Historical Churches in Iran + History

The majority of churches in Iran that possess historical and artistic value were built around the eight century A.H. or the 14th century AD, and the period thereafter. Of course, this does not mean that there were no churches existing in the country before that period.
During the reign of Shah Abbas, the Safavid king, his sagacious policies caused a sizable number of Armenians from Armenia and Azarbaijan to transfer and settle in Esfahan and other regions of Iran. A place called Jolfa was built on the banks of the Zayande-rud River in Esfahan and became the residence of these migrating people. Consequently, churches were erected in that town. Meanwhile, after a short lapse of time, some Armenians moved to Gilan and some resided in Shiraz.
After the death of Shah Abbas the First, his successor, Shah Abbas the Second, also paid close attention to the welfare of Armenians and more churches were erected in Jolfa. The influx of many Europeans during the reign of the Qajars led to the flourishing of other churches, in addition to those that were constructed previously. A number of these edifices have lasted and acquired architectural and artistic significance.
Azarbaijan is host to the oldest churches in Iran. Among the most significant are the Tatavous Vank (St. Tatavous Cathedral), which is also called the Ghara Kelissa (the black monastery). This is located at the Siahcheshmeh (Ghara-Eini) border area south of Makou. There is also the church known as Saint Stepanous, which stands 24 kilometers south of Azarbaijan’s Jolfa town.
Generally, each church has a large hall for congregational prayers; its foremost part is raised like a dais, adorned with the pictures or images of religious figures and it also serves as an altar. Here, candles are lit and the church mass is conducted by the priest. In the foreground is the praying congregation which faces the platform where the priest is leading the rites in the church; this is similar to the Muslim practice of praying facing the niche in the mosque. While the mass is being said, the people stand, kneel, or sit depending on what the rites require. The structure of churches in Iran follows more or less the pattern of Iranian architecture, or they are a mixture of Iranian and non-Iranian designs.

Churches in Iran

Interior of the Saint Stepanos Monastery.
Interior of the Saint Stepanos Monastery.

This is one of the old churches in Iran located at an intersection west of the Marand-Jolfa highway and east of the Khoy-Jolfa road. Also having a pyramidal dome, it is, nevertheless, quite beautiful and far more pleasant to behold than the Saint Tatavous church.
The general structure mostly resembles Armenian and Georgian architecture and the inside of the building is adorned with beautiful paintings by Honatanian, a renowned Armenian artist. Hayk Ajimian, an Armenian scholar and historian, recorded that the church was originally built in the ninth century AD, but repeated earthquakes in Azarbaijan completely eroded the previous structure. The church was rebuilt during the rule of Shah Abbas the Second.

Saint Mary’s Church in Tabriz

This church was built in the sixth century A.H. (12th century AD) and in his travel chronicles, Marco Polo, the famous Venetian traveler who lived during the eight century A.H. (14th century AD), referred to this church on his way to China. For so many years, Saint Mary’s served as the seat of the Azarbaijan Armenian Archbishop. It is a handsomely built edifice, with different annex buildings sprawled on a large area. A board of Armenian peers is governing the well- attended church.

Aside from the above three churches, there are others in Azarbaijan such as the old church built in the eight century A.H. at Modjanbar village, which is some 50 kilometers from Tabriz. Another one is the large Saint Sarkis church, situated in Khoy; this building has survived from the time of Shah Abbas the Second (12th century A.H.). During the reign of the said Safavid king, another edifice called the Saint Gevorg (Saint George) church was constructed, using marble stones and designed with a large dome, at Haft Van village near Shapur (Salmas). A church, also with a huge dome, likewise stands at Derishk village in the vicinity of Shapur, in Azarbaijan.

The Saint Tatavous Monastery or the Ghara Kelissa

Initially, this church in Iran comprised of a small hall with a pyramid- shaped dome on the top and 12 crevices similar to the Islamic dome-shaped buildings from the Mongol era. The difference was that the church dome was made of stone. The main part of this pyramid structure followed Byzantine (Eastern Roman) architecture, including the horizontal and parallel fringes made of white and black stones in the interior and black stones on the exterior facing.
Since the facade is dominated by black stones, the church was formerly called the Ghara Kelissa (or black monastery) by the natives. During the reign of the Qajar ruler, Fathalishah, new structures were added to the Saint Tatavous church upon the order of Abbas Mirza, the crown prince, and the governor of Azarbaijan. The renovations resulted in the enlargement of the prayer hall and the small old church was converted into a prayer platform, holding the altar, the holy ornaments and a place where the priest could lead the prayers.
The bell tower and the church entrance were situated at one side of the new building, but unfortunately, this part remained unfinished.
Meanwhile, due to border skirmishes and other political disturbances in the area during the succeeding periods, the church was abandoned and ruined. Some minor repairs have been carried out in recent years.
Each year, during a special season (in the summer), many Armenians from all parts of Iran travel to this site for prayer and pilgrimage. They come by jeeps or trucks after crossing a very rough mountainous passage.
They flock around the church, stay for a few days and perform their religions ceremonies. For the rest of the year, however, the church remains deserted in that remote area.
The additions made to the Saint Tatavous church on the order of Abbas Mirza consist of embossed images of the apostles on the facade and decorations of flowers, bushes, lion and sun figures and arabesques, all of which had been done by Iranian craftsmen. The architecture of the church interior is a combination of Byzantine, Armenian and Georgian designs. Beside the large church, special chambers have been built in the yard to shelter pilgrims and hermits.

