جستجوی مقالات مرتبط با کلیدواژه "میترا" در نشریات گروه "علوم انسانی"

The Cult of Mithras (Mihr) is an ancient religion that originated in Iran. Evidence of this cult's presence can be found across its historical realm, from east to west. Over the past two decades, scholars from various fields have focused on this cult. Due to the lack of documented sources and conclusive empirical evidence, researchers have proposed different hypotheses about the cult's origins and its spread to other regions, each meriting investigation. This article examines these hypotheses alongside the existing evidence related to the Cult of Mithras. Understanding the origin of this cult is crucial for revealing the roots of Western Mithraism, which is undoubtedly connected to its Eastern counterpart. To achieve this, we consider three types of evidence: historical, archaeological, and theoretical. By analyzing these sources, we can trace the origin of the Cult of Mithras to Indo-European ethnicities in eastern antiquity. These groups, after merging with Persian culture, moved westward, forming a religious bricolage. Along the way, they absorbed various cultural influences, eventually developing into the recognized form of Western Mithraism.

 This study seeks to challenge many existing studies on ancient Iran in different areas such as archeology, history, culture, and society to set a new theoretical framework to study the abovementioned areas. It also aims to clarify the paleogeography of ancient Iran based on ancient Iranian mythological scripts and oral traditions.

 To conduct this study, very ancient Iranian stories are investigated. These myths are extracted from the holy book of the Zoroastrians, Avesta, which belongs to 1000-1500 BC, or other books written 1000 to 2500 years ago, including Shahnameh, an Iranian epic, or past oral traditions.

 The results show that contrary to previous theories, the formation of those societies dates back to the late Quaternary, after a rise in temperature about 19000 years ago. At that time, people started residing in the center, south, and south-east of Iran. 

The Younger Dryas, about 13000 years ago, forced them to dwell underground. Then, early Holocene droughts restricted them, and a long, severe drought about 4000 years ago scattered them and forced them to migrate. Based on some studies, it was in two time periods, probably before the Younger Dryas and in the mid-Holocene, that the ancient Iranian society experienced good ecological conditions.

Innovation:

 This article opens a new framework in the field of cultural geosciences and expresses a new theory related to the ancient societies of Iran based on myths related to the earth, especially those left in the works of books and early texts.

This article is based on Mithra/Mitra onomastics. The purpose is a qualitative diachronic survey about changes in Mitra and Mehr words in Phonological, etymological, and semantic fields. The domain of research was Old Iranian languages along with Sanskrit; then Middle Iranian languages to New Persian. The analysis showed that Mitra is considered a male deity by grammatical and biological gender in Ṛigveda, Avesta, and other ancient texts. Accordingly, the deixis for Iranian Mitra is “god” and not “goddess’’. Due to phonetic evolution, Mitra became Mehr in the Middle Iranian languages period. Due to the broadening of the meaning, this word accepted a new meaning, “sun”, plus previous meanings (friendship, promise, and treaty). Mehr shows a vast variety in the structure of Middle and New Persian compound personal names. This study showed that methods of compound personal name formation in Hindi and New Persian are similar. Religion, as a non-linguistic element was observed in Mitra onomastics: In contemporary Iran and the Muslim community (Urdu speakers) of India, Mitra is a female name; but in the Hindu community it is unisex.

The hunting icon is one of the first function's that mankind has always tried to depict throughout its history. In ancient Iran, hunting has a religious role and has an important place. In the meantime, Mithraism is one of the religions that has perpetuated the notion of hunting through images. One of these images is the scene of Mithra hunting in the altar of Dura-Europos. We see the repetition of this image in Taq-I Bustan and in the hunting scene of the king. To study the continuity of the hunting scene image (the hunter Mithra to the hunter king), we have used the iconography approach of Erwin Panofsky.Continuity and repetition is somehow implied in the image-icon and is the internal logic of iconology, Iconology is one of the most important approaches that has been used in the study of image. That’s why we use this approach in the present study. The main question of the present article is why the bas-relief of the hunter-king in the Taq-I Bustan is the continuation or conceptual continuation of the same idea of the hunter Mithra on the wall painting of Dura-Europos? The research method of this article is descriptive-analytical and the materials have been collected through documents and libraries. According to the two images studied, it can be said that the idea of practical hunting is to show the struggle between Mithra-Shah and the forces of evil, in order to show the victory of good over evil, and in this way practices such as teaching the principles of aristocracy, passing stages of youth-practice,  sacrifice, killing the boar and its associated symbol, etca are continuaously accompaniments of hunting action. The iconology of the idea of hunting shows that the concept of hunting has gone beyond hobby and its mere meaning and has taken on historical, cultural and religious-political values. Moreover it has continued over time and has been repeated and preserved in images like in Taq-I Bustan.

