Symbolism in Iran (Persia)

Symbolism in Islam

Summary:

Persepolis ( History of Persia , the lost land) .

Symbols in persian architecture .

Symbols in persian literature

Persepolis- the lost land..

By looking back, we can analyze Persepolis going through 2 categories History of Persepolis – since back then until today , and symbolism of these ruins. 

  1. History - Historical data attesting the existence of the majestic building inside Persepolis . 

Persepolis was the ceremonial capital of Persia ( 550-330 BC ) . geographically speaking, Persepolis is situated 70 km from Shiraz (Iran ) . Dating from 515 BC, the name is derived from the Greek " Perse Polis " , meaning Persian City . In antiquities , was known as the " Tacht e Jamshid " Throne of Jamshid and meaning also " Chehel Minar " - The 40 minarets .

In what follows , we will talk about the origins of Persepolis - " Tacht e Jamshid " . Over time , they found historical documents attesting the existence of Jamshid in Persian mythology .

PERSEPOLIS

Jamshid is a mythological figure , his name is composed of Jam and Shid . In Persian translation , the name would be Yamaha Xsaitah . Jamshid was the god of the dead, its existence is recognized by the Hindu religion.

In Zoroastrianism (religion about which we speak in the following ) was the son of Vivanjhat Yiima , deity of the sun . Yiima was the first man on Earth , and according to mythology , along with his sister Yami , Jamshid gave birth to the human race. Yiima died first , he became king of the Land of the Dead . Also it is said that he would be the one to lead the lost , the Land of the Dead . Along with him, there are two dogs, each with 4 eyes (symbol shown in the 2nd part of the document ) .

Persepolis..

Persepolis.. From the archaeological point of view , Persepolis was first

investigated by archaeologist André Godard . It attests to his work that Cyrus the great build persepolis , but that it is not true. The truth is that Darius build it . Darius , the ruler of Persia, ordered the construction of Persepolis , construction was then continued by his son Xerxes the Great. Herfeld archaeologist and specialist in the ruins of Persepolis , mentioned in his works would be that Persepolis was built by the need to have an official place for ceremonies .

From the architectural point of view , for the lifting of all buildings in Persepolis , was used wood columns , black marble and stone course . It is divided into four general groups : military rooms , rooms for storing treasures , lounge / receptions and ceremonial houses for the King.

After the death of Darius , Xerxes continued work in this factory since 30 years. Unfortunately , not all rooms have been completed.

Persepolis became the capital of Persia.

Persepolis .. 2. Symbolism - Symbolic Persepolis   As presented above, Persepolis was called " Tacht e Jamshid ' , this name

referring to the existence of Yiima , mythical King of the Dead . He leads the dead , accompanied by two dogs each with four eyes. In

terms of symbolic dog in Iranian culture should be one that helps those who have died, to find the way, and not remain trapped between the two worlds - that of the living and the dead . The appearance of the two dogs is certainly symbolic and does not refer to the number itself . In this context, figure 2 can mean "double " , "twins ", " shape and shadow" , "original and alter- ego " even the two worlds and the border between them.

This symbol appears in Zoroastrianism . Zoroastrianism is an ancient religious concept.

It takes its name from the philosopher Zoroaster who " divided " the religion of Iran, in two categories: Ahura Mazda ( the enlightened wisdom ) and Angra Mainyu ( Destructive Spirit ) . As a general concept it mentions a single God , all-knowing and all-powerful , and denies the existence of possible negative forces supreme , in contradiction to this god. Of course, here comes the evil that seeks to destroy the good, as in any other religion. Also , there is the conception that man is free to judge between good and evil (Free Will ) .

Persepolis

PERSIAN ARCHITECTURE

Like many other places in Iran ,we can also find some symbolism in the architecture.

