Palmyra. Temple Of Baal. Main Entrance Showing Engaged Fluted Columns.
Palmyra. Temple of Baal. Main entrance showing engaged fluted columns.
Learn more / Daha fazlası https://www.archaeologs.com/w/palmyra/
More Posts from S-afshar and Others
Mikhail Kutuzov in 1812, Sergei Shoigu in 2024, and Aleksey Kivshenko's Historical Painting of the Military Council in Fili, a suburb of Moscow
Many Russians were astounded yesterday morning, when reading in the news that during searches conducted in the residences of the former Deputy Minister of Defense of Russia Dmitry Bulgakov, who was arrested on charges of corruption on 26th of July, a small number of very bizarre frames and paintings were found.
The historically true: Commander-in-Chief of the Russian armies Mikhail Kutuzov at 'the Council in Fili', 1812
The mystically allegorical: Sergei Shoigu, former Minister of Defense of Russia and currently Secretary of the Security Council of the Russian Federation as an atemporal replica of General Kutuzov
Contents
I. Introduction
II. Brief description and possible parallels
III. Shoigu's lengthy tenure exceeded by far that of President Putin
IV. Long 'reigns' come with indulgence in corruption and extravagance
V. An attempt to inculpate or a mystical allegory?
VI. Appendices
Содержание
I. Введение
II. Краткое описание и возможные параллели
III. Длительное правление Шойгу намного превзошло президентство президента Путина
IV. Длительное «правление» сопровождается потворством коррупции и расточительству
V. Попытка инкриминировать или мистическая аллегория?
VI. Приложения
I. Introduction
The most mysterious of those paintings is based on a historical painting, which was created by the famous 19th c. Russian painter Aleksey Kivshenko (1851-1895) in 1879, and known as 'the Council in Fili'. This great masterpiece of Modern Russian Art represents the artist's impression of a historical event, namely a military council that took place (1812) in a suburb of Moscow, prior to Napoleon's temporary occupation of the Russian city (14 September – 19 October 1812). The extraordinary summit occurred immediately after the Battle of Borodino, which was a Pyrrhic victory for the French army.
Created 67 years after the event, the painting had an enormous success; Kivshenko, who was already known for his numerous, fascinating works and representations of significant historical events of the Russian past, had to repeat the painting twice, which clearly means that his artwork generated an overwhelming and exceptional enthusiasm. This situation was basically due to the primordial importance of the historical event.
The Commander-in-Chief of the Russian armies, Infantry General Mikhail Golenishchev-Kutuzov had then to take a most critical decision: the orderly retreat of the Russian army from Moscow. The meeting (13 September 1812), which is known through several historical sources, started with the dilemma formulated by General Leonty Bennigsen, namely to give battle against the French army in an unfavorable position or to surrender. Kutuzov sided finally with the minority opinion and took the decision to abandon Moscow, which was finally proven correct, because Napoleon could not hold his position for long.
Then, how should we today, 212 years after the event and 145 years after the painting, interpret a bizarre painting in which a group of top Russian statesmen and military desire to be and are effectively depicted as exchanging roles with the historical personalities who saved the Russian Empire before two centuries?
In the painting found in Bulgakov's house, Sergei Shoigu, the former Minister of Defense of Russia, and now Secretary of the Security Council of the Russian Federation, is depicted as the Russian commander Mikhail Kutuzov. Shoigu's former deputy Ruslan Tsalikov plays General Mikhail Barclay de Tolly. The painting also features former deputy defense ministers Timur Ivanov, Tatyana Shevtsova and other officials.
Several other bizarre paintings were found in the arrested statesman's house, but the atemporal replica of the said historical painting raises more questions, due to the potential symbolisms or parallels that can be drawn. If the potentially allegorical but effectively incomprehensible artwork was found in 2005 or in 2012, no one would pay much attention, and the eventually innocuous representation would be taken as the result of a certainly bold, yet counterproductive, imagination of a group of top level Russian officials, eventually characterized by their narcissism.
It is clear that many Russians are -truly speaking- under terrible shock because of the revelations, and their comments about this, most weird, story are very negative. With no doubt, Kutuzov is almost a holy person for the Russians because, although he did not mark a real victory over Napoleon, he forced him to advance following Pyrrhic victories during a prolonged war of attrition which led finally to the collapse of the French Army. How a defeat at the battlefield can possibly be transformed into a victory in the long perspective is a most fatalistic turn of events for historians to possibly fathom. But it was known since the time of the Battle of Kadesh (May 1274 BCE) between the Hittite Emperor Muwatalli II and the Egyptian Pharaoh Ramesses III.
On the other hand, many of the persons depicted on the bizarre paintings have recently lost their positions or even been arrested. Bulgakov was arrested only 4-5 days ago, following allegations of bribery, but he is only the last of several similar cases.
