جستجوی مقالات مرتبط با کلیدواژه "آناهیتا" در نشریات گروه "علوم اجتماعی"

Ancient myths represent historical heritage of cultures. Through studying ancient Persian mythology, as a kind of collective Iranian unconscious, social aspects of feminine rationality has been sought in this paper; so they can participate in management of social affairs. For this reason, after explaining and analysis of Persian rationality, related goddesses and creation myths to feminine rationality have been studied, and Iranian rational feminine capabilities for establishing an ethic-oriented civilization have been gathered. Rereading myths showed that Persian rationality and wisdom of Ahura Mazda is the same which essentially based Good thoughts, good words, and good deeds that, unlike modern instrumental rationality, could not be seeing without ethic of kindness and altruism. In this discourse, women would be admired by their maternal abilities, and, dissimilar from their counterpart Greek myths, they are not symbols of instincts; therefore, they do not in contradiction to masculine civilization-making rationality. Women introduce as mothers’ of society and the origins of Ahura Mazdian reasoning in the social life. Thus, elimination of women from making civilization is to cutting the roots of altruistic rationality.

Melmodas is a beautiful and seductive woman who attracts men with a fragrant, singing scent and slices them between her saws. This myth is related to the Persian Gulf and is similar to the Greek Sirens. This research has been done analytically in order to understand the mythical status of this character as well as to understand its roots. In examining Melmodaschr('39')s myth, according to the theorists, it is understood that this case study is the birth of a double Anahita. In examining the appearance and affinity of Melmadas with Anahita, we come to a dualism and the contrast of two myths. As perceived, Melmodas represents the transition from motherhood to patriarchy, which expresses the anger of human nature.

Arab Jinni's carpet is an example of Suleimani's carpets. This carpet has a primitive images and symbolic motifs. This sample of Suleiman carpets has different characteristics than visual/pictorial carpets. This kind of carpet has special form and color combinations that represent the metaphysical world. A non-Iranian man writes part of his book to the Arab Jinni's carpet. The name of his book is A Buenos Aires Collection: Rugs and Art/Tribal bird rugs and others. It is very important to publish an image of this kind of rare carpet that is not currently in Iran and is not even woven in Fars province. The home country of Arab Jinni's carpet weavers is Fars province. The research method in this paper is content and descriptive analysis. The knitters of this carpet are migrants of Fars province and their designs reflect their tribal culture. In different literary and folklore texts of Iran, Fars province is called the land of Solomon the Prophet. The stories of Solomon of the Prophet are related to the religious and geographical beliefs associated with the goddess Nahid and Khidr of the Prophet. The Khidr of the Prophet and the Nahid goddess have shared duties, and this has led to their similarity and consistency. Carpets with mental and improvised maps woven in the tribes depict the indigenous and religious beliefs of the people.

Spirituality and religious status of women in Kurdistan also have different aspects. For centuries, the goddess of his mother, and his holiness, which is a symbol of the respect and importance of women, is in the midst of Kurdish culture and worldview.
The cultural zone of Kurdistan is the land of the first religions and abstract systems which, in their dawnings, have been mixed with feminine characteristics and the honoring of the mother goddess. The position in Kurdistan in this regard has two contradictory facets: in the literature and the present social system, we can observe a patriarchal system and ideology to some extent. Studying the religious roots of Kurdish culture, however, we can observe the evidence for the maternal system, the sanctity of goddesses, and consequently the spiritual and powerful position of the woman. Among the characteristics of all the material and immaterial works surrounding the woman and the mother goddess is their strong symbolic and abstract nature. These symbols have mixed features and have evolved over the ages, and today they comprise the main sources of the rich literature and traditional arts of the Kurds.

