DOCSLIB.ORG

How to Dance: Eleven Keys

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
How to Dance: Eleven Keys How to Dance: 5. SIMPLE, RHYTHMIC MUSIC. This Hypocrisy may be the only sin. How Eleven Keys can be a great aid. Guitar and drum are wonderful it is when we actually feel like especially helpful. Musicians should bowing in humility before the eternal emphatically resist going of on their own. truth. These dances can be worship: the by Wali Ali Meyer from The sacred phrase must be uppermost in celebration of the Divine Presence. The Spiritual Dance and Walk by Samuel Lewis their concentration. The music should Sufis call this Akhlak Allah – acting as if accentuate the natural rhythm of the sacred in the Presence of Allah. phrase. Drummers especially bear this in 1. LISTEN . Do not simply recite the sacred mind. The simpler the better. Don’t 10. AMIN (ah-meen). This means, “So be phrase. Listen to the other voices. Listen to dominate the space. The sacred phrase it.” We say this at the conclusion of many the person directing the dance. When you should by far be the loudest sound. If you dances. (Other phrases such as the begin to listen, your voice will play your instrument correctly, no one will Sanskrit “Svaha” are also used). The automatically begin to harmonize. Find the even notice you. Isn’t that wonderful? important thing is not to say it, but to center of the sound. mean it, to affirm it with one’s whole 6. MOVE TOGETHER . Restrain the being. 2. FEEL. The dances are designed to take us exuberant impulse to make an individual more and more into the universe of feeling. expression. You will be amazed how much 11. SILENCE. There may be a silent Stay with your feeling. If you go into the higher/deeper the dances are when you use meditation before the dance starts but if world of thoughts, don’t judge yourself; that same energy to harmonize with the the participants are not experienced in simply bring your concentration back to others in the circle. Feel your body fully. this they may learn the meditation feeling. The heart center, found in the Then gradually or suddenly become the through dancing and also learn the middle of the chest, is the natural place to whole circle. dancing through meditation. As the sound begin. and music of the dance stop, enter the 7. WATCH YOUR BREATH. Breath is life. silence. This is your opportunity to hear 3. CONCENTRATE ON THE SACRED Breath is movement. Voice is breath. Let what has been created. In this silence one PHRASE. The sacred phrase, sometimes breath breathe. Return to awareness of can absorb the qualities evoked during the referred as Wazifa or Mantra, centers the breath in silence between dances. Notice dance. This is the most important part of dance. We all say this together. The Grace the subtle changes in breath brought about the dance. of Allah can operate through the sacred by each dance. phrase if we are willing to receive it, to let it * All these words are in hope of your be. With each repetition feel the phrase 8. ECSTASY. These dances can lead to states falling awake and finding the truth in touching your being in a deeper and deeper of ecstasy. Joyously invigorating! In your own self. You know your own way. dances where you are brought to the center experience better than anyone else. Be of the circle, especially soar. But soar with true to that. Don’t let anyone pull the your whole being. Taste all the planes at 4. DON’T BE AFRAID TO STOP THE wool over your eyes; neither be the same time. If your feet are grounded on DANCE . This is for dance leaders, if the swayed from what you know by the dance gets out of control, or just isn’t the earth then your head can be in the opinions of others. Always be willing making it, it is much better to stop and heavens. begin anew. Learning is much more to learn. important than just doing. 