کریسمس مبارک / We wish you a Merry Christmas and a happy new year / Ցանկանում ենք ձեզ Շնորհաւոր նոր տարի / 我們祝你聖誕快樂，新年快樂 / nous vous souhaitons un joyeux Noël et une bonne année / les deseamos una Feliz Navidad y feliz año nuevo / Wir wünschen Ihnen ein frohes Weihnachtsfest und ein glückliches neues Jahr / Мы желаем вам веселого Рождества и счастливого Нового года / σας ευχόμαστε Καλά Χριστούγεννα και ευτυχισμένο το νέο έτος / size bir Mutlu Noeller ve mutlu bir yeni yıl diliyorum / vi auguriamo un Buon Natale e felice anno nuovo / 우리는 당신에게 기쁜 성탄과 행복한 새해를 기원 / გისურვებთ შობა ახალი წელი / Vi önskar dig en God Jul och Gott nytt år / हम आपको एक मेरी क्रिसमस और नया साल मुबारक हो इच्छा / přejeme vám veselé Vánoce a šťastný nový rok / nais naming ka ng isang Maligayang Pasko at masaya bagong taon / אנו מאחלים לך חג מולד שמח ושנה טובה / toivotamme teille hyvää joulua ja onnellista uutta vuotta / życzymy Wesołych Świąt i Szczęśliwego nowego roku
Monday, December 31, 2012
Friday, August 31, 2012
Iranian Folk Music
Folk music
Ancient Iranians attached great importance to music and poetry, like today. Post Sassanid era silver plate. 7th century. The British Museum. Main article: Iranian folk music The modal concepts in Persian folk music are directly linked with that of the classical music. However, improvisation plays a minor role as folk tunes are characterized by relatively clear-cut melodic and rhythmic properties. The function of each folk melody determines its mood. The varying aesthetic requirements of wedding songs, lullabies, love songs, harvest songs, dance pieces, etc., are met with transparent and appropriate simplicity. The majority of the classical instruments are too elaborate and difficult for the folk musicians. Instead, there are literally dozens of musical instruments of various sorts found among the rural people. In fact, each region of the country can boast instruments peculiar to itself. Three types of instruments, however, are common to all parts of the country. They are, a kind of shawm called Surnay (or Sorna ~ Zorna), the various types of Ney (flute), and the Dohol, a doubleheader drum. Persian music includes a mixed Persian-Western music that functions as popular commercial music. The use of western popular rhythms, an elementary harmonic superimposition, and relatively large ensembles composed of mostly western instruments, characterize this music. The melodic and modal aspects of these compositions maintain basically Persian elements. On the whole, it would be something of an understatement to say that the artistic merit of such a melange as this is rather questionable.
Iran is home to several ethnic groups, including Kurds, Azerbaijanis, Bakhtiari and Baluchi peoples. Turkmen epic poets similar to Central Asian musicians are common in Khorasan, while Kurdish music is known for its double-reed duduk and an earthy, dance-oriented sound. The most famous personalities in Iranian folk music are Pari Zangeneh and Sima Bina.
Music of Azarbaijan (Azarbadegan,Iran ) This is the music of provinces of Zanjan, East Azerbaijan, West Azerbaijan and Ardabil in Iran . Azerbaijan like other parts of Iran has a distinct music. On February 21, 1828, under the Treaty of Turkmenchay, Russia seized the control of Iranian territory to the North of the River Aras, which is now called the Republic of Azerbaijan where they share very similar music as Azarbijanis in Iran . The number of Azerbaijnis in Iran is about three times larger than population of Republic of Azerbaijan. [edit]Kurdistan The forms of music found in various parts of Kurdistan, all known as Kurdish music, vary depending on the climate and geography of the regions as well as their contact with the neighboring cultures. For example, the melodies found among the people living in the mountains are different from those found among the people living in the meadows. However, the poetry and the rhythms are common to both areas. Kurdish music, similar to other Eastern music, is monophonic and modal (more specifically, based on the maqam system, which is loosely translated as modal). However, because multiple instruments with varying pitch range, color, and ornamentation capabilities are used to play the same melody, it is also heterophonic. In addition to` specifically Kurdish modes (maqams), Kurdish music also utilizes all the modes and dastgahs found in the traditional music of Iran. There are two forms of Kurdish music. The first is based on the maqam system. Similar to traditional music of Iran, improvisation plays an important role in Kurdish music. While a maqam is used to designate a certain melodic structure, a musician may improvise within this structure by employing variations on ornamental figures, rhythms, and melodic forms. The maqams of Kurdistan, preserved by oral tradition throughout generations, are based on microtonal tuning systems where one can find intervals of half step, full step, three quarter step, and one and a quarter step. [These intervals are not necessarily in an equal-tempered 24 tone scale.] The second form of Kurdish music is based on a set of melodies, known as gourani or closed, which have distinct and structured rhythms. The word gourani is derived from gabaran, which literally means "one who worships fire." This word is related to the ancient rituals of fire worship among the Zoroastrians. Through the passage of time gabaran was changed to gouran. Gourani is also the name of a tribe whose members speak Kurdish and are known for their poetry. The members of certain groups of dervishes (Ahle Hagh) in Kermanshah and certain regions of Sanandaj, use this word to refer to the songs performed during their spiritual ceremonies. Because of its distinct rhythm, gourani is often accompanied by other instruments, and in some cases by clapping. The poems used in most Kurdish music are filled with stories of romance and unrequited love. These poems have often two verses, which are divided in ten, eleven, or twelve syllables, and are based on the Gathas of the Zoroastrians. Kurdish melodies are very simple; their range is usually confined to a few notes. The form of the music is often strophic, and every gourani has a particular melody that is sung with various stanzas. At the end of every stanza the strophe is repeated unchanged throughout the song. Every gourani is characterized