سده ، سده ، سده
سد به غله ، پنجه به نوروز
آي سده ، سده ، سده
سد به غله ، پنجه به نوروز
زنون بي شو ، چله به در شو (زنان بي شوهر عمرسرما تمام شد)
زنون شو دار ، به غم گرفتار (زنان شوهر دار غم دار آغاز كارند)
سد به غله ، پنجه به نوروز
دخترون دخنه ، دفكرجمئه ، (دختران درخانه به فكر رخت نوروزي هستند(
نوروز بي يمه )نوروز آمد(
سد به غله ، پنجه به نوروز
دخترون د خنه بر شو منله (دختران در خانه براي شوهر مي نالند)
سد به غله ، پنجه به نوروز
سده در پشت دالو ، (سده در پشت دالان كمين كرده است)
بميرن غله دارو (محتكرين از غصه بميرين ، چون ديـــگر نمي توانند احتكار كنند)
سده ، سده ي ما ، ميشود گله ي ما ) تعداد گوسفندان و گله مابه سد مي رسد)
پس از آنكه تابش آتش در پشت بام ها فروكش كرد، صحرا ميدان بروز شور و هيجان جوانان مي شود . مـي خوانند و بـوته هاي فـروزان به طناب بسته را به دور سر مي چراخانند . سالمندان به گرد آنان نشسته و تماشگر شادي و شادمانيند چون باور دارند كه « تماشاي سده سوزي و آتش سده موجب تندرستي و بهروزي است ، با آتش سده به روي زمين ، سختي هاي زمستاني كاهش پيدا مي كند و زمين نفس مي كشد و زندگي بهاري آغاز مي شود اين جشن سه روزه با شادي و اميد پايان مي يابد و خاكستر آتش سده بر پشت بام ها باقي مي ماند؛ چرا كه باور هست اگر باران ببارد و آب خاكستر آتش سده را بشويد سال خوبي در پيش است ».
زرتشتيان و جشن سده
زرتشتيان در هر شرايطي جشن ها ي باستاني را برگزار كرده و مي كنند از جمله آيين جشن سـده را همچون ديگر يادمان هاي نياكاني نگهباني و برپا مي دارند ازسده سوزي در كرمان تا هيرم بو Hirom bow زرتشتيان شريف آباد يزد از كوشك ورجاوند كرج تا در هر گوشه از اين جهان پهناور كه باشند مسئوليت خود را فراموش نمي كنند .
زنده ياد صادق هدايت دركتاب نيرنگستان كه در سال ۱۳۱۲خورشيدي به چاپ رساند سده سوزي در كرمان راچنين گزارش كرده است : «سده سوزي جشني است كه هنوز زرتشيتان كرمان به يادگار جمشيد و آيين هاي ايران باستان مي گيرند و براي اين كار موقوفاتي در كرمان در نظر گرفته اند . پنجا ه روز به نوروز خروارها بوته و هيزم درمنه در گبرمحله باغچه بوداغ آباد گرد مي آورند. جنب اين باغچه خانه اي هست مسجد مانند و موبدان موبد از بزرگان شهر و حتا خارجي ها را دعوت شاياني مي كنند. در اين آيين شراب و شيريني و ميوه زياد چيده مي شود و اول غروب آفتاب دو نفر موبد دو لاله روشن مي كنند و بوته ها را با آن آتش مي زنند و سرود ويژه مي خوانند هنگامي كه آتش زبانه مي كشد همه ي ميهمانان كه بيش از چندين هزار نفر مي شوند با فريادهاي شادي دور آتش مي گردند و اين ترانه را مي خوانند :
سد به سده ، سي به گله پنجاه به نوروز
شراب مي نوشند و ميان هلهله ي شادي جشن تمام مي شود . در كرمان همه ي مردم منتظر سده سوزي هستند و اهميت كشاورزي دارد ».
آتش ِ جشن ِ سَده، كرمان- شامگاه دهم بهمن 1384
همانطور كه زنده ياد هدايت درباره ي اين آيين باستاني نوشته است، هم اكنون پنجاه سالي مي شود كه اين آيين باستاني را زرتشتيان كرمان پنجاه روزپيش از نوروز در محل شاه مهر ايزد يا باغچه بداغ آباد برگزار مي كنند. نا گفته نماند كه در پنجاه سال اخير شكوه جشن ها به دليل كاهش سخت گيري هاي محيطي افزوني يافته است.