9. DEVOTION . This is a grace. To willingly submit ourselves to Allah/God in Whom we move and live and have our being. Brief Glossary of Sacred Phrases Shabbat Shalom: “Sabbath greetings” Heenay mahtov, umah nayeem, shevet aheem Used in the Dances gam yahad: Psalm 1333: “How wonderful it is for brothers and sisters to live together in peace” These translations are offered to help in learning the Welcome to dances. Your own realization of the phrase may BUDDHIST transcend any verbal description. Gate, gate, paragate, parasamgate, Bodhisvaha: Dances of Universal Peace “Gone, gone, gone beyond, everybody goes, Hail to CHRISTIAN the Goer” These multi-cultural dances use simple music, Ave Maria, Gratia Plena: (Latin) “Hail, Mary, full Om Mane Padme Hum: “Hail to the Jewel in the movements, and sacred phrases; no musical or of Grace” heart of the Lotus” dance experience is required. Participants join Mir Miru Mir: (Russian) “Peace, Peace on Earth” Kwan Zeon Bosai (Quan Yin): She who hears the hands forming a circle, and a leader teaches each Ubi caritas et amor, Deus ibi est: (Latin) “Where cries of the world and accords them Mercy and dance, often providing background history about compassion and love are, there God is also” Compassion” the tradition and dance. Kyrie eleison, Christe eleison: “Lord, have mercy; Christ have mercy” HINDU The movements and phrases include themes of Om Sri Ram Jai Ram Jai Jai Ram: “God who at peace, healing, and the celebration of life's great ISLAMIC/ARABIC once is Truth and Power , Impersonal and Personal, mystery, helping create a sense of peace and As Salaam Aleikum, Waleikum as Salaam: “Peace Victory to Thee, Victory to Thee” community while celebrating the underlying unity be with you, with you be peace” Om Nama Shivaya : “Praise to God in the name of of spiritual traditions on Earth. Bismillah er Rahman er Rahim: “In the name of Shiva who is the Lord of the dance’ God, the Merciful, the Compassionate” Hare Krishna: “Praise to the God of Love and Dances of Universal Peace were started in the late La Illaha Illa’llah Hu: “There is no God but God” Divine Ecstasy” 1960’s by Samuel L. Lewis (1896-1971), a Sufi or “There is no reality except Allah“ (This is the Gopala, Devaki Nandana: “Krishna in his Murshid (teacher) and Rinzai Zen Master, who most sacred phrase in Islam.) incarnation as Cow-herd, a happy playful love- also studied in the mystical traditions of Mohammed ar Rassoul Lillah: “Mohammed is the maker” Hinduism, Judaism, and Christianity. Lewis was Prophet or Messenger of God” deeply influenced by his contact and spiritual Hu: “The non-manifest” The sound Sufis use to refer SIKH apprenticeship with two people: Hazrat Inayat to the Absolute. Ek Ong Kar Sat Nam, Siri Wah (e) Guru: “There Khan (1882-1927), the Master who first brought Ishq Allah mahbud liillah: “God is Love, Lover, is but one God, Truth is God’s Name, Indescribably the message of universal Sufism to the West in and Beloved” or “God is all aspects of Love” is God’s Wisdom” 1910, and Ruth St. Denis (1890-1968), a pioneer Alhamdulillah: “All praise to God in the Highest” of the modern dance movement in America and or “Glory to God” ZOROASTRIAN Europe. Allah ho akbar: “There is no power or might save in Ahura Mazda: “Indestructible Supreme God,” or Allah” or “Peace is power” “Lord of Wisdom” Lewis, then in his early 70’s, began to envision Estaferallah: “Allah make pure” or “We take Armaiti Anahita Atar Vayu : “Angels representing and create the dances as a dynamic method to refuge in the purifying presence of Allah” the four elements: earth, water, fire, air” promote “Peace through the Arts.” From the early Ya hayy, ya haqq: “O Life, O Truth” days and his original body of about 50 dances, the Zikr: “Remembrance” The practice of repeating collection has grown to more than 400 dances aloud some form of the phrase LA ILLAHA which celebrate the sacred heart of religious ILLA’LAH. traditions worldwide. HEBREW Shema Yisrael, Adonoi Elohaynu, Adonoi Ehad: To locate dance leaders and events in your area, go “Hear, O Israel, the Lord our God, the Lord is One” to: www.dancesofuniversalpeace.org. (Most sacred Hebrew phrase) Shalom Aleichem: “Peace be with you” .