by a specific strophe. Similar to a lied or a chanson, gouranis may be accompanied by instrumental sections, which have three parts: prelude, middle section, and the ending. The prelude and the ending are performed by the group, and the middle section is performed in the form of call and response. Gouranis fall into several categories, each performed with specific melodies for specific occasions. Some examples are work gouranis, shepherd gouranis, romantic gouranis, religious and spiritual gouranis, festive gouranis, Chemari (mourning) gouranis, war gouranis, children gouranis, women gouranis, and Ramadan gouranis. Before Islam, the "religious and spiritual gouranis" were used by the Kurds in their worship rituals of Ahura Mazda (the wise and supreme god of Zoroastrianism), fire, the sun, and the moon. Within Islam, new gouranis were developed for worship of God and paying tribute to sacred figures. The dervish houre, Azan (special forms of reciting of the Koran), and zekr [also a ritualistic dance performed by the dervishes during devotional ceremonies] are among these types of gouranis. The "festive gouranis," which have strong and exciting rhythms, are used for marriage, circumcision, or holiday celebrations, and are often accompanied by dancing and clapping. The "war gouranis" have moving rhythms, and are often used with poems that induce feelings of nationalism and protection of freedom. "Children gouranis" have simple rhythms and accompany children's poems. "Women gouranis" are sung by women during their everyday chores, such as milking the cows, carrying water from the springs, or picking flowers. "Chemari gouranis," which are sung in the funerals while carrying the dead (especially a young deceased), are accompanied by sorna (a wind instrument) and dohol (a large percussion instrument), and have very sad poems. "Ramadan gouranis" are mostly used during the month of Ramadan to declare the coming of dawn [when people have food before fasting during the day]. Accompanied by sorna and dohol, they are played in elevated regions of cities and villages. (H. Kamkar - master musician www.kereshmeh.com) [edit]Khorasan Due to its ethnic diversity and the existence of different languages and religious observations (Sunni and Shi'a), the musical tradition of Khorasan is very rich. From the north to the south, the music scene varies greatly. In the north of Khorasan, one can find the bakhshi narrating and singing, among other things, "daastans" (stories in old Persian), although they can also sing in Kurdish about the historical deeds of local figures. They accompany themselves on the dotar. A leading exponent of this type is the late Haj Ghorban Soleimani. One can also find in the north, the Asheq who play "dohol" (double-faced drum), the "sorna" (a kind of oboe-like reed instrument) and the "qoshme" (double clarinet made of the central nervure of the plumage of birds tied together). The Asheq are specifically associated with the Kurds and play at wedding dances and village feasts. In the East of Khorasan, near Torbat Jam, the main instrument is the dotar with some modifications, but there are no Bakhshi and the music is different. Here, the music takes the form of "ghazal khani'" and is performed by singers of quatrains and "ghazals" - lyric poems based on the invocations of mystic poets like Rumi, Attar and Sheikh Ahmad Jami. Purely instrumental pieces also figure in the repertoire. More towards the south, in the regions of Birjand and Qa'in, the musical culture changes again: the dotar is no longer present (although it seems that in the past, it was played). The songs are called "sotak" and are accompanied on the "dayereh" (tambourine). (Ameneh Yousefzadeh - Musicologist) Turkmen Music In Golestan and Khorasan in Iran as in Turkmenistan and Uzbekistan, the word bakhshi means instrumentalist, singer, and storyteller. The word bakhshi comes from Turkish, and in turn from a Chinese word, po-shih, meaning erudite. Through the Turkish Ouigours, certain Chinese language elements infiltrated 13th and 14th century Mongol literature. The word bakhshi appeared in Turkmen, Iranian and Turkish literature with the advent of the Mongols. At the time, the role of the bakhshi seems to have been sometimes that of the healing shaman, and at other times that of a Buddhist priest. As for the bakhshi of Khorasan, they claim that the origin of their name can be found in the word bakhshande (donor, bestower of gifts) because of the musical gift that God has bestowed upon them. This is a title of respect in northern Khorasan and among the Turkmen of Torkaman-Sahra. The bakhshi can also be found in almost all of Central Asia, among the Kazakh, Kirghiz, Uzbek, and Turkmen people as well as in Afghanistan, Tajik-Arab and in Xinjiang. Among other ethnicities, on the other hand, the term bakhshi, throughout centuries has designated a bard, a story-teller, and singer of legends and epics. As a singer, the bakhshi is more precisely a narrator of dastan (story) and an instrumentalist who plays the dotar (long-necked two-stringed instrument) and who, in most cases, fabricates his own musical instrument. The majority of the great bards of Khorasan, regardless of their ethnic origin, sing in three languages (Turkish, Persian, and Kurdish). Whether professional or semi-professional, nowadays the bard doesn't usually earn his living solely through playing music. Most often, he is also, for example, a farmer, a barber, or a teacher. With his instrument, the dotar, he usually sings and plays by himself. However, the Turkmen bards prefer to play in groups of two or three. In this case, the bard is accompanied by another dotar player and a person playing the kamanche. The right to assume the title of bakhshi is subject to specific conditions. A bakhshi should not only be a good musician and have a good voice, he also needs excellent diction for telling stories. Ideally, he learns his art from his father or his uncle while living under the family roof. Some acquire their apprenticeship under the tutelage of a master (ostad). The learning process evolves in three stages: 1) learning the dotar technique, 2) learning vocal techniques, 3) memorizing the stories. In the last stage, the master teaches his student a fragment of a dastan on a daily basis, so that he can memorize and recite it the next