درپسين گاه چند تن از موبدان زرتشتي با رخت وكلاه سپيد ، دست در دست يكديگر در حالي كه آتش نيايش را زمزمه مي كنند به گرد توده بزرگ بوته هاي خار كه به اصطلاح محلي درمون dormun مي گويند سه مرتبه كه ياد آور انديشه و گفتار و كردار نيك است مي چرخند و يكي از آنها با لاله روشني كه در دست دارد در مسير وزش باد بوته ها را آتش مي زند. در ضمن در آتشدان ها اسپند و كندر يا به گفته ي شيرازي ها بوخوش يا بو بوخَش و سيروگ buxash مي ريزند .جشن ها هميشه با آهنگ هاي شاد موسيقي همراه است. در اين روز
اين فروغ آتشي كه زمينه ي تمدن بشري را فراهم ساخت هر نامي كه درهر فرهنگ وسرزميني داشته باشد در خورستايش است چه آنرا پرومته به زمين آورده باشد، چه هوشنگ پيشدادي به آن دسترسي پيدا كرده باشد و چه ... برگزاري آيين اين فروغ جاودانه در فرهنگ ايران زمين از روزگار هوشنگ تاكنون باقي مانده و آتش فروزان آن دردل شب هاي سياه زمستاني آنچنان جلوه گرست كه به گفته ي عنصري:
گر از فصل زمستان است بهمن/ چرا امشب جهان چون لاله زارست
بنابه گزارش دقيقي، زرتشت با مجمري از اين فروغ جاودانه كه نشانواره ي خِرَدست ، نخستين باربه ديدار گشتاسب كياني مي رود:
يكي مجمر آتش بياورد باز/ بگفت از بهشت آوريدم فراز
داريوش سوم بي هيچگونه دودلي نشان مي دهد كه مرگ او ، نقطه پاياني فرهنگ ايران زمين نيست بلكه دخترش بيارايد اين آتش زردهشت
چو پرورده ي شهرياران بود/ به بزم افسر نامداران بـود
مگر زو ببيني يكي نامدار/ كجا نو كند نام اسفنـديار
بيارايد اين آتش زردهشت/ بگيرد همي زند و استا به مشت
نگه دارد اين فال و جشن سده/ همان فـرِّ نوروز و آتشكده
و اين همان آتشي است كه رند ِ شيراز به آن چنين باور دارد :
كه آتشي كه نميرد هميشه در دل ماست!
زرتشتيان را به آتش پرستي متهم مي كنند، اما چنين نيست، نيايش سوي زرتشتيان روشنايي است و همانگونه كه توران شهرياري از قول آتش گفته است معنا و تعبير را در فراسو ي كوته اند يشي ها ببينيم:
گو مرا بهدين نيايش مي كند/ جان هستي را ستايش مي كند
در سخن پاياني جشن سده بر همگان فرخنده بادا! اميد كه در راستاي نور خرد و دانايي، به شادماني رهپوي تازه سازي جهان باشيم . همازوربيم
در همچو روزي محترم ، در همچو جشني محتشم
بايد شمردن مغتنم ، بر خيز مارا مي بده
روزي خوش دلكش بود، چون گفتگو ز آتش بود
آبي چو آتش خوش بود، مخصوص در آتشكده
مجدالاسلام كرماني
در اين جا من به نام يك زرتشتي با باور به انسان و خِرَدش در برابر آتش به مهر مي ايستم و زمزمه مي كنم :
درود به تو اي آتش ،
اي برترين آفريده ي سزاوار ستايش اهوره مزدا،
به خشنودي اهوره مزدا.
راستي بهترين نيكي است ،
خرسندي است ،
خرسندي براى كسي كه راستي را براي بهترين راستي بخواهد (۳بار)
افروخته باش در اين خانه ،
پيوسته افروخته باش در اين خانه ،
فروزان باش در اين خانه ، تا دير زمان افزاينده باش در اين خانه .
به من ارزاني ده اي آتش ، اي پرتو اهوره مزدا ،
آسايش آسان ، پناه آسان ، آسايش فراوان ،زندگاني فراوان ، فرزانگي ، افزوني ،
شيوايي زبان و هوشياري روان
و پس از آن خرد بزرگ و نيك و بي زيان و پس از آن دليري مردانه ،
استواري ، هوشياري و بيداري ، فرزندان برومند و كاردان ،
كشورداري و انجمن آرا، باليده، نيك كردار ، آزادي بخش و جوانمرد،
كه خانه مرا و ده مرا و شهر مرا و كشور مرا آباد سازند
و انجمن برادري كشورها و همبستگي جهاني را فروغ بخشند
راستي بهترين نيكي است ،
خرسندي است ،
خرسندي براى كسي كه راستي را براي بهترين راستي بخواهد.