Load more

Recommended publications
  • Zoroastrian Elements in the Syncretism That Prevailed in Asia Minor Following the Achaemenian Conquests KERSEY H
    Zoroastrian Elements in the Syncretism that Prevailed in Asia Minor Following the Achaemenian Conquests KERSEY H. ANTIA Introduction Since the total population of Zoroastrians in the entire world today is a meager 130,000 at best, it is hard to conceive that Zoroastrianism not only prospered in Iran but also acted as a very prominent factor in the syncretism that prevailed in Asia Minor from the time it became an integral part of the Achaemenian empire to the downfall of the Sasanian empire. It is generally acknowledged that Semitic Armenia was Persianised in the Achaemenian times, a process which lasted up to the Sasanian times. Strabo. (XI.532) reports that Mithra and Anahita were especially worshiped by the Armenians. It was also in the Achaemenian times that the Jews first came into contact with the Persians. The Zoroastrian concepts heretofore unknown to the Jews such as satan, “the angel of wisdom”, and “the holy spirit” became common features of Jewish beliefs, along with many others. Moreover, the Achaemenian kings welcomed Greek scientists, physicians and Phoenician explorers and artisans at their courts. The conquest of Iran by Alexander the Great further exposed the Greeks to Iranian influence just as it exposed Iran to Greek Influence. Alexander married an Iranian princess, Roxane and he arranged for a mass marriage of 50,000 of his Greek soldiers with Iranian women at Susa after his return from India. Such a mass phenomenon must have left its mark on the fusion of the two races. With the Greeks came their gods represented in human forms, a concept so sacrilegious to the Iranians.
    [Show full text]
  • Lecture 27 Sasanian Empire
    4/12/2012 Lecture 27 Sasanian Empire HIST 213 Spring 2012 Sasanian Empire (224-651 CE) Successors of the Achaemenids 224 CE Ardashir I • a descendant of Sasan – gave his name to the new Sasanian dynasty, • defeated the Parthians • The Sasanians saw themselves as the successors of the Achaemenid Persians. 1 4/12/2012 Shapur I (r. 241–72 CE) • One of the most energetic and able Sasanian rulers • the central government was strengthened • the coinage was reformed • Zoroastrianism was made the state religion • The expansion of Sasanian power in the west brought conflict with Rome Shapur I the Conqueror • conquers Bactria and Kushan in east • led several campaigns against Rome in west Penetrating deep into Eastern-Roman territory • conquered Antiochia (253 or 256) Defeated the Roman emperors: • Gordian III (238–244) • Philip the Arab (244–249) • Valerian (253–260) – 259 Valerian taken into captivity after the Battle of Edessa – disgrace for the Romans • Shapur I celebrated his victory by carving the impressive rock reliefs in Naqsh-e Rostam. Rome defeated in battle Relief of Shapur I at Naqsh-e Rostam, showing the two defeated Roman Emperors, Valerian and Philip the Arab 2 4/12/2012 Terry Jones, Barbarians (BBC 2006) clip 1=9:00 to end clip 2 start - … • http://www.youtube.com/watch?v=t_WqUbp RChU&feature=related • http://www.youtube.com/watch?NR=1&featu re=endscreen&v=QxS6V3lc6vM Shapur I Religiously Tolerant Intensive development plans • founded many cities, some settled in part by Roman emigrants. – included Christians who could exercise their faith freely under Sasanian rule • Shapur I particularly favored Manichaeism – He protected Mani and sent many Manichaean missionaries abroad • Shapur I befriends Babylonian rabbi Shmuel – This friendship was advantageous for the Jewish community and gave them a respite from the oppressive laws enacted against them.