day. The bakhshi is renowned for his prodigious memory. Traditionally, the bakhshi plays at village ceremonies such as weddings and circumcisions, but he also performs at private gatherings and in ghahve-khanes (coffee houses) of the bazars. Unfortunately, nowadays, television has taken the place of the traditional bard in the Ghahve-khane. Fortunately, today we can also hear the bakhshi performing in concerts often within the context of festivals (Ameneh Yousefzadeh). [edit]Mazandaran Mazandaran has a diverse folk music culture that includes songs and instrumental and ritual music. Rhythm is usually simple in songs, which include katuli, which is most common around the town of Aliabad-e Katul; the song is sometimes said to be sung when people take a catouli cow out to graze. Because the song was originally sung while walking and working, it often has syllables like jana, hey or aye added, to allow the singer to breath while working (a work song). Another kind of song is called kaleh haal (or kal kaal or Leili's lover). The term kaleh haal may refer to its shortness of length (kale haal means short present) or to its common wingers, housewives who sang it while cooking with a kaleh, a type of oven. Amiri songs usually use long poems written by Amir Pazevari, a legendary poet from Mazandaran. A type of song called najma describes the love between Prince Najmedin of the Fars area and a girl named Ranaa. The najma is popular throughout Iran, adapted for the local cultures. The Charvadars are an ancient class of merchants who sold commodities abroad for a local village; their songs are called charvadari. In contrast to most Mazandarani music, charvadari has a prominent rhythm, which may be because it was often sung on horseback. Traditional music of women This music is a special type of folk music. Maryam Akhondy, a classical singer, collected such songs and published them on her album "Banu - Songs of Persian Women". It had been sung at the cradle, at the housework and work in the fields or on women's celebrations.
Ancient Iranians attached great importance to music and poetry, like today. Post Sassanid era silver plate. 7th century. The British Museum. Main article: Iranian folk music The modal concepts in Persian folk music are directly linked with that of the classical music. However, improvisation plays a minor role as folk tunes are characterized by relatively clear-cut melodic and rhythmic properties. The function of each folk melody determines its mood. The varying aesthetic requirements of wedding songs, lullabies, love songs, harvest songs, dance pieces, etc., are met with transparent and appropriate simplicity. The majority of the classical instruments are too elaborate and difficult for the folk musicians. Instead, there are literally dozens of musical instruments of various sorts found among the rural people. In fact, each region of the country can boast instruments peculiar to itself. Three types of instruments, however, are common to all parts of the country. They are, a kind of shawm called Surnay (or Sorna ~ Zorna), the various types of Ney (flute), and the Dohol, a doubleheader drum. Persian music includes a mixed Persian-Western music that functions as popular commercial music. The use of western popular rhythms, an elementary harmonic superimposition, and relatively large ensembles composed of mostly western instruments, characterize this music. The melodic and modal aspects of these compositions maintain basically Persian elements. On the whole, it would be something of an understatement to say that the artistic merit of such a melange as this is rather questionable.
Iran is home to several ethnic groups, including Kurds, Azerbaijanis, Bakhtiari and Baluchi peoples. Turkmen epic poets similar to Central Asian musicians are common in Khorasan, while Kurdish music is known for its double-reed duduk and an earthy, dance-oriented sound. The most famous personalities in Iranian folk music are Pari Zangeneh and Sima Bina.
Music of Azarbaijan (Azarbadegan,Iran ) This is the music of provinces of Zanjan, East Azerbaijan, West Azerbaijan and Ardabil in Iran . Azerbaijan like other parts of Iran has a distinct music. On February 21, 1828, under the Treaty of Turkmenchay, Russia seized the control of Iranian territory to the North of the River Aras, which is now called the Republic of Azerbaijan where they share very similar music as Azarbijanis in Iran . The number of Azerbaijnis in Iran is about three times larger than population of Republic of Azerbaijan. [edit]Kurdistan The forms of music found in various parts of Kurdistan, all known as Kurdish music, vary depending on the climate and geography of the regions as well as their contact with the neighboring cultures. For example, the melodies found among the people living in the mountains are different from those found among the people living in the meadows. However, the poetry and the rhythms are common to both areas. Kurdish music, similar to other Eastern music, is monophonic and modal (more specifically, based on the maqam system, which is loosely translated as modal). However, because multiple instruments with varying pitch range, color, and ornamentation capabilities are used to play the same melody, it is also heterophonic. In addition to` specifically Kurdish modes (maqams), Kurdish music also utilizes all the modes and dastgahs found in the traditional music of Iran. There are two forms of Kurdish music. The first is based on the maqam system. Similar to traditional music of Iran, improvisation plays an important role in Kurdish music. While a maqam is used to designate a certain melodic structure, a musician may improvise within this structure by employing variations on ornamental figures, rhythms, and melodic forms. The maqams of Kurdistan, preserved by oral tradition throughout generations, are based on microtonal tuning systems where one can find intervals of half step, full step, three quarter step, and one and a quarter step. [These intervals are not necessarily in an equal-tempered 24 tone scale.] The second form of Kurdish music is based on a set of melodies, known as gourani or closed, which have distinct and structured rhythms. The word gourani is derived from gabaran, which literally means "one who worships fire." This word is related to the ancient rituals of fire worship