Historical Churches at Jolfa of Esfahan

The most important historical church in Iran is the old cathedral, commonly referred to as the Vank (which means “cathedral” in the Armenian language). This large building was constructed during the reign of Shah Abbas the First and completely reflects Iranian architecture. It has a double-layer brick dome that is very much similar to those built by the Safavids. The interior of the church is decorated with glorious and beautiful paintings and miniature works that represent biblical traditions and the image of angels and apostles, all of which have been executed in a mixture of Iranian and Italian styles. The ceiling and walls are coated with tiles from the Safavid epoch.
At a corner of the large courtyard of the cathedral, offices and halls have been built to accommodate guests, the Esfahan archbishop and his retinue, as well as other important Armenian religious hierarchy in Iran. The church compound also includes a museum that is located in a separate building. The museum displays preserved historical records and relics, and the edicts of Iranian kings dating back to the time of Shah Abbas the First. It also contains an interesting collection of art work.
Esfahan has other historical churches, the most important of which is the Church of Beit-ol Lahm (Bethlehem) at Nazar Avenue. There are also the Saint Mary church at Jolfa Square and the Yerevan church in the Yerevan area.

The Armenian Church in Shiraz

In the eastern section of Ghaani Avenue, in a district called “Sare Jouye Aramaneh”, an interesting building has survived from the era of Shah Abbas the Second. Its principal structure stands in the midst of a gardenlike compound and consists of a prayer hall with a lofty flat ceiling and several cells flanking the two side of the building. The ceiling is decorated with original paintings from the Safavid era and the adjoining cells are adorned with niches and arches and plaster molding, also in the Safavid style. This is considered a historical monument at Shiraz and definitely worth a visit.

Saint Simon’s Church in Shiraz

This is another relatively important, but not so old church in Shiraz. The large hall is completely done in Iranian style while the roof is Roman. Small barrel-shaped vaults, many Iranian art work and stained-glass window panes adorn the church. Meanwhile, another church called the Glory of Christ, stands at Ghalat, 34 kilometers from Shiraz. This building has survived from the Qajar period and is surrounded by charming gardens.

Saint Tatavous Church, Tehran

This edifice is located at the Chaleh Meidan district, one of the oldest districts in Tehran. It stands south of the Seyed Esmail Mausoleum, at the beginning of the northern part of the so-called Armenians’ Street. The oldest church of Tehran, it was built during the reign of the Qajar king, Fathalishah. The building has a dome-shaped roof and four alcoves, an altar and a special chair reserved for the Armenian religions leader or prelate. The vestibule leading to the church contains the graves of prominent non-Iranian Christians who have died in Iran, and in the middle of the churchyard, Gribaydof, the Czarist ambassador at the court of Fathalishah, and his companions were laid to rest. They were killed by the revolutionary forces of Tehran at that time.
Meanwhile in Bushehr, there is a church from the Qajar period that is a good specimen of Iranian architecture. All the windows are modeled after old Iranian buildings and the colored panes are purely Iranian art work.
There are also many other churches in Iran such as Ourumieh, in hamlets surrounding Arasbaran, Ardabil, Maragheh, Naqadeh, Qazvin, Hameadan, Khuzestan, Chaharmahal, Arak, in the old Vanak village north of Tehran, etc. These churches, though, are all deserted and are of little artistic significance.

Jiroft; Cradle Of Human Civilization In Iran

For centuries, Mesopotamia was thought to be the world’s oldest civilization. This was generally accepted by most people until a 5,000-year old temple was discovered in Jiroft Historical Site in Iran’s southern Kerman province, prompting archaeologists to identify the region as the world’s oldest cradle of human civilization.
A hundred and twenty historical sites have been identified in the basin of a 400 kilometer stretch of Halil-Rud River in the south of Kerman province. One of these is at Konar Sandal (sites A & B),
two mounds a short drive from Jiroft town-center. Jiroft is 230-kilometres south of the city of Kerman and was previously known as Sabzevaran, a name that describes the verdant fertile valley plain of the Halil River. Indeed, the plain by Iranian standards is so green and fertile that it is called ‘Hend-e Kuchak’ meaning little India. Jiroft is also one of the hottest towns in Iran. A temperature of 57 °C / 135 °F was recorded in August 1933.
Not far from Konar Sandal, flash floods from the Halil River in the year 2000 swept away the topsoil revealing yet another site, this one consisting of a large number of ancient graves. The excavations at Konar Sandal site have also revealed the ruins of a city a kilometer and a half (about a mile) in diameter.

