Literatura académica sobre el tema "Pahlavi Legends"

Abstract Though Kandiz seems to be depicted in the early Avestan sources, only in Zoroastrian Pahlavi literature does this fortress-city receive a rich and detailed description. Kangdiz becomes a significant and essential place, strongly connected to the legend of Zoroaster and the eschatological events of the final times. In its geographical, architectural, and religious transformation Kangdiz is often enriched with features belonging to other special Iranian places, such as the shelter of Jam. The fame and the narrative model of this city survives the first centuries of the Islamic conquest. This article presents the architecture and the geography of Kangdiz as found in Pahlavi sources and to define its eschatological role in the context of the Zoroastrian myth and religion.

Evliya Çelebi, in the description of wrestlers in his famous Seyahatname, mentions that their master is “Hazrat-i Mahmūd-i Pīryār-i Valī”, although he fails to provide further details, mentioning only that he is “Hazrat-i Hamza’s kamar-basteh.” Even he wants to mention where her grave is, but probably he could not reach this information so leaves the place blank in the relevant line. There is a lack of significant information about this character in Turkish modern studies, even sometimes it is possible to find wrong information, however, there is much written about him both in historical and hagiographic sources and in studies conducted outside of Turkey. In the present article, the life, legendary sagas and works of Pahlavan Mahmūd-i Pīryār-i/Pūryā-yi Valī, who lived in the 13th-14th centuries and is still known as the master of traditional wrestling athletes, have discussed and the current discussion on these issues have evaluated. In the results, it was determined that Pahlavan Mahmūd was born in the Khiva of Khwārazm in the middle of the 13th century and died in the same city in the first quarter of the 14th century. In addition, it has been revealed that the claims that his grave was found in the city of Khoy in Azerbaijan are unfounded. In the article, the nickname "Pīryār-i/Pūryā-yi Valī", which is an integral part of the name of Pahlavan Mahmūd and is often used instead of his name, has been examined in detail and based on the oldest sources, and different views on this subject have been discussed. While some sources emphasize that this name is a nickname, some sources insist on the thesis that in reality this name was the name of Pahlavan Mahmūd’s father and was used as the name and nickname of his son Mahmūd over time. This issue still remains a mystery! Keywords: Mahmūd-i Pīryār-i Valī, Pūryā-ı Valī, Wrestling Lodges, Wrestling, Malamatiyya, Sufism, Persian Literature, Khwārazm.

Abstract Denkard VII which considered as the “Legend of Zoroaster” has been the subject of several investigations. The first translation was by E.W. West (1897: The Sacred Books of the East. Vol. 47. Clarendon: Oxford University Press: 26); Many years later Marijan Molé (1967) published a French version of Book VII; in Persian, Ahmad Tafazzolī and Žāleh Āmūzgār (1993: 55–110) translated some parts of the book VII; the last version which is in Persian belongs to Rashed Muhassel (2012: Denkard VII. Tehran: Pažuheshgāh-e olūm-e ensāni). Chapter two, sentence 34 of Denkard VII contains a word transcribed as tōšn/tušn of which this essay aims to have a critical view.