انجمن زرتشتيان تهران اعلام كرد جشن سده همزمان با 10 بهمن 1384 از ساعت 13 تا 17 در كوشك ورجاوند تهران برگزار مي شود.
جشن بزرگداشت پيدايش آتش، جشن سده در تهران برگزار مي شود. انجمن زرتشتيان تهران اعلام كرد جشن سده همزمان با 10 بهمن از ساعت 13 تا 17 در كوشك ورجاوند تهران برگزار مي شود. كوشك ورجاوند قطعه زمين گسترده اي در 16 كيلومتري جاده كرج است كه مختصِّ اقليّت ديني زرتشتي است. اين انجمن در جلسه سه شنبه خود برنامه هاي اين جشن 5 هزار ساله را اعلام مي كند.
شرکت در این جشن برای تمامی ایرانیان آزاد است و مختصِّ زرتشتیان نمی باشد.
Greatest Discovery:
Take away fire and man (stands for both the genders) will revert to wilderness like any other animal! The greatest discovery made by man alone on this good earth is the art of making and maintaining fire. He, like any other animal, had seen fire striking from clouds, devouring bushes and trees, and devastating large tracts of green land. He had also seen fire being spewed by a volcano and the molten lava snaking and snarling its way down the slopes. He also knew it gave heat and scared ferocious animals. Though still not proven, but most probably he had learned how to keep it burning. It provided him and his associates with light, warmth, and a device to keep ferocious animals away. He must have also learned to control fire which, in the long run, helped him to smelt metal ores.
Legends of how man learned to make fire are as numerous as there are ancient nations. A god brought or stole it down the sky is but an illusion to lightening striking and starting a fire. It was thrown up by the earth reminds us of a volcanic eruption. It was brought down a tree by a wise man indicates that it was obtained from a burning tree. It is a product of two rubbing branches or a child of ten mothers, points to the much later discovery of creating friction by placing a stick in a wooden groove and rubbing, rather rotating the stick with two palms, the ten fingers, the ten mothers.
The most striking is the Iranian legend, preserved, among other writings, in Ferdowsi's Shahnameh. Here is a gist of the Shahnameh's story:
Hushang
Hushang succeeded his grandfather Kayumars, the first of the Pishdadian Kings. He girdled himself with wisdom and justice.
The Discovery of Fire
Our ancestors worshipped God, had their beliefs, and followed certain ceremonies. In those days, the blazing fire was the altar just as the Arabs have stone as their prayer niche. But the discovery of fire was quite incidental. This happened before iron was discovered.
One cold day, Hushang and his party were returning from a hunting expedition. They saw a snake coiled in their path. Hushang aimed his flint axe at it. He missed and the snake slithered away. But the axe hit another stone, also a flint and produced a bright spark. The curious king took hold of the two flints and struck—more sparks. And he learned to produce enough sparks to ignite a fire. He discovered how to make fire! "This spark," he proclaimed, "is God's gift. Hold it high in regard." He thanked God for the gift and made fire his altar. He held a great feast. Every person sang, danced, drank, and feasted around the bonfire. For the first time, Hushang and his people could light their dark caves and feel cozy and warm in their beds. They passed a wonderful winter. Hushang never forgot his revolutionary discovery. He held a great feast every year on that eventful day. It is called "Sadeh."
He was the first to separate iron from ore and established the profession of smithery. He fashioned axes, saws, and adzes. Next, he diverted water from rivers into plains for cultivation. Prior to this, human beings subsisted on fruits and covered themselves with leaves. Furthermore, Hushang separated the beasts which were hunted from those that could easily be domesticated. He introduced soft and comfortable furs as clothing.
Hushang's reign introduced peace, prosperity, plenty, and happiness. He died after ruling for forty years. It may be pointed out here that the “forty†years symbolize a period of Paleolithic period of man’s discovery of the use of fire, some 500,000 to 10,000 years ago—from wandering with stick and stone implements to cave-dwelling and domestication of animals.
To put it in short: Fire was accidentally discovered when a flint-axe, thrown by King Hushang to kill a snake, missed and struck a rock and threw a spark. That sparked the idea to kindle fire by striking two pieces of flint together. This theory is confirmed by archeologists to be the most probable means of its discovery in the early stone stage.