Konar Sandal Site & Mounds Near Jiroft

The ruins of the ancient settlements at or near Jiroft are said to have been home to a people who inhabited the area in 2200 or 2300 BCE – an era in history when writing first began to flourish and traders carried spices and grain, gold, lapis lazuli and ideas along the Aryan trade roads that radiated from Central Asia to the Nile, Indus and China.
The mounds or tepes at Jiroft are also called “Qal’eh Kuchak” meaning little head. In addition, there are the two mounds, site A that is said to be a ziggurat-like structure 17 meters (54′) high and 400 meters (1280′) on each side at the base, and site B that is said to be a two-story citadel with a base covering nearly 13.5 hectares (33 acres) surrounded by a fortress wall 10.5 meters (34′) thick. A ziggurat suggests a pyramid-like structure consisting of tiered platforms, and a citadel suggest a fortified building. The two sites A & B are a couple of kilometers apart

Water Supply

French geomorphologist Éric Fouache, an expert on reading the strata underlying the archaeological sites, has discovered a network of artesian wells that would have supplied abundant water for irrigation and drinking even when the Halil River ran dry. With these sources of water, the inhabitants developed an agriculture based on date palms and Palm groves provided shade for further planting.

Statue

Chris Sloan at the National Geographic blog site writes, “And at the “citadel,” Konar Sandal B, archaeologists have uncovered a life size, or larger, human figure sculpted from mud or mud brick.
It had been painted to look like it was wearing a feline pelt. If this sculpture is associated with Bronze Age layers, it will be among the earliest of such figures in the world. Unfortunately, it is missing its head. The earliest known statue of this sort from Egypt, and I believe the world, is from Hierakonpolis. It dates from 3000 B.C, It is also incomplete, but in much worse shape and It is in over 500 pieces.”

Jiroft culture bronze vase
Jiroft culture bronze vase

Artefacts

The artefacts found include twenty-five two to five centimeter (7/8″–2″) long stamp and cylinder seal impressions that depict bulls, ibex, lions, snakes, human figures – and writing. It should be noted that some of the finds related to ‘writing’ are thought by other archaeologists to be forgeries.
Other finds are a large number (tens of thousands) of carved and decorated vases, cups, goblets and boxes made from a soft, fine-grained, durable gray-greenish stone called chlorite

Looting of Treasures & History Lost Forever

After the floods in 2000 revealed the site and its artefacts, local farmers looted what they could find and sold them to unscrupulous dealers for a pittance.
The looters work by digging indiscriminate holes or digging up graves which are rich in buried artefacts. It is estimated that there are 10,000 holes dug by the looters – craters that scare the landscape.
It was only in the fall of 2002, that the Iranian government stepped in to halt the looting and seized hundreds of stolen artefacts. However, despite the crackdown on pillaging and the hiring of a dozen armed guards, sadly, theft at Jiroft still continues and local rumors abound about the looting of gold and other priceless items.Even when stolen artefacts are recovered, many will have been damaged irreparably by the careless removing of caked on soil. Their contextual identity will also it all probability have been lost. Because the artefacts were removed from their setting and the attached material that could have been dated by scientific instruments removed, the history or information these treasures have may have carried with them will, sadly, be lost forever.

Chlorite Artefacts

The large number of chlorite artefacts discovered lends itself to the theory that Jiroft had several prolific chlorite workshops that manufactured the items in quantities that exceeded local demand and were prepared for export. Indeed, chlorite vessels similar to those found at Jiroft have been found from the Euphrates to the Indus, as far north as the Amu Darya and as far south as Tarut Island, on the Gulf coast of Saudi Arabia. While there is nothing at present to directly link the Jiroft artefacts with the others, there is certainly the possibility of a link. Perhaps the link can be explored and established by finding common styles. The Jiroft artisans had a unique naturalistic design style.
Chlorite is a stone similar to steatite and soapstone. It is durable but soft enough to carve easily, and fine-grained enough to hold carved details well. Its color ranges from jade green (which gives it its name) to smoky gray, to black as obsidian. While there are chlorite deposits in mountains across Iran, only one ancient chlorite quarry has been found in Tepe Yahya some 90 kilometers (50 miles) from Jiroft. The other old chlorite quarry that has been discovered in the region, is on Tarut Island – an island located across the Persian Gulf along the Arabian coast (near present-day Bahrain and some 800 kilometers east-south-east of Jiroft).