    [Show full text]
  • Characteristics of Water in Iranian Culture and Architecture
    The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition EVALUATION OF SEMANTIC (CONCEPTUAL) CHARACTERISTICS OF WATER IN IRANIAN CULTURE AND ARCHITECTURE Hooman Sobouti Assistant Professor, Department of Architecture, Zanjan Branch, Islamic AzaUniversity, Zanjan, Iran and Young Researchers and Elite Club, Zanjan Branch, Islamic Azad University, Zanjan, Iran Kiana Mohammadi M.Sc.Architecture,Department of Architecture, Central Tehran Branch Faculty, Islamic Azad University ,Tehran, Iran ABSTRACT Water in different cultures defines different symbolic meanings and every country depending on its climate, religion and historical experiences embedded different concepts and meaning of the water in their culture. In Iran, due to arid and hot climate there is high consideration focused on the water and looking at historical Iranian background we would find that Iranian from ancient tiles respected highly the water. In this research, using library sources and analytic-descriptive methodology, the semantic (conceptual) characteristics of the water are investigated in Iranian culture and architecture in several periods of the history. Public believes and ideas ion Iranian rich culture about water are very extensive and spreading. The water natural purity from ancient time so far, brought different beliefs in Iranian culture. Keywords: organizational silence, organizational commitment, organizational trust RESEARCH THEORETICAL FOUNDATIONS WATER MEANING FINDING EXAMPLES IN PRE-ARYAN CULTURES The geological information indicates that about 10 thousand years ago, Iran was a suitable land and environment for Iranian societies living. Documents and evidence based on the myths, the oral tradition and ancient environment findings also confirm this issue. Among the remained works from pre-Aryan age, there are dissociated indicators and signs which show the importance and mythical place of the water in pre-Aryan cultures.
    [Show full text]
  • Kings, Priests and Gods on Sasanian Investiture Reliefs
    Iranica Antiqua, vol. XLVIII, 2013 doi: 10.2143/IA.48.0.2184703 AND MAN CREATED GOD? KINGS, PRIESTS AND GODS ON SASANIAN INVESTITURE RELIEFS BY Bruno OVERLAET 1 (Royal Museums of Art and History, Brussels / Ghent University) Abstract: An inscription on the Naqsh-i Rustam I rock relief identifies the two protagonists in the investiture scene as Ardashir I and Ahura Mazda. All investing authorities on the royal Sasanian reliefs are therefore commonly identified as Ahura Mazda. In view of conflicting historic information and unexplained varia- tions in the iconography of “Ahura Mazda”, a re-interpretation of the investiture reliefs is made. The inscription on Ahura Mazda’s horse at Naqsh-i Rustam appears to have been added at the end of Ardashir’s reign or early in Shapur I’s reign and the earliest reliefs are now considered to depict an investiture by a priest, instead of by Ahura Mazda. Once the inscription had been added to the Naqsh-i Rustam I rock relief, it changed from an investiture by a priest to one by a god, Ahura Mazda. Iconographic details that conflicted with this transformation (such as the barsum, attendant and possibly the “royal” tamga) were left out of the divine image in later representations of the investiture on horseback. The late Sasanian Taq-i Bustan III investiture on foot, up to now considered to be the investiture of Khusrow II by Ahura Mazda and Anahita, is equally interpreted as an investiture by clergy, in this case by representatives of the cults of these two gods, rather than by the gods themselves.
    [Show full text]
  • 4 the Kushano-Sasanian Kingdom
    ISBN 978-92-3-103211-0 State organization and administration 4 THE KUSHANO-SASANIAN KINGDOM* A. H. Dani and B. A. Litvinsky Contents State organization and administration .......................... 107 Economy, society and trade ............................... 112 Religious life ...................................... 113 Cities, architecture, art and crafts ............................ 115 Languages and scripts .................................. 121 In the early centuries of the Christian era the names of two great empires stand out boldly in the history of Central Asia. The first was Kushanshahr, named after the Great Kushan emperors, who held sway from the Amu Darya (Oxus) valley to the Indus and at times as far as the Ganges. Here flourished the traditions of the Kushans, who had brought together the political, economic, social and religious currents of the time from the countries with which they had dealings (see Chapter 7). The second great empire (which rose to challenge Kushan power) was Eranshahr, which expanded both westward and eastward under the new Sasanian dynasty. Its eastern advance shook Kushan power to its foundation. State organization and administration According to Cassius Dio (LXXX, 4) and Herodian (VI, 2.2), Ardashir I (226– 241), who waged many wars, intended to reconquer those lands which had originally belonged to the Persians. He defeated the Parthian kings and conquered Mesopotamia – an event which led to his wars with the Romans. It is more difficult to judge his conquests in the east. According to the inscription of Shapur I (241–271) at Naqsh-i Rustam, ‘under the rule of * See Map 2. 107 ISBN 978-92-3-103211-0 State organization and administration shahanshah [king of kings] Ardashir’ were Satarop, king of Abrenak (i.e.
