Iran (Culture & Traditions)

[Rasputin]

امروز فقط يادي از كتابخانه*ي عظيم شيخ صفي*الدين اردبيلي باقي مانده است؛ چراكه از مجموعه كتاب*هاي بزرگ*ترين و معتبرترين كتابخانه*ي ايران و منطقه*ي خاورميانه در بقعه*ي شيخ صفي فقط آثار انگشت*شماري باقي مانده*اند.


به گزارش بخش ميراث فرهنگي خبرگزاري دانشجويان ايران (ايسنا)، اردبيل در دوره*ي صفوي يكي از مهم*ترين مراكز علمي كشور محسوب مي*شد؛ تا آنجا كه «دار ارشاد» نام گرفت. سلطان*هاي صفوي در بيش از 200 سال گران*بهاترين آثار فرهنگي، بويژه نفيس*ترين قرآن*ها، كتاب*هاي ويژه*ي ادبي و تاريخي را وقف آستان جد خود شيخ صفي*الدين اردبيل كرده بودند.


برخي از تاريخ*نگاران تعداد اين كتاب*ها و جزوه*ها را بيش از 10 هزار جلد عنوان كرده*اند؛ ولي تنها چند جلد از آن آثار باقي مانده*اند.


عبداللهي ـ كارشناس ميراث فرهنگي اداره كل ميراث فرهنگي و گردشگري استان اردبيل ـ در اين*باره گفت: *پس از انقراض دولت صفوي، كتابخانه*ي شيخ صفي مورد توجه مقام*هاي داخلي و خارجي قرار گرفت و سبب شد، بخش عمده*اي از آثار موجود در اين كتابخانه به كشورهاي خارجي انتقال يابند و بخش قابل توجهي از آن*ها نيز به سبب بي*توجهي دولت*مردان وقت از ميان بروند. اكنون چند جلد از مجموعه*ي قرآن*هاي زيبا در موزه*ي تخصصي چيني*خانه*ي بقعه*ي شيخ صفي*الدين اردبيلي به*نمايش گذاشته شده*اند و امروز فقط يادي از آن مجموعه*ي عظيم به يادگار مانده است.


به گزارش ايسنا، براساس فهرست مربوط به سال 1172 هجري قمري، 744 جلد قرآن كامل، 224 جلد قرآن به*صورت 30 جزو و 32 جلد قرآن منصوب به اميرالمومنين و ائمه (ع) در مجموعه*ي شيخ صفي*الدين اردبيلي نگهداري مي*شدند. قرآن*هاي مربوط به قرن*هاي مختلف و به خط*هاي متفاوت و متنوع در اين مجموعه وجود داشتند.


اين روزها، برخي از مردم استان اردبيل اين سوال را دارند كه آيا زمان آن نرسيده است، با گردآوري كتاب*هاي برده*شده از بقعه*ي شيخ صفي*الدين اردبيلي بخشي از هويت فرهنگي ما دوباره در اين مجموعه شكل بگيرد؟

[Rasputin]

ارزش سفال، اين قديمي*ترين دست*ساز بشر بيش از پيش آشكار است، سفال با عنصر وجوديمان ارتباط تنگاتنگي دارد و نشانه*اي است از يك عمر تداوم حيات هنري و انساني تا آنجا كه اين دست ساز به ظاهر ساده مي*تواند هر روز و هر لحظه يادآور داستان آفرينش باشد خود را فراموش نكني و بداني در هر كجا كه هستي، در هر مقام و مرتبه*اي، از گلي ناچيز آفريده شدي و باز به همين گل ناچيز بنگر كه چگونه شايستگي حمل روح الهي را پيدا كرد و اين چنين وجودت را به كمال رسانيد.

به گزارش خبرنگار ايسنا صنعت سفال*سازي در يزد قدمتي 6000 ساله دارد و از ميان خاك*هايي كه سرزمين ايران را شكل داده*اند، خاك شهرستان ميبد، يكي از مرغوب*ترين خاك*ها براي ساخت سفال به شمار مي*رود و اين دليل قدمت ديرينه اين هنر ارزشمند در يزد است.


يك صنعتگر سفالگري در گفتگو با خبرنگار ايسنا گفت: از روزگاري قديم ساخت سفالينه*هاي لعابدار و بدون لعاب در شهرستان ميبد رواج داشته است، ظروف بدون لعاب كه براي ذخيره آب، آرد و گندم به كار مي*رفته و معمولاً ظروف بزرگي از همين نوع را براي نگهداري مقدار زياد گندم درسيلو استفاده مي*كردند.


داود صادقي افزود: اين ظروف را براي استحكام و نفوذ ناپذيري لعاب مي*دادند كه براي نگهداري انواع غذاها و ترشي*جات وسيله*اي مناسب به شمار مي*رفته است.


وي در خصوص مراحل ساخت سفال اذعان داشت: ابتدا گل رس را به اصطلاح محلي كانه*جوري مي*كنند. يعني گل رس مرغوب را استخراج مي*كنند، رسي مرغوب است كه رنگ مناسبي داشته، ناخالصي نداشته باشد و چربي مورد نياز را نيز داشته باشد.


صادقي خاطرنشان كرد: معمولاً براي برداشت خاك رس از ارتفاع يك متري تا حداكثر 40 متري سطح زمين را حفر مي*كنند كه اين كار امروزه با كمك بيل*هاي مكانيكي صورت مي*گيرد. اين مواد اوليه پس از جمع*آوري در كارگاه ساخت سفال به مدت يك روز با آب خيس مي*خورد و سپس با كمك دستان كارگران ماهر ورز داده مي*شود تا چسبندگي لازم را پيدا كند.


