جستجوی مقالات مرتبط با کلیدواژه « کتیبه » در نشریات گروه « ادبیات و زبان ها »

 Inscriptions are written and carved documents on the bodies of stones and on the doors of buildings that testify to the longevity of ancient Iran and the extent and justice of its kings.The first inscriptions remain from the Achaemenid period, which are written in ancient Persian, Elamite and Babylonian languages and in cuneiform script, which has caused the invention of cuneiform script to be attributed to Great Darioush. Among the famous Achaemenid inscriptions, we can mention the inscriptions of Ariarmene, Arshame, Korosh II, Darioush I, Khashayarsha, Ardashir I and others.The praise of gods from the ancient past has remained in the prose and poetry of ancient Iran; which is used at the beginning of the speech and in prefaces. Most of the praises are enumerating the glory and majesty of Gods and recognizing them as pure from any impurity that without their help, victory cannot be achieved. The same points are more visible in the surviving stone inscriptions from the Achaemenid period. As Dariush considers his successive conquests in the help and will of Ahura Mazda.According to our hypothesis, the name of Ahuramazda is more frequent in Achaemenid inscriptions, and the main reason for this is that Achaemenid inscriptions are more numerous than Sasanian inscriptions. The ancient Persian alphabet was derived from the Akkadian alphabet and the Akkadian alphabet was derived from the Sumerian alphabet. This alphabet has thirty-six letters and two separating words with eight adjectives for the concepts of Bagh (God), Deh (Country), Bom (Land), King, Earth, Ahuramazda (in active and passive).

By studying several inscriptions from the mentioned periods, he investigated the praise of Ahura Mazda in them; Accordingly, this research is based on a library study and descriptive-analytical method.

Achaemenid inscriptions are extensive and include columns with different lines. These inscriptions are often written in three cuneiform scripts (Old Persian, Babylonian and Elamite). The contents of praise in this period of inscriptions are as follows:Help: In the inscriptions left from the Achaemenid period, the kings attributed all their great works to the help and favor of Ahura Mazda. And Ahura Mazda has been praised as the greatest gods, the helper of the judge, the eternal god who always brings happiness and comfort to man; Greatness: The glory and greatness of Ahura Mazda is mentioned; Will: refers to mentioning the will of Ahura Mazda in all matters; Reward and forgiveness: It refers to any kind of giving and awesomeness of Ahura Mazda; Creator: Creation has always been with Ahura Mazda and is as ancient as Ahura Mazda; Religious need from Ahura Mazda and other gods: In Achaemenid inscriptions, in addition to praise, Achaemenid kings asked for their religious needs from Ahura Mazda and other gods.In the Sasanian inscriptions, these things are also discussed: Multiple deities: refers to multiple gods; Support: God's support for a person is less mentioned in the inscriptions than other topics; Prostration to Ahura Mazda: refers to praying to Ahura Mazda; Religious need: Religious need in inscriptions has been a fluid issue in inscription writing, as it was also examined in Achaemenid inscriptions. Yarigar: Asking God for help in various matters.

Based on the investigations of the Achaemenid and Sasanian era inscriptions, it was found that the praise of Ahuramazda is more in the inscriptions of Achaemenid kings and Dariush Shah is the most praised among other kings. The frequency of praise in Achaemenid inscriptions is six attributes, and in these six attributes, traces of other attributes can be observed, which overlap. In the inscriptions of the Sasanian era, this number has been reduced to five adjectives.

The present article focuses on one of the private and monumental inscriptions in the Sasanian Pahlavi script and language in India. The Buddhist Kanheri Caves have been located at the suburbs of Mumbai. There exist six inscriptions in cursive Pahlavi script that date back to the 11th century A.D. (1009-1021 A.D.). These inscriptions have been written down by a number of Zoroastrian merchants who travelled to India and visited the caves. They are the earliest evidence proving the presence of Zoroastrian merchants in India. The earliest inscription belongs to 378 Yazdgirdi (1009 A.D.) and the second one belongs to the same year but has been written 45 days after the first one. Both inscriptions bear the same names. The third inscription dates back to 390 Yazdgirdi (1021 A.D.) bearing different names and the fourth one also belongs to 390 Yazdgirdi (1021 A.D.) and bear the name of a visitor. The fifth inscription is illegible and the last one bears the proper name “Ābān Āzargušnasb son of Farrox. It has been mentioned in the third inscription that the Zoroastrians

The present article is about the reading of a Sassanian inscription engraved on a gemstone ring unearthed in Māzandarān province. This gem inscription is a sentence asking an inspiring and supportive “king/ruler” for help and hope. In addition to the translation and interpretation of the engraving, the meaning of the word xwadāy in this function has also been discussed.