among the Zoroastrians. Through the passage of time gabaran was changed to gouran. Gourani is also the name of a tribe whose members speak Kurdish and are known for their poetry. The members of certain groups of dervishes (Ahle Hagh) in Kermanshah and certain regions of Sanandaj, use this word to refer to the songs performed during their spiritual ceremonies. Because of its distinct rhythm, gourani is often accompanied by other instruments, and in some cases by clapping. The poems used in most Kurdish music are filled with stories of romance and unrequited love. These poems have often two verses, which are divided in ten, eleven, or twelve syllables, and are based on the Gathas of the Zoroastrians. Kurdish melodies are very simple; their range is usually confined to a few notes. The form of the music is often strophic, and every gourani has a particular melody that is sung with various stanzas. At the end of every stanza the strophe is repeated unchanged throughout the song. Every gourani is characterized by a specific strophe. Similar to a lied or a chanson, gouranis may be accompanied by instrumental sections, which have three parts: prelude, middle section, and the ending. The prelude and the ending are performed by the group, and the middle section is performed in the form of call and response. Gouranis fall into several categories, each performed with specific melodies for specific occasions. Some examples are work gouranis, shepherd gouranis, romantic gouranis, religious and spiritual gouranis, festive gouranis, Chemari (mourning) gouranis, war gouranis, children gouranis, women gouranis, and Ramadan gouranis. Before Islam, the "religious and spiritual gouranis" were used by the Kurds in their worship rituals of Ahura Mazda (the wise and supreme god of Zoroastrianism), fire, the sun, and the moon. Within Islam, new gouranis were developed for worship of God and paying tribute to sacred figures. The dervish houre, Azan (special forms of reciting of the Koran), and zekr [also a ritualistic dance performed by the dervishes during devotional ceremonies] are among these types of gouranis. The "festive gouranis," which have strong and exciting rhythms, are used for marriage, circumcision, or holiday celebrations, and are often accompanied by dancing and clapping. The "war gouranis" have moving rhythms, and are often used with poems that induce feelings of nationalism and protection of freedom. "Children gouranis" have simple rhythms and accompany children's poems. "Women gouranis" are sung by women during their everyday chores, such as milking the cows, carrying water from the springs, or picking flowers. "Chemari gouranis," which are sung in the funerals while carrying the dead (especially a young deceased), are accompanied by sorna (a wind instrument) and dohol (a large percussion instrument), and have very sad poems. "Ramadan gouranis" are mostly used during the month of Ramadan to declare the coming of dawn [when people have food before fasting during the day]. Accompanied by sorna and dohol, they are played in elevated regions of cities and villages. (H. Kamkar - master musician www.kereshmeh.com) [edit]Khorasan Due to its ethnic diversity and the existence of different languages and religious observations (Sunni and Shi'a), the musical tradition of Khorasan is very rich. From the north to the south, the music scene varies greatly. In the north of Khorasan, one can find the bakhshi narrating and singing, among other things, "daastans" (stories in old Persian), although they can also sing in Kurdish about the historical deeds of local figures. They accompany themselves on the dotar. A leading exponent of this type is the late Haj Ghorban Soleimani. One can also find in the north, the Asheq who play "dohol" (double-faced drum), the "sorna" (a kind of oboe-like reed instrument) and the "qoshme" (double clarinet made of the central nervure of the plumage of birds tied together). The Asheq are specifically associated with the Kurds and play at wedding dances and village feasts. In the East of Khorasan, near Torbat Jam, the main instrument is the dotar with some modifications, but there are no Bakhshi and the music is different. Here, the music takes the form of "ghazal khani'" and is performed by singers of quatrains and "ghazals" - lyric poems based on the invocations of mystic poets like Rumi, Attar and Sheikh Ahmad Jami. Purely instrumental pieces also figure in the repertoire. More towards the south, in the regions of Birjand and Qa'in, the musical culture changes again: the dotar is no longer present (although it seems that in the past, it was played). The songs are called "sotak" and are accompanied on the "dayereh" (tambourine). (Ameneh Yousefzadeh - Musicologist) Turkmen Music In Golestan and Khorasan in Iran as in Turkmenistan and Uzbekistan, the word bakhshi means instrumentalist, singer, and storyteller. The word bakhshi comes from Turkish, and in turn from a Chinese word, po-shih, meaning erudite. Through the Turkish Ouigours, certain Chinese language elements infiltrated 13th and 14th century Mongol literature. The word bakhshi appeared in Turkmen, Iranian and Turkish literature with the advent of the Mongols. At the time, the role of the bakhshi seems to have been sometimes that of the healing shaman, and at other times that of a Buddhist priest. As for the bakhshi of Khorasan, they claim that the origin of their name can be found in the word bakhshande (donor, bestower of gifts) because of the musical gift that God has bestowed upon them. This is a title of respect in northern Khorasan and among the Turkmen of Torkaman-Sahra. The bakhshi can also be found in almost all of Central Asia, among the Kazakh, Kirghiz, Uzbek, and Turkmen people as well as in Afghanistan, Tajik-Arab and in Xinjiang. Among other ethnicities, on the other hand, the term bakhshi, throughout centuries has designated a bard, a story-teller, and singer of legends and epics. As a singer, the bakhshi is more precisely a narrator of dastan (story) and an instrumentalist who plays the dotar (long-necked two-stringed instrument) and who, in most cases, fabricates his own musical instrument. The majority of the great bards of Khorasan, regardless of their ethnic origin, sing in three languages (Turkish, Persian, and Kurdish). Whether professional or semi-professional, nowadays