Trade Links Along The Aryan Trade Roads

The trade links between Jiroft and all the centers along the Aryan trade roads is further indicated by the discovery of objects inlaid with lapis lazuli (likely from Afghanistan), carnelian (possibly from the Indus Valley), and other semiprecious stones not local to the area. Marjan Mashkur, an Iranian researcher based in Paris, discovered at Jiroft shark bones and shells that appear to have been brought inland from the Gulf which is some 200 kilometers (120 miles) of the south of Jiroft.
In addition to items made from chlorite, the Jiroft artisans also made pink and orange alabaster jars, white marble vases, copper figurines, beakers and a striking copper basin with a eagle seated in its center, as well as realistic carved stone impressions of heraldic eagles, scorpions and scorpion-women.

References:

http://www.kerman-info.ir/konar-sandal

http://www.heritageinstitute.com/zoroastrianism/kerman/jiroft.htm

The Ancient Civilization of Jiroft

Vank Cathedral

Vank Cathedral is one of the largest and most beautiful churches of Iran, the cathedral was completed in 1664. It includes a bell-tower, built in 1702, a printing press, founded by Bishop Khachatoor, a library established in 1884, and a museum opened in 1905.

History of Vank Cathedral

Following the Ottoman war of 1603-1605, Armenians began to arrive in Iran in search of a new life under the Safavid King Shah Abbas I. Shah Abbas I, who settled tens of thousands of them in the Iranian provinces south of Aras River, also relocated Armenians, who had fled from the Ottoman massacre in Nakhchivan to Iran. Nakhchivan suffered a lot during the 14th to 18th century wars between Persia and the Ottoman Empire. The city fell under Safavid rule in the 16th century. In 1604, when Shah Abbas I realized that the lands of Nakhchivan and its surrounding areas might fall into Ottoman hands, he decided to force the entire Muslim, Jewish and Armenian population of the city to leave their homes and move to Iran.The Armenian immigrants settled in Isfahan, the capital of the Safavid Dynasty, and populated the city’s New Jolfa district, which was named after their original homeland in today’s Azerbaijan Republic. Upon entering Iran, Armenian refugees started building churches and monasteries to continue their religious activities in their new home. The first monastery in Jolfa was built in 1606 and included a little church called Amna Perkich, which means ‘All Healing.’The little church was later expanded and turned into the magnificently designed Vank Cathedral, which was built 50 years later under the supervision of Archbishop David.

Interior of the Cathedral
Interior of the Cathedral

Architecture of Vank Cathedral

The architecture of the building is a mixture of the 17th-century Safavid style with high arches and an Islamic-style dome.The cathedral has greatly influenced the architecture and decorative treatment of many churches in Iran and the Mesopotamian region.
The main entrance of the cathedral is a large wooden door through which visitors enter the courtyard of the building.Upon entering the courtyard, one encounters two rooms that were once used as administrative offices, which helped Armenians process their paperwork.Inside the Armenian Cathedral of the Holy Savior.A large freestanding belfry stands in the cathedral courtyard and towers over the graves of Orthodox and Protestant Christians who have been buried along the wall before the entrance.Built 38 years after the main structure, the belfry leads into the nave. On the right side of the belfry there is a large blue inscription surrounded by crucifix stones. The stones have been collected from the ruined churches of the Jolfa quarter.On a raised area to the left, a memorial has been set up in memory of the victims of the Ottoman massacre. Every year on April 23 Armenians gather by the memorial to light candles in honor of their martyrs.
At a corner of the cathedral’s courtyard, rooms and halls have been built to accommodate guests, the Isfahan archbishop and his retinue, as well as other Armenian religious authorities in Iran.Across the courtyard and facing the cathedral is a building, which houses the Vank library and

museum.The library contains more than 700 manuscripts and hard-to-find sources on Armenian and medieval European languages and arts.The Vank museum houses unique and priceless collections of various types of items gathered from across the Armenian world.
Built in 1871, the museum contains numerous objects related to the history of the cathedral and the Armenian community of Isfahan, including the 1606 edict of Shah Abbas I establishing New Jolfa and prohibiting interference with, or the persecution of, Armenians and their property and affairs in the district.Exquisite Bibles are also part of the museum’s dazzling collection. A sevengram bible displayed at the museum is believed by some to be the world’s smallest written text in seven languages.
Safavid costumes, tapestries, European paintings brought back by Armenian merchants, embroideries and other valuable items from the Iranian-Armenian trading heritage are also part of the museum’s unique archive.The Vank museum also houses an extensive collection of photographs, maps, and Turkish documents related to the 1915 massacre of Armenians by Ottoman kings.Vestments, monstrances, chalices and other sacramental objects have also been displayed at the museum.
The Vank printing house is known as the first of its kind in Iran and the Middle East. The first book published at Vank was about the lives of Armenian priests and monks, a few prints of which are now kept at the Vank museum.
The early printing machine, which was built by Bishop Khachatoor, was replaced by a new one brought from Amsterdam in 1647.Later in 1844, an Armenian resident of Jolfa brought a printing machine from Europe, which is also housed at Vank Museum.The first book printed by the machine was the Psalms of David, which is now kept at Oxford’s Bodleian Library.