Hushang, the Iranian legend says, celebrated the discovery by throwing a feast, a feast that has been kept alive through ages. It is held every year on 10 Bahman (30 January), almost mid-winter. It is called “Sadeh,†meaning "century" because according to one popular tradition, it falls on the hundredth day from 21 October, the beginning of winter among ancient Iranians. Or, as I see it, it is the contracted form of the Avestan “saredha,†Persian “sard,†meaning "cold, winter."
On that afternoon, people gather outside their town, make a hill of dry shrubs, bushes, weeds, and branches. Priests lead the prayers, exalting fire as the divine light, warmth, and energy, ask God for an ever-progressing life to eternal happiness, and as the sun sets in the blazing west, set the hill ablaze. It is a sight to watch huge leaping flames. Those at home light little bonfires on top of their flat mud-plastered "fire-safe" roofs -- a tribute to the civilized blessings given by the discovery of kindling fire.
Venerating Fire:
At a time when man was hunted and haunted, he discovered fire and that changed his whole pattern of life. No wonder the blazing fire soon became the object of veneration, especially when his imagination formed for him many forms of deities. Fire became a deity too, a deity too close and touching. The sky god was sky high, the earth goddess was earth wide, the wind god was blowing across, the sun god/goddess was traveling light, the moon god was waxing to wane, and the water goddess was streaming by.
Fire was the only deity that sat very cozy and close. It held a special position. It was kindled with care and was kept alive with more care. It gave light. It gave heat. It gave power. It turned night into day and winter into spring. It baked clay into pots, and smelted metal into instruments. It frightened away dangerous animals, and above all, it made the daily food tender and tasty. It had revolutionized human living. It required constant attention, and attention means attraction and affection. It became “special.†It had a special seat, the hearth. It became the center of his activities -- cooking, eating, conversing, sleeping, and of course, receiving his homage. Moreover, it went up the sky in a smoke column. The fire god had contact with the gods and goddesses above and men and women below. He was the intermediary, and the hearth became the altar, the earliest altar. All the gifts presented to deity and deities -- animal fat and flesh, grains, food, sweet smelling herbs and wood -- were put to burn and rise in smoke to reach the deity/deities. It was a smoky, smelly offer!
Ever-burning:
Kindling fire by striking flints or rubbing sticks was no easy job. It was much easier to keep it burning. Man learned that fire can snugly sleep beneath ashes and arise glowing when blown into flames. The habit of keeping fire “alive†through sleeping and leaping became a habit. Habit forms tradition. The hearth fire and later the temple fire became an ever-burning fire. Tradition becomes sacred. Sacredness demands ritual. Ritual becomes elaborate. Once sanctified and ritualized, even when well out-dated and fossilized, a tradition cannot be easily abandoned by conservatives.
Matchsticks and gas and electric lighters have put out the hearth fire, and yet I know in Iran there are still old ladies, Zoroastrians and Muslims, whose hearth fire is never extinguished. My mother and mother-in-law, one from Kerman and the other from Shiraz, 300 miles apart, had the hearth fire going as long as they lived. If this could be with homes, what should one expect from places of worship?
Fire has served as the altar, the illuminating light, for many religions. Fire, in form of candid candle, lighted lamp, burning incense, and blazing wood, still adorns prayer niches, rooms and halls all over the world.
Fire Altars and Temples:
Hearth fire is venerated in the Atash Nyayesh in the Later Avesta. This is the earliest form of it and it formed the altar for all domestic rituals. The Haptanghaiti in the Gathic dialect mentions “fire-enclosure†as a communal altar. Median and Achaemenian bas-reliefs show persons standing, with uplifted arms†in the Gathic fashion, in front of fire altars. Plinths at Pasargadae confirm the “fire-enclosure,†the Gathic communal fire altars. Open fire altars survive at Naqsh-e Rostam from Sassanian days too. Avestan texts speak of no fire-temple or fire-house. It did not exist in those days.
Temple is an Elamite and Babylon gift to Median and Persian Zoroastrians. Parthians and Sassanians followed with increasing elaborations. Ruins of Zoroastrian fire-temples of pre-Islamic era are spread from Iraq to the Pamirs and beyond. I have visited, lit a candle and prayed at many, including the one on the Kharg Island in the Persian Gulf and those in Persepolis, Naqsh-e Rostam, Pasargadae, Isfahan, Khuzistan, Azerbaijan in Iran, and Taxila in Pakistan. Various grades of fire-temple are also the evolution of elaborating the system. Atash Bahram, the Victory Fire, at present the highest consecrated temple is a Sassanian innovation. When Ardeshir Babakan, the founder of the dynasty, rose against the Parthian rule and won a victory against Vologeses V in 224 CE, he had to fight many a battle to conquer the vast empire. Wherever and whenever, he scored a victory over his enemies, he would erect one "Victory Fire" temple in memory. His successors continued with erecting Atash Bahrams and other fire-temples.