وي در ادامه مراحل ساخت افزود: سپس گل آماده شده را به قطعاتي تقسيم كرده و در بسته*هاي پلاستيكي قرار مي*دهند كه اين بسته*ها مي*تواند رطوبت گل*ها را تا مدت 2 يا 3 ماه حفظ كند.


اين هنرمند در خصوص مراحل ساخت ظروف بيان داشت: ساخت ظروف مدور كوچك در يك مرحله به كمك چرخ سفال*گري و دستان هنرمند سفالينه ساز صورت مي*گيرد اما ساخت ظروف بزرگتر در چندين مرحله صورت مي*گيرد. در ابتداي امر قسمت تحتاني ظرف كه ارتفاعي حداكثر 30 سانتي*متر دارد، ساخته مي*شود سپس به مدت چندين ساعت در هواي آزاد مي*گذارند تا خشك گردد و دوباره براي ساخت مراحل بعدي به كارگاه مي*آورند و قسمتهاي بالايي را باز به كمك چرخ سفالگري دستاني ماهر روي همان قسمت*هاي تحتاني شكل مي*دهند.


وي افزود: پس از گذراندن مرحله اول شكل*گيري، ظروف به مدت چندين روز در هواي آزاد قرار مي*گيرند، تا خشك شوند و رطوبتشان از بين برود سپس براي ساخت ظروف بدون لعاب بلافاصله آن*ها را در كوره مي*چينند و سرانجام پس از 24 ساعت ظروف پخته مي*شود.


صادقي اظهار داشت: اما ظروف لعابدار پس از مرحله رطوبت*گيري، با اكسيدهاي فلزي نقاشي شده و لعاب داده مي*شود و سپس براي پخت وارد كوره مي*گردد.


اين هنرمند سفالگري در پايان عنوان كرد: هم *اكنون در شهرستان ميبد حدود يك هزار نفر، در اين حرفه مشغول به كار هستند كه عموماً اين كار سينه به سينه و نسل به نسل از پدران به فرزندان منتقل شده است و در حال حاضر علاوه بر ساخت سفال، چيني مخصوصي كه به «بدل چيني» معروف است نيز توليد مي*شود كه براي ساخت آن از همين نوع خاك و در كوره*هاي با حرارت 1050 درجه سانتي*گراد استفاده مي شود.

[Rasputin]

هيات باستان*شناسي تپه*ي هگمتانه پانزدهمين فصل كاوش اين تپه*ي باستاني را آغاز كرد.


مسعود آذرنوش ـ سرپرست هيات كاوش تپه*ي هگمتانه ـ در گفت*وگو با خبرنگار بخش ميراث فرهنگي خبرگزاري دانشجويان ايران (ايسنا) در همدان،* اهداف اين فصل از كاوش*ها را تاييد نتايج لايه*نگاري سال گذشته و مكان*يابي موزه*ي منطقه*يي غرب كشور در قسمت جنوب غربي تپه*ي هگمتانه دانست و افزود: با اين اهداف در نقاط متعدد، گمانه*هاي آزمايشي زده مي*شوند كه تعداد گمانه*ها به توانايي مالي و نيروي انساني هيات كاوش بستگي دارد.


وي ادامه داد: به نظر مي*رسد، در بخش*هايي از تپه*ي هگمتانه، خاك*ريزي*هاي گسترده*اي با هدف ايجاد سطحي هموار براي احداث شهري باستاني كه به احتمال زياد به دوره*ي اشكاني تعلق دارد، ايجاد شده*اند و هدف ما نيز مشخص كردن اين موضوع در بخش*ها ديگر تپه*ي هگمتانه است.


او گفت: سال گذشته، در نيمه*ي كاوش*ها به اين نتيجه رسيديم كه آخرين لايه*ي مشهود، بقاياي شهري متعلق به دوره*ي اشكاني است؛ اما امكان دارد، زير لايه*ي اشكاني يك لايه*ي دوره*ي هخامنشي نيز وجود داشته باشد كه محل آن هنوز مشخص نيست.


آذرنوش اضافه كرد: بهترين كاري كه در اين مقطع زماني مي*توان انجام داد، حفاظت از محوطه*هاي باستاني به*جاي كاوش در اين مناطق است.

[Rasputin]

مدير پروژه*ي نجات*بخشي ارگ بم گفت: هياتي فرانسوي براي بازديد از پروژه*ي بم تا 15 روز ديگر به ايران مي*آيد.


اسكندر مختاري در گفت*وگو با خبرنگار بخش ميراث فرهنگي خبرگزاري دانشجويان ايران (ايسنا)،* ادامه داد: در سفر اين هيات، ايران برنامه*هايي درباره*ي بازار و سربازخانه دارد كه اميدواريم اين فعاليت*ها با كمك كارشناسان برجسته*ي ايراني به نتيجه*اي مطلوب برسند.


وي با اشاره به بازديد هيات*هاي مختلف ايراني و خارجي از ارگ و انجام پروژه*هاي مشترك، يادآور شد: با انجام پروژه*هاي مشترك در پايان فروردين*ماه 1386 نشستي بين*المللي در ارگ بم برگزار مي*شود.


او اضافه كرد: در اين نشست به ارزيابي تجربه*هاي كارشناسان در سه*سال اخير براي استحكام*بخشي سازه*هاي باقي*مانده از ارگ بم پرداخته مي*شود. اكنون تمام كارها داوري شده*اند كه اين داوري*ها، راه آينده*ي ارگ بم را روشن مي*كنند.