II. Brief description and existing parallels
As the mystery of these eventually absurd but potentially meaningful pictures is beyond imagination, several friends contacted me to make some inquiries. They asked me what this meant in reality and whether this initiatory and hypothetically purposeful painting denoted a hidden desire of Shoigu to "take Putin's place".
What follows here includes parts of my responses; it is actually difficult to answer such a question because there are many parameters involved in this regard; but in general, I never thought that Sergei Shoigu would be interested in taking Putin's place. In addition, the painting does not hint at anything of the sort. Kutuzov did not imagine, even for a second, not to be loyal to the Russian czars whom he served.
First and foremost, it is essential for any non-Russian to comprehend that Russians have no conventional thought. Historically, it is very common in Russia to evaluate one man as higher and as more important than the czar, the secretary general or the president.
If one goes to Russia and speaks with the average people, one will understand that what they narrate as «History of Russia» is not what is taught in the West about this topic. By this, I don't mean discrepancies at the level of historical facts and narratives, but a totally distinct perspective of the time and a markedly different evaluation of the human deeds.
There are effectively some parallels between Kutuzov (1745-1813) and Shoigu (born in 1955).
Kutuzov served (as military officer and diplomat) three czars (Catherine II, Paul I, and Alexander I).
And Shoigu was a minister under four presidents (Gorbachev, Yeltsin, Putin, and Medvedev).
Prince Mikhail Illarionovich Golenishchev-Kutuzov-Smolensky (Михаил Илларионович Голенищев-Кутузов-Смоленский) belonged to an ancient noble family of German-Prussian extraction. The Golenishchev-Kutuzov branch consisted of the descendants of Gabriel, who left Prussia (1252-1263) and became the founder of the Kutuzovs.
Sergei Kuzhugetovich Shoigu (Сергей Кужугетович Шойгу) belonged to a Turkic Tuvan family, as his father (Kuzhuget Shoigu, 1921-2010) was first Deputy Chairman of the Council of Ministers of the Tuvan Autonomous Soviet Socialist Republic, and a deputy of the Supreme Soviet of the Tuvan ASSR. Shoigu's mother (Alexandra Yakovlevna Shoigu, 1924–2011) was a Ukrainian-born Russian, who was detained by the German occupation forces during World War II and had a traumatic experience from this event.
Mikhail Kutuzov was a multilingual, as he was fluent in Russian, German, French and English; on later occasions he also studied Ottoman Turkish, Polish, and Swedish.
Sergei Shoigu is also a multilingual, who speaks Tuvan, Russian, and another seven languages including Chinese, Japanese, Turkish, English, etc.
III. Shoigu's lengthy tenure exceeded by far that of President Putin
All the people know that Vladimir Putin has been president since the year 2000 (with an interval of four years (2008-2012), when he served as prime minister; however, few people remember today that Shoigu was a minister since 1991. Only last May, he was removed from the position of Minister of Defense and promoted/rewarded as «Secretary of the Security Council of Russia».
This means that Shoigu was a minister for 33 years! When the positions are so important, a person creates his own small state within the state; this is normal and inevitable.
As a matter of fact, Yeltsin appointed Shoigu as Minister of Emergency Situations in April 1991. All the same, at the time, Yeltsin was only the «President of the Russian Soviet Federative Socialist Republic», not the «President of the Russian Federation». This means that Yeltsin was under Gorbachev who was then the «President of the Soviet Union». In other words, Shoigu was at the very beginning a minister of USSR, not Russia! He was appointed before the August 1991 coup attempt, which failed and led to the rise of Yeltsin, resignation of Gorbachev, and demise of the USSR.
And what was Vladimir Putin at the time?
In June 1991, in (then) Leningrad, he was appointed as head of the Committee for External Relations of the Mayor's Office. So, you cannot compare.
In fact, better than any other Russian, Sergei Shoigu epitomizes the transition from the USSR to today's Russia. Consequently, although he was not a career military man but an apparatchik and part of the Soviet nomenklatura, he had progressively become a major pole of power. And because of his success, which guaranteed Putin’s success, it was surely unthinkable for anyone to remove him.
However, the uneasiness of the Russians with the ongoing fake war in Ukraine and the disclosure of several financial scandals and cases of bribery in the Russian army and the Ministry of Defense generated another environment.
IV. Long 'reigns' come with indulgence in corruption and extravagance
Last April, the Russian deputy defense minister Timur Ivanov was arrested.
This occurred only little time after Putin’s re-election.
One month after the arrest, Sergei Shoigu was removed and replaced by Andrey Belousov, who is provenly a very good economist, a well-experienced statesman, and a former First Deputy Prime Minister of Russia.
At the time, many people said that Putin placed an economist at the top of the Ministry of Defense, because he wanted to make a more effective programming of the military industrial production in view of the continuation of the war in Ukraine. It may be.