Based on the existing documents remained from Iranian Languages, the present study aims at investigating the significance of translation through the three historical epochs of Achaemenid, Parthian and Sassanid dynasties in Ancient Persia. The results indicated that the geographical extension of each empire along with existence of variations in population, language and traditions as well as the diversity of economic, social and political relations had made the use of both written and oral translations inevitable for their citizens. Such documents and the historical analyses around them reveal that the majority of translations of the era were the Royal Orders, religious and scientific texts and deeds related to commerce and families to fulfill the requirements and goals of the era. Moreover, some measures taken byShapur I, Shapur II and Khosrow Ito develop translation and interpretation were so vast and influential to be named “the movements of translation”. Studying translation products made in the era also revealed that there existed several languages simultaneously but with different ranks. The results of the present study can be of use to researchers in fields such as history, history of science, archeology, historical linguistics, Iranian studies as well as Iranian Culture and Literature.

In the study of the inscriptions of the Islamic era of the Persian world, an overwhelming text in the inscriptions attracts the attention of the scholars; this text reads: The project “Review Persian Inscriptions in the World” from East China to the Heart of Africa, which is being prepared by the authors of this paper in a field and library, has had many achievements, one of which is the subject of this article. Based on the two main questions of the paper, we attempt to show which text has had the highest frequency of usage in the inscriptions of the monumental historical building? And what factors have spread this phrase among people with different beliefs and languages? To reflect on the subject, many of the historic buildings were surveyed in the cities of Istanbul, Turkey, Russia, Baku, Azerbaijan, Kabul, Uzbekistan, and many other parts of Iran. Eleven samples were selected. The accuracy of these images shows that in the course of successive periods on top of the door heads of the houses, palaces and public places of many countries of the region, despite some existing conflicts (Iran and Ottoman examples), this phrase is observed, which is a sign of reflection of Persian language in the religious, political and artistic culture of these areas. It can be said that the rhetoric of this text is in the form of a versatile word in which the word and meaning are beautifully intertwined. Also, the presence of «)I testify that there is only اشهد ان لاالله الا الله the most important slogan of Islam, » one God, the one and only), alongside Egyptian Farsi, which contains several cultural beliefs, is due to the expansion of this inscription, even in among other languages. Another reason is that the studied areas, within a certain time period, are among the Seljuk villages, and the ground for the development of Persian culture and language, including the theme, is provided in these areas.

The Mihrab of Kahsan’s Jami’ mosque is one of the most important stucco Mihrabs of Islamic Period which has had an important place in the history of Islamic art of stucco designs and the evolution of the jami’ itself. Yet, despite this historical significance, no comprehensive study of this Mihrab has been done and this is maybe because of the desolate condition of the Mihrab in the recent decades. Therefore, this paper’s objective is to present a detailed description of this Mihrab and then, according to decorative and structural features, to determine its place among all Islamic Mihrabs. To reach this objective, a descriptive-analytic approach has been used. At the end, the problem of dating this Mihrab has been discussed.
According to available evidence, it can be concluded that the Mihrab of Kashan’s Jami’ is one the important stucco Mihrabs of the Islamic period and the only reasonable time for its construction is the period between sixth and eighth centuries AH.

The Pahlawi Inscription of Azarshab known as Niroogahe Sicle Tarkibi (Kazeroon fourteen) is one of the late Sasanian gravestones (iethe year 6 of Yazdgerdi, according to the sixth year of Yazdegerd reign,the last Sassanid king). It have been discovered in the year 1384 (H.) during the excavation near the combined cycle power plant tower In East Kazeroon. The content of the such inscriptions are to in troduce the Dakhma orgravestonesof the deceased and his father and the name of person who ordered to build the gravestones and asked forgiveness for the deceased. The inscription is in the form of a rectangular cube of side columns and the Pahlawi text is written on either side of it. In this paper, first I have proposed a new reading for the title "Azarshab" instead Sicletarkibi!, then I have suggeste dreading of a few words that were not previously read.

