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

The fertility rite is one of the most common rites that existed in most ancient civilizations. Today, manifestations of fertility rites and footprints of fairy and Anahita as gods and symbols of fertility can still be seen in many local and indigenous ceremonies, songs and plays in different parts of Iran. Writers In this research introduced and traced the myths of fertility components and rituals in the mausoleum of the fairies (South Khorasan) and its relationship with Anahita, the fertility goddess of ancient Iran. The rites of the Mazar-e-Pariyan of South Khorasan include sacrifice and offering gifts, spreading the votive table, overnight stay in the tomb, dancing and rejoicing, special lettering, etc. The roots of these rites were also studied in this research and the researcher It turned out that the rites of this Mazar are derived from the worship of Anahita, the fertility goddess of ancient Iran. Of course, the fairy who was the goddess of birth and fertility in ancient Iran, with the advent of Zoroastrianism, was hated because of some of her deeds and was among the devils. Continuing its evolution in the Islamic period, due to some similarities with the jinn, and some popular beliefs about the jinn, led to fairy tales and, consequently, to the fertility mirrors of the fairy tombs of South Khorasan.

One of the motifs in Iranian epic stories is the presence of mythological heroes and characters. Water goddesses and other goddesses are mythological figures that manifest in the form of well-known women in epics. Carefully examining the epic-heroic long story of Samak-e Ayyar, one can notice the function of such a belief in a female character in the story using a descriptive/comparative-analytical method and by citing the works of mythologists like Mehrdad Bahar and reflection on mythological hidden layers of Samak-e Ayyar's epic prose. Themes like love, beauty, underground imprisonment, being sentenced to death, freedom at the expense of losing the first beloved and finally rising to power for the female character of this epic story indicate that Abandokht in regard to her mythological arches can be a symbol of goddesses like Ishtar Mianroudi and Anahita. Based on this hypothesis, the authors have tried to conclude that the influence of Mianrouds and their liability to be influenced in Iranian myths led to the formation of common structures, one of which is the appearance of the similarities between the above-mentioned mythological goddess and Abandokht in the story of Samak-e Ayyar.

Myths and stories, created by the general public, are a good platform for exploring the mythological beliefs of each nation. In Larestan region, due to bad weather, drought and scarcity, beliefs and ideas about fertility and rain-seeking rituals are left, which are the heritage of the ancients having mythological patterns. The combination of these beliefs with people's lives is sometimes so much that it affects all aspects of their lives. The purpose of this study is to achieve the patterns of fertility myths and rain-seeking mirrors manifested in Larestan region. In this research, data have been collected by field and library methods through a descriptive-analytical approach. In data analysis section, the fertility myths and rain-seeking mirrors in Larestan region have been investigated; attempts have also been made to reveal any similarities or differences between the myths of this region and the Iranian and non-Iranian myths. The findings showed that the fertility myth in Larestan region consists of five pillars of Varzova, Indra, Crow, Tishter and Anahita, about which the people of the region have special beliefs. On the other hand, the three rituals of "qeble doa", "Allah bede barun" and "khushe neshan" are the remnants of the rain-seeking rituals in Larestan region.

Worship of the mother goddess is one of the deepest beliefs in the minds of various nations and peoples throughout human history. Ancient civilizations such as the Iranians and the Turks have long had this religion and the beliefs and customs related to this myth still remain in the culture of these tribes; considering the closeness of the cultural and historical background of Iranians and Turks, a study on their mythology can  give us lots of information of the history and culture of both nations; Therefore, the aim of the present study is a comparative study of the mother goddess in Iranian and Turkish mythology and the main question is what is the relationship between the mother goddess in Iranian and Turkish mythology? The method of this research is comparative-analytical. Findings show that despite the differences in some aspects attributed to the Iranian and Turkish mother goddesses in the myths of the two nations, there are many important similarities between the concept and function of this myth among Iranians and Turks.