the bard doesn't usually earn his living solely through playing music. Most often, he is also, for example, a farmer, a barber, or a teacher. With his instrument, the dotar, he usually sings and plays by himself. However, the Turkmen bards prefer to play in groups of two or three. In this case, the bard is accompanied by another dotar player and a person playing the kamanche. The right to assume the title of bakhshi is subject to specific conditions. A bakhshi should not only be a good musician and have a good voice, he also needs excellent diction for telling stories. Ideally, he learns his art from his father or his uncle while living under the family roof. Some acquire their apprenticeship under the tutelage of a master (ostad). The learning process evolves in three stages: 1) learning the dotar technique, 2) learning vocal techniques, 3) memorizing the stories. In the last stage, the master teaches his student a fragment of a dastan on a daily basis, so that he can memorize and recite it the next day. The bakhshi is renowned for his prodigious memory. Traditionally, the bakhshi plays at village ceremonies such as weddings and circumcisions, but he also performs at private gatherings and in ghahve-khanes (coffee houses) of the bazars. Unfortunately, nowadays, television has taken the place of the traditional bard in the Ghahve-khane. Fortunately, today we can also hear the bakhshi performing in concerts often within the context of festivals (Ameneh Yousefzadeh). [edit]Mazandaran Mazandaran has a diverse folk music culture that includes songs and instrumental and ritual music. Rhythm is usually simple in songs, which include katuli, which is most common around the town of Aliabad-e Katul; the song is sometimes said to be sung when people take a catouli cow out to graze. Because the song was originally sung while walking and working, it often has syllables like jana, hey or aye added, to allow the singer to breath while working (a work song). Another kind of song is called kaleh haal (or kal kaal or Leili's lover). The term kaleh haal may refer to its shortness of length (kale haal means short present) or to its common wingers, housewives who sang it while cooking with a kaleh, a type of oven. Amiri songs usually use long poems written by Amir Pazevari, a legendary poet from Mazandaran. A type of song called najma describes the love between Prince Najmedin of the Fars area and a girl named Ranaa. The najma is popular throughout Iran, adapted for the local cultures. The Charvadars are an ancient class of merchants who sold commodities abroad for a local village; their songs are called charvadari. In contrast to most Mazandarani music, charvadari has a prominent rhythm, which may be because it was often sung on horseback. Traditional music of women This music is a special type of folk music. Maryam Akhondy, a classical singer, collected such songs and published them on her album "Banu - Songs of Persian Women". It had been sung at the cradle, at the housework and work in the fields or on women's celebrations.
Monday, August 20, 2012
یزد - Yazd City ( In Centre of Iran )
Yazd
The city has a history of over 3,000 years, dating back to the time of the Median empire, when it was known as Ysatis (or Issatis). The present city name has however been derived from Yazdegerd I, a Sassanid ruler. The city was definitely a Zoroastrian centre during Sassanid times. After the Arab Islamic conquest of Persia, many Zoroastrians fled to Yazd from neighbouring provinces. By payin...g a levy, Yazd remained Zoroastrian even after its conquest, and Islam only gradually became the dominant religion in the city.
Because of its remote desert location and the difficulty of approach, Yazd had remained largely immune to large battles and the destruction and ravages of war. For instance, it was a haven for those fleeing from destruction in other parts of Persia during the invasion of Genghis Khan. It was visited by Marco Polo in 1272, who remarked on the city's fine silk-weaving industry. It briefly served as the capital of the Muzaffarid Dynasty in the fourteenth century, and was unsuccessfully besieged in 1350–1351 by the Injuids under Shaikh Abu Ishaq. The Friday (or Congregation) Mosque, arguably the city's greatest architectural landmark, as well as other important buildings, date to this period. During the Qajar dynasty (18th Century AD) it was ruled by the Bakhtiari Khans.
Under the rule of the Safavis (16th century), some people migrated from Yazd and settled in an area which is today on the Iran-Afghanistan border. The settlement, which was named Yazdi, was located in what is now Farah city in the province of the same name in Afghanistan. Even today, people from the area speak with an accent very similar to that of the people of Yazd.
کوچه های سنتی یزد
یزد اولین شهر خشتی و دومین شهر تاریخی جهان بعد از شهر ونیز ایتالیاست استان یزد از سرزمینهای کهن و تاریخی ایران زمین است. در بعضی از منابع بنای اولیه برخی از شهرهای این استان چون (میبد) را به سلیمان پیغمبر، (یزد) را به ضحاک و اسکندر مقدونی و (ابر کوه) را به ابراهیم پیغمبر نسبت دادهاند. این بیانگر قدمت و دیرینگی پیشینیه تاریخی و فرهنگی سرزمین و مردم این دیار است. مجموعه آثار باستانی پراکنده موجود در این استان نیز به سهم خود گویای این پیشینه تاریخی است. آثاری چون دست افزارهای سنگی بدست آمده از درههای شیر کوه، نگارههای روی تخت سنگ کوه ارنان، تکه سفالهای منقوش نارین قلعه میبد – متعلق به دوره ایلامی، غارهای استان و آثار معماری و شهر سازی باستانی و... نشان میدهد مدنیت یزد، در چهار کانون باستانی (مهریز و فهرج)، (یزد)، (رستاق و میبد) و (اردکان) متمرکز بود. پژوهشگران این منطقه را که در مسیر شاهراههای باستانی (ری – کرمان) و (پارس – خراسان) قرار داشت، جزء سرزمینهای دوردست مادها شمردهاند
عکاس :خانم فریبا کاظمیان
photo by :Fariba Kazemian
Thursday, August 16, 2012
Naseer ol Molk Mosque in Shiraz - مسجد نصیرالملک شیراز
The Nasīr al-Mulk Mosque (Persian: مسجد نصیر الملك - Masjed-e Naseer ol Molk) is a traditional mosque in Shiraz, Iran, located in Goade-e-Araban place (near the famous Shah Cheragh mosque). The mosque was built during the Qājār era, and is still in use under protection by Nasir al Mulk's Endowment Foundation. It was built by the order of Mirza Hasan Ali Nasir al Molk, one of the lords of the Qajar...Dynasty, in 1876 and was finished in 1888. The designers were Muhammad Hasan-e-Memar and Muhammad Reza Kashi Paz-e-Shirazi.