    [Show full text]
  • Goddesses, Priestesses, Queens and Dancers: Images of Women on Sasnian Silver Mary Olson '08 Illinois Wesleyan University
    Illinois Wesleyan University Digital Commons @ IWU Honors Projects History Department 2008 Goddesses, Priestesses, Queens and Dancers: Images of Women on Sasnian Silver Mary Olson '08 Illinois Wesleyan University Recommended Citation Olson '08, Mary, "Goddesses, Priestesses, Queens and Dancers: Images of Women on Sasnian Silver" (2008). Honors Projects. Paper 32. http://digitalcommons.iwu.edu/history_honproj/32 This Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and Faculty Development, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU by the faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. GODDESSES, PRIESTESSES, QUEENS AND DANCERS: IMAGES OF WOMEN ON SASANIAN SILVER Mary Olson Honors Thesis Spring 2008 April 23, 2008 1 GoDDESSES, PRIESTESSES, QUEENS AND DANCERS: IMAGES OF WOMEN ON SASANIAN SILVER Slowly, through ancient trade and diplomacy, modem imperialism, and the dubious trade in antiquities, a silver vase made its way from a silversmith in late antique Persia to, of all places, Cleveland, Ohio. After its discovery in the 1800s, the vase remained in the Hermitage Museum in Leningrad until eventually making its way to the United States. The imagery boasts a Persian origin; four female figures are illustrated in motion, elegantly holding an object in each hand. Not just Persian, more specifically the figures emerged from Sasanian Iran. The Sasanian Empire spanned from 224-651 CE and covered what is modern day Iran and spread from the Greco-Roman west to India and China in the East.
    [Show full text]
  • Evolution of the Zoroastrian Iconography and Temple Cults
    O. BASIROV ANES 38 (2001) 160-177 Evolution of the Zoroastrian Iconography and Temple Cults Oric BASIROV 1 Ilchester Place London W14 8AA UK Fax: +44 207 602 9280 E-mail: [email protected] Abstract The Gathas of Zoroaster does not refer to any iconography or temples. Indeed, a doctrinal aversion to such rituals can be detected in his teachings. His seven ab- stract and amorphic Amesha Spentas, for example, are probably the first purely conceptual deities with a built-in deterrent to artistic representation. His pre- scribed places of daily rituals, moreover, are mountaintops and riverbanks, and not temples. Such devotional purity and simplicity is also confirmed by the lack of hardly any archaeological evidence to the contrary in the prophet's homeland in Eastern Iran. This is also the case in the pre-imperial period in Western Iran, where the centre of religion moved early in the first millennium BC. Assyrian annals and many classical writers also confirm that Medes and early Achaemenians did not have any cult statues and temples. The latter, however, soon after forming the first world empire, developed the many aspects of, by now, familiar Zoroastrian iconography. This was inspired, no doubt, by the artistic repertoire of their western subjects, such as the Babylonians, Elamites, Greeks and Egyptians. Nor could the Achaemenians refrain, towards the end of their rule, from building temples, both to house their own sacred fire, and the alien-inspired divine images. These two distinct temple cults, established around 400 BC, appear to have spread throughout the Achaemenian, and later, the Parthian Empires.