وي همچنين درباره*ي بازديد گروه ايتاليايي از بم، نتايج اين بازديد را خوب ارزيابي و اظهار كرد: اين گروه، فعاليت*هاي كارشناسان ايراني را كه با نظم، دقت و سازمان*دهي مطلوب انجام شده*اند، مثبت دانستند.

[Rasputin]

آرامگاه خواجو در شمال شيراز، در دامنه كوه صبوي و در ابتداي جاده شيراز - اصفهان، در تنگ الله اكبر قرار گرفته است. قبر وي مشرف بر دروازه قرآن است. آب چشمه*ي معروف ركناباد نيز از كنار مقبره خواجو مي*گذرد.


به گزارش سرويس نگاهي به وبلاگ*هاي خبرگزاري دانشجويان ايران (ايسنا)، احسان كشميري در وبلاگ خود به نشاني http://ehsankeshmiri.blogfa.com در ادامه نوشته است: اين آرامگاه در سال *١٣١٥ شمسي با اعتبارات اداره فرهنگ فارس ساخته شد. محل آرامگاه در محوطه*اي بدون سقف قرار دارد. در وسط صفه آن سنگ قبري است كه بالاي آن محدب و داراي برآمدگي است. روي اين سنگ كتيبه*اي كه بيانگر قبر خواجو باشد، وجود ندارد. فقط بالاي سنگ عبارت: كل من عليها فان و يبقي وجه ربك ذوالجلال و الاكرام به خط ثلث نوشته شده است.


در بالا و پايين قبر نيز دو ستون سنگي كوتاه قرار دارد كه طبق رسم آن زمان در بالا و پايين قبور عرفا و شعرا وجود داشته است. در سال *١٣٣٧ شمسي اداره باستان شناسي فارس اقدام به ساخت يك اتاق در قسمت شمالي محوطه آرامگاه كرد. در پيشاني اين اتاق دو غزل از غزليات خواجو به خط نستعليق بر روي كاشي*هاي آنجا نوشته شده است. با اين مطلع: دوش مي كردم سؤال از جان كه آن جانانه كو؟ / گفت: بگذر زان بت پيمان شكن پيمانه كو؟ ... و ديگري به مطلع: صبحدم دل را مقيم خلوت جان يافتم/ از نسيم صبح بوي زلف جانان يافتم ... . هم اينك اين اتاق تبديل به فرهنگسراي خواجو گرديده است.


كمي بالاتر از مقبره*ي خواجو، سه غار به چشم مي*خورد. يكي از آنها غاري است كه محل عبادت و رياضت زهاد و مشايخ بوده و خواجو نيز مدتي در آن جا به عبادت مشغول بوده است. غار ديگر كه در دهانه*ي آن طاقي ضربي از نوع طاق كجاوه*اي از سنگ و آجر زده شده، محل قبر خواجه عمادالدين محمود، وزير معروف شاه شيخ ابواسحاق اينجو است.


در كنار اين غار نقش برجسته*اي از جنگ رستم و شير ديده مي*شود كه به دستور حسينعلي ميرزا فرمانفرماي فارس در سال *١٢١٨ ه.ق ساخته شده است. در كنار آن نيز نقش برجسته ناتمامي از فتحعلي شاه قاجار و دو تن از پسرانش به چشم مي خورد. در دو طرف اين نقش برجسته دو نيم ستون به سبك ستون*هاي دوره زنديه در درون كوه كار شده است... .

[Rasputin]

مقبره*ي عزيزالدين نسفي يزد در دوره*ي سلجوقي و در قرن پنجم و ششم هجري قمري بنا شده كه قسمتي از هنر معماري آن همچنان مشهود است.


به گزارش خبرنگار بخش ايران*شناسي خبرگزاري دانشجويان ايران (ايسنا) در يزد، اين بنا محرابي گچ*بري*شده دارد كه با كتيبه*هاي مزين گنبد علويان در همدان، مدرسه*ي حيدريه*ي قزوين، مسجد جامع ورامين، مقبره*ي پيربكران اصفهان قابل قياس است.


اين مقبره كه در فهرست آثار ملي ثبت شده، شامل گل و بوته*هاي اسليمي، ريزه*كاري*هاي گچ*بري، كتيبه*هاي كوفي و نسخ شيواي گچ*بري*شده است.


نام سازنده و تاريخ آن نيز روي دو گل گچ*بري بر دو طرف محراب به خط نسخ نوشته شده است.

[Rasputin]

قديمي*ترين مسجد جامع شهرستان زارچ، مسجد بمانعلي است كه به دوره*ي سلجوقي تعلق دارد.


به گزارش خبرنگار بخش ايران*شناسي خبرگزاري دانشجويان ايران (ايسنا) در يزد، ساختمان اين مسجد چهار ستون در وسط و *٩٠ چهارتاقي داشته است و *١٢ تويزه هلالي*شكل، ستون*ها و ديوار مسجد را به هم اتصال داده بودند.


ضخامت ستون*هاي اين مسجد *٨٠ سانتي*متر يا سه خشت و عرض تويزه*ها كه پايه*ي سقف*ها بودند، به همين اندازه و فاصله*ي بين هر دو ستون تقريبا *٥/٣ متر بوده است. مقابل ستون*هاي وسط از چهار طرف، نيم*ستون*هايي در ديوار اطراف قرار داشتند كه پايه*ي تويزه*ها محسوب مي*شدند.