Village of Abyāneh is one of the marvelous Iranian historical villages that contains considerable art-works from different historical periods, including a number of engraved doors on some of the historical buildings and houses which beautiful inscriptions are carved over them. Religious buildings of Abyāneh contain five engraved doors, three of which belong to Porzaleh mosque; one dates back to Ilkhanid era, while the other two is a work of Safavid period. One other door made in safavid period is placed in Hosseinieh near the village holy shrine and the last one is a beautiful door from Qājār period at the entrance of Jameh (congregational) mosque made by Safar Ali Bidgoli. There are also about twenty single doors from safavid period standing on Abyāneh houses which are masterpieces of art and architecture. The inscriptions over the doors of houses include monotheistic statements, Persian poems, name of the owner and craftsman, and the date of manufacturing. Persian poems and Arabic phrases are typically composed of worship to God, ask for abundance and blessing, emphasis on monotheism, and seeking help from God. After the names of God, Allah in particular, the name of Ali is mostly seen on the doors that illustrate the cultural and religious impact of safavid period. The inscriptions were incised on the doors inside arabesque shaped frames on the top and a beautiful Shamseh (sun-like) in the middle. Abyāneh’s doors are key elements which represent a great part of cultural, historical and artistic identity of this peerless village.

The present paper is about an inscription from the Parthian era which has been found in the town of Sar-e Pol-e Zohab in the province of Kirmanshah. This Parthian bas-relief is about two people on the two sides of the bas-relief inscription. The investigation on the right-handside, due to erosion is not quite readable, but the left-handside inscription had been formerly read and believed to be ‘Godarz, son of Gew’. As I have personally studied this inscription and obtained a moulding there of, I have come at a different understanding; it reveals ‘Godarz, son of Ardawan’. This present paper refers to this incident.

The present paper aims at introducing and presenting the reading of a new found funerary inscription in the Bokhong region of Kazerun in Iran. This funerary inscription is a monumental inscription belonging to the end of Sassanid period and the beginnings of Islamic period. Numerous funerary inscriptions were found in this region. These inscriptions are significant as they are informative both with regard to epigraphical issues and evidences about ancient funeral ceremonies. This inscription is in cursive Pahlavi. It is broken and damaged and was found in the vicinity of a mosque in Kazerun. The name which is read on this inscription by the authors of the present paper is Mahbam.

During 1966-67، some murals were unveiled in Panjkant، beside the altar niche of the room 1، the major hall، section 22. Parts of an unknown story are serially illustrated on this wall، ending with the victory of the hero in the gate of the fortress. A Sogdian Inscription with 12 vertical lines in the fortress refers to the content of the story that most probably belongs to the circle Thewenak stories. In this research paper، after reading the text of this Sogdian Inscription، the writer gives its transcription as well as its Persian translation. The paper concludes with the studying of the mural’s style.

This article strives to explain the factors leading to the prominence of the Goddess Anahita in that particular epoque based on the evidence found in the inscriptions in the Achaemanid era, and Aban Yasht in Avesta. Also reference is made to the writings of Greek historians to justify the significance of the Goddess Anahita, at the time of the drought, happening probably during the reign of Artaxerxes II. The climate of Iran’s plateau is also taken into consideration.

Katibeh (calligraphic frieze), is a decorative as well as informative device in Islamic architecture with different styles of Arabic and Persian calligraphy. Nastaliq stroke, rarely seen in 9th century works, was widely introduced in architectural Katibeh writings from 10th century AH.Shah Nematollah Vali’s mausoleum, a 9th century (840 AH) monument, is decorated with one of the oldest Nastaliq Katibehs.The first half of the 9th century AH is the period when Nastaliq style of calligraphy began its perfection. The famous Shahnameh Baysonghori is in Nastaliq style and belongs to this period. Although not a masterpiece in regards to the esthetic values of calligraphy, the work is of prime importance in that it is the first experience towards the evolution of Nastaliq style of Persian calligraphy which turns to be the most beautiful stroke worldwide. It also shows the concern of the great men of that period to have the most exquisite copy of Shahnameh written in Nastaliq. The Katibeh of Mahan has the same situation, but of a smaller scale.