    [Show full text]
  • Aredvisura's Anahita's Impression in Avesta Transcripts. J. Life Sci
    J. Life Sci. Biomed. 3(6): 414-417, 2013 JLSB © 2013, Scienceline Publication Journal of Life Science and Biomedicine ISSN 2251-9939 Aredvisura’s Anahita’s Impression in Avesta Transcripts Mozhgan Esmaili* Member of the Scientific Board Cultural Heritage, Handicrafts and Tourism Research Institute, Iran *Corresponding author’s e-mail: [email protected] ABSTRACT In many of the Avesta transcripts, water has been praised as a pure and divine element. This element has different symbols including creation, productivity, death and revival. According to Avesta transcripts, Aredvisura is a form of water sanctification. In Avsta, water is considered as a heavenly, cosmic, essence of life, tonic, cleaner and immortal element. This research is to represent the water praise legend from Avesta transcript standpoint. The present article, through adopting a descriptive –analytic approach and based on Zoroastrians religious sources aims at investigating impression and importance of Anahita Aredvisura. Keywords: Apamnapat, Aredvisura Anahita, Avesta, Water INTRODUCTION Archaeological studies show that entrancing of Aryans in the middle of second millennium BC to this land and their matrimony to native nation has faced many evolutions and changes. The most important souvenir the Aryan brought to this land was religious thoughts and beliefs along with Gods with nature shapes. These religious beliefs like other religions consisted of godlike elements, legendary and ethical elements. Legend is mostly considered as one of the most immortal phenomenons. A phenomenon explaining the creation of existence and praises the forces involved in this creation, and explores the existence. Roger Bastide believes that “before the legend is thought and expressed, it has been experienced and lived.
    [Show full text]
  • An Introduction to Gender Structure and Social Inequality in the Sasanian
    Archaeological Science Journal www.scholarpeople.org/ASJ Vol. 1(1). Pp 1-4, May 2012 Full Manuscript An introduction to gender structure and social inequality in the Sasanian Empire, Iran Maryam Dezhamkhooy* University of Birjand, Unit 1, Fourth floor, C 1 block, Yas-e 2 apartments, Shohaday-e Haj St., Fazilat St, Moddares Blv., Shiraz, Fars, Iran. *Corresponding author E-mail: [email protected] Tel: 0098 0917 1080651 Accepted: April 4th, 2012 ABSTRACT The Sasanian dynasty was one of the empires of ancient Iran, dating from 224 to 651 A.D. The research investigates the social inequality between men and women in Sasanian Empire in Iran. The exertion of some kinds of gender discrimination and men superiority has appeared in archaeological records and Sasanian text such as Ardaviraf Nameh. The presentation of women in archaeological evidence such as visual arts is rare in comparison to men. The research follows a comparative method in data analysis. Based on the above evidences, this research examines women’s social status and their role in Sasanian society in comparison to other groups such as men and children. Key words: Gender, social inequality, patriarchy, women, Sasanian Iran. INTRODUCTION The Sasanian dynasty was one of the empires of ancient depended on the status of the person in the patriarchy. It Iran, dating from 224 to 651 A.D. (Frye 2001: 274). The seemed that women and some other gender–age-related Sasanian Empire extended from Afghanistan in the east to groups such as children were of a lower status in Mesopotamia, and some parts of Anatoly and Armenia comparison to men.
    [Show full text]
  • The Zoroastrian Temple Cult of Fire in Archaeology and Literature (Ii)
    THE ZOROASTRIAN TEMPLE CULT OF FIRE IN ARCHAEOLOGY AND LITERATURE (II) YUMIKOYAMAMOTO Tokyo University Chapter 4. Remains concerning fire in Sasanian times Ardashirwas a son of Papak,(1) who was, or had made himself, vassal-ruler of Istaxr near Persepolisin Pars, where there was a great temple of Anahid (Anahita). After Ardashir succeededhis father, he extended his territory by defeating Shadhshapur, vassal-rulerof Isfahan, and thereafter he defied and defeated his over-lord, the Arsacid King of kings, Ardawan (Artabanus) at the battle of Hormuzd in A. D. 224.(2) He then entered the Parthian capital of Ctesiphon and was possiblycrowned there as King of kings in 226.(3) Accordingto one tradition, he took a princessof the house of Arsacesas his wife(4) and thus secured the legitimacy of his kingship. His kingdom extended from the Oxus to Azerbaijanand Armenia;and in order to unite thesefar-flung countries,none of which had submittedeasily to him, he seemsto have used a great deal of propaganda, which includedgiving prominenceto his dynastic fire. Tosar,(5) Chief Herbed,(6) was the religious counsellor of Ardashir I, and also had evidently some authority in political matters. He wrote a letter, now known as the Tansar Name,(7) in reply to one from Gushnasp, King of Parishwar and Tabaristan, in which he admitted that Ardashir 'has taken away fires from the fire temples and extinguished them and blotted them out'.(8) He justified this action with the followingwords: 'After Darius each of the "kings of the peoples" built his own fire-temple. This was pure innovation, introduced by them without the authority of kings of old'.