پشت بام مسجد نيز مسطح بوده است و سوراخ*هاي وسط هر سقف را به*وسيله*ي سنگ مرمري به ابعاد *٤*50*50 سانتي*متر به*عنوان نورگير و بقيه را با آجرهاي مربع*شكل كه آجرفرش ناميده مي*شدند، مفروش كرده بودند كه روزهاي آفتابي زمستان و شب*هاي مهتاب تابستان، محل خواندن نمازهاي انفرادي بوده است.


استفاده*ي ديگر اين مسجد، برگزاري مجلس كتاب*خواني در شب*هاي طولاني زمستان بوده است و كتاب*هايي مانند مختارنامه، خاورنامه، مصيت*نامه، اميرحمزه و حسين كرد توسط چند نفر با سواد خوانده مي*شدند كه افرادي نيز مشتاقانه در اين جلسه*ها شركت مي*كردند.


دو در متوسط يكي در شبستان و ديگري در صحن مسجد بزرگ، اين دو را به هم مربوط مي*كرد كه درگاه ابتدايي آن نزديك راه*پله*ي آب*انبار در كنار جاده بوده است.

[Rasputin]

كارشناس مرمت سازمان ميراث فرهنگي و گردشگري استان اصفهان خبر داد: خانه*ي موسيو آبكار متعلق به دوره*ي* قاجار و يكي از نفيس*ترين خانه*هاي تاريخي ايران، توسط صاحبان خانه تخريب شد.


كريم متقي در گفت*وگو با خبرنگار بخش ميراث فرهنگي خبرگزاري دانشجويان ايران (ايسنا) در اصفهان،* افزود: *خانه*ي موسيو آبكار كه در زمان قاجار ساخته شده، دو طبقه داشته است و به لحاظ آجركاري، تزيينات بسيار ريز و كاشي*كاري يكي از نفيس*ترين خانه*هاي تاريخي در ايران است كه در فهرست آثار ملي نيز ثبت شده و در زمان پهلوي به*عنوان اداره*ي دخانيات در استان اصفهان بوده است.


وي ادامه داد: متاسفانه وارثان اين خانه*ي تاريخي چندي پيش در آن آتش روشن كردند و به*تازگي نيز قسمتي از سقف خانه* را برداشتند، تا براثر باران و برف زمستان كاملا تخريب شود و به*جاي آن آپارتمان بسازند.


او با اشاره به اين*كه تعداد ديگري از خانه*هاي تاريخي اصفهان نيز توسط مالكان آن*ها خراب شده*اند، تصريح كرد: خانه*ي روغني متعلق به اواخر دوره*ي قاجار توسط يك شركت فرانسوي و به سبك خانه*هاي صفوي ساخته شده؛ اما ايوان اين بنا به*وسيله*ي صاحبان آن تخريب شده است.


اين كارشناس مرمت اضافه كرد: متاسفانه افرادي به*دليل بي*اطلاعي از ارزش بناهاي تاريخي، شبانه دور از چشم كارشناسان سازمان ميراث فرهنگي و گردشگري، اين بناها را تخريب مي*كنند.

[Rasputin]

آثار تاريخي استان ايلام با هدف مرمت و سامان*دهي آسيب*شناسي مي*شوند.


فريدون محمدي ـ مدير اداره*ي ميراث فرهنگي و گردشگري استان ايلام ـ با اشاره به اين*كه كار آسيب*شناسي آغاز شده است، افزود: اين آثار شامل تاق شيرين و فرهاد در ايوان، قعله*ي جهانگيرآباد، قلعه*ي ميرغلام در دره*شهر،* امامزاده مهدي صالح در ماژين و سنگ*نوشته*هاي استان*اند. همچنين آتشكده*ي سياهگل در ايوان نيز براي مرمت آسيب*شناسي مي*شود.


آتشكده*ي سياهگل از زنده*ترين اثرهاي برجا مانده از دوره*ي ايران باستان است كه قدمت آن بيش از يك*هزار و 700 سال تخمين زده شده و به دوره*ي ساسانيان مربوط است.


به گفته*ي محمدي قلعه*ي كنجانچم در مهران از ديگر آثاري است كه آسيب*شناسي خواهد شد و مرمت اين آثار به*زودي آغاز مي*شود.


او اضافه كرد: مرمت و پاك*سازي محوطه و خاك*برداري آتشكده*ي موشكان در شهرستان سرابله نيز درحال انجام است.

[Rasputin]

Persian Pilgrimage

To record and preserve the account of a visit to a virtually inaccessible site,” Jason Elliot writes in “Mirrors of the Unseen,” his book of Iranian journeys, “suggests an uncommon discipline. To do so accurately suggests a motive resilient enough to withstand all the diverting influences of heat, fatigue, appetite, impatient guides and the natural laziness of the eye. To make sense of one’s notes a year later is another skill; to reproduce them faithfully, and then to disguise the entire endeavor as if it had occurred naturally and without effort, is rarer still.”

This, as neat a description of the travel writer’s art as you could hope to read, is Elliot’s homage to his compatriot from the 1930’s, the British gentleman scholar Robert Byron, whose “Road to Oxiana” is certainly the wittiest book, and perhaps the wisest, to have been written in English about Iran. Byron’s shadow dapples the pages of “Mirrors of the Unseen,” but relations between the two writers are not uncomplicated. On occasion, Elliot resists consulting his dog-eared copy of Byron’s masterpiece, presumably to avoid the siren call of imitation. When Elliot elaborates his own theory explaining an architectural oddity that had confounded Byron, one senses his glee at enlightening his forebear.