religionThe Yazidis, a Kurdish-speaking people in the heart of the Sinjar Mountains and the city and around Mosul, have a long history of monotheism. The books “Black Mus’haf” and “Jelveh”, two holy books among the Yazidis, deal with the myth of the creation of the world and man. This research seeks to answer the following questions in a descriptive-analytical way: 1. Who are the Yazidis and where does their origin go? 2. What is the analysis of the myth of the creation of the Yazidis in the two Bibles? The findings show that Yazidis, both religiously and ritual, have a history of uncertainty about the existence of a wide range of Western reading and dealing with these books during the colonial period. Discovering the views of the Yazidi religion is about how the world was created, and that, given the findings and the many commonalities, the difference between it and other research in this field is that the Yazidi religion is related to pre-Islamic documents. Mitra knows. Second, the analysis of the myth of the creation of the Yazidis, like any other religion, has its origins and the views of its people, which are rooted in their beliefs.

 Brightness is certainly the most significant god in the Indo European mythology, and the cycle of opening and closing of day is the main theme in the mythology of this people.  Indo Iranian people have also based their myths upon the nature of light.  Creation, fertility, abundance of water, victory, and other components of life in their beliefs are different manifestation of the brightness myth.  Likewise in Japanese culture god of brightness plays a central role.  Amaterasu, goddess of light is also responsible for abundance and fertility of pastures and the imperial dynasty comes from the same race.  Her life story is the expansion of day and night cycle and resemblance of her life history with that of Indo Iranian people are far more than it could be assumed accidental.  Beforehand instances of the influence of Arian myths over Japanese culture were studied and introduced.  This article has made use of descriptive analytic method to represent common features of Iranian and Indo Iranian myths with the Japanese counterpart in terms of brightness Gods.  The results obtained show that Amaterasu myth according to Japanese beliefs has its roots in Indo Iranian culture considering the historical influence of Persian culture over the Japanese one.  Also centuries after the first entry of this myth to Japan in the second half of the seventh century AD, at the same time that cultural features of Iranians began to penetrate Japan Japanese emperors followed the example of Iranian kings who have long before established kinship to God.  They used Amaterasu myth to legitimize their sovereignty.

One of the stories about the myth of Mithra is her war with the god of sun on the birthday. On the other hand, one of the most questionable stories in Bible is the wrestling of Yaghoub with Elohim, the style, theme and features of which attributed to God does not certainly belong to the Old Testament. But so far as the elements of narrative are concerned, it is similar to the narrative suggested by Mehr religion.  According to the similar fiction in the Mithra religion, this article suggested that the wrestling with the goddess has moved from oral fiction of Mithra religion to Judaism. We considered the historical study of cultural contact that seems to have started from the era of Huris rule and Nuz civilization. In addition, some common elements like night, water, the sun and the morning are also reviewed. The most important mythological element of this narrative is to grant Farrah (blessing); however, the difference is that in the genesis, Elohim grants the blessing to Yaghoub, while in Mithra, the Mehr grants the light beams and the rule of the heavens to the sun. This difference is due to the transfer of one mythic element from a non-monotheistic religion to a monotheistic one.

Avesta is one of the oldest Iranian hymns and text, which was once among the heavenly books and at various stages, it undergoes fundamental changes and has separated it from its monotheistic foundations. Duality and Trinity are among the beliefs that have long been manifested in theistic and nontheistic rituals and religions. The research on Avesta shows that this book, centered on the two powers of "Ahura Mazda" and "Ahriman" is more inclined to dualism, which is influenced by the "Zurvanism". The historical research in various texts relies on the on the power triangle of Ahuramazda, Anahita and Mitra. Using a descriptive-analytical method and focusing on the Avesta and other sources, this paper seeks to study the role of clerics and kings of the Achaemenid and Sassanid era in Avesta along with a branch of the trinity in Zoroastrianism, which has its origins in Mitralism rather than in Zurvanism.

The Encircled Male Bust is one of the most mysterious symbols of ancient Iran and as yet, many researchers have commented on its identity and origin. However, the evidences have not been enough to achieve a certain, ultimate result. Some researchers relate the Encircled Bust to the pre-Achaemenid period and believe that its origin goes back to Assyrian art. On the other hand, there is the possibility that the Encircled Bust is a purely Iranian innovative motif (Median or Achaemenian). So far, there have been various hypotheses proposing that the Encircled bust could be Ahura-Mazda, the Moon God, Mithra, Xwarneh, or alive or dead king. Reviewing the history of the Encircled Bust and analyzing previous opinions, this research concludes that there are two candidates for the identification of this motif: 1. King, 2. a god other than Ahura-Mazda. In the first case, the most possible option is the dead king and in the second case the most possible case is the god of Mithra.