    [Show full text]
  • Anāhitā: Transformations of an Iranian Goddess Inauguraldissertation Zur
    Anāhitā: Transformations of an Iranian Goddess Inauguraldissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie dem Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin vorgelegt von Manya Saadi-nejad 2019 First Supervisor: Prof. Dr. Maria Macuch Second Supervisor: Prof. Dr. Almut Hintze Date of defense: 15 April 2019 ii Table of Contents Acknowledgements vii A Note on Transcriptions viii Abbreviations ix Introduction 1 Chapter One: Scholarly Studies on Anāhitā 10 1.1 The Yašts and “monotheism” 13 1.1.1 The Ābān Yašt 14 1.2 Anāhitā’s Roots 15 1.3 Anāhitā’s Name and Epithets 20 1.4 Anāhitā’s description 23 Chapter Two: The Primary Sources 31 2.1 The Textual Sources in Iranian Languages: Avestan Texts 33 2.1.1 The Yasna 34 2.1.2 The Yašts 35 2.1.3 The Hāδōxt Nask 37 2.2 Middle Persian Sources 37 2.2.1 The Bundahišn 38 2.2.2 The Dēnkard 39 2.2.3 The Wizīdagīhā-ī Zādspram 40 2.2.4 The Zand ī Wahman Yasn 41 2.2.5 The Dādestān ī Mēnog ī Xrad 42 2.2.6 The Ardā Wīrāz nāmag 42 2.2.7 The Abadīh ud sahīgīh ī Sag(k)istān 43 2.2.8 The Ayādgār ī Wuzurg-mihr 43 2.3 Old and Middle Persian Inscriptions and Iconography 44 2.4 The Greco-Roman Texts 45 2.5 Vedic sources 46 2.6 Mesopotamian sources 47 2.7 Archaeological Sources 49 2.7.1 Indo-European Archeological Sites 49 2.7.2 Archaeological Sites in Iran 50 2.7.2.1 Anāhitā’s Temples 51 2.8 Sources from the Islamic Period 52 2.8.1 The Šāh-nāmeh (“Book of Kings”) 52 2.8.2 Other Sources from the Islamic Period 54 2.8.3 Oral and Folk Traditions 55 2.9 Problems
    [Show full text]
  • The Deterioration Process of Limestone in the Anahita Temple of Kangavar (West Iran) Vahid Barnoos, Omid Oudbashi* and Atefeh Shekofteh
    Barnoos et al. Herit Sci (2020) 8:66 https://doi.org/10.1186/s40494-020-00411-1 RESEARCH ARTICLE Open Access The deterioration process of limestone in the Anahita Temple of Kangavar (West Iran) Vahid Barnoos, Omid Oudbashi* and Atefeh Shekofteh Abstract The well-known archaeological site of Anahita Temple at Kangavar is one of the most important Iranian stone monu- ments. It has been dated by various authors in an interval extended from Achaemenid to Sasanian Persian Empires (sixth century BCE to seventh century AD). Signifcant weathering has been occurred in various stone blocks used in the construction of this monument. The aim of this research is to study the deterioration process of the stone blocks used in the Temple. It includes chemical and mineralogical analysis of stones, characterization of deterioration patterns and processes, and identifcation of factors infuenced the process. Results have been obtained by on-site and laboratory studies, including optical microscopy, petrography, X-ray fuorescence, X-ray difraction and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy methods. They showed that low-porosity limestone and dolomitic limestone have been used in the construction of the Temple, which have a compact micritic structure with variable size calcite veins (sparite) and clay veins. According to the on-site and laboratory studies, the deterioration patterns are partially similar in majority of the stone blocks and include diferent types of detachments as well as biological colonisations. The multianalytical results proved that the deterioration process is mainly of physi- cal weathering type, due to structural and chemical characteristics of the limestone as well as climate factors, temper- ature fuctuations in particular.
    [Show full text]