Byron had what Bruce Chatwin called the “ability to gauge the morale of a civilization from its architecture.” Now, three-quarters of a century after Byron and almost three decades into the Islamic revolution, it is high time for a fresh reading. Perhaps because he is pretty much alone in the field — most recent books on Iran are either memoirs or political screeds about nuclear politics — Elliot has not felt obliged to cramp his wide vision. Around his account of many months of travel, and sustained by extensive reading in libraries, he aims to build nothing less than a cohesive idea of Iran’s artistic development.

There is an intellectual quest, identified early on. Elliot is troubled by the reluctance of many modern scholars of Islamic art to inquire into the symbolic, rather than aesthetic, essence of this art. Their dull explanations revolve around history and fashion. They deny Islamic art a guiding “spirit.” “It is difficult to suppose,” Elliot writes, “that an art as prolific and expert as that of the Islamic world was driven by no more than a desire to impress the eye alone. Great art aims higher.”

Elliot’s roving gaze holds an advantage for the reader. By consulting this single volume, one can learn about Cyrus the Great’s Achaemenid Empire — and Herodotus’s Hellenic-centered account of it — and about the consequences of the Arab conquest of the seventh century, which turned Iran (then known in the West as Persia) from a Zoroastrian into a Muslim nation. Elliot describes the later Mongol devastations and gives much attention to the Safavid Empire that flowered after 1600, when Shiism, Islam’s main minority sect, came to occupy the position of political and cultural dominance in Persia that it enjoys to this day.

Where he can, Elliot juxtaposes history with modern echoes and ironies. He links the Iranians’ sensitivity to Herodotus’s bias to their later hatred for Western imperialism, British and Russian to begin with, American later on. He describes the surrender of the Mongols to the Persian culture they had set out to destroy — a culture sinuous and adaptable enough to color courtly life from Hyderabad to Istanbul. The author’s visits to former Achaemenid, Mongol and Safavid capitals, and to the modern city of Tehran, make tangible what might otherwise seem like distant abstractions.

Elliot is never less than forthright, and some of his architectural descriptions are very fine. As a traveling companion, however, he can be less than engaging. He gives us only glimpses of the self-awareness that makes the banal details of being in a foreign place — the mutual incomprehension, the periods of inert, enforced reflection, the brief encounters — so revealing, both of a traveler and his environment. His contempt for the other foreigners he comes across, whom he finds vulgar and ugly, is uncharitable and misplaced; for most Westerners, the very act of buying an air ticket to Iran, a country that is vilified like almost no other, is proof of courage and imagination. He deplores the tourists’ cultural insensitivity, preaches to unscrupulous money-changers and primly justifies his decision not to fast during Ramadan. That, he informs us, would have been “a hollow and imitative gesture, and to fast is as much an interior undertaking as an outer one.” But why would Elliot, a visitor from a non-Muslim country, and thus doubly exempt, consider fasting in the first place?

As Elliot travels around Iran, a series of mostly male, mostly listless characters cross his radar, all willing to offer him the benefit of their (seemingly limitless) time. But they are a monotonous bunch, much taken by the West and given to cursing the Islamic Republic, and collectively they do not do justice to the great variety of lifestyles and views that are to be found, coexisting uneasily, in today’s Iran. Tellingly, the most dynamic character in the book is not an Iranian at all, but an American horse-breeder, a high-spirited Cornell alumna who married an Iranian before the revolution and never went back to the United States. Elliot is relieved, one feels, to return to his beloved books and buildings.

And what of his search for the “spirit” of Islamic art, some of whose crowning achievements are to be found in Iran? This is contentious ground, if only because the qualifier “Islamic,” when applied to many broad concepts — democracy, for example — often elicits the charge, “cultural relativist.”

For all that, Elliot is surely right that Islamic art means something more than art that is produced by Muslims. Coming near the end of the book, his sprawling, ebullient discussion of the subject repays a close reading. His depiction of the “artist as intermediary,” rendering up his perfection to the glory of God, in reflection of heaven as depicted in the Koran, is especially appropriate to Iranian architecture. The antique Persian idea of the afterworld as a garden, when interpreted by the tile-makers of the Islamic era, turned mosques from mere places of worship into simulacra of paradise.

[Rasputin]

Prior to the capture of Babylon

Excerpt from my book, “The Fourth Day: Why the Bible is Historically Accurate”. Readers can obtain a “free” e-book version at my website. Ahasuerus was two different characters in the Bible with the same name. The Ahasuerus of the book of Daniel was Cyaxares (probably Cyrus I) and the Ahasuerus of the book of Esther was Cyrus II.

Most theologians believe that the name Ahaseurus refers to Xerxes and the rationale for this conclusion is as follows. (Note: I am not an expert on foreign languages. Much of the following discussion comes from an article by Rabbi Yaakov Klass entitled “Hu Akhashverosh, Who Was Akhashverosh?” from jewishpress.com, posted 3/24/2005). Ahasuerus in the ancient Hebrew language would look like Akhashverosh. The original Persian name for Xerxes would look like Khshayarsh. These scholars argue that Khsharyarsh can be converted to Akhashverosh in two steps. First add an “a” in front of “Kh” and between “Kh” and “sh” to make the word more pronounceable then replace the “y” with “ve”. According to scholars his greek name, Xerxes, evolved in the following manner: Khshayarsh=Khshersh= Kserks+es=Xerxes.

Allow me to suggest a more alternative explanation that I believe is more straight forward.