Iranian artworks such as metal, during the historical periods, reflect the ideas and viewpoints, such as political, economical, and religious ritual. Among this metal work of Sasanian period are due to frequency and variety of designs and considered a paradigm of belief and thought of this era. The figures of womens and If shrewdly pointed out, the figures of the goddess Anahita; is one of the greatest groups of motifs depicted on the golden and silver vessels of the Sassanid period. In the containers of this period , arәdvīsūraAnahita as a beautiful woman , half naked , in the middle or in the different directions, with minor painting such as lotus , dogs , fish, eagle , pomegranate, baby , grapes , the jug water and etc . is depicted.
current article that considered 23 vessels contain Anahita legend, demonstrated that the objects in the hands of this goddess and plant, human and animal motifs in her scene, Somehow, represent descriptions , manifestations and functions that entirely has been spoke about it in avesta. and thus we can say that Sassanid artists wisely choosed this designs with full knowledge about mythical and religious beliefs in same time.
This research is based on descriptive and historical method and data collection and information -library

There is always a spiritual and intellectual power in primeval art which connects our world with supernatural world.
The foundation-stone is agricultural lifestyle and farming archetypes in Iran ancient civilization; so, enrichment subject-matter or enhancement idea is a fair question for the other ancient culture.
The generative idea performs a vital role that is connected with goddesses.
These forms, shapes and metaphysical functions of goddesses composed of natural elements like: The Zodiac (Stars), plants, animals or music instruments.
The Iranian goddess named Anahita/ Nahid.
She is the symbol of generative idea and the kingdom of thought Seas.
People knew very respectable goddess of the waters/Nahid and Temples are built for her people. They gave gifts to her temples. Gifts were the valuable works of art which had some pictures of Nahid. These images showed her supernatural tasks which inspired by religious texts and books. So we have reviewed religious literatures of Iranian Ancient centuries. If we pay attention to these ancient texts, we do not make mistakes in our interpretation from Nahid's image.
This research method is based on library and documentation from works of art; and its method is comparative study of art. This researcher tried to find points of similarity between Anahita and the other goddesses in matriarchal and ancient civilization, and illustrate & analyze the roots of their shapes for finding common denominator.
We can see their pictures & effects on each other in art.

Water has been perfectly respectable in ancient Persia. There was some god to preserve and protect the water. Among of them Anahita was considered the most popular. Anahita statues and popularity could be seen by surveys of the Iranian ancient art works. No doubt, the most important factor is the permanent presence of Anahita comeback to the existence and continuity of mythological and religious beliefs arising out of the Iranian culture and history. Therefore, Anahita myth has not only contained fundamental concepts and symbols but has elements in the visual arts is that it encompasses. The study, by analyzing the visual motifs Anahita, described spaces and image composition in art history of ancient Iran such as Stamps, coins, inscriptions and Metal Vessels, especially in the Sassanid era and then as well compared to other regions and cultural areas. The study concluded that Anahita myth has belongs to Iran's intangible cultural heritage but influenced historical and material culture of Babylon, Phoenicia, Greece and ancient Rome in different periods of ancient Iran.

BahrāmBeyzāyī is one of the famous Persian writers that in some of his plays,the woman has significant role. In Shab-e Hezār o Yek-om (The Thousand and First Night),athree episodeplay, Beyzāyī has focused on woman role and associated it by mythical image of Ānāhitā throughmanipulating the statements survived from ancient stories and recreating them.In spite of suchmythical association,women of this play alsoperform their own real and natural role in the dominant patriarch system very well. They are clearsymbol signifying one or several human salient qualities thatare continuously in fight and struggle with the patriarch system. In this article, the woman’s role, actions, and reactions in Shab-e Hezār o Yek-om has been surveyed.

Among the various of Sasanian kings, Narseh (293-302 A.D.) is the one whose important and striking rock relief remained at Naqsh-i Rustam in Iran’s Fars province. This relief records investiture ceremony from Anahita (known as Goddess of fertility and protector of water). Until now, various views and interprations have been put forwarded about the real identity and historical theme of this relief. But the attribution of a lady to Shapurdokhtak ¬¬II (Narseh`s wife) is the latest and most controversial view given by Alireza Shapur Shahbazi, who has conducted excavations and archaeological studies at Takht-i Jamshid for several years. In fact, this attribution has also provoked the authors of the present article hence; he has tried to highlight the depiction through opinions of various researches. The present study supports the accuracy and validity of the attributed lady to water goddess Anahita and refuses other theories.

The demonstration of female figures on Sasanian silver vessels was an interesting subject to Sasanian silversmiths which caused much dispute among the scholars over whose character the female figure represents. Are they representations of the goddess Anahita or members of her cult? Is there any connection between them and the cult of Asiatic Dionysus? The other question that arises is whether they are secular objects or bearing a religious significance. This paper aims to review previous studies and then, on the basis of an iconographical study and also referring to the Sasanian religious text, present a new interpretation of themes.