Surūsh (Av. Səraoša), as one of the most venerated deities in Zoroastrian religion, holds a special position in the hierarchy of Zoroastrian deities. Surūsh is one of the few among Zoroastrian deities who are attested in the Gathas. These questions will be addressed in this research: What is the relation Surūsh with other Zoroastrian deities? What is Surūsh's status in Gathas and other Avestan and Pahlavi texts? What is his function in the events of after life? In Avestan and Pahlavi texts, Surūsh is the Deity of obedience and observance in the Mazdean tradition. Surūsh receives and obeys the divine instructions and is ever-vigilant to guard the people against the threats of Ahriman (angra Mainyu). Surūsh would evaluate the works of every person together with two other deities, Mithra and Rashnu, before the soul crosses the Chinvat Bridge. This research is based on the careful study of the Avestan and Pahlavi texts

The rock reliefs of Sassanid era are perfect examples of a political ideal, namely the unity between religion and kingdom. The religious elements and characters which are used in these rock reliefs, especially in the diadem gaining rites, are indication of Sassanian kings’ desire to emphasize on the unity between religion and kingdom. Although Sassanians emphasized on the Zoroastrian monism, Sassanian kings depicted the triangular relation between Ahura Mazda- Mithra- and Anahita in the rock reliefs of their diadem gaining rites. Ardeshir, Shapour, and Bahram I, all take the royal ring from Yazata, Ahura Mazda. Narseh owes his sovereignty to Ahura Mazda and Anahita which he gains his royal diadem from them, separately. Ardeshir II takes the royal ring from Ahura Mazda in the presence of Anahita; and Piruz I is honored to be in the presence of both yazatas, Ahura Mazda and Anahita, while taking the royal ring from Ahura Mazda by his right hand. Regarding the fact that the great Yazata, Ahura Mazda, was usually in charge of giving the royal diadem to kings in Sassanian rock reliefs, shall we ask what is the religious justification behind the presence of Anahita and Mithra in such representations? Shall we try to answer this question in a religious way? Were Anahita and Mithra of that high status which their presence in diadem - giving rites, along with Ahura Mazda could double the legitimacy of Sassanian kings? Or their presence in rock reliefs was the result of interconnection between existing social, political and economic issues with Yazatas individual actions? Also we should mention the presence of Yazata, Bahram, in Ardeshir I relief in Naqsh-e Rajab and alien goddess Nike. According to the historical and archaeological evidence, the presence of these two Yazatas was a reflection of social and political issues rather than a matter of religious fluctuations in different times of Sassanian era. To confirm this claim, we can mention two examples: first, the presence of Mitra in Ardeshir II rock relief and second, the presence of Anahita besides Ahura Mazda in Taq -e- Bostan, both appearing at first sight to be the two instances of Sassanian faith in religious trinity. Political, economic and cultural turmoil in different periods of Sassanid dynasty, sometimes forced Sassanian kings to resort to the most influencing state media, which were rock reliefs. Contrary to the putative interpretation, it seems more likely that Ardeshir II appealed to Mitra for the sake of political legitimacy and proving his royal authenticity. Likewise, Pirouz regained the social safety, balance, and security of his reign by his deliberate appeal to Anahita. Yazata, Bahram or Hercules, plays an important role in Bahram I’s political game and this Sassanian king, Bahram I, could gain historical credit to his reign by mentioning the presence of Bahram in Ardeshir I, Bahram I’s ancestor, rock relief. Foreign policies and honors found their way into reliefs too. For example, Shapour I, at the peak of his power and strength depicted Nike in his relief and with doing so, showed off his dominance over many important Aniranian realms. Even the emergence of Nike in Shapour I rock relief debts much to the political issues as well as Aniranian reflections in empire rather than changes in Sassanian religious system and dominance of foreignism. According to the historical and archaeological evidences, the presence of these two Yazatas was a reflection of social and political issues rather than a matter of religious fluctuations in different times of Sassanian Era. This research is used on comparative analysis of historical documents and archaeological data via Historical Analysis view.

Aryan Iran is cradle of Mithraism; a mysterious religion that traversed the cultural and religious borders and spread in all of the world. So the mystical beliefs of Mithraists and many of their mores and cults become as a part of Iranian and world's people historical heritage and culture. The influence of this ancient religion on Zoroastrianism, Christianty and Islamic mysticism is well known. The traces of Mitra, the great Iranian ancient deity and the goddess of light, can be clearly seen in Persian historical and literary texts. Some of Mithraic thoughts are presented in Tarikh-e Balami (history of Balami), by Abu Ali Muhammad Balami. Many of issues about Iranian culture and civilization are widely reported in the book. By using analytic method, the present article tries to examine Mithraic themes in Tarikh-e Balami.