Let’s suppose that Ahasuerus is the ancient Hebrew version of Cyrus. Unfortunately, everytime I have ever heard Cyrus pronounced in English the “C” sounded like a “S” and not like a “K” as it should be. Therefore in English it would better be spelled Kyrus so it could be pronounced properly. The Hebrew language version of Cyrus looks like Kowresh, or Kuresh. Kyrus is the Greek form of the word since Greek does not have a “sh” sound it uses “s” instead.

The Strong’s Exhaustive dictionary states that the name Ahasuerus actually has two forms, a long form and a short form. The long form is Akhashverosh and the short form is Akhashrosh. (American English does this when we call someone Bob when their real name is Robert.) An “a” is put in front of foreign words used in ancient Hebrew so the original short form in Persian would be khashrosh. Khashrosh is amazingly close phonetically to Kowresh, Kuresh or Kyrus. Therefore I believe the short form of Ahasuerus is equivalent to Cyrus.

Is there a long form of Cyrus? I believe that Cyaxares or Kyaxares is the long form of Ahasuerus. If we remove the first letter “a” from Akhashverosh (since it is a foreign word in ancient Hebrew) we get Khashverosh in the Persian language. I believe “Kyax” is equivalent to “Khash”; “a” is equivalent to “ve”; and “res” is equivalent to “rosh”. It may be easier to visualize if we partition the words as follows, Kyax-a-res and Khash-ve-rosh.

There is some historical justification to support this line of reasoning. The Apocryphal Book of Tobit refers to Ahasuerus as the king that assisted Nebuchadnezzar II in the destruction of Nineveh (Tobit 14:15): “But before he died he heard of the destruction of Nineveh, which was taken by Nebuchadnezzar and Ahasuerus; and before his death he rejoiced over Nineveh (Third Millenium Bible Translation)”. Historically Cyaxares is the king of the Medes that assisted Nebuchadnezzar II in the destruction of Nineveh, therefore Ahasuerus and Cyaxares must be the same name in different languages.

Therefore Ahasuerus refers to the name Cyrus and Cyrus has a short form and a long form, Cyrus and Cyaxares. I believe the idea that Ahasuerus is someone named Cyrus is much more plausible than someone named Xerxes.

I think the context of the Bible also favors this interpretation. Consider Esther 1:1-2:

“Now it came to pass in the days of Ahasuerus, (this is Ahasuerus which reigned from India even unto Ethiopia, over a hundred and seven and twenty provinces that in those days, when the king Ahasuerus sat on the throne of his kingdom, which was in Shushan [Susa]... ”

I believe the book of Esther insinuates there is a time when King Ahasuerus doesn’t sit on his royal throne in Susa by using the phrase “when King Ahasuerus sat on his royal throne in Susa... ”. According to historians Cyrus II was king in Susa at one time but later moves his throne to Babylon. I believe the book of Esther is recording events prior to the capture of Babylon by Cyrus II and that Cyrus II is King Ahasuerus written about in the book of Esther. Now when you start to consider the ramifications of this scenario one very obvious question comes to mind, If Esther is the wife of Cyrus “Did Cyrus make the announcement to rebuild the Temple and Jerusalem to please his wife Esther?”

If the answer to the question is “yes” then this “new” information regarding Ahasuerus is very significant indeed. This verse also speaks of Ahasuerus as if their was another king that went by that name. Could it be that the other Ahasuerus was Cyrus I? The following verse provides more evidence for Ahasuerus being Cyrus (Ezra 4:4-6):

“Then the people of the land weakened the hands of the people of Judah, and troubled them in building and hired counselors against them, to frustrate their purpose, all the days of Cyrus king of Persia, even until the reign of Darius the king of Persia. And in the reign of Ahasuerus, in the beginning of his reign, wrote they unto him an accusation against the inhabitants of Judah and Jerusalem.”

Verse six continues the thought from verse five. Since the first verse mentions Cyrus and Darius, I believe that the writer uses the name “Ahasuerus” in the last verse to clarify that he is referring to Cyrus and not Darius. Ahasuerus and Cyrus appear to be the same name in two different languages.

I believe that King Ahasuerus has one more thing to teach us though. Consider Darius the Mede. Daniel 9:1 says, “In the first year of Darius the son of Ahasuerus, of the seed of the Medes, which was made king over the realm of the Chaldeans... ” If Darius the Mede is a son of Ahasuerus (Cyrus) he can’t be the son of the Cyrus of the book of Daniel (Cyrus II) for two reasons. Darius the Mede is too old (62 years of age) and Cyrus II is a Persian.

Darius the Mede must be the son of Cyrus I (since Darius the Mede is Astyages and Cyrus I is Kyaxares then Herodotus has already confirmed this fact). Since Cyrus II ruled Babylon for 9 years and died when he was 50 years old, Cyrus must have been 41 years old when Darius the Mede died at age 62 (Darius the Mede died very near the first year of the beginning of the reign of Cyrus II). Since Cyrus II is 21 years younger than Darius the Mede and if Darius the Mede is related to him, then Darius the Mede could be an uncle to Cyrus II. Darius the Mede would have to be the Median King Astyages (son of Kyaxares otherwise known as Cyrus I).

[Rasputin]

American Delegation Warns against US Threats to Iran

TEHRAN (Fars News Agency)- A senior member of the US delegation called 'Messengers of Peace' warned about the undesirable consequences of any US threats against Iran.





Speaking to FNA, Gerard Brooker did not view the recent US joint maneuvers in the Persian Gulf as a threat to Iran, and pointed out that the White House is well aware of the fact that any kind of threat against Iran would entail bitter consequence.