Vank Cathedral courtyard
Vank Cathedral courtyard

The dun-colored brick exterior of the cathedral gives way to a stunning combination of Persian tiles, Byzantine gold and European-style frescos inside.The modern and plain exterior has a striking contrast with its gloriously decorated interior.The entrance ceiling is adorned with floral motifs and the top of the walls are covered with murals depicting events from the life of Jesus.The interior is adorned with paintings, gilded carvings and eye-catching tile work and the pendentives bear painted images of a cherub’s head surrounded by folded wings.On the northern wall of the cathedral paintings of Judgment Day can be seen with heaven depicted above and hell below. The bottom parts of the interior walls are covered with paintings depicting Armenians being tortured by the Ottoman Turks.
The double-layer brick dome is beautifully gilded and adorned with paintings and floral patters in its azure interior.The paintings depict the Biblical story of the creation of the universe and man’s expulsion from Eden.An Armenian fresco depicting Heaven, Earth, and Hell, at the Vank Cathedral.Eight windows surround the dome with biblical scenes painted between them. The creation of Adam and Eve, eating the forbidden fruit and the death of Able are among the stories painted between the windows.
The narthex is also adorned with four paintings, which are surrounded with floral patterns and show tortures inflicted upon holy figures.The birth of Jesus, the Last Supper, the crucifixion of Jesus and the Ascension of Jesus are also among the biblical stories depicted in the paintings inside the cathedral.The paintings have been inspired by both old and new testaments and have been painted by Armenian masters and three monks, namely; Havans, Stepanus and Minas.
After the death of Shah Abbas I, his successor Shah Abbas II also paid close attention to Armenians and New Jolfa, which is located on the banks of the Zayandeh River and still houses a large part of the Iranian-Armenian community.

Iran’s Armenian community grew in number as until 1933 immigrants and refugees continued to flock to Iran from the Soviet Union.They built churches, schools and various cultural, artistic and sports centers across the country and eventually became Iran’s largest Christian community.Today,
Iranian-Armenians have two seats in the Iranian Parliament (Majlis) and are the only minority with official observing status in the country’s Guardian and Expediency Councils.Armenians also publish books, journals, periodicals, and newspapers, including the daily Alik.

Persian Poet Hafez-e Shirazi + Biography

Persian lyric Poet Hafez-e Shirazi (1315-1390) grew up in Shiraz. Very little is known about his life. Many semi-miraculous mythical tales were woven around Hafez after his death. It is said that by listening to his father’s recitations, Hafez had accomplished the task of learning the Quran by heart at an early age (that is the meaning of the word Hafez). At the same time, he is said to have known by heart the works of Rumi, Saadi, Farid ud-Din, and Nizami.

Let not the pious judge the meek;
Each for his own deeds will speak.
Whether I’m good or bad, you judge yourself;
You reap what you sow, find what you seek.
Everyone is seeking love, sober or drunk;
Everywhere a house of love, yet so unique.
I submit my head on the tavern’s bricks,
If you don’t understand, just take a peek.
Let me keep my hope of eternal grace,
Behind the veil, who is good, who the freak?
Not only I fell out of virtuous path,
My father too, treaded that path oblique.
Hafiz, on your deathbed, bring the cup to your cheek.
You go from the tavern straight to the heaven’s peak.

Ghazal 80 | Hafiz

Divane-Hafez

The Life of Hafez-e Shirazi

When his father died, he left school to work at a bakery and as a copyist. There, he first saw Shakh-e Nabat, a woman of great beauty, to whom some of his poems are addressed. Ravished by her beauty but knowing that his love for her would not be requited, he allegedly held his first mystic vigil in his desire to realize this union. Still, Hafez-e Shirazi encountered a being of surpassing beauty who identified himself as an angel, and his further attempts at union became mystic; a pursuit of spiritual union with the divine. A Western parallel is that of Dante and Beatrice.