Tales form an important part of folk literature and culture. This part of folk culture is a place for the manifestation of beliefs, thoughts, and the common peoples’ way of living in any nation. The tales of any region, especially oral ones, is an appropriate bed for the analysis of mythical beliefs of that nation. In this study, one of the most current tales entitled “Chelgis” in Fars province “Kohmare Sorkhi” has been analyzed. The author, firstly, with field method, has registered the tale as accurately as possible and, then, with descriptive and analytical method, has attended to the mythical motifs of the tale. The findings of the study show that mythical beliefs in all the pivots of the story are, sometimes, obvious and, sometimes, symbolic and enigmatic. The author has attempted to investigate the motifs in the following parts: 1) Izedbanoo-Anahita: investigating the outstanding characteristics of Anahita in this tale a) the goddess of water b) the increaser of herd c) cleanser of women’s uterus and investigating the brutal appearance and prospect of Anahita in the tale as well 2) the support of the magical animal from the hero in the story 3) the magical plants and their supporting the hero 4) the fairies body-transformation 5) body-transformation of man to tree and vice versa 6) the role of trees in women’s fertility 7) the place of the fairies in the tale 8) hair as a tool for fertility 9) the impressive birth of the hero of the story 10) the holiness of numbers

In a strange and mythological tale in the so-called historical section of the Shahnameh (the Sassanid empire period of Hurmuzd), Bahram Chobin meets a crowned woman in the palace. After that, he weeps blood, overlooks and changes his manners and speeches. He claims to be a king. A number of eight different interpretations and views have been presented about the identity of this mysterious woman, extracted from the Shahnameh or contemporary writings. These are: (1) a witch, (2) fortune of Bahram, (3) a fairy, (4) an angel, (5) a deceptive soul, (6) Daena, (7) a Demon or female demon, and (8) glory. In addition to the Shahnameh referring to this woman as the "fortune" and two ancient and reliable texts introducing her as a "fairy" (Tarikh-i Tabari or The History of al-Tabari and Tabari and Nihayat al-Arab), the traditions and characteristics of the story show remarkable similarities to the narrative theme of "Fairy and Hero". This lady is more likely to be the fortune of Bahram, originally appeared in the form of a fairy and made him fond of her beauty, and provoked Bahram be a rebel against the Sasanian king as he faced his fortune. Through metamorphoses of Iranian national narratives and dropping some part of her mythological points, this fairy has changed to a good-natured, but obscure lady in the Shahnameh

This essay investigates the foundations of Anahita's religion in the story of Bijan and Manijeh. Foundations of Anahita's religion, including life and nascence, holiness and benediction, domination and power, etc., are observed in the story of Bijan and Manijeh which has the thin and invisible thread of plant myth and story. Anahita, the goddess of water, is the purity and cleanliness angel throughout ancient Iran. She has played a role in creation myth of Zarathustra and the promised child of Zarathustra. She is the symbol of female chastity and purity. She has power and is dominant, is doer and actor. The results from this research show that in the story of Bijan and Manijeh, Manijeh represents Anahita's performances. She has fallen in love and is lovesick. Her feminine spirit flows in the story. She is Bijan's savior and provides him with food and water and librates him. His fall in well leads to consummation of her marriage because Bijan has to go through tough times to be qualified to consummate the marriage of Manijeh who manifests the traits of Anahita goddess.

In his book; Nashvār al Mohāzirah and Akhbār al Mozākerah, Tanoukhi – the judge and Arabic literary writer speaks about a puppet called “Dobārkeh”. This short report shows well how this puppet is made in Baghdad and is placed on the housetop at Nowrouz night-the ritual which is closely tied to the ancient ceremony of new year especially saint marriage. By relying on the evidence gathered from Tanoukhi’s re-interpretation and extra textual signs of New Year in Babylon and puppet rituals of Iran, this paper tries to unveil the nature of “Dobārkeh” and its link to the goddess of fertility. The most important result of this research is that Baghdad’s inhabitants hold this ceremony and “Dobārkeh” is the goddess of fertility represented in the body of this puppet. Therefore, it is possible to take into account   “Dobārkeh” and its rituals in the same vein as Nowrouz theatrical rituals.

‘Qalʿa-ye dokhtar’ (Maiden Castle) is a name given to some castles in Iran and adjacent countries. As for the reasons behind the naming, there are two main arguments. Conceiving those castles as impregnable ones, an older argument builds a connection between the virginity of girls and alleged invulnerability of those castles. In a totally different direction, a modern argument interprets ‘dokhtar’ as a title of Anahita, the river-goddess of ancient Iran, and considers qalʿa-ye dokhtars as vestiges of pre-Islamic temples of that goddess. Due to a contemporary tendency to project pre-Islamic themes on historical monuments, this latter view has gained vast popularity among Iranians and has influenced the identification of some Zoroastrian and Muslim shrines as once-upon-a-time Anahita temples. This paper assesses the validity of these two views, and arguments in favor of a new theory. It demonstrates that such naming is the product of fantasies of common people nurtured by folk stories featuring some popular motifs of ‘maiden(s) in the castle’. An endeavor to outline types of folk tales associated with those castles is undertaken in this paper.