Elsewhere, he noted Iranian President's proposal for having a televised debate with his US counterpart, and voiced support for unconditional, direct talks by the two countries.

Regarding any possible change in the US stance in the face of Iran, he said, "I wish US President George W. Bush could pay a visit to Iran like us and get acquainted with Iran's history and art. If he had the chance of doing so, he would revise his stances and goals in the face of Iran."

[Rasputin]

One of the most complicated aspects of Persian culture and language is the untranslatable ta'arof. Depending on the circumstance, it can mean any number of things: To offer, to compliment and/or exchange pleasantries.

But that's only the tip of the iceberg. I doubt if any study can lead to a full understanding of Ta'arof. A born and raised Persian, even I find myself losing my grasp on it from time to time.

Perhaps Ta'arof stems from the cultural obligation to put others, especially guests, if not above all else, at least before oneself. In a society whose hospitality is more than a way of life, it is of utmost importance to make the guests feel welcomed. Drastic measures are taken to ensure company's comfort: Saving the best room in the house, delicacies, the most ornate dishes and even fancy beddings for that accidental guest.

Indeed, even a few moral rules are broken for the sake of Ta'arof. A lie is no longer considered a sin when hospitality is the intention. In fact, when we offer something, we may assure the guest by adding, 'Honestly, I'm not Ta'arofing!' which insinuates that there is some dishonesty in ta'arof?

Let us imagine a typical example: An unexpected guest has arrived late at night. You are tired, there's no food in the house and you are about to go to bed because you happen to have an engagement early the next morning.

Wisdom dictates that you simply explain this and excuse yourself. But not if you are Persian!

'What an unexpected blessing!' you proclaim. 'Which way did the moon rise to bestow such good fortune on us!'
After you have turned on every light in the house, you get the guest seated in your best sofa in the living room and rush to turn on the samovar. (It really doesn't matter what time it is, tea is tea and one could not possibly have company without it.) You wake up the kids, take a quick look in the mirror and do whatever cosmetic improvement can be accomplished quickly and send somebody to beg, borrow or steal the needed food.

Hours later, not only has the guest agreed to stay the night, you've also offered the use of that brand new pyjamas you were saving for Nowruz.
'Please step on my eyeball!' is how we invite people into our homes. (Excuse me? Step on my eyeball?)

'This is your home and whatever I have belongs to you.' Heaven forbid, he says something in reference to having disturbed the kids.

'My children are your slaves!' you'll declare. Let's hope your guest is also Persian and knows ta'arof so that not only no one takes advantage, but she may respond with equal enthusiasm and similar pleasantries. 'May your hand not hurt; may God grant you tea in heaven!' As for your children, 'They are the crown on my head, may I be sacrificed for them!'

Such light-hearted, yet meaningless, dialogue can go on for hours, especially if you find nothing else to talk about.

When dealing with a Persian, especially where ta'arof is concerned, the word 'no' takes on a whole new meaning. In fact, it took me years to understand what my grandmother meant when she said, 'Dish out a double portion to the one who says no!' Regardless of how desperately you want what you've been offered, it is only polite to first say no, especially if it involves food.

'Would you like a candy, honey?' you ask a polite child.

'No, thank you.'

Do not be surprised if you insist and he stuffs half the bowl in his pocket. Or, you ask Persian cab driver, 'How much do I owe you?' And he may say, 'Ghabel nadareh -- It's not worthy of you.' Under no circumstances does this mean that you don't pay, it is rather a warning that you should be gracious and not panic at the figure he's about to quote.
Those familiar with the tradition of ta'arof are able to decipher 'no' to mean, 'Let's hear that offer again.' Not to get sidetracked, but can you imagine what would happen if the groom walked out of the (Persian) wedding ceremony when the bride says 'No' the first and second times as is the custom?

You put a large bowl of fruit and some plates on the table. (The fact that there's only one guest makes no difference. There has to be enough fruit to feed an army.) Regardless of how starved company may be, ta'arof dictates that she shouldn't touch it until you insist. So you ignore that herniated disk that has been bothering your back, pick up the heavy bowl and offer while masking your agony with a smile.

To translate Persian pleasantries word by word may sound bizarre, but in a given situation, these comments only add flavour to a conversation. 'I wish I had known you were coming,' you may say. 'We could have slaughtered a cow or a lamb for you. Now, at least have some of this unworthy fruit.'

Over the grumble of the guest's empty stomach you hear, 'No, thank you. Sarf shod -- I've already had some.'

'Please, I swear you to the life of your mother, you must have some.'

'No, thank you. Khoda margam bedeh -- May God give me death -- I have already caused you enough trouble.'

'No, no. What trouble? Ekhtiar dareen -- you have control of my life.' You mutter, trying hard not to collapse under the weight of the fruit bowl. 'May I die, please have some!'

At this point you have two choices, either you act devastated, which would encourage the guest to have some, or you take a plate and put a heap of fruits before her. To make sure it gets eaten, you can even peel the orange or apple and cut the melon.

Regardless of how hungry your guest may be, ta'arof dictates NOT to clean the plate. After all, it is not polite to appear hungry. No doubt, some readers may think I'm making all this up, but please be reminded that while many such ta'arofs are outdated in the larger cities of Iran, they are very much alive in small towns.

The reverse can also apply. One may offer something just to be polite, and not mean it. Imagine that you are hungry and have brought only one sandwich to work, but if someone else is present, you must offer it to them, 'Befarma!' you'll say, fully aware that a Persian would know better than to take you up on the ta'arof.