Hafez-e Shirazi was a Persian poet whose collected works (The Divan) are regarded as a pinnacle of Persian literature and are to be found in the homes of most people in Iran, who learn his poems by heart and still use them as proverbs and sayings.His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-14th century Persian writing more than any other author. Themes of his Ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Persian speakers can be found in “Hafez readings” and the frequent use of his poems in Persian traditional music, visual art, and Persian calligraphy. His tomb is visited often. Adaptations, imitations and translations of his poems exist in all major languages.

Divan-e-Hafiz

Though Hafez-e Shirazi is well known for his poetry, he is less commonly recognized for his intellectual and political contributions. A defining feature of Hafez’ poetry is its ironic tone and the theme of hypocrisy, widely believed to be a critique of the religious and ruling establishments of the time. Persian satire developed during the 14th century, within the courts of the Mongol Period. In this period, Hafez and other notable early satirists, such as Ubayd Zakani, produced a body of work that has since become a template for the use of satire as a political device. Many of his critiques are believed to be targeted at the rule of Amir Mobarez Al-Din Mohammad, specifically, towards the disintegration of important public and private institutions. He was a Sufi Muslim.

His work, particularly his imaginative references to monasteries, convents, Shahneh, and muhtasib, ignored the religious taboos of his period, and he found humor in some of his society’s religious doctrines. Employing humor polemically has since become a common practice in Iranian public discourse and Persian satire is now perhaps the de facto language of Iranian social commentary.

Goethe
The encounter of Goethe with Hafiz’s ghazals became so inspiring to Goethe, that he produced his own West-östlicher Diwan and “led the way to the discovery of Persian poetry by the Romantics”, according to Shusha Guppy. In the spring of 1814, Goethe received a German translation of Ḥāfeẓ’s divān in two volumes from the publisher Cotta of Stuttgart. The translator was the Austrian Orientalist Joseph von Hammer-Purgstall (1774-1856), whose translations and commentaries played a major role in acquainting Germans with the East. Hammer’s translation of the divān broadened and expanded the knowledge of the Orient which Goethe had acquired in his youth, so that he could now, at the age of 65, devote himself more intensively to the East, and predominantly to Persia.

Johann-Wolfgang-von-Goethe

At 60, he is said to have begun a Chilla-nashini, a 40-day-and-night vigil by sitting in a circle that he had drawn for himself. On the 40th day, he once again met with Zayn al-Attar on what is known to be their fortieth anniversary and was offered a cup of wine. It was there where he is said to have attained “Cosmic Consciousness”. He hints at this episode in one of his verses in which he advises the reader to attain “clarity of wine” by letting it “sit for 40 days”.

Hafiz’s tomb is in Musalla Gardens, along the banks of Ruknabad river in Shiraz, which is referred to as Hafezieh.

Now please watch a clip of tomb of Hafez with a music of his poems by Mohammad Reza Shajarian, enjoy it !

Nowruz: Persian New Year + Customs

Nowruz is the traditional Persian festival of spring which starts at the exact moment of the vernal equinox, commencing the start of the spring. The name comes from Avestan meaning “new day/daylight”. Nowruz is celebrated March 20/21 each year, at the time the sun enters Aries and Spring begins.

Nowruz has been celebrated for at least 3,000 years and is deeply rooted in the rituals and traditions of the Zoroastrian religion.

Nowruz or Norooz meaning ‘The New Day’ marks the beginning of the Iranian New Year. It is the first day of spring or Equinox and marks the beginning of the year in the Persian calendar. On this day families gather together to observe the rituals and festivities of this day. It is celebrated by Iranians across the world.

Tabletop with Haft-seen elements for Nowruz: sonbol (hyacinth), sabzeh (grass), seeb (apple), somaq (sumac powder), seer (garlic), serkeh (vinegar), goldfishes, flowers hyacinths, coins, burning candles, painted eggs and mirror

ChaharShanbe Suri

The festivities begin with the celebration of the night of ChaharShanbe Suri. It is celebrated on the last Wednesday of the old year to get rid of all the bad luck and misfortunes of last year. People generally light small bonfires and jump over the flames shouting ‘Zardie man az to, sorkhie to az man’ meaning ‘May my sickly pallor be yours and your red glow be mine’. And Haji Firooz, who on the last Tuesday of the year, were sent by the white-dressed priests (Moghs) to spread the news about the arrival of the New Day.

Haji Firuz

The traditional herald of the Nowruz season is called Haji Pirooz, or Haji Firuz. He symbolizes the rebirth of the Sumerian god of sacrifice, Domuzi, who was killed at the end of each year and reborn at the beginning of the New Year. Wearing black make up and a red costume, Haji Pirooz sings and dances through the streets with tambourines and trumpets spreading good cheer and the news of the coming New Year.