Ancient Persian had had holy and beneficial elements which had been somehow effective in their lives and had identified goddess as their guardian. After the fire, water was the most sacred element for the Persian people." Anahita" was the god and angel of the clergy and the "Tyštar" was the goddess of rain and angel of day and night. Despite all the changes in this process, what was always persistent was their semantic spirit; the opposition of "good and bad" as an ancient and original mythical theme in the form of the "Thištar" campaigned against "Opus". Field studies in these areas are still remained virgin and they have indicated that mythological beliefs are still alive after centuries and they have varied with little change. These beliefs are sometimes blended with the lives of people which affected all aspects of theirs; so, separation and sometimes their detection are very difficult. Bakhtiari people are one of the rich sources of myths and ancient Iranian beliefs which have a deep connection with the myth and beliefs of the inhabitants of the land of Iran and even Mesopotamia."šaša Daloo" is a ceremony that has been transmitted for centuries through the generations. One of the myths of these people is water and rain. One can clearly see the works of the gods of Anahita and Thistar at the "šaša Dalo" ceremony in Bakhtiari.

Some folktales have a mythic origin. In these tales, characters and events are based on a myth, and an ancient belief. One of these myths is "the goddesses". Their holiness, importance and their various characteristics have the capacity to create remarkable, variant themes in myths. In this article, the descriptive-analytic method is used as the research method. First, the mythological character of the goddess is introduced under these three titles: “The Mother Goddess”, “The Wife of Martyr” and “Anahita”. Then, their impacts on the folktales, and the way they are represented in these stories are investigated. In order to do so, “Qessehaye Amiyaneye Farsi” by Seyyed Abolghasem Enjavi Shirazi, and “Afsanehaye Azarbayjan” by Samad Behrangi have been examined.

Shabdiz and Golgon, two beautiful horses of Khosrow Parviz’s court, have been the subject of many historians, especially Shabdiz, that according to some historical sources, was one of the wonders of the court of Khosrow Parviz. The fame and glory of this historic horse brought it into the world of myths as far as many Persian literary works came out and many poets used it to create unique works. Since the name of Shabdiz is linked to night and darkness, it is a beautiful theme for the poet's imagination to fly in the night sky; however, the poet's imagination was not limited to the night sky, but the sky of the day, with its companionship, Golgon, was seized by him. Nizami is one of the most talented poets in the field, which illustrates the story of these two beautiful horses in the style of Myth-Lyric. The symbolic birth of Shabdiz's birth is somewhat reminiscent of the birth of the Mithras from the Stone and a marker of the new processing of the ancient myths, which undoubtedly derives from the past ritual beliefs in the drawing of day and night as a horse; it is possible that Nizami depicted Shabdiz and Golgon to associate them with Mithras and Bahram and as the symbols of day and night. Golgon symbolizes the day and the brightness of the god Bahram, and his counterpart, Shabdiz, is the night sky, and is a symbol of Mithras, the god of the night, as if they are a concept of time in a hall of symbols and similes. The magic of the Nizami’s word, with the preservation of the historical and structural framework of narrative, has tied the story of these two horses to the ancient beliefs, rituals and mythologies, so that the names of these two always shine in Persian literature.

One of the myths about places of pilgrimage in Iranian culture is the myth that tells about the absence of girl from fountain or well which is reflected in public beliefs. Perhaps, the background of this myth is the story of stealing Shahrnaz and Arnavaz, the daughters of Jamshid, by Zahhāk and being freed by Jamshid, and the story of the absence of Kei-Khosrow from the fountain. Some scholars believe that in Aryan culture the stealing girl or cow is connected with absence of rain. This article indicates that this myth has five basic elements: the absence of girl in a determined place, the place of absence that is usually connected with water (fountain or well), the evil that the girl is absent for deliverance from it, the dream that narrates the story of absence and holiness, and the holiness of the place and the holding the rites of pilgrimage. The places include all Zoroastrian holy shrines (pirangah) and many Islamic Shrines as well. The exact analysis of elements of the myth needs to notice the location of fountain, water, stone and sacred rock, wickedness of the evil force and its attack on the holy force, spell bounding of water and blessing, and water shortages. Also, the relationship of the myth with Anahita is proved in the article. Since the myth appears in dream, a psychological analysis is employed. As a result, in pre-Islamic era, the shortage of water in fountains and wells relating to the absence of Anahita, transforms to the absence of the daughter of saint in Islamic period.