But personally, I was absolutely convinced that the reason for this appointment was the desire to effectuate an extensive control of earlier business transactions, carry out a thorough examination of past deals, identify practices of corruption, and uncover all cases of bribery that the «Shoigu establishment» allowed or tolerated or supported or covered deliberately. In the face of the collateral damages caused by the Russian military operations in Ukraine, it would be unacceptable that top officials accumulated illegal benefits.
Almost four months after the aforementioned case of Timur Ivanov, the arrest of Bulgakov rang the bell for the part of the Russian establishment that was exposed to such inexcusable weaknesses at wartime and for ministers who indulged themselves in corruption and extravagance.
and
And with the frames and paintings found in his house yesterday, we learned that Bulgakov viewed Shoigu as Kutuzov!
Of course, Kutuzov is more important than Alexander I for the Russians. Czar Alexander I acknowledged personally that Russia owed the final victory to Kutuzov. This means that, with all similarities taken together as coincidental (!!), Bulgakov and his associates, friends and subordinates viewed Shoigu like a 'god'. Several Russian friends interpret this approach as absolutely true; they even consider it as the result of extreme narcissism of all persons involved.
What follows is a selection of comments that I found in Russian social media (I translated them into English):
1. «This is blasphemy against the memory and exploits of our ancestors»!
2. «They came up with this a long time ago and are successfully stealing it»
3. «A finished script for a film. How far human stupidity and impudence go»!
4. «They are very far from Kutuzov and others; but there is plenty of time for self-admiration»
5. «A gang of thieves assembled»
6. «Where is Timur Ivanov»?
From the following web pages:
А такие портреты нашли дома у задержанного экс-замминистра обороны Дмитрия Булгакова во время обысков.
and
Минутка статистики по одному из шедевров золотой коллекции задержанного замминистра обороны Булгакова.
V. An attempt to inculpate or a mystical allegory?
As a matter of fact, it would not make sense for Shoigu and his close associates to envision that he would take Putin’s place (let alone to conspire with this target in mind); in addition, the picture says the opposite. Kutuzov was already more important than the czar.
All the same, there is another dimension too; these pictures may have been placed in Bulgakov's home after his arrest in order to inculpate him, Shoigu and others in some way. This would however seem rather to be a puerile attempt, because there can be far worse and far more effective ways to inculpate someone than the revelation of the narcissistic visions and the grandiose imaginations of a group of corrupt and not corrupt officials.
If there is a symbolism, it means that the true ruler is («was»?) Shoigu; but even in this case, it is a very unusual type of praising and self-praising for some top officials. In real terms of boastfulness, such an atemporal replica of Aleksey Kivshenko's legendary painting adds nothing on the table.
I believe that, if some people want truly to unveil a real and serious purpose in this painting, they must rather view it as a mystical allegory – not a mere symbolism. In this case, the otherwise bizarre artwork becomes meaningful.
What are the major points of an allegorical mysticism in this regard?
I will brief enumerate a few.
1- Reminiscent of the French invasion of the Russian Empire, the present war in Ukraine reveals that the Russian Federation is under attack.
It matters little whether some Western idiots believe that we have to deal with a Russian invasion of Ukraine; there was never such an event, because Ukraine is an integral part of Russian territory that criminal Anglo-Saxon gangsters brutally and illegally detached from Russia at the time of the Soviet collapse.
Yuval Harari was very correct when saying that "Gorbachev saved us from nuclear war"; but his truth ends there. What truly happened in 1989 is not the continuation of a development that started in 1985. In fact, Gorbachev was openly threatened by George Herbert Bush with imminent nuclear attack if he did not rapidly dissolve the Soviet Union and the Warsaw Pact. The truth was enveloped in thousands of lies, endless smiles, and hypocritical hand shakings, because this was beneficial for both, the US and the Soviet Union/Russia. I cannot further expand now on this topic, because I would digress.
So, as it happened in the 1810s and the 1940s, Russia has been under attack since the late 1980s.
2- Similarly with Kutuzov's ingenious strategy and tactics, the Russian state withdrew from lands for quite some time now.
The formation of the Ukrainian pseudo-nation after 1991 was an entirely orchestrated fabrication, involving the creation of a bogus-idiom named 'Ukrainian language', the pseudo-translation of thousands of toponyms and personal names into their hypothetically Ukrainian forms, the compilation of a distorted 'History of Ukraine', the diffusion of heinous anti-Russian racism, and the subtle disfigurement of the Orthodox faith of the local population into a charlatanesque form of Anti-Christian Catholicism.
3- Similarly with what happened during the French Invasion of the Russian Empire, the military proved to be the backbone of the Russian nation.
In this regard, the lengthy tenure of Sergei Shoigu reflects perfectly well the long military career of Mikhail Kutuzov.
4- The partly withdrawal from the Western Russian lands, as implemented by the Commander-in-Chief of the Russian armies, can be mirrored in Moscow's agreement for a separate, 'independent' Ukrainian state. The concession made is very similar to the decision taken at the Military Council in Fili.