Haji Firouz represents the red-dressed” fire keepers” of the Zoroastrians. The Fire keeper’s second duty was to call on the people to burn their old items in the Fire, and to renew their life and regaining health by obtaining the solved energy of the Fire. The dark color of the Fire keeper’s face is allegedly caused by the heat of the holy fire. Fire keepers use of rather unfamiliar expressions combined with their humorous nature, brought laughter to people’s faces.

“Arbabe khodam samalon-alaykom, Arbabe khodam sareto bala kon, Arbabe khodam boz-boze ghandi, Arbabe khodam chera nemikhandi”

My master, hello
My master, bring your head up
My master, look at me
My master, do us a favor
My own master, the billy goat
My master, why don’t you laugh

The Celebration of Nowruz

On the first day of Nowruz, family members gather around the table, with the Haft Seen on the table or set next to it and await the exact moment of the arrival of the spring. At that time gifts are exchanged. Later in the day, on the very first day, the first house visits are paid to the most senior family members. Typically, the younger ones visit the elders first, and the elders return their visit later.

The table is set up with Quran, the Holy Book; a bowl of gold fish; mirror; candle; flowers; painted eggs and seven traditional Persian dishes each starting with the letter ‘s’. This table is kept in the home for thirteen days after the start of the holiday. The seven traditional Nowruz foods are:

  1. Seeb (apple), representing beauty
  2. Seer (garlic), representing good health
  3. Serkeh (vinegar), representing patience
  4. Sonbol (hyacinth), representing spring
  5. Samanu (sweet pudding), representing fertility
  6. Sabzeh (sprouts), representing rebirth
  7. Sekeh (coins), representing prosperity
  8.  
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Recipes for Nowruz

A traditional Nowruz dinner is called Sabzi Polo Mahi which is a rice dish with whitefish and green herbs like parsley, coriander, chives and fenugreek. At the end of thirteen days, Sizdeh Bedar is celebrated which means ‘getting rid of the thirteenth’. The green sprouts grown during the holiday are thrown into rivers or lakes to symbolize the plants return to nature. This marks the end of the festivities.

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Customs

Nowruz is a time for spring cleaning, buying new clothes, visiting friends and relatives. On the 13th day of the New Year, the celebrations finally end. During the Nowruz holidays people are expected to pay house visits to one another (mostly limited to families, friends and neighbors) in the form of short house visits and the other side will also pay you a visit during the holidays before the 13th day of the spring.

Sizdah Bedar (Nature Day)

The thirteenth day of the New Year festival is called Sizdah Bedar (meaning “thirteen outdoors”). It often falls on or very close to April Fool’s Day, as it is celebrated in some countries. People go out in the nature in groups and spend all day outdoors in the nature in form of family picnics. It is a day of festivity in the nature, where children play and music and dancing is abundant. On this day, people throw their sabzeh away in the nature as a symbolic act of making the nature greener, and to dispose of the bad luck that the sprouts are said to have been collecting from the household.

The thirteenth day celebrations, Seezdah Bedar, stem from the belief of the ancient Persians that the twelve constellations in the Zodiac controlled the months of the year, and each ruled the earth for a thousand years. At the end of which, the sky and the earth collapsed in chaos.

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Nowruz Registration on UNESCO

Nowruz was inscribed on the UNESCO list by the 11th Intergovernmental Committee for Safeguarding Intangible Cultural Heritage held in Addis Ababa, Ethiopia, from November 28 to December 2. UNESCO recognized Nowruz as part of the Intangible Cultural Heritage of Humanity on September 30, 2009, based on an initiative undertaken by Iran, India, Azerbaijan, Uzbekistan, Kazakhstan, Pakistan and Turkey. In 2014, five other countries: Iraq, Turkmenistan, Tajikistan, Afghanistan and Kyrgyzstan asked to join the project which led to a review of the case and resubmission of the proposal to UNESCO.

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Zahhak; the Legend of the Serpent King

In the Shahnameh a poetic opus written by the Persian poet Ferdowsi around 1000 AD, Zahhak is an evil king who conquers Iran and who has serpents growing out of his shoulders.

A long time ago in between the two great rivers Euphrates and Tigris there was a land called Mesopotamia. Deep inside the castle lived a cruel Assyrian king called Zahhak. His armies terrorised all the people of the land.

All had been well before Zahhak’s rule in Mesopotamia.

It was during the reign of a king called Jemshid that things started to go wrong. He thought himself above the sun gods and began to lose favour with his people.

A spirit called Ahriman the Evil, seized the chance to take control. He chose Zahhak to take over the throne, who then killed Jemshid and cut him in two.

Zahhak-Castle

The Emergence of Snakes

The evil spirit, disguised as a cook, fed Zahhak with blood and the flesh of animals and one day Ahriman merely asked to kiss Zahhak on his two shoulders, which he agreed. Then Ahriman touched Zahhak’s shoulders with his lips and vanished.