The mosque extensively uses colored glass in its facade, and displays other traditional elements such as panj kāseh-i (five concaves) in its design.
Currently
Restoration, protection and maintenance of this valuable monument, observing all international standards on historical places, has duly begun and is continuing by The Nasir Al-Molk Endowment Foundation. This foundation is one of the largest in Fars Province and is under the administration of Mr. Mahmood Ghavam. The foundation actively devotes most of its yearly income towards feeding the poor during and after the religious ceremonies of Muharram and Safar, and towards the renovation and up-keep of this precious mosque.
مسجد نصیرالملک یکی از مساجد قدیمی شیراز میباشد که در محله گود عربان و در جنوب خیابان لطفعلی خان زند و در نزدیکی امامزاده شاه چراغ قرار گرفته است.این بنا به دستور میرزا حسن علی ملقب به نصیرالملک که یکی از بزرگان سلسله قاجار بوده ساخته شده.معماری آن کار محمد حسن معمار بوده است.مدت ساخت آن حدود ۱۲ سال و از سال ۱۲۵۵ تا ۱۲۶۷ خورشیدی به طول انجامیده است.مرمت، حفظ و نگهداری این بنای باشکوه و ارزشمند با رعایت استانداردهای بینالمللی مرمت آثار تاریخی از سالها پیش توسط موقوفه نصیرالملک به تولیت آقای محمود قوام و مدیریت آقای مهندس کوروش جاویدی پارسی جانی آغاز شده و همچنان ادامه دارد.
مسجد دارای صحن وسیعی میباشد که در سمت شمال مسجد قرار گرفته است.در ورودی دارای طاق نمایی بزرگ است، که سقف آن با کاشیهای رنگارنگ مزین گشته است.درهای ورودی این مسجد، دو در بزرگ چوبی است که در بالای آن بر روی سنگ مرمر شعری از شوریده شیرازی به مناسبت سازنده مسجد و سال اتمام آن نوشته شده است.مسجد دارای دو شبستان شرقی و غربی است.شبستان غربی که پوشش آجری دارد و بیشتر بروی آن کار شده و زیباتر است٬طاق این شبستان بر روی ستونها سنگی و با طرح مارپیچ بر روی آن در دو ردیف ششتایی و به تعداد دوازده عدد به نیت دوازده امام قرار گرفته است و همچنین این شبستان دارای هفت درگاه که آن را به صحن مسجد مرتبط میکند، با هفت در چوبی با شیشههای رنگارنگ میباشد.سنگتراشی و تزیین این شبستان الهام گرفته شده از مسجد وکیل شیراز است.طاق و دیوارهای این شبستان با کاشی کاریهای زیبا تزیین شده است.کف آن با کاشیهای فیروزهای و سقف آن با نقش گل و بوته و آیات قرآنی مزین گشته است.این شبستان در واقع شبستان تابستانه محسوب میشود.
شبستان شرقی که به زیبایی شبستان غربی نیست، شبستان زمستانه به حساب میآید، دارای هفت ستون بدون طرح و ساده است و در یک ردیف در وسط قرار گرفتهاند.در جلوی شبستان شرقی، ایوانی قرار گرفته که با هشت طاق نما از حیاط مجزا گشته است.در ان شبستان دری وجود دارد که به یک چاه آب گشوده میشود.همچنین در این مکان یک حوضچه و یک دالان نیز موجود است.هر دو شبستان بر خلاف معمول به خاطر جهت گیری ساختمان قبله در امتداد محور قبله واقع شده اند.در دالان شمالی سنگ نوشتهای وجود دارد که شعر زیر بر روی آن حک شده است:
غرض نقشی است کز ما باز ماند که هستی را نمیبینم بقایی
مگر صاحبدلی روزی به رحمت کند در حق استادان دعایی
نمایی از ایوان جنوبی همراه با حیاط و حوض سنگی
مسجد دارای دو ایوان شمالی و جنوبی است که شبیه هم نیستند و ایوان شمالی زیباتر از ایوان جنوبی است.ایوان شمالی دارای سه نیم طاق در سه طرف است و از سمت چهارم به صحن راه دارد، همچنین این ایوان داری ۴ غرفه است و سقف میانی آن با مقرنس کاری و کاسه سازی پنج کاسه مزین گشته است.ایوان جنوبی نیز دارای دو گلدسته است و در حیاط آن نیز حوضی مستطیل شکل و سنگی با فواره وجود دارد.
سقف پنج کاسه ای
در سمت شمالی مسجد طاق نمایی به نام طاق مروارید وجود دارد، که تمام سقف، داخل و بیرون آن کاشی کاری رنگارنگ شده است و بر روی آن آیات قرآنی نوشته شده است و در دو طرف این طاق نما دو طاق کوچکتر نیز وجود دارد.در سمت جنوب نیز طاقی وجود دارد که ارتفاعش کمتر از طاق مروارید است و تمام سطح بیرونی و داخلی آن کاشیکاری شده و سقف آن نیز مانند طاق شمالی مقرنسکاری گشته است.بر روی آن نیز دو گلدسته وجود دارد که در ورودی این دو گلدسته دو طاق نمای کوچکتر در دو طرف طاق اصلی وجود دارد.