“ [ In February 2023, “www.academia.edu” asked me to comment on a statement titled "Islâm's margins: Ahl-e Haqq, angels and peacocks, and the marginal scholars who loved them" by the famous Kurdologist Martin van Bruinessen, one of the conference papers held at the Netherlands Utrecht University in 2022. I spent many years on this subject. I had very different determinations from Mr. bruinnessen I decided that it would be useful to explain the subject with a comprehensive article. In terms of the integrity of the subject, it became necessary to provide an explanation for another famous Kurdologist Philip G. Kreyenbroek's article on “The Religious Textual Heritage of the People of the Haqq.” I hope to have answered the questions of the circles interested in the issue of Ahl-i Haqq. The main source of our information about the Divine / Elahi family; are the intuitions, sensations (rumours) and narratives of family members about themselves. In addition to the information on the official website of Nur Ali Elâhi, published by these narratives, our other main source, son Bahram / Bahram Elâhi, Mr. These are the words of Bruinesssen in his article. (Bruinessen, 2022, Bruinessen, 2020, Bruinessen, 2014, Kreyenbroek, 2022, www. ostadelahi.com; 24 Mart 2023) A list of my researchs in Iran, which has been published since 2011, is the bibliography section. Some parts of these research articles are included in these articles in terms of the whole article.” ] “ As it is known, with the 1648 Treaty of Westphalia, which ended the religious wars in Europe, it was accepted that "the nationality and sect of the princes have nationality and sect in their people". 1.000 years of Turkish rule (1963-1925), which started with the Ghaznavid-Turkish state in Iran, ended with the intervention of England. He became the king of Iran as a caretaker (father) “Reza Shah Pahlavi” whose literacy was even questioned. According to the new theory, Turks never existed in Iran. Turkish speakers were Azeris who had to learn Turkish under Turkish and Mongolian persecution. The local/autochthonous peoples of Iran were Persians (Fars) and Kurds. A new state and a new people were being invented. According to the new thery, ‘the 3.000 years old cultural treasure in Iran’ belonged to the ‘Fars-Pers’ culture. A bright future is promised to the intellectuals and faith leaders who adapt to this new situation. Today, the 1,000-year-old Turkish cultural treasure is defined as "Persian Art". The Iranian state and the Iranian people had culturally defined it. As an alternative to Iran, Kurdistan and the Kurdish people also needed to be defined culturally. Can Ahl-i Haqq belief and culture be a good alternative? There were some problems. There was a corpus inherited from the Russian orientalists. As the Russian orientalists understood, Leks, Karakoyunlus, Gürans-Görens were not Kurds. According to the religious book "Seranjam" published by Minorsky, Ehl-i Hakks originates from Central Asia. The Kalâm Collection (Canon) belonging to 24 poets (+poet Sail), starting with Bayrak Kuşçuoğlu in the 14th century, is in Turkish. How should the relationship between Kurds and Kurdistan be established? It was an advantage that the people were illiterate and poor. Sufi dervish Nur Ali Elâhi, who lived between four walls until the age of 21, constantly heard divine voices, and had long hair and beard until the age of 35, was a suitable candidate. At the age of 11, Nur Ali Elâhi felt Sultan İshak, the "Hünkârı-Havendigârı" of the Ehl-i Hakk, in his body. Always honored by orientalists (Bruinessen, Kreyenbroek and others…), the Elâhi family* have many books envisioned in their rich imaginations (including the belief in the Ahl al-Haqq) has. *[Nur Ali Elâhi, his visually impaired brother Melek Can Nemati (1906-1993) and his son Bahram Elâhi (d. 1931-…)] Bahram Elâhi's commemoration of "The blessed deceased Nur Ali Elâhi, who left feathers in his grave and disappeared..." in 1982 angered traditional Ahl al-Haqq sages. In 1987 (Iranian Guide, Shamsi 1386) "The Elâhi family, who rejected the Ahl al-Haqq belief and was hostile," was excommunicated by the Ahl al-Haqq Council. In addition to the legend of "Persian and Persian Art", the legend of " Elâhis and People of Rights" continues in European and American museums and publications. "Black David / Satan / Iblis / Malek Tavus" is not found in the religious texts of Ahl-i Haqq (Seranjam & Kalāms). Sacred things that are forbidden to be eaten and sacrificed in Yezidi religious texts are eaten and sacrificed alive, including the Rooster, the avatar of the Peacock Malak.”

The Bundahišn, meaning primal or foundational creation, is the central Zoroastrian account of creation, cosmology, and eschatology and one of the most important of the surviving testaments to Zoroastrian literature and pre-Islamic Iranian culture. Touching on geography, cosmogony, anthropology, zoology, astronomy, medicine, legend, and myth, the Bundahišn can be considered a concise compendium of Zoroastrian knowledge. The Bundahišn is well known in the field as an essential primary source for the study of ancient Iranian history, religions, literature, and languages. It is one of the most important texts composed in Zoroastrian Middle Persian, also known as Zoroastrian Book Pahlavi, in the centuries after the fall of the Sasanian Empire to the invading Arab and Islamic forces in the mid seventh century. The Bundahišn provides scholars with a particularly profitable window on Zoroastrianism’s intellectual and religious history at a crucial transitional moment: centuries after the composition of the Avesta, the Zoroastrian sacred scriptures, and before the transformation of Zoroastrianism into a minority religion within Iran and adherents’ dispersion throughout Central and South Asia. However, the Bundahišn is not only a scholarly tract. It is also a great work of literature in its own right and ranks alongside the creation myths of other ancient traditions: Genesis, the Babylonian Emunah Elish, Hesiod’s Theogony, and others. Informed by the latest research in Iranian Studies, this translation aims to bring to the fore the aesthetic quality, literary style, and complexity of this important work.

In his contribution »Filmfarsi as Counter-Memory,« Pedram Partovi also deals with the return, or rather the hidden afterlife and survival, of a supposedly disappeared cultural heritage: the passing of actor Nasir Malik Muti’i in May 2018 spurred a debate among Iranians about filmfarsi (ʿPersian-filmʾ), the often-derogatory term that critics, industry people, and even fans have used in reference to the Pahlavi-era popular commercial cinema, and its place in ʿnational culture.ʾ The passing in the year 2000 of another banned filmfarsi legend, Muhammad ʿAli Fardin, had invited similar public reactions and similar criticisms of the state media and judiciary for their shameful treatment of a national ʿicon.ʾ Partovi’s contribution sheds new light on Iranians’ ʿfaulty,ʾ yet shifting, memories of the offcially demonized filmfarsi since the Islamic Revolution. He argues in his chapter that filmfarsi has functioned as a counter-memory, an absent presence in the minds of millions, that decades of imposed forgetting (or imposed memories) did not manage to extinguish, and as a counter-archive of images, sounds, icons, and motives »that has problematized official ideas of Iranian cinema and national culture both before and after the Islamic Revolution of 1978-9« (p. 189).