5- Sergei Shoigu's contribution to the final victory may be analogous to Kutuzov's strategy which brought the final victory after many rather insignificant defeats.
6- Last but foremost, the final defeat of Napoleon in Russia ended with the subsequent demise of his regime; the allegory is very clear as regards the combined Anglo-Saxon world that has attacked USSR-Russia since 1945 – or if you prefer 1985.
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Giovanni Pico della Mirandola was an odd duck. As a young scholar, he allegedly mastered Greek and Latin by the age of 13. In 1484 he met Marsillio Ficino and fabulously wealthy italian banker Lorenzo De Medici, and promptly charmed the both of them, roping tutelage from the former, and patronage from the latter. During his time in Florence he would write the 900 Theses, a text which claimed that not only were Plato and Aristotle reconcilable, but that they were compatible with Christianity. He was quite confident in the strength of his work. In fact, he was so confident that he ended the 900 Theses with the following announcement:
“THE CONCLUSIONS will not be disputed until after the Epiphany. In the meantime they will be published in all Italian universities. And if any philosopher or theologian, even from the ends of Italy, wishes to come to Rome for the sake of debating, his lord the disputer promises to pay the travel expenses from his own funds.”
His plan was to travel to Rome, have the theses published, hold a conference defending his work, defeat every challenger with Facts and Logic, and ride the wave of success to theological glory. On his way to Rome he stopped in the town of Arezzo, had an affair with the wife of one of Lorenzo de Medici’s cousins, attempted to run away with her, got beaten nearly to death, thrown in prison, and then released by order of Lorenzo himself. While recovering from his wounds, he became obsessed with magic.
More Renaissance Magic on Patreon Today
Fragment from the Tomb of the Dancers
Second Intermediate Period, 17th Dynasty, c. 1630-1550 B.C. From Dra’ Abu el-Naga’. Now in the Ashmolean Museum, Oxford. AN1958.145
Read more
Is it normal to be Mexican and not know Spanish?
Mexican is not a race, nor ethnicity. Spanish is a Western European Language regardless what countless anti-Iberian/Spanish trolls say Spanish is actually very related to Modern English with lots of Spanish words coming from Germanic origins. See my previous post to get the list.
There are hundreds of thousands out not millions of Native American Mexican that don’t speak Spanish.
Nahuatl population is 2,445,969 with Native Non Spanish Speakers at 1,659,029
Yucatec Mayan population 1,475,575 with Native Non Spanish Speakers at 892,723
Zapotec (Binizaa) population 777,253 with Native Non Spanish Speakers at 505,992
European Mexicans with Mennonites, German and Mormon speaking people in the hundreds of thousands that don’t speak Spanish as a Native Language.
In summation Just because you are Mexican and don’t speak Spanish doesn’t make you any less Mexican this is equivalent to being a Cherokee and not speaking Iroquoian from birth or Mennonite not Speaking low German. You are American there is no one can take that away from you or them. So in summation There are several million people within Mexico itself that don’t speak Spanish so if you don’t it won’t make a difference because you are not the only one.
Κοσμάς Μεγαλομμάτης, Ενλίλ: Παγκόσμια Μυθολογία-1989
Κοσμάς Μεγαλομμάτης, Ενλίλ: Παγκόσμια Μυθολογία, Ελληνική Εκπαιδευτική Εγκυκλοπαίδεια, 1989
Кузьма Мегаломматис, Энлиль: мировая мифология, Греческая педагогическая энциклопедия, 1989
Kosmas Megalommatis, Enlil: Weltmythologie, Griechische Pädagogische Enzyklopädie, 1989
Kosmas Gözübüyükoğlu, Enlil: Dünya Mitolojisi, Yunan Pedagoji Ansiklopedisi, 1989
قزمان ميغالوماتيس، انلیل : اساطیر جهانی، دایره المعارف آموزشی یونانی، 1989
Côme Megalommatis, Enlil: Mythologie mondiale, Encyclopédie pédagogique grecque, 1989
1989 قزمان ميغالوماتيس، إنليل: الأساطير العالمية، الموسوعة التربوية اليونانية،
Cosimo Megalommatis, Enlil: mitologia mondiale, Enciclopedia pedagogica greca, 1989
Cosimo Megalommatis, Enlil: mitología mundial, Enciclopedia pedagógica griega, 1989
Cosmas Megalommatis, Enlil: World Mythology, Greek Pedagogical Encyclopedia, 1989
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Εθνικός Ποιητής των Αζέρων o Νεζαμί Γκαντζεβί, Χαφτ Πεϋκάρ (Επτά Ομορφιές), κι η Αναζήτηση της Υπερβατικής Ομορφιάς Γαιών και Εθνών από τον Σάχη Μπαχράμ Γκουρ
Nezami Ganjavi, National Poet of the Azeris, his Haft Peykar (Seven Beauties) and the Search for the Transcendental Ebullience of Lands and Nations by the Shah Bahram Gur
ΑΝΑΔΗΜΟΣΙΕΥΣΗ ΑΠΟ ΤΟ ΣΗΜΕΡΑ ΑΝΕΝΕΡΓΟ ΜΠΛΟΓΚ “ΟΙ ΡΩΜΙΟΙ ΤΗΣ ΑΝΑΤΟΛΗΣ”
Το κείμενο του κ. Νίκου Μπαϋρακτάρη είχε αρχικά δημοσιευθεί την 1η Σεπτεμβρίου 2019.
