|
The
Congress
of
Literature
at
Isfahan
School
Conference
was
followed
in
Isfahan.
Reported
by the
Public
Relations
of the
Academy
of Arts,
first
Eitga
Kadzeh,
the
professor
of
Tbilisi
University
accounted
for the
literary
relations
between
Iran and
Georgia
in
Safavid
era.
"One
of the
features
of
Georgian
art is
combination,
this
feature
results
from the
position
of
Georgia
as a
junction
between
the West
and the
East.
But this
situation
has not
prevented
Georgians
to
maintain
their
culture
in the
process
of
history,"
Kadzeh
Said.
"Historically,
Georgians
have
always
maintained
their
relation
with
Iranians,
at first
they
approached
Medes
and the
influence
of this
relation
is quite
evident
in
Georgian
culture
and
language.
For
instance,
one of
the
Georgian
literary
works
includes
a
Persian
sentence
written
by
Georgian
letters
which in
terms of
phonetics
and the
history
of
language
is
noticeable."
The
Georgian
scholar
indicated
that
Georgians
were
familiar
with the
works of
Pahlavi
literature
including
Yadegar
Zariran,
Manichaean
literature
and
Zoroastrian
religion:
"In
pre-Islam
times,
the
Iranians
and
Georgians
had a
very
good
relationship,
but
after
Arabs
dominated
Iran,
this
relationship
came to
an end.
Anyway,
in 11th
and 12th
centuries
A.D.
when the
Georgian
culture
and art
grew
rapidly,
many
Georgians
were
acquainted
with the
names of
Farsi
literary
masterpieces
and
texts."
While
pointing
to the
translation
of Vais
and
Ramin,
an
Iranian
prominent
literary
work
composed
by
Fakhr-al-Din
As'ad
Gorgani,
Kadzeh
said:
"100
years
after
the
creation
of this
versified
romance,
a
prominent
Georgian
translator
introduced
a
Georgian
translation
of the
book.
This
translation
is one
of the
national
and
classical
Georgian
works
and it's
interesting
that in
1914 the
English
translation
of Vais
and
Ramin
was
accomplished
based on
the
Georgian
translation.
Obviously,
the
Georgian
translator
of the
Iranian
literary
masterpiece
has
captured
the
spirit
of the
original
work.
Another
noticeable
point is
that the
first
critical
text on
Vais and
Ramin
has been
written
by
Georgian
scholars."
The
Georgian
University
professor
also
indicated
to the
longtime
interruption
of Farsi
and
Georgian
culture
resulted
from the
invasion
and
domination
of
Mongols
"at
those
times
many
cultural
activities
were
held in
caves
and this
situation
lasted
for
three
centuries.
Even
some
parts of
Shahnameh
were
inscribed
on the
walls of
caves
and are
still
remained.
In the
16th
century
A. D. a
new
spirit
embraced
the
relations
of two
nations
coincident
with the
prosperous
Safavid
era in
Iran."
On the
Georgian
narratives
based on
Iranian
Khodaynameh
and
Shahnameh,
Kadzeh
said:
"Many
Iranian
literary
texts
and
works
have
been
widely
welcomed
by
Georgians
and
particularly
in
Safavid
era
numerous
Georgian
poets
and
painters
were
working
in the
realm of
Iranian
culture
and
arts,
although
at the
same
time
maintained
their
original
Georgian
names."
Quoting
from the
reports
and
words of
Patrick
Bernard,
Kadzeh
added:
"in
17th
century
A.D.
while
the
scholar
tourist
stayed
in
Tbilisi,
he wrote
in the
one of
his
reports
that
although
Tbilisi
people
are wise
and
humane,
it seems
strange
that
instead
of
reading
the
religious
texts,
they are
enthusiastic
about
reading
Shahnameh
and
these
kinds of
books.
Nevertheless,
one of
the
Georgian
writers
scrupulously
realized
the
point
and in a
preface
to the
Georgian
translation
of
Shahnameh
wrote
that if
you
study
Shahnameh,
you will
realize
the
morality
of
Georgians
who
always
generation
by
generation
have
advised
their
children
to read
Shahnameh."
Following
the
session,
another
lecturer,
Molouk
Pahlavan-Zadeh
elaborated
on the
teahouses
in
Safavid
era and
their
relation
with
culture
and art:
"The
history
of
teahouses
dates
back to
the
emergence
of
urbanism.
For the
first
time,
Shah
Tahmasb
brought
teahouse
from
Qazvin
to
Isfahan.