History books written by Muslim travelers speak of fire-temples “miraculously†lit without being fed by any firewood. They were in the oil-rich regions, from present day Khuzistan in Iran to Azerbaijan in the former Soviet Union. They were fed by natural gas, harnessed by the experts in those days. The one in Baku has been reconstructed by the authorities there and has the gas fire on. The gas-fed Azar Goshnasb temple in Azerbaijan, Iran, was where the Sassanian emperors were crowned. Recent excavations have revealed the baked clay pipeline to the fire-altar. This makes the present gas-fed fire altars in North America and Iran as no innovation but following the past in modern times. It is far less air polluting and does not devour firewood and therefore plays no part in deforestation.
Once installed in a temple, it became a tradition. That tradition continues. I would add that it should continue with modern modifications. Already a number of “prayer rooms†and “Dar-e Mehrs†in North America and Europe -- and it includes the Zarathushtrian Assembly prayer hall -- are lit by natural gas.
The Sassanians had two other major fire-temples. Azar Farnbagh, for the Priestly class, was in Nishabur, Khorassan, northeast Iran, and Azar Borzin, for the Agricultural and Industrious class, was in Darab, Pars, southern Iran.
Incidentally, the domed Muslim mosque is the continuation of the Sassanian architecture of fire-temple. The dome stood above the fire-altar. All that the Arabs or Iranian converts to Islam had to do is to remove the altar and prepare the hall for their prayers. Some of the old former fire-temples, turned into congregational mosques still have the fire-altars placed in their yards and filled with water. The domed building is not an Arabian architecture at all. It is Iranian.
Fire in the Gathas:
Fire has been used eight times in the Gathas. It is mental (Songs 4.3 and 12.6), the radiant light (4.19 and 16.9), the warmth (8.4), and full-of-energy (7:4), which helps good and evil people to find happiness. It helps to meditate in quest of righteousness (8.9) and to enlighten one's mind to find means to ward off danger (11.7).
The Gathic Fire symbolizes the Divine Progressive Mind in human beings. It is the altar that enlightens a meditating mind of a Zarathushtrian. Facing it, a Zarathushtrian wishes to forge an ideal society. Here are two brief prayers, one in the Haptanghaiti and the other from Atash Nyâyesh (Fire Prayer) in the Avesta. They explain fire's symbolism and depict the society a Zarathushtrian wants the world to enjoy:
“In this fire-enclosure, first of all, we approach You and You alone, Wise God, through the most progressive mentality, symbolized by Fire -- bright, warm and energetic. Reverence to it, because You have appointed it for reverence.
Fire, you belong to God Wise. You symbolize the most progressive mentality. This is the best of your designations. O Fire of Ahura Mazda, it is because of this that we approach you. (Haptanghaiti, Song 3.1-3)
Grant me, O Fire of Ahura Mazda, prompt welfare, prompt maintenance, prompt living; full welfare, full maintenance, full living; zeal, progress, eloquence, discerning intellect; next, comprehensive, great and lasting knowledge; next, all encompassing courage, steadiness; vigilance, wakeful even at rest; and self-supporting children, able to govern the country, outstanding in assembly, harmonious in growth, and gentle in character, who shall advance our homes, settlements, districts, countries and the world fellowship. (Atash Nyâyesh)
May the Fire of Mazda enlighten our minds!
Ushta!
Wednesday, January 25, 2006
232. خليج ِ فارس در نقشه هاي ِ كهن ِ جغرافيايي: فراخواني همگاني
PERSIAN GULF ONLINE (www.PersianGulfONline.org) is the only non-governmental organization that its members have devoted themselves to protect the historical name of the PERSIAN GULF.
Prof. Mohammad Ala (President and founder of Persian Gulf Online Organization) in his recent trip to Tehran paid 5000 $ to Sahab Geographic Institute for publishing the historical maps of the Persian Gulf in a valuable book.
Since the foundation of PGO Mr. Ala has been the only person who has paid for website, banners, etc. It's the time that we can help him and in fact PGO to continue its efforts.
Ordering this book (as much as you can) is one of the best ways. Even ordering one copy is effective. If you have friends in universities or cultural organizations you can encourage them to do that as well. It's also a valuable gift for all Persian families.