Στο κείμενό του αυτό, ο κ. Μπαϋραρκτάρης δημοσιεύει περίληψη ομιλίας μου (στο Πεκίνο τον Ιανουάριο 2019) αναφερόμενης στην υπερχρονική Κοσμογονία, Κοσμολογία και Εσχατολογία του Νεζαμί Γκαντζεβί και στο τι αυτή σημαίνει για τα μεγάλα έθνη της Γης σήμερα ως αποκαλυπτική προφητεία. Αντίθετα από τις πρόχειρες ερμηνείες δυτικών οριενταλιστών, η ποίηση του Νεζαμί Γκαντζεβί δεν έχει τίποτα το λυρικό ή ερωτικό, και οι αναφορές του στον Σασανίδη σάχη Μπαχράμ (Ουαραχράν Ε'; 420-438 τεμ) δεν είναι ούτε ιστορικές ούτε προσωπικές. Ο Μπαχράμ Γκουρ είναι ένα μυστι(κιστι)κό σύμβολο του Μεσσία-Μάχντι.
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https://greeksoftheorient.wordpress.com/2019/09/01/εθνικός-ποιητής-των-αζέρων-o-νεζαμί-γκα/ ===================
Οι Ρωμιοί της Ανατολής – Greeks of the Orient
Ρωμιοσύνη, Ρωμανία, Ανατολική Ρωμαϊκή Αυτοκρατορία
Σε δύο πρότερα κείμενά μου αναφέρθηκα στον Φερντοουσί, εθνικό ποιητή Ιρανών και Τουρανών, και στο μνημειώδες έπος του Σαχναμέ (Βιβλίο των Βασιλείων), το οποίο ολοκληρωμένο στις αρχές του 11 ου αιώνα, επηρέασε την λογοτεχνία και την φιλοσοφία, την κοσμολογία και την εσχατολογία πολλών άλλων εθνών με την υπερχρονική θεώρηση του Είναι και του Γίγνεσθαι που εισήγαγε στην μυθολόγηση της Ιστορίας και στην εξιστόρηση του Μύθου. Στον ίδιο τον Φερντοουσί και στο Σαχναμέ θα επανέλθω, αλλά μέχρι τότε τα κείμενα εκείνα μπορείτε εδώ:
Το Σαχναμέ του Σάχη Ταχμάσπ (1524-1576): οι πιο Όμορφες Σμικρογραφίες Χειρογράφου στον Κόσμο
https://greeksoftheorient.wordpress.com/2019/08/19/το-σαχναμέ-του-σάχη-ταχμάσπ-1524-1576-οι-πιο-όμ/
(πλέον: https://www.academia.edu/56206313/Το_Σαχναμέ_του_Σάχη_Ταχμάσπ_1524_1576_οι_πιο_Όμορφες_Σμικρογραφίες_Χειρογράφου_στον_Κόσμο)
Φερντοουσί, ο Παραδεισένιος: Εθνικός Ποιητής Ιρανών και Τουρανών, Θεμελιωτής του Νεώτερου Ευρασιατικού Πολιτισμού
https://greeksoftheorient.wordpress.com/2019/08/28/φερντοουσί-ο-παραδεισένιος-εθνικός-π/
(πλέον: https://www.academia.edu/61682121/Φερντοουσί_ο_Παραδεισένιος_Εθνικός_Ποιητής_Ιρανών_και_Τουρανών_Θεμελιωτής_του_Νεώτερου_Ευρασιατικού_Πολιτισμού)
Τυπικό παράδειγμα επίδρασης του Φερντοουσί είναι τα πολλά και εκπληκτικά έπη του Νεζαμί Γκαντζεβί, δηλαδή του Νεζαμί από την Γκάντζα του Αζερμπαϊτζάν, που είναι ο εθνικός ποιητής των Αζέρων και ο σημαντικώτερος υπερβατικός φιλόσοφος, επικός και λυρικός ποιητής, μυστικιστής και πάνσοφος πολυμαθής του Καυκάσου. Φίλος σάχηδων και ηγεμόνων, ο Νεζαμί Γκαντζαβί ασχολήθηκε γράφοντας ποίηση με θέματα ιστορικά, επιστημονικά και ηθικά.