Among all the intriguing buildings in Iran,the most full of symbolism are actually the mosques.An essential meaning is held by a simple feature:their form.We all know the typical mosque is made out of two minarets and a dome,but how many of us know what they actually represent?Since the main purpose of a mosque is the Devine worshiping and soul purification,it makes sense that its form has similar meanings:the typical minarets always found in pairs of two on each side of a dome are actually the symbol of a man with his hands raised towards the sky,towards the Devine power.It is the symbol of prayer,the symbol of acknowledging the existence of the Greatest.Apart from this meaning of the minarets,there is also their initial purpose which is to guide the ones wandering.Even from the most ancient times ,high lightened towers (afterwards called minarets) were placed in cities in order to give the lost ones a clue for which way to head.Taking the old meaning of the minarets and attributing it to the holy mosque,the minarets take the symbol of much deepest guidance,the guidance of the soul.

Moving on to other kinds of symbols, you will be introduced to the most significant numeric symbol in Iran, the number 40.It is well known that this number symbolizes abundance and multiplicity in literature,but Shah Abbas brought its meaning in architecture by building a stunning pavilion in the far away Isfahan (city of big historical and cultural importance in Iran) called “Chehel sotoon” ,in translation “Fourty pillars”.The building actually presents only 20 pillars ,but the huge decorative pool in front reflects all the existent pillars creating the illusion of 40.This pavilion is of great touristic interest and used to be the place Shah Abbas came to fulfill his need to relax.

These two examples are just a slight taste of the abundant symbolism in Persian architecture.

Symbols in persian literature

Like every other nation,Iran has its own literature and,along with it,its own symbolism in it.

If in Romania the most popular symbolism in the eminescian one,presenting shapes and colours as specific symbols,in Iran the symbolism is on a whole other outline ,using more complex symbols and , in some cases, also paradoxal to their meaning.The most representative persian poet in whose art we can find such symbolism is the wellknown Hafez ,a poet considered a classic not only in Persian literature but also in the Universal literature and also the most significant user of the ghazel.

Living in a period in which freedom of speech was not quite welcome,Hafez found himself obligated to use intricate symbolism in order to hide the religious content of his art,this way creating his specific symbols omnipresent in most of his works of art.As freshly initiated readers of his work,many might consider his poems far away from being tangent to religion,but then,digging deeper into the bushy symbolism,we can discover symbols with unexpected meanings.” O wine-bearer brighten my cup with the wine/O minstrel say good fortune is now mine./The face of my Beloved is reflected in my cup/Little you know why with wine, I always myself align.”Known being the fact that alcohol represents a sin in Islam,Hafez,with his inborn ingeniosity ,uses the habits of a sinner wellknown as pleasure producers as a symbol of the pleasure the purity of religion brings to him.The pure metaphorical wine is nothing but a hidden representation of the faith itself,and the result of it,the drunkenness,is the euphoria of a soul drunk in creed.Every creation of Hafez presents such thick symbolism ,Divine worshiping being a constant feature.

Moving on to a larger field than the particular case from above,Persian literature presents also a lot of numeric symbols. No matter if we’re talking about proverbs,stories or even novels,numeric symbols often make their presence noticed.

Far the most outstanding example in this case would be the number forty , signifying abundance and multiplicity not only in literature, but also in architecture. Countless proverbs present the number in cause,most of them having in their content the idea that the age of 40 signifies complete maturity,like a chart of life,ascending till 40 ,then descending till the end.”If until the age of 40 a person doesn’t get married,low chances to do it afterwards”.”If a person doesn’t become religious until the age of 40,low chances to become afterwards”.In fewer words,the age of forty is the summit of life so if until that point you gained no accomplishments,it’s pretty improbable to do it afterwards.

How Persian people are very pios and cherish religion at its greatest,it is obvious we can also find a big amount of proverbs in relation with the mentioned number.”If during 40 days a person does everything on God’s delight,after that period,God will enlighten him/her”.”If during 40 days a person does the same good deed everyday ,God will help him/her mentain the habit”.”If during 40 days a person says his/her prayers each night in a different mosque God will offer that person anything”.And,of course everyone is acquitted with the tradition of giving alms 40 days after the death of a beloved one,or the 40 days length mourning.Well,as I manage to prove above,the number forty makes its presence noticed in many contexts.

These being said,Persian literature has a very vast symbolism which one could write a whole book about and these were just a few shells from an ocean of symbols that I chose to present.

Proiect realizat in colaborare de

Dume Alexandra si Kaighobadi Neda.