This book is a sound document to protect the name of the "Persian Gulf". Please read the review about this book in Payvand News:http://www.payvand.com/news/05/sep/1099.html
Please be aware that the book is bilingual (English/Persian) and can be used for everyone in the world.
The price of the book for those who live outside of Persia is 30 $ + 5 $ for shipping and for those who live in Tehran 16000 tumans.
نقشه ي خليج فارس در كتاب استخري به زبان عربي از هزار سال پيش
Because of economic problems for those who live in our country and those members who are students in Western countries we do not expect them to order the book. But there is no problem if any of them would likes to order the book.
Those who live in Europe/Canada/USA may send their money orders/cheques to Mr. Ala: \nMohammad Ala\nC/O Persian Gulf Org.\nPO Box 3251\nAlhambra, CA 91803\nUSA\n \nThe book will be sent to your address directly from Tehran.\n \nThanks for your support.\n \nBest Regards",1] ); D(["mb","\nPejman Akbarzadeh\nPGO Rep. in Tehran\nwww.artistswothoutfrontiers.com/pakbarzadeh/\n \n \n \n\n",0] ); //-->
Mohammad Ala
C/O Persian Gulf Org.
PO Box 3251
Alhambra, CA 91803
USA
The book will be sent to your address directly from Tehran.
Thanks for your support.
Best Regards
Pejman Akbarzadeh
PGO Rep. in Tehran
www.artistswothoutfrontiers.com/pakbarzadeh/
Saturday, January 21, 2006
230. يادواره اي ديگر براي شاعر ِ خاموش
ديروز در همين صفحه (درآمد 228) از درگذشت اندوهبار ِ محمود مشرف آزاد تهراني (م. آزاد) شاعر توانا سخن گفتم و گفته هاي دكتر رضا براهني درباره ي او را آوردم. سرمقاله ي شماره ي امروز ِ روزنامه ي شرق، چاپ تهران نيز نگاهي و مروري در كارنامه ي ادبي ي اين شاعرست به قلم ِ صفدر تقي زاده، نويسنده، مترجم و ناقد ِ ادبي كه براي رساتركردن ِ درآمد ديروز، آن را در اين صفحه بازمي آورم.
Friday, January 20, 2006
229. تاريخ ِ شفاهي ي ِ زرتشتيان: يك پيشنهاد ِسازنده و سودمند
228. خاموشي ي ِ اندوهبار ِ رهروي ديگر از كاروان ِ ادب ِ ايرانيان
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Thursday, January 19, 2006
227. پذيره ي گسترده ي ايرانيان از نشر ِ گزارش ِ اجراي ِ "باله ي ِ زرتشت"
پذيره ي گسترده و پرشور هم ميهنان فرهيخته ي من رو به رو گرديد. در دو سه روز اخير بيش از 20 اي - ميل پيام ِ پرمهر و تشويق آميز از ميهن و فراسوي آن، به اين دفتر رسيده كه مايه ي خشنودي و سپاس است. امروز نيز خبر رسيد كه دوست ارجمند، استاد دكتر تورج پارسي از سوئد، يادداشت كوتاهي در همين زمينه در نشريّه ي الكترونيك ادبيّات و فرهنگ:
تورج پارسی
شایان توجه است که سال گذشته هم در استکهلم
Sunday, January ۱۵, ۲۰۰۶
کانون پژوهشهای ایران شناختی
http://www.iranshenakht.blogspot.com/
۲۲۵. باله ی "زرتشت" به رهبری ی "موریس بژار" در لُزَن سویس
Wednesday, January 18, 2006
226. يادواره ي "هايده": خُنياگربانوي ِ آوازهاي مردمي ي ِ ايرانيان
يادداشت ويراستار
پژمان اكبرزاده، پژوهنده ي جوان و عضو گروه "هنرمندان ِ بي مرز"، در گفتاري كه امروز به اين دفتر فرستاده -- و اصل آن در تارنماي "پرشين هريتيج" (ميراث ايراني) و سپس در تارنماي خبري ي "پيوند" نشريافته -- به مروري در زندگي ي اين هنرمند پرداخته و خاطره اش را گرامي داشته است.
Hayedeh in the last months of her life in Los Angeles(Photo by Saeed Noushinfar)
PAYVAND's IRAN NEWS :
http://www.payvand.com/news/06/jan/1140.html
Jan. 18, 2006 Persian Translation :
http://persian-heritage.com/currentissue/Issues/no40/farsi/pics/p56.jpg
In Memory of the Persian Legendary Diva
H A Y E D E H (1942-1990)
By Pejman Akbarzadeh
*Source: Persian Heritage
January 20th, 2006 will mark the16th anniversary of Hayedeh's passing in exile. Her songs are still loved and remain very much popular among the Persians (Iranians) but until now no one has written a complete article about her activities. This occasion encouraged me to do just that and the following is my humble attempt at such undertaking.