Σήμερα, θα κάνω μια πρώτη αναφορά στο έπος του Νεζαμί Γκαντζεβί Χαφτ Πεϋκάρ, στο οποίο μέσα από συμβολισμούς κοσμολογικού κι εσχατολογικού χαρακτήρα ο Νεζαμί Γκαντζεβί δίνει ολότελα άλλη διάσταση σε ένα προϊσλαμικό Σασανίδη σάχη και εξερευνά τις όψεις του κάλλους και της αισθητικής τελειότητας που αποτελούν την εγγύηση της άριστης βασιλείας.
Σμικρογραφία χειρογράφου του Χαφτ Πεϋκάρ
Ενδεικτικό μάλιστα της απήχησης της αζερικής επικής παράδοσης είναι ότι προ ετών χορογραφήθηκαν αποσπάσματα από το Χαφτ Πεϋκάρ και ανέβηκαν ως μπαλέτο. Στιγμιότυπα από το μπαλέτο θα δείτε στο βίντεο. Στο εισαγωγικό σημείωμα, σε ρωσσικά, αγγλικά κι ελληνικά, εξιστορώ διά βραχέων την υπόθεση του έπους. Περισσότερα μπορείτε να διαβάσετε παρακάτω είτε κατεβάζοντας επισυναπτόμενα άρθρα είτε πηγαίνοντας στους συνδέσμους που παραθέτω.
Βασικές αρτηρίες των Ιστορικών Δρόμων του Μεταξιού
Δείτε το βίντεο:
Низами Гянджеви, Хафт пейкар (Семь красавиц) 1197 Составлено как балет доктором Лорел Викторией Грей (Silk Road Dance Co)
https://www.ok.ru/video/1494107032173
Περισσότερα:
Основанный на эпической поэме Хафт пайкар («Семь красавиц»), написанной Низами Гянджеви, национальным поэтом азербайджанцев, фольклорный балет «Хафт пайкар» («Семь красавиц / Йедди Гезл рэкси»), составленный доктором Лорел Викторией Грей, был впервые показан в 2005 году. Настоящая версия из спектакля 2011 года приглашенных артистов (постановка танцевального ансамбля «Шелковый путь»).
«Семь краса́виц» (перс. هفت پیکر — Хафт пайкар) — четвёртая по счёту поэма классика персидской поэзии Низами Гянджеви из его сборника «Хамсе», написанная в 1197 году на персидском языке. В основу сюжета поэмы положена легенда о сасанидском шахе Бахрам Гуре (420—439 годы). Почти половину всей поэмы составляют семь рассказов жён Бахрама — царевен, живущих в семи дворцах (в шатрах), каждый из которых, в соответствии с древней мифологией, посвящён какой-либо планете и дню недели и имеет соответствующий цвет.
После смерти отца Бахрам возвращается в Персию и восходит на престол. Став царём, Бахрам предпринимает поиски семи принцесс и женится на них. Он приказывает архитектору построить семь величественных зданий — по одному для каждой из своих новых жён. Архитектор рассказывает Бахраму, что, согласно астрологии, каждой страной, или «климатом», то есть одним из семи «поясов», на которые разделена Земля, правит одна из семи планет, и даёт совет Бахраму украсить каждый из дворцов для его жён в оттенках цвета, с которым ассоциируется планета, правящая страной, откуда прибыла каждая из красавиц.
Вначале Бахрам относился скептически к предложению архитектора, но потом даёт согласие на такое оформление дворцов для своих жён. После завершения строительства принцессы поселяются в своих дворцах. Бахрам посещает каждую принцессу в определённый день недели.
Интересно, что Бахрам является к принцессам в одеянии цвета их дворца. Каждая из принцесс рассказывает царю свою историю, которая соответствует определённому настроению и её соответствующему цвету. Сюжет каждой новеллы — любовное переживание, причём, в соответствии с переходом от чёрного цвета к белому, грубая чувственность сменяется духовно просветлённой любовью. Некоторые видят в этом переходе мистический путь, который должна пройти человеческая душа от мрака к чистоте, к божеству.
Соответственно этому царь, проходя этот путь, обретал высокие душевные качества. Впоследствии, испытав горечь поражения, предательство и другие невзгоды, он из любителя приключений превращается в достойного и справедливого правителя.
Таким образом, вторая тематическая линия поэмы — превращение Бахрама из легкомысленного царевича в справедливого и умного правителя, борющегося с произволом и насилием.
Проходят годы. Пока царь был занят своими жёнами, один из его визирей захватил власть в стране. Неожиданно Бахрам обнаруживает, что дела в его царстве в беспорядке, казна пуста, а соседние правители собираются на него напасть. Расследовав деяния министра, Бахрам приходит к выводу, что тот виновен в бедах, постигших царство.
Он приговаривает злодея-министра к смертной казни и восстанавливает справедливость и порядок в своей стране. После этого Бахрам приказывает превратить семь дворцов своих жён в семь зороастрийских храмов для поклонения Богу, а сам Бахрам отправляется на охоту и исчезает в глубокой пещере.