The nomadic clans of Sangesari are one of the most ancient Iranian peoples whose subsistence is predominantly based on wandering based pastoralism and some of them are still faithfully living in this manner. The goal of this essay is to assess the cultural perpetuation via historical and radical pursuit of the mythical and symbolic features that Sangesari women have traditionally created on many kinds of manual arts especially on woven and ornaments. The cultural entity of any people is substantially historic in which the main discussion is performed around the concept of continuity. Thus, without a paleontology of cultural elements, we cannot make a complete and comprehensive knowledge about culture, since the cultural cognition of any people or group depends on radical and historical investigations. The research method in this study is based on documents and texts and direct observations to Sangesari manual arts.

A survey and analysis of the ancient Iranian religion calls for a profound familiarity with the Elamite religion and its gods. Elamite beliefs played an important role in forming the Iranian religion between the 4th millennium BC and the advent of the Indo-Iranians on the Iranian plateau. In this paper، we examine the Elamite religious background and the major gods and goddesses that were worshipped in Elam. The central motif of the serpent in Elamite rites is also discussed. Pinikir، the goddess of heaven، corresponds to the Babylonian Ishtar. She was later replaced by the mother goddess Kiririsha. Humban and Hutran were worshipped in the 2nd millennium BC and Inshushinak، great god of Susiana، formed a divine triad with these two deities. This triad bears remarkable similarity to the Iranian godly triad of Hormazd-Mithra-Anahita، recorded in Later Avesta and Achaemenid inscriptions. The character of Inshushinak undoubtedly helped shape the Iranian figure of Mithra. Other Elamite religious influences include Kidenn or the divine Aura، which influenced the formation of the Iranian Xvarənah.

Futuwwa is an Arabic word meaning ‘javanmard’ in Persian and ‘fata’ is literally a young man. From its meaning we envisage him as a person who has reached to the apogee of him life or the perfection in his life. According to the available evidences and in comparison to Mihr creed, it is considered that chivalry was prevalent in the pre- Islamic Iran. Drinking a cup of saltwater is similar to Mithra’s ceremony in which newcomers were considered a “newly converted” to Mithra by drinking a glass of wine and eating bread.Likewise, Mithraian called each other “Yaar” and their master “Mehyar”. Also, Ayyaran called their master “Sarhang” and the prefix ‘-sar’ meaning senior and great, remind us of “Mehyar”. Note that “Ayyar” is the popular “Yar” hence their relation becomes clearer. In Sassanid era, “Yar” was a ceremonial title given to king’s friends and helpers.The characteristics of Sassanid “Assvar” namely braveness, athletic, devotion and being bound to morality remind us of “Ayyari” and athletic traits. They were protectors of the king who were determined to do so, and their belt would present their serving the king. This belt was not only a piece of clothing, but also a sign of commitment.After Islam, “Futuwwat” and “Ayyari” divided to two distinct groups: chivalry and militancy is found in “Ayyaran” and piousness and modesty in Fetyan. Generally speaking, we can claim that chivalry of this group changed to characters meaning piousness, generosity, braveness after Islam, which of course, each group “Ayyaran” possessed morality and Fetyan had militancy.

During the long period of prehistoric times, the literature of every society was gradually shaped by myths, customs and practices of different groups of people who had come together in one geographical area. When such ethnic groups, with their unique religious beliefs, rituals and myths, were unified under a single political and religious system, their cultural practices often persisted in the new system. Furthermore, as time went by, the mutual interaction between each system at times led to intellectual and complicated (theological, ideological, literary) syntheses. The Epic of Gilgamesh, an epic poem from Mesopotamia, is among the earliest surviving works of literature. However, it seems that the geographical framework of the adventures of Gilgamesh and the description of landscapes are more characteristics of the area surrounding the Caspian Sea and Mount Damavand rather than Mesopotamia. This article explores a number of themes and motifs in The Epic of Gilgamesh and the medieval Persian Romance, Vis and Rāmin, to locate the archetypal Mesopotamian hero in the myths of the early inhabitants of the Iranian plateau; that is, in the beliefs and the myths of the ancient Elamites who had populated the Iranian Plateau well before the Medes and the Persians.

Myths are the secret and divine treasures to study the origin of spirituality and collective memory of mankind. As one of the ancient civilizations, Iran is the birthplace of great and unique myths that have penetrated into other cultures and as of now it has sustained its elements of identification and culture making. One of the founders of the Iranian myths is secret and mystical fundamentals. In Mehr, Zervan, Amshasepandan, Zahhak, Soshiant, and the like there are some mystical elements, Ishraqi philosophy, and internal tariqa, leading to the emergence of schools of thoughts and various tariqas. Ever since the thinking of mankind began with myths, the roots of spiritual and mystical roots are also investigable within such myths.