Hayedeh, the legendary diva of Persia, was born in Tehran in 1942. Since her childhood she was fascinated by the late Persian singer Delkash's voice and it was while performing one of her songs at a party that she was discovered by Ali Tajvidi, a famous Persian violinist and composer, that noted Hayedeh's gifted voice. After studying Persian vocal music with Tajvidi, Hayedeh performed her first hit song "Azadeh" which was composed by Tajvidi on the lyrics of Rahi Mo'ayeri. Performing this work with Golha Orchestra in 1968 at Radio Tehran introduced Hayedeh's vocal talent to Persians who warmly received it.
In early 1970s, along with her classical Persian songs, Hayedah also performed many pop songs composed by the likes of Jahanbakhsh Pazouki, Anoushiravan Rohani and Mohammad Heydari. "Bezan Tar", "Gol-e Sang", "Nowrouz Aamad" and "Soghati" were among her memorable works during this period.
In September 1978, a few months before the revolution in Persia (Iran), she moved to England. She always called this event as the worst memory of her life. Since she had performed at some of Shah's ceremonies, Tehran's revolutionary court accused Hayedeh of promoting "Royal Music" [ Musighi-e Taaghouti] and summoned her to court in 1979. When she did not appear, she was put under prosecution by the regime.
In exile Hayedeh spent a few years with her children in London and with the help of some Persian musicians appeared in several concerts there. In 1982 she moved to Los Angeles , where hundreds of thousands of Persians have settled since the 1979. In this period, Hayedeh's political and nostalgic songs, mostly composed by Farid Zoland, Sadegh Nojouki, Anderanik and Anoushiravan Rohani on the lyrics of Leila Kasra (Hedieh), Ardalan Sarfaraz and Bijan Samandar, boosted her popularity among the exiled Persian community. Among the most famous songs were "Rouza-ye Roshan Khodahafez" (Goodbye Bright Days), "Faryad" (Cry), and "Zendegi" (Life).
During this period, Hayedeh regularly appeared on the Los Angeles-based Jaam-e Jam, a Persian-language TV station established by Manouchehr Bibiyan and a few other Persian artists and journalists in exile. Hayedeh not only criticized Iran's fundamental regime in some of her TV programs, but also recorded more than 40 music videos at Jaam-e Jam Studio, most of which were secretly distributed in her homeland.
Hayedeh also traveled twice to London and gave two concerts with large orchestra (conducted by Farnoush Behzad) at the Royal Albert Hall. She also appeared once at UCLA with a Persian instruments ensemble, led by Manouchehr Sadeghi.
Prof. Erik Nakhjavani writes about Hayedeh's vocal and performative style in Encyclopedia Iranica: "Analogues to Delkash, before her, Hayedeh sang with technical authority and passionate energy. Her laryngeal control made it possible for her to produce a series of graceful vibrato and glissando vocalizations required by the Avaz [Persian voal music]. She could smoothly pass from the upper reaches of her alto voice to the lower, fuller, and darker range of the contralto. This mixture of strong laryngeal strength and learned vocal technique gave her alto-contralto voice a rare, powerful resonance and texture in the performance of the Avaz. Furthermore an acute sense for musical timing, the rhythmic flow of vocal music, affective musical phrasing, and poetic delivery enabled her to express and interpret effectively any songs she sang."
Hayedeh's Gravestone in Westwood Mortuary, Los Angeles(Photo by Arash Behtash; from Pejman Akbarzadeh's archive)
Hayedeh died from a heart attack at the age of 47, only hours after a performing in a concert at the Casablanca Club in San Francisco, where she performed most of her memorable songs for a crowd of a few hundred Persian immigrants based in Northern California. Khosrow Motarjemi, a Persian IT expert in California, recorded the event on video which was never released.
On this 16th anniversary of Hayedeh's passing, her voice is ever alive and will continue to live among the Persian people. "Yaadash Geraami".
Sunday, January 15, 2006
225. باله ي "زرتشت" به رهبري ي "موريس بژار" در لُزَن سويس
Zarathustra triumphs in Lausanne
www.IranDokht.com
comments By: Darius Kadivar
Maurice Béjart latest ballet “Zarathustra” triumphs in Lausanne.