At once, two black snakes grew out of Zahhak’s shoulders. They could not be surgically removed, for as soon as one snake-head had been cut off, another took its place.From a psychological viewpoint, the snakes on Zahhak’s shoulders could represent his lust for killing or a form of sadism which, if left unsatisfied, would torment Zahhak.

Zahhak

Ahriman now appeared to Zahhak in the form of a skilled physician. He counseled Zahhak that the only remedy was to let the snakes remain on his shoulders, and sate their hunger by supplying them with human brains for food every day otherwise the snakes will feed on his own.

Zahtak”s rule lasts for a thousand years during which two young men are sacrificed daily to provide their brains to the serpents to alleviate the pain that Zahhak felt.

Since the snake king began his rule over the kingdom, the sun refused to shine. Now all was dark, cold and bleak. The people all over the land were very sad.

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Rise of Kaveh the Blacksmith

Kaveh (also called Kaveh Ahangar or Kaveh the Blacksmith) was a simple blacksmith. He and his wife were weakened by grief and hated Zahhak as he had already taken 16 of their 17 children.

One day the order came from the castle that Kaveh’s last daughter was to be killed and her brain was to be brought to the castle gate the very next day.

Zahhak’s minions had murdered 16 of his 17 sons so that Zahhak might feed his snakes’ lust for human brains.

Kaveh lay all night on the roof of his house, under the bright stars and rays of the shining full moon thinking how to save his last daughter from Zahhak’s snakes.

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Instead of sacrificing his own daughter, Kaveh had sacrificed a sheep and had put the sheep’s brain into the wooden bucket. And no one had noticed.
Soon all the townspeople heard of this. So when Zahhak demanded from them a child sacrifice, they all did the same. Like this, many hundreds of children were saved.

Then all the saved children went, under darkness, to the very furthest and highest mountains where no one would find them.

Here, high up in the safety of the Zagros Mountains, the children grew in freedom. They learnt how to survive on their own. They learnt how to ride wild horses, how to hunt, fish, sing and dance.

From Kaveh they learnt how to fight. One day soon they would return to their homeland and save their people from the tyrant king. Time went by and Kaveh’s army was ready to begin their march on the castle. On the way they passed through villages and hamlets. The village dogs barked and the people came out of their houses to cheer them and give them bread, water, yoghurt and olives.

The Destiny of the Demon Snake

As Kaveh and the children drew near Zahhak’s castle both men and women left their fields to join them. By the time they were approaching the castle Kaveh’s army had grown too many thousands.

They paused outside the castle and turned to Kaveh.

Kaveh stood on a rock. He wore his blacksmith’s leather apron and clenched his hammer in his hand. He turned and faced the castle and raised his hammer towards the castle gates.

The large crowd surged forwards and smashed down the castle gates that were shaped like winged warriors and quickly overpowered Zahhak’s men.

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Kaveh raced straight to Zahhak’s chambers, down the winding stone stairs, and with his blacksmiths hammer killed the evil snake king and cut off his head. The two serpents withered.

He then climbed to the top of the mountain above the castle and lit a large bonfire to tell all the people of Mesopotamia that they were free.

Soon, hundreds of fires all over the land were lit to spread the message and the flames leapt high into the night sky, lighting it up and cleansing the air of the smell of Zahhak and his evil deeds. The darkness was gone.

The fires burned higher and higher and the people sang and danced around in circles holding hands with their shoulders bobbing up and down in rhythm with the flute and drum. The women in bright coloured sequined dresses sang love songs and the men replied as they all moved around the flames as one.

Some of the youngsters hovered over the flute, drunk with the sound of the music, their arms outstretched like eagles soaring the skies.
Now they were free.

Memoriam of Kaveh Uprising

To this day, on the same Spring day every year, March 21st, (which is also Spring Equinox) Kurdish, Persian, Afghan and other people of the Middle East dance and leap through fires to remember Kaveh and how he freed his people from tyranny and oppression and to celebrate the coming of the New Year.

This day is called Newroz or New Day. It is one of the few ‘peoples celebrations’ that has survived and predates all the major religious festivals.
Although celebrated by others, it is especially important for the Kurds as it is also the start of the Kurdish calendar and celebrates the Kurds own long struggle for freedom.

In the Kurdish myth, Zahhak”s evil reign causes spring to no longer come to Kurdistan.

Kaveh is the most famous of Persian mythological characters known for resisting the despotic foreign rule in Iran. He rebels against the foreign ruler of Persia and leads the people to overthrow the tyrant king.

By the late Sassanid era (224–651), Kaveh’s Banner had emerged as the standard of the Sassanid dynasty. The tomb of Kaveh is believed to be situated on a hill near a village named Mashhad-e Kaveh in Isfahan province.

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