The same is true for personal possessions. Should someone compliment you on anything, the first polite response is to say, 'Cheshmatoon ghashang mibineh == it is your eyes that see beautiful.' I have heard people change this phrase into, 'Your eyes are beautiful.' But many people go even one step further and say, 'Taghdeem!' -- I'll make a gift of it.'

Sometimes they may even insist you should have it. Once I complimented my mother-in-law on a nice ring she had on. She nearly pulled off her finger trying to yank it out so that I could have it. For years after that any time she asked if I liked her jewellery I pretended to hate it!

Although ta'arof plays a basic role in politeness and indeed is one of our best traditions, there are embarrassing times when we make an absolute scene. I remember once after performing a small dental procedure on a friend, I refused to charge her. As she pushed a large bill into my hand, I tried to push it back and when she held my arm and tried to put it in my pocket I must have raised my voice in protest. The commotion brought my American secretary into the room. Seeing our struggle, she thought I was being attacked and asked if she should call security.

Do I need to mention the scenes we make at restaurants over who pays the bill? We have all seen the frightened look on the waitress's face when we play tug-of-war with the check until it's torn in the middle.

Those of us who have lived in the West for decades may feel Westernized, but when it comes to Ta'arof, we remain Persians. I knew this when the other day at the local hamburger joint my teenage son grabbed the bill in the air before it reached me.

Now, that's what I call a gentleman!

[Rasputin]

It is almost two years that thousands of people interested in the historical and cultural heritages of human kind have pleaded for your help to save a large part of archeologically unique sites of Iran, recognized as a part of human heritage, from complete destruction by the flooding of a Dam called Sivand.

These threatened areas are comprised of Bolaghi Gorge, Pasargad Plains and the Mausoleum of Cyrus the Great, the author of the first Human rights charter. According to reports prepared by excavators, geologists, environmentalists, archeologists and historians, all published inside Iran, flooding the Sivand Dam will not only destroy all the historical treasures of this area but it will also jeopardize the environment and agriculture of a vast region in Iran's Fars province.

Now, the Ministry of Energy in Iran, with the consent of Organization for Historical Heritage of that country, the very establishment that is to preserve such treasures, intends to flood this area regardless of all the above grave consequences.

The International Committee to Save Pasargad, addresses your civilized and loving consciousness to do whatever you humanly can to prevent this cultural and human disaster from happening .

[Rasputin]

Accidental Discovery of 3000-Year-Old Bronze Dagger in Lorestan

LONDON, (CAIS) -- An ancient bronze dagger, believed to be from the first millennium BCE, appeared from the ground when a herd of sheep passed near a trench dug by archeologists in the historic site of Sang-Tarashan (Sang-Tarāšān) in Lorestan province. Archeological excavations in this ancient site, which originally started to save the area from being plundered by illegal diggers, were left incomplete since last April due to lack of funding. More than 40 percent of this historical site had already been plundered by the illegal diggers when archeologists finally came to this area.



Regarding the new discovery, Cyrus Ebrahimi, director of Lorestan’s Cultural Heritage and Tourism Department (LCHTD), said: “While a herd of sheep was passing near a trench created by archeologists in the ancient site of Sang-Tarashan, the walls of this trench collapsed and a 24 centimeter-long bronze dagger dated to the Iron Age appeared from the ground. The dagger was then surrendered to the Department by the person who is in charge of guarding the area.”



More than 400 rare bronze objects have so far been found in Sang-Tarashan since excavations first began in this area two years ago. However, none of the excavations revealed any evidence of human settlement in the region as archeologists could not find any architectural remain or human skeletons in this site.



This is while prior to the start of the first excavations by archeologists, it was believed that Sang-Tarashan is the location of an ancient cemetery belonging to the Iron Age III (800 to 550 BCE). This theory was disproved when months of excavations did not result in the discovery of anything but hundreds of bronze relics.



Instead, some archeologists proposed that Sang-Tarashan could have been a sacred place. According to this group of archeologists, the fact that large numbers of bronze objects are found in the area while evidence refutes existence of permanent or even temporary human settlement in Sang-Tarashan suggests that this area could have been a sacred place and that these objects were taken there as offerings to this religious site.



Ebrahimi further said that despite the existing concerns over the fate of this ancient site and its rich cultural-historic background, no budget has been allocated to this year’s excavations at Sang-Tarashan and this invaluable site with numerous artifacts still buried has been abandoned by archeologists. Director of LCHTD expressed hope that the recent accidental discovery of the dagger would awaken the authorities to the need to do something quickly about the site.



This area is particularly known for its exquisite bronze objects, most of which are dated to the first millennium BCE. Sang-Tarashan is one of the most important archeological sites of this western Iranian province, located close to the city of Khoram-Abad.



Large numbers of rare bronze objects, a bronze cup with a delicate etching work on its body and the design of a lotus flower on its bottom, a wide variety of war instruments such as different kinds of swords in different sizes, battle axes, an ivory scabbard, together with bronze vessels such as teapots, pitchers, bowls and glasses, all dating back to 3000 years ago, have so far been found in a 400 square meter area during three seasons of archeological excavations in the historic site of Sang-Tarashan.



Many of the discovered bronze relics have been rusted and decayed due to heavy rains in the area. On the other hand, Sang-Tarashan has been turned into the smugglers’ heaven in the recent years who are considered as potential threats to this ancient site. Lack of funding has now stopped further scientific excavations in the site and archeologists are waiting for the authorities of Iran’s Archeology Research Center to provide the necessary budgets for the excavations to resume.