So the
history
of
teahouses
in Iran
dates
back to
400
years
ago,"
she
said.
Ms.
Pahlavan-Zadeh
asserted:
"In
Safavid
era,
teahouses
were the
meeting
points
for
ordinary
people,
poets
and
literary
men.
These
places
were
constructed
in a way
that had
special
points
for the
king,
and the
walls
were
ornamented
so
beautifully
and
completely.
Also
several
matches
and
plays
the
including
backgammon,
chess,
monkey
shows,
bear
shows
and
narration
were
prevailing
there."
"The
recitation
of poems
must be
accompanied
by the
good
expression
and
movements
and a
narrator
should
also be
a good
actor,
since
he/she
should
speak on
the
behalf
of all
the
characters
of the
play and
act so
skillfully.
The best
narrator
is
someone
who can
narrate
the
story of
Rostam
and
Sohrab,"
she
added.
Pointing
to the
fact
that
narration
in the
Iran
began
from
Shah
Esma'eil
era, Ms.
Pahlavan-Zadeh
said:
"At
those
times,
Shah
Esma'eil
proclaimed
Shiite
as the
official
religion
of Iran,
thus he
gave
mission
to 17
different
factions
to aware
people
of the
costumes
of
religion
through
reciting
poems,
speeches,
praising
the
religious
saints
and
finally
the
recitation
of
Shahnameh."
She
explained
that in
his
travelogue,
Chardin
wrote on
teahouses:
"In
one of
his
notes,
Chardin
writes
that
teahouses
are very
charming
places
since
all
people
can
freely
talk and
express
themselves
without
any
disturbance."
"In
some
days
when
narrator
was
supposed
to
attend
the
teahouse
and
start
narration,
the
owner of
the
teahouse
was
installing
a sign
above
teahouse
to
announce
the
event
publicly.
Next the
narrator
began to
recite
Shahnameh,
ezafeh-Khani
and
Samak
Ayar.
Among
the most
popular
stories
were,
Rostam
and
Sohrab,
Siavash
passing
through
fire,
Rostam
and
Esfandyar,
White
Demon
killed
by
Rostam,"
Pahlavan-Zadeh
added.
She
indicated
to a
fascinating
point:
"Even
in the
last
moments
of
narration
people
wished
and
requested
the
narrators
to
change
the
story
and say
that
Sohrab,
Siavash
or
Esfandyar
are not
killed,
"In
order to
prevent
the
tragic
ending,
people
even
were
paying
the
narrator.
In a
collective
act,
they
also
were
praying
for the
absolution
of the
heroes a
point
which is
very
considerable."
"One
of the
reasons
for
reciting
Shahnameh
and
narration
in
teahouse
was
related
to
social
issues,
since
the
members
of
Qezelbash
army
where
among
the fans
of
teahouses.
As a
matter
of fact
for
Safavids
it was
one of
the ways
to
encourage
the
morale
of
bravery
and
patriotism
among
these
military
men who
were
always
alert,"
she
stated.
The
scholar
emphasized
on the
role of
teahouses
in
popular
speech:
"At
those
times
the
level of
literacy
among
people
was low,
but in
fact
most of
the
people
were
gathering
in
teahouses
and also
the
narrators
were of
good
taste
and
poetic
morale,
so
through
reciting
various
poems
were
presenting
lots of
information
to
people.
Such a
practice
was
leading
people
to
memorize
the
poems.
Also in
teahouse
where
was a
meeting
point
for
poets,
numerous
discussions
and
debates
were
ensued
and
through
them
people
became
aware of
social
and
other
problems."
"If
we
observe
the
status
of
Iranian
teahouses
more
scrupulously,
we
appreciate
that in
Safavid
era
teahouses
functioned
as a
kind of
school
which
helped
people
to
realize
their
own
poetic
and
artistic
talent.
In this
process
the
narrators
played a
very
important
role and
they
hoped
that
someday
again
they
hear the
whispers
of the
narrators
who have
stick in
their
hands,"
she
concluded.
Next,
Abdul-Reza
Modaresizadeh
remarked
on
"the
specific
words in
Sa'eb's
Poetry
from the
Methodological
Viewpoint:
"All
poets
have
reflected
life,
nature
and
living
environments.
For
instance
in the
Khaqani's
Poem's
the
hiding
place of
the
giant is
in
mountain
but in
Hafez or
Sa'adi
poems it
is
living
in the
desert,"
he said.
"The
frequency
of
flower
in the
poems of
Baba
Taher-e
Oryan
has a
particular
significance.