Monday, July 30, 2012
میدان نقش جهان / Naqsh-e Jahan Square, Isfahan, Iran
میدان نقش جهان در تاریخ ۸ بهمن ۱۳۱۳ در فهرست آثار ملی ایران ثبت شد و در اردیبهشت ۱۳۵۸ جزء نخستین آثار ایرانی بود که بهعنوان میراث جهانی یونسکو نیز به ثبت جهانی رسید.
...
بناهای تاریخی موجود در میدان نقش جهان شامل عالیقاپو، مسجد جامع عباسی، مسجد شیخ لطفالله و سردر قیصریه است. علاوه بر این بناها دویست حجره دو طبقه پیرامون میدان واقع شدهاست که عموما جایگاه عرضه صنایع دستی اصفهان میباشند.
Naqsh-e Jahan Square (Persian: میدان نقش جهان Maidān-e Naqsh-e Jahān; trans: "Image of the World Square"), known as Imam Square (میدان امام), formerly known as Shah Square (میدان شاه), is a square situated at the center of Isfahan city, Iran. Constructed between 1598 and 1629, it is now an important historical site, and one of UNESCO's World Heritage Sites. It is 160 meters wide by 508 meters long[1] (an area of 89,600 m2). The square is surrounded by buildings from the Safavid era. The Shah Mosque is situated on the south side of this square. On the west side is the Ali Qapu Palace. Sheikh Lotf Allah Mosque is situated on the eastern side of this square and the northern side opens into the Isfahan Grand Bazaar. Today, Namaaz-e Jom'eh (the Muslim Friday prayer) is held in the Shah Mosque.
The square is depicted on the reverse of the Iranian 20,000 rials banknote
Saturday, July 28, 2012
Iranian Olympic Athletes in London 2012 - کاروان ورزشکاران ایرانی در المپیک 2012 لندن
Friday, July 20, 2012
پیج فیسبوک - Facebook fanpage
https://www.facebook.com/#!/pages/Visit-Iran-Official-Website/147315071945825 Our Facebook fanpage has updated with new Image album of Golestan Royal Palace. پیج فیسبوک ما با آلبوم عکس های کاخ سلطنتی گلستان به روز شده است . میتوانید با استفاده از لینک به پیج بروید.
Sunday, June 24, 2012
Sunday, June 3, 2012
درباره مرتضی محجوبی
مرتضی محجوبی، (۱۲۷۸ تهران - ۱ فروردین ۱۳۴۴) نوازنده پیانو ایرانی است که یکی از بنیان گذاران موسیقی ملی ایران به حساب میآید.او سالها تکنواز پیانو در برنامه گلهای رنگارنگ بود.مرتضی محجوبی در محافل هنری ایران به نام مرتضی خان و یا مرتضی خان محجوبی معروف است.
او برای تعلیم موسیقی به حسن خان هنگ آفرین معروف به حسین خان "ر" سپرده شد.در ده سالگی هنگام کنسرت عدهای از هنرمندان در سالن سینما فارووس، آواز عارف قزوینی را با پیانو همراهی کرد.مرتضی به زودی سرآمد نوازندگان پیانو در زمان خود شد.
اهمیت کار محجوبی، در این است که با سازی کاملا اروپایی، موسیقی ایرانی را به خوبی مینواخت.این نحوه ی نوازدگی خاص خود او بود، و دقیقا تاثیر یک ساز صدرصد اصیل و سنتی را در شنونده باقی میگذارد.بدین ترتیب محجوبی یکی از پایه گذاران موسیقی ملی ما به حساب میآید. وی علاوه بر نوازندگی، چندین تصنیف و پیش درآمد و رنگ تصنیف کردهاست.تصنیفهایش پلی است میان تصنیفهای عارف قزوینی و علی اکبر شیدا و تصنیفهای زمانه اش، در کارش آثار قدما را مد نظر داشت ولی اثر خود را به صورتی جامع تر ارائه میداد.در این زمینه کافی است به تصنیف معروف او " من از روز ازل دیوانه بودم" که با صدای غلامحسین بنان خوانده شده اشاره شود. لازم به ذکر است که مصرع اول شعر "من از روز ازل دیوانه بودم" را خود مرتضی خان محجوبی سروده و باقی شعر از رهی معیری میباشد.
مرتضی محجوبی نت نمیدانست، ولی برای خود نتی اختراع کرده بود که بی شباهت به خط سیاق نبود (خط سیاق علاماتی است در قدیم برای ثبت کردن وزن اجناس یا ارقام پول با کار میبردند) پرویز یاحقی هنرمند گرامی به شاپور بهروزی در اینباره گفت: "آهنگی در دستگاه شور ساخته بودم، به نام "ای امید دل من کجایی" که از گلهای رنگارنگ ۱۷۲ پخش شد.هنگامی که به همه ی اعضای ارکستر نت این تصنیف را برای اجرا دادم مرتضی محجوبی از من خواست، آهنگ تصنیف را با ویلون بنوازم و او آنرا با علایم ویژه ی خود پشت قوطی سیگار همای خود نوشت و عجب این بود که این آهنگ را همان مرتبه اول از همه ی اعضا ارکستر بهتر و درست تر نواخت.
