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07 17746Rsj120120 84 Kaveh’s Uprising and Fereidoun’s Sovereignty in Historical Texts and on the Façade of Afshins’ Palace Mahin Ahbabi PhD Student of "ancient history", Tajikistan Academy of Sciences, Tajikistan Abstract: Kaveh’s revolt was a public movement against foreigners’ oppression. Kaveh, who belonged to artisan class, protested to his children’s being murdered by Zahak and called on people to fight against the cruelty of Zahak. In the façade of Afshins’ palace, Kaveh and Fereidoun were united since the beginning of the revolt and were fighting against Zahak and his puppet rulers and gained victory; a point which is not referred to in historical texts. After the victory, Fereidun became the king with the agreement of Kaveh and people. Kaveh didn’t become the king because he didn’t have three characteristics that Iranian kings had: “He wasn’t from royal family (descendents of Jamshid), he didn’t own king glory, and he didn’t have spiritual status.” As a result, he couldn’t be a king because in a hierarchical system no one was permitted to leave a class and move to a higher class. After his sovereignty, Fereidoun appointed Kaveh and his children as commanders-in-chief. Therefore, he promoted to army class. Fereidoun ordered to decorate the flag, which was made by Kaveh out of his leather apron to raise up in his revolt against Zahak, with jewels and it was carried in front of the army in different wars. In fact, this uprising shows the cooperation between different classes of people and the king in their battles with foreign aggression against the territory of Iran and Aryan religion. [Mahin Ahbabi. Kaveh’s Uprising and Fereidoun’s Sovereignty in Historical Texts and on the Façade of Afshins’ Palace. Researcher 2020;12(1):84-89]. ISSN 1553-9865 (print); ISSN 2163-8950 (online). http://www.sciencepub.net/researcher. 7. doi:10.7537/marsrsj120120.07. Keywords: Derafsh Kaviani (the standard of the Kings), Fereidoun, Zahak, Dave, Mehregan, wooden façade of Afshins’ Palace, Farr 1. Introduction The story of the revolt of Kaveh and Fereidoun against Zahak is in fact the battle of the force of good against the force of evil and darkness. Finally good defeats evil with the help of Ahura Mazda. The only discovered image which displays this event is the façade of Afshins’ palace which has survived from Sassanid era which is in historical city of Bonjeh Kant in Autroshan in the state of Soughed, Tajikistan. This palace existed in 6-7th C A.D. and it was burned by Arabs in 9th century A.D. and the façade of the palace Figure 1: façade of the palace is now kept in national museum of Tajikistan (Boyce, Mary (1975), Buda and Nirvana…, Mullah Babayof, The important point is that this work is very old P. 21). in comparison to historical texts because historical texts (such as Shahnameh and The History of Al- The façade of the palace is a semicircle which is th typically made of wood on which some mythical Tabari) have been compiled after the Islam (10 images and the story of the revolt of Kaveh and the century AD) from the remaining resources of Sassanid battle of Fereidoun against Zahak is carved. It is the era (such as Khoda Nameh) while this façade belongs unique historical and cultural heritage of ancient to pre-Islam era (6-7centuries AD). Persians. In other words, it expresses the Persians’ The description of the events of the struggle of beliefs and feelings and illustrates the victory of Kaveh and Fereidoun in historical texts is slightly Iranian heroes in their battles against evil and different from that of the façade of Afshins’ palace. darkness (Figure 1). What is that difference? Possibly their sources have been different which need to be investigated. Around the upper part of semicircle, there are totally 17 rings with a diameter of 20 cm for each one. 84 Researcher 2020;12(1) http://www.sciencepub.net/researcher RSJ The middle semicircle is also divided to two upper protested against his tyranny. Zahak commanded to and lower parts on which the story of the battle of release his only remaining son and asked Kaveh to Kaveh and Fereidoun against Zahak and his puppet sign Zahak’s justice certificate, but he tore the rulers have been carved (Buda and Nirvana, Mullah document, came back to the city and rebeled against Babayof, P. 23). the foreign ruler of Persia and led the people to This article aims to investigate the reason of overthrow the tyrant king. As a symbol of resistance eliminating Kaveh from historical texts and the and unity, he raised his leather apron on a spear, difference of the story in historical resources and in known as the Derafsh Kaviani. People helped him. the image of