Béjart probably is the most famous choreographer in France. Like most great artists, Béjart is certainly a man of contradictions. He's been often criticized for his often bold ballet compositions and many experts tend to think that his best ballets are the ones he did in the 50s and 70s, but most admit that he helped ballet become more popular. His companies included many great dancers such as Jorge Donn, Daniel Lommel, Gil Roman; others, such as Paolo Bortoluzzi or Suzanne Farrell. He was also to greatly contribute to the Persian Ballet Repertoire in the late 60’s and 70’s performing at the famous Roudaki Hall in Tehran. One of the highlights of his contributions to Iranian Ballet was the creation of two consecutive ballets during the Persepolis Celebrations of 1971. One based on the Golestan Sa’adi with Iranian musicians Nur Ali Brumand, Nourredin RAZAVI Sarvestan & Dariush TALA'I and another with the same musicians called Farah in tribute to the Shahbanou. The latter was once again used for Béjarts 1995 ballet Scherehazad. (See French review of Farah ). Greatly influenced by his trip to Iran after which he converted to Islam after meeting a Sufi Kurdish musician which he admits had the greatest artistic and spiritual influence in his career. This probably explains some of Béjarts initial enthusiasm for the Islamic Revolution of 1979 despite his personal sympathies and friendship with the Iranian Royal Family and Empress Farah in particular. The excesses of the Islamic revolution and the shock of September 11th which has bad named Islam certainly shook the spiritual convictions of the famed ballet Maestro. His spiritual and philosophical quest has led him to the creation of a new Ballet which performed its premiere amidst standing ovation and cheers last December in Lausanne Switzerland. Maurice Béjart presents new ballet Zarathustra based on German philosopher Friedrich Nietzsche’s work Entitled Zarathoustra. Le chant de la danse aka Zarathustra. the song of the dance the scarcely two-hour ballet for 50 dancers is based on works of Friedrich Nietzsche’s, particularly his book "thus spoke Zarathustra". Béjart called the work the coronation of his occupation of many years with the German philosopher - the premiere public followed this opinion. When the 78 year old Béjart stepped on the stage, he was cheered by a standing ovation of approximately 2400 spectators which lasted several minutes. In "Zarathustra" , Béjart seems to have united all constant themes of his work with topics such as love, death and war. His work moves technically between the classical period and avant-garde. With this piece Béjart considers he has achieved his vision of "total theatre", in which language, music, dance and direction join a complete work flow together.Little if not nothing to do with the teachings of the historical namesake and religious prophet Zoroaster known as Zartosht in Persian, Nietzsche’s “Zarathustra” is considered as a controversial yet important philosophical work of the late 19th century. Scholars are divided as to exact interpretation of Nietzsche’s work. Some see him as a promoter of the totalitarian ideas of the 20th century, others consider him as a critic of religious thought. Zarathustra has also been subject to several other music compositions prior to Nietzsche. The French composer Rameau wrote an opera called "Zoroastre" and the free-thinking Mozart used a variant of the name for his character Sarastro in "The Magic Flute;" Sarastro is the priest of the Sun and Light who defeats the Queen of the Night. But it is certainly the German composer Richard Strauss, who inspired by the Nietzsche work, wrote Also Sprach Zarathustra by Strauss the tone-poem of the same name, which became famous in 1968 as the theme for the Stanley Kubrick’s film 2001 - 'A Space Odyssey. ' An inspiration or interpretation for Nietzsche’s work ? The question remains. Persian Prophet Zartosht 628 B.C.- 551 B.C. monotheist founder of ZoroastrianismMaurice Béjart Ballet performs at Roudaki Hall Tehran 1971But Béjarts claims his work is not only a tribute to Nietzsche’s and the dance, but also an hymn at Richard Wagner and Ludwig van Beethoven. Nietzsche’s, and Wagner were friends had the German philosopher praised music as the ultimate art form. "I call Wagner the largest benefactor of my life." Say’s Béjart. His ballets also contains works of Italian composer Vivaldi as well as Iranian music pieces. Interestingly Maurice Béjart concludes his Ballets, not by quoting Nietzsche, but Beethoven in what looks like also a tribute to one of Persia’s greatest Poets Sa’adi. All 50 dancers closed in line up and member on the stage to meet, the hands towards skies stretched with Beethoven’s music composition "Ode to Joy" : “all humans become brothers and sisters on this incredible creation of God.”
"Zarathusta is the Coronation of my Career"; Say’s Choreographer Maurice Béjart.