پیانوی مرتضی محجوبی همراه با آواز بنان از نمونههای عالی موسیقی آوازی ایران است، زیرا صدای غلامحسین بنان دارای حالت و کیفیتی خاص بود که پیانوی مرتضی خان نیز همان حال و هوا را داشت به ویژه اگر اشعار آواز هم از رهی معیری میبود.[۳]
فریدون مشیری شعری در این باره سروده است :
یاد باد آن همدلی، آن همدمی، آن همرهی
ســـاز محــجـوبی و آواز بنـــان، شـعر رهی
روح الله خالقی در این زمینه می گوید: وی نوازنده ی منحصر به فردی است که آواز ها و نغمات ایرانی را به روش مطلوب و با شیوه ی دلپسند در روی پیانو می زند.وقتی نوای سازش از بلند گوی رادیو شنیده می شود، بی اختیار همه ی شیفتگان موسیقی ایرانی را مجذوب می کند.[۵]۱
مرتضی خان محجوبی اول فروردین ماه ۱۳۴۴ در سن ۶۵ سالگی در گذشت.پیکر وی در مقبره ی ظهیر الدولبه خاک سپرده شد. وی وصیت کرده بود که پس از مرگش مرد حنجره طلایی اکبر گلپایگانی بر مزارش آواز بخواند که او هم این کار را انجام داد.
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زندگینامه
مرتضی محجوبی فرزند عباسعلی، معروف به ناظر، سال ۱۲۷۸ در تهران متولد شد.بودن پیانو در منزلشان و آشنایی مادرش فخرالسادات با آن، وی را به سوی این ساز کشید.او برای تعلیم موسیقی به حسن خان هنگ آفرین معروف به حسین خان "ر" سپرده شد.در ده سالگی هنگام کنسرت عدهای از هنرمندان در سالن سینما فارووس، آواز عارف قزوینی را با پیانو همراهی کرد.مرتضی به زودی سرآمد نوازندگان پیانو در زمان خود شد.
اهمیت کار محجوبی، در این است که با سازی کاملا اروپایی، موسیقی ایرانی را به خوبی مینواخت.این نحوه ی نوازدگی خاص خود او بود، و دقیقا تاثیر یک ساز صدرصد اصیل و سنتی را در شنونده باقی میگذارد.بدین ترتیب محجوبی یکی از پایه گذاران موسیقی ملی ما به حساب میآید. وی علاوه بر نوازندگی، چندین تصنیف و پیش درآمد و رنگ تصنیف کردهاست.تصنیفهایش پلی است میان تصنیفهای عارف قزوینی و علی اکبر شیدا و تصنیفهای زمانه اش، در کارش آثار قدما را مد نظر داشت ولی اثر خود را به صورتی جامع تر ارائه میداد.در این زمینه کافی است به تصنیف معروف او " من از روز ازل دیوانه بودم" که با صدای غلامحسین بنان خوانده شده اشاره شود. لازم به ذکر است که مصرع اول شعر "من از روز ازل دیوانه بودم" را خود مرتضی خان محجوبی سروده و باقی شعر از رهی معیری میباشد.
مرتضی محجوبی نت نمیدانست، ولی برای خود نتی اختراع کرده بود که بی شباهت به خط سیاق نبود (خط سیاق علاماتی است در قدیم برای ثبت کردن وزن اجناس یا ارقام پول با کار میبردند) پرویز یاحقی هنرمند گرامی به شاپور بهروزی در اینباره گفت: "آهنگی در دستگاه شور ساخته بودم، به نام "ای امید دل من کجایی" که از گلهای رنگارنگ ۱۷۲ پخش شد.هنگامی که به همه ی اعضای ارکستر نت این تصنیف را برای اجرا دادم مرتضی محجوبی از من خواست، آهنگ تصنیف را با ویلون بنوازم و او آنرا با علایم ویژه ی خود پشت قوطی سیگار همای خود نوشت و عجب این بود که این آهنگ را همان مرتبه اول از همه ی اعضا ارکستر بهتر و درست تر نواخت.
سبک نوازندگی
او را در نوازندگی پیانو، می توان یک نابغه دانست چراکه کوک کردن پیانو مدت زمانی وقت میگیرد ولی مرتضی خان به هر پیانویی در هر محفلی میرسید در یک چشم بهم زدن آن را کوک میکرد و آنگاه شروع به نواختن میکرد. نوازندگیش به قدری شیرین و دلچسب بود که حدی بر آن متصور نیست. وی از جمله نخستین نوازندگانی بود که به دعوت کمیسیون موسیقی رادیو در هنگام افتتاح رادیو به جمع نوازندگان پیوست و به سرپرستی دسته ی دوم ارکستر رادیو منصوب شد.مرتضی خان سالها تکنواز پیانو در برنامه گلها بود و پیانوی مرتضی رونق و رنگ و بوی دیگری به موسیقی گلها میداد.پیانوی مرتضی محجوبی همراه با آواز بنان از نمونههای عالی موسیقی آوازی ایران است، زیرا صدای غلامحسین بنان دارای حالت و کیفیتی خاص بود که پیانوی مرتضی خان نیز همان حال و هوا را داشت به ویژه اگر اشعار آواز هم از رهی معیری میبود.[۳]
فریدون مشیری شعری در این باره سروده است :
یاد باد آن همدلی، آن همدمی، آن همرهی
ســـاز محــجـوبی و آواز بنـــان، شـعر رهی
بهترین نوازنده
غلامحسین بنان از وی به نام "مرتضی پیانو" یاد میکند و در پاسخ گزارشگر، مرتضی محجوبی را بهترین نوازنده موسیقی ایران مینامد.روح الله خالقی در این زمینه می گوید: وی نوازنده ی منحصر به فردی است که آواز ها و نغمات ایرانی را به روش مطلوب و با شیوه ی دلپسند در روی پیانو می زند.وقتی نوای سازش از بلند گوی رادیو شنیده می شود، بی اختیار همه ی شیفتگان موسیقی ایرانی را مجذوب می کند.[۵]۱
درگذشت
آرامگاه وی در گورستان ظهیرالدوله، که به دلیل بیتوجهی رو به تخریب است.
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