the façade of Afshins’ palace. The Kaveh killed Zahak’s Caliph in Isfahan. To suppress researcher hopes to express every detail accurately. the rebellion, Kaveh sent an army from Tabarestan 1.1. Kaveh the blacksmith (Damavand) to Isfahan. Kaveh defeated them. He The name of Kaveh is not mentioned in Avesta. conquered the cities one after the other until he It is not even mentioned in the abridgements of reached to Ray. Fereidoun, a descendant of Jamshid Sassanid Avesta in 8th and 9th volumes of Dinkard. came to Ray and Kaveh accepted him and gave him More importantly, his name is not mentioned in any of the corps (Firoozeh Kashani-Sabet (2000)). Pahlavi’s religious literature which offers However, the story of the battle of Kaveh on the comprehensive information about the most ancient entrance façade of Afshins’ palace is a little different part of legendary history. from the narrations of Shahnameh, The History of In historical texts, Kaveh first appears in the Balami, and The History of Al-Tabari. In 17 circles books of Islamic era historians such as Shahnameh curved on the façade, the moments of the battle are and the History of Al-Tabari (Skjærvø, P. O (1989). In displayed in which two winners riding on horses and a fact, Firdausi and other historians have set their warrior fallen under the hooves of horses are pictured history based on Khoda Nameh of Sassanid era. (Buda and Nirvana, p.23), (figure 2). Christian’s opinion about Khoda Nameh is: “Generally, it offers a newer interpretation of legendary history in comparison to religious tradition of Pahlavi’s texts. Pahlavi’s religious texts display legendary history in such a way that this history had changed before the era of Parts and during their sovereignty, while in Khoda Nameh the legendary history is illustrated in its Sassanid form. In Sassanid era, the legends were quite terrestrial and belonged to the human territory without eliminating their imaginative and mythical aspects. For example, in Khoda Nameh Zahak changes from a three-head snake to a human-like king who had grown two snakes on his shoulders? But this feature is not seen in Figure 2: the moments of the battle are displayed in religious texts which have remained from Mullahs’ which two winners riding on horses tradition (Kaveh the blacksmith and derafsh Kaviani, Christian Sin, P.36). Two winners ridiong the horses are Kaveh and It is quite obvious that Khoda Nameh has been Fereidoun and the third person falling under the compiled and written by the Sassanid Court. Possibly hooves of horses is Zahak’s puppet ruler. Riding men there had been another non-court public history which are alike in all circles. There are some differences in cared for public and non-court heroes and winners the details of war tools and dress in some circles. In whose bravery and sacrifice in their battles against one case, instead of the falling warrior, a twisted oppression and foreign invaders and their cooperation serpent or dragon is pictured that is Zahak himself with kings in battles against enemies had been (Iran almanac and book of facts 1964-1965). It means mentioned; but in Sassanid Khoda Nameh the role of that Kaveh and Fereidoun were together and united such heroes and people is paled. since the beginning of the uprising. The conquered the There are different opinions about the uprising of cities with each other, defeated zahak and captured Kaveh the blacksmith against zahak. In History of Al- him. The point is not referred to or is deliberately Tabari and Balami it is mentioned that after 200 years ignored in historical books. of tyranny and murdering the youth by Zahak, a Another important point is that two scenes of blacksmith named Kaveh whose sons were murdered fighting with a devil creature are curved on the façade for the serpents of Zahak, launched an uprising which are originated from the myths. One scene is the against zahak. He went to the palace of Zahak and 85 Researcher 2020;12(1) http://www.sciencepub.net/researcher RSJ battle of Kaveh and Fereidoun (riders) against the angry and upset. When people left, she was shocked, serpent or dragon in the rings. The other one is the came to Zahak and blamed him. Zahak replied that battle of two groups of riders against a human like people surprised him by their true speech. As I wanted Dave in the middle of the lower part of façade and to show my authority off, the right appeared and I these two devil creatures probably symbolize Zahak, couldn’t do anything. He even fulfilled the promises as in myths Zahak is shown in two forms as well (a he had made to people of provinces and treated them devil-like human and a dragon) (figure 3).
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