Persian goddesses like Anahita, due to their potent presence in ancient historical periods and the mystical world and also by having motives from archetype of the Great Mother continue their existence in different arenas of the human mind. Persian folk legends, which are extracted from people's unconscious mind, have prepared the ground for Persian goddesses to continue to live through history, so that by analyzing such legends we can observe the presence of goddesses and their functions in different human and animal representations. The purpose of this study is to investigate the animal representations related to the existence of the water goddess (Anahita) in Persian folk legends. Through an analysis of sources, the results of the current study reveals that Anahita, the water goddess has some animal representations in Persian folk legends which are manifested as a horse, snake and bird, and thereby she is able to perform her functions in a superhuman model.

The present article focuses on different names for water from satanic, divine, and mythological aspects and its opposite elements of fire and soil. It also reviews religious rituals of people in ancient Iran, Zoroastrianism, and the Sassanid time. This article is a brief review of water rituals among Indians, Europeans, North American Indians, and Mexican Aztecs before the birth of the Christ. It also studies the influence of water in the following stories: Fereydoon, Rostam in the second labour, Siyavash, Kaykhosrow and his being purified with water, Esfandiyar rituals and the Raz water (wine), Afrasiyab and his futile effort to take refuge in water, the legend of Alexander and Khezr and the elixir, Ardashir Papagan’s approaching the sea, Shapur and his visit with mehrak, and Yazdgerd and his being cured with the water of the Su spring.

Aboutthe "Babr-e- Bayan" famousarmor of Rostam, sincethereareso manyconflictingopinions and andyetthe substance of this armor,isone of thepuzzlesofShahnameh.Some believe that"Babr-e- Bayan" is made ofdragonskin,skinof AkvaneDiv,leopardorcheetahskinor tiger skin(known predatoryanimals), But inmyopinionnoneofthe aboveis true.Based onthe evidencediscussed in thepaper, thebackgroundof wearing the beaver skin,according byAvesta,come back to Anahitaand as the"Babr" in the Avestaisnodoubtrefers to thebeaver, "Babr-e- Bayan" Rustamwasalsomade ofbeaver skin, Perhapsone of the reasonsthatRostam is known asSegzi, in addition to hisassignmentto theSistan, has been wearing abeaver skin("Babr-e- Bayan") in the wars,Becausethere was noreason that only the enemies of Rustam have been used this word and his friends did not use this word. In the other hand why Rustamfrankly has been hated because of addressing him by this epithet? In this essay according by evidences, it has obtained this conclusion that Sagzi, in addition to hisassignmentto Sistan,this word had been used for contemptingRustam as the meaning "one who lives like a dog". using this word in this meaning because of Rustam is wearing the Babr-e Bayan that is made of beaver skin. "Bayan”, the attribute of"Babr" apparentlywouldbe adistortionofthe"Bghan" means "godly", because thebackgroundof wearing the beaver skinas it was said,come backtoAnahita.

Myth is the primitive men''s thought and reaction، facing with the natural happenings and as those people were uncertain about the causes of mentioned happenings، their reactions towards those events have been accompanied by fear. The very fear made them assume a God for any phenomenon so that they could be safe from the wickedness of the accidents with recourse to them. The formation of myths in human societies has been based upon the very principle; that’s why there exist similarities among the myths of different nations. Among the mythologies of the nations، the two mythologies of Iran and India have the most similarities owing to common، cultural grounds. The present research attempts to comparatively investigate the element of “water” in the two mythologies of Iran and India. The surveys performed suggest that in both nations’ myth of Creation، water is among the earliest material creatures، and this has been due to the importance of this life-giving element in their lives.

Myth, as a sort of ideology, has root in the depth of the human mind. The formation of such attitude takes place during the time and passing years. That is why the myths have a great connection with ethical culture. Such connection makes myths to be reproduced during the history. One of the most important places of such reproduction is literary and artistic works. In these works, the reproductions sometimes are consciously and sometimes unconsciously, sometimes direct or in its original form and sometimes with modification and adjustment or in different shapes and forms. Faced with history, the myths, in order to remain alive, sometimes takes refuge to deeper layers of the literary texts. This research aims to indicate that how and why the myth of Anahita in Khosrow-o Shirin of Nezami was reproduced. It seems that Anahita has manifested in the characters of Shirin and Shak(k)ar through folk literature and is continuing its life in a new body.

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.