Пытаясь найти дикого осла (гур), Бахрам находит свою могилу (гур).
Μαυσωλείο του Νεζαμί Γκαντζεβί στην Γκάντζα του Αζερμπαϊτζάν
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Nizami Ganjavi, Haft Paykar (Seven Beauties) 1197 Composed as Ballet by Dr. Laurel Victoria Gray (Silk-Road Dance Co)
https://vk.com/video434648441_456240286
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Based on the epic Haft Peykar (Seven Beauties) written by Nizami Ganjavi, who is the national poet of the Azeris, the folkloric ballet Haft Paykar (Seven Beauties / Yeddi Gözəl rəqsi) composed by Dr. Laurel Victoria Gray premiered in 2005. The present version is from the 2011 performance of special guest artists invited by the Silk Road Dance Company.
Haft Peykar (Farsi: هفت پیکر) also known as Bahramnameh (بهرامنامه, The Book of Bahram, referring to the Sasanian king Bahram Gur) is a romantic epic by Persian poet Nizami Ganjavi written in 1197.
This poem is a part of the Nizami’s Khamsa. The original title in Persian Haft Peykar can be translated literally as “seven portraits” with the figurative meaning of “seven beauties”.
The poet starts by giving an account of the birth of Bahram and his upbringing in the court of the Arab king al-Nu’man and his fabled palace Khwarnaq. Bahram whose upbringing is entrusted to al-Nu’man becomes a formidable huntsman.
While wandering through the fabled palace, he discovers a locked room which contains a depiction of seven princesses; hence the name Haft Paykar (seven beauties).
Each of these princesses is from the seven different climes (traditional Zoroastrian division of the Earth) and he falls in love with them. His father Yazdegerd 1st passes away and Bahram returns to Iran to claim his throne from pretenders. After some episodes he is recognized as shah and rescues the Iranians from a famine.
Once the country is stable, the shah searches for the seven princesses and wins them as his brides. His architect is ordered to construct seven domes for each of his new brides.
The architect tells him that each of the seven climes is ruled by one of the seven planets (classical planetary system of Zoroastrian world) and advises him to assure good fortune by adorning each dome with the color that is associated with each clime and planet. Bahram is skeptical but follows the advice of the architect.
The princesses take up residence in the splendid pavilions. On each visit, the shah visits the princesses on successive days of the week; on Saturday the Indian princess, who is governed by Saturn and so on.
The princesses names are Furak (Nurak), the daughter of the Rajah of India, as beautiful as the moon; Yaghma Naz, the daughter of the Khaqan of the Turks; Naz Pari, the daughter of the king of Khwarazm; Nasrin Nush, the daughter of the king of the Slavs; Azarbin (Azareyon), the daughter of the king of Morocco; Humay, the daughter of the Roman Caesar; and Diroste (wholesome), a beautiful Iranian princess from the House of Kay Kavus.
Each princess relates to the shah a story matching the mood of her respective color. These seven beautifully constructed, highly sensuous stories occupy about half of the whole poem. While the shah is busy with the seven brides, his evil minister seizes power in the realm.
Bahram discovers that the affairs of Iran are in disarray, the treasury is empty and the neighboring rulers are posed to invade. He clears his mind first by going hunting.
After returning from hunt, he sees a suspended dog from a tree. The owner of the dog, who was shepherd, tells the story of how his faithful watchdog had betrayed his flock to a she-wolf in return for sexual favors.
He starts investigating the corrupt minister and from the multitude of complaints, he selects seven who tell him the injustice they have suffered.
The minister is subsequently put to death and Bahram restores justice and orders the seven pleasure-domes to be converted to fire temples for the pleasure of God.
Bahram then goes hunting for the last time but mysteriously disappears. As a pun on words, while trying to hunt the wild ass (gūr) he instead finds his tomb (gūr).
Nizami Museum of Azerbaijan Literature, Baku
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Νεζαμί-Γκαντζεβί, Χαφτ Πεϊκάρ (Επτά Ομορφιές) 1197 Αποδομένο σε Μπαλέτο – Dr. Laurel Victoria Gray
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Βασισμένο στο επικό-λυρικό ποίημα Χαφτ Πεϊκάρ (Επτά Ομορφιές) του εθνικού ποιητή των Αζέρων Νιζαμί Γκαντζαβί (1141–1209), το φολκλορικό μπαλέτο Haft Paykar: Seven Beauties – Yeddi Gözəl rəqsi συντέθηκε από την χορογράφο κι ιστορικό χορού Dr. Laurel Victoria Gray και παρουσιάστηκε για πρώτη φορά το 2005. Στο βίντεο βλέπουμε αποσπάσματα από την παραγωγή και παράσταση του 2011 που ανέβασε η Silk Road Dance Company.