He spent
many
years in
the
magical
Aprils
of
Alvand
Mountain.
On the
other
hand,
flower,
rope,
well in
the
poems of
Khaqani
and
Shahab;
and Saba
wind,
breeze,
the sage
mentor
have
highly
frequented
in the
poems of
Hafez,"
he
added.
The
scholar
pointed
to the
poems of
sa'eb
which
partly
influenced
by the
replacement
of the
capital
from
Qazvin
to
Isfahan:
"in
the
poems of
Hindi
style
the
first
clear
point is
the
interpretations
of
garden
and
street
beside
each
other.
Before
that we
hadn't
such
interpretations
and the
first
specific
words of
Sa'eb's
poetry
embody
the
beautiful
nature
of the
new
capital,
Isfahan."
Modaresizadeh
remarked:
"Due
to their
religious
intolerances,
Safavids
established
an
environment
which
encouraged
many
poets
and
artists
to
migrate
to other
countries
including
India,
also
Sa'eb
himself
traveled
to
India,
this
point
accounts
for
particular
significances
of some
words
like
stone.
As the
result
of their
travels,
these
poets
were
encountered
several
stones
in
desert
which
functioned
as signs
to guide
the
travelers."
"Although
Sa'adi
traveled
for more
than 30
years,
but he
never
mentioned
twister
in his
poems
but the
poets of
Hindi
style
led by
Sa'eb
employed
this
motif in
their
poems
for the
first
time.
The
other
motifs
of Hindi
style
include
passing
through
to see,
the
debris
of
treasure,
kebab,
and even
business
terms
like
Portuguese
wine,
the
mirrors,
etc.,"
he
added.
"Influenced
by
Sa'eb,
many
poets
began to
compose
their
poems in
Hindi
style,
nevertheless
in a
specific
period
these
poets
gathered
and
decided
to
change
their
style.
In most
societies
the
visual
arts
have
been
indebted
to
literary
narrative
and
interacted
with
that.
The same
is true
for
Iranian
painting,
but in
Isfahan
School
and
Safavid
era the
relation
and
interaction
between
paintings
and
literature
was
interrupted
and
painters
and
poets
started
working
independently,"
Modaresizadeh
said.
The
other
lecturer
of the
session,
Seyyed
Rasoul
Ma'arekzadeh
accounted
for the
interaction
and
opposition
of poem
and
painting
in
Isfahan
school
from the
view of
literary
arrangements:
"Art
is a
representation
and
interaction
between
nature
and
society,
meanwhile
literature
is
regarded
as a
kind of
social
Institute
which
reflects
the
ideas of
artist
and
his/her
contemporary
society.
Although
the
post-structuralism
theory
regarded
the
artistic
texts as
independent
phenomena
from
artists
and
beyond
history,
Rolan
Barthes
and
Jaques
Derrida
challenged
this
idea of
self-containment
of the
texts."
"In
Safavid
era,
Iranian
land was
united,
welfare
and
security
were
provided
and an
appropriate
ground
was
prepared
for
arts,
yet
painting
and
poetry
were
less
patronized
as the
result
of
Safavid
kings
ideas
and
tendencies.
So poem
and
ghazal
were
approached
to the
popular
language
and
their
atmosphere
closed
to
realism.
Many of
the
words
and
phrases
from
popular
culture
arrived
to the
poems of
that
times.
On the
other
hand,
painters
who were
worked
independently
approached
the pure
art and
mostly
expressed
the
stories
of real
people,"
he
added.
He
pointed
that
paintings
became
so
lively
and
demonstrated
human
movements
and
characteristics:
"In
the
interaction
of
painting
and
poetry
(mostly
ghazal-s
of
Isfahan
School)
and
studying
the
aesthetic
codes of
texts
and
general
signs in
terms of
literary
arrangements,
we
realize
that
while
these
two
artistic
genres,
painting
and
ghazal
have
worked
independently
and
seemingly
are
opposite
to each
other,
at the
same
time
have
followed
the same
track in
terms of
theory
and
practice."
Ma'arekzadeh
accounted
for the
similar
subject
matters
and
images
in
painting
and
poetry:
"Pavilion,
shoe,
pets,
saqi,
wine,
turban,
rosebud,
nightingale,
veiled
woman
are
among
the
elements
which
highlighted
in the
poetry
of that
era. As
a matter
of fact,
all the
subject
matters
and
elements
have
contributed
to make
the
transformation
in the
painting
and
poetry
of
Safavid
era." |