Το ποίημα Χαφτ Πεϊκάρ (φαρσί هفت پیکر) γράφηκε το 1197 κι αναφέρεται στις αναζητήσεις του κάλλους γαιών και εθνών εκ μέρους του Σάχη Μπαχράμ Γκουρ. Συμβατικά μεταφράζεται σαν ‘ομορφιές’ ή ‘beauties’ ή ακόμη και ‘πριγκίπισσες’ αλλά η λέξη ‘πεϊκάρ’ στα περσικά σημαίνει ‘σώμα’, ‘ομοίωμα’, ‘πορτρέτο’ ή ακόμη και ‘μορφή’.
Κατά το υπερβατικό, μυστηριακό και φιλοσοφικό αυτό ποίημα, στις περιηγήσεις του ο Μπαχράμ Γκουρ, ενόσω είναι ακόμη ο διάδοχος του θρόνου, ανακαλύπτει ένα μυθικό ανάκτορο και καταφέρνει να μπεί σε ένα κλειδωμένο δωμάτιο όπου υπάρχουν επτά απεικονίσεις ωραίων πριγκιπισών. Η κάθε μια τους αντιστοιχεί σε μια χώρα και σε ένα έθνος και αναλογεί σε μια διαφορετική ημέρα της εβδομάδας και σε ένα διαφορετικό χρώμα.
Ο Μπαχράμ Γκουρ ερωτεύεται και τις επτά πριγκίπισες αλλά πρέπει να επιστρέψει στο Ιράν, όπου πεθαίνει ο σάχης πατέρας του, ανέρχεται ο ίδιος στον θρόνο και περνάει κάποιο διάστημα μέχρις ότου βάλει τα πράγματα σε μια τάξη. Τότε ως Σάχης ο Μπαχράμ Γκουρ ψάχνει και βρίσκει τις πριγκίπισσες και ζητάει από τον αρχιτέκτονά του να ανεγείρει ένα ανάκτορο με επτά θόλους, ένα για την κάθε νύφη του.
Ο αρχιτέκτονας του λέει ότι πρέπει να βρεθεί η αντιστοιχία της καταγωγής των πριγκιπισών με τους επτά πλανήτες, τις ημέρες της εβδομάδας και τα σωστά χρώματα. Έτσι λοιπόν ορίζεται η εξής αντστοιχία και αναφέρονται τα ονόματα των πριγκιπισών:
Φουράκ – Ινδή Πριγκίπισσα – Κρόνος – Σάββατο – μαύρο
Γιάγμα Ναζ – Τουρανή Πριγκίπισσα – Ήλιος – Κυριακή – κίτρινο
Ναζ Παρί – Πριγκίπισσα της Χωρασμίας – Σελήνη – Δευτέρα – πράσινο
Νασρίν Νους – Ρωσσίδα (ή Σλαύα) Πριγκίπισσα – Άρης – Τρίτη – κόκκινο
Αζαρμπίν – Βέρβερη Πριγκίπισσα – Ερμής – Τετάρτη – τυρκουάζ
Χουμάυ – Ρωμιά Πριγκίπισσα – Δίας – Πέμπτη – σανταλόξυλο (ανοικτό καφέ)
Ντιροστέ – Ιρανή Πριγκίπισσα – Αφροδίτη – Παρασκευή – λευκό
Στη συνέχεια, οι επτά πριγκίπισες εγκαθίστανται στο μεγαλειώδες ανάκτορο, και κάθε πριγκίπισσα αφηγείται και μια διαφορετική ιστορία στον Σάχη Μπαχράμ Γκουρ κατά τις ημερήσιες επισκέψεις του στην κάθε μία από αυτές.
Αυτές οι επτά ιστορίες υπερβατικού έρωτα για το Απόλυτο καταλαμβάνουν την μισή έκταση περίπου του όλου έπους. Στην διάρκεια αυτών των αφηγήσεων όμως η χώρα του Σάχη αναστατώνεται από την κακή διοίκηση, τα ταμεία αδειάζουν, και τα γειτονικά κράτη είναι έτοιμα να επιτεθούν.
Ο Μπαχράμ Γκουρ πρώτα καθαρίζει το μυαλό του απασχολούμενος σε ένα κυνήγι. Όταν γυρίζει, βλέπει σε ένα δέντρο κρεμασμένο ένα σκύλο. Ο τσομπάνος, στον οποίο ανήκε ο σκύλος, αφηγείται στον επιστρέφοντα Σάχη πως ο σκύλος του τον επρόδωσε παρασυρόμενος από το πάθος του για μια λύκαινα.
Για να εκδικάσει τον βεζύρη (πρωθυπουργό) του για την κακοδιοίκηση ακροάται επτά άτομα που του αφηγούνται πως από την κακή διοίκηση έγιναν θύματα. Έπειτα, ο Μπαχράμ Γκουρ εκτελεί τον κακό βεζύρη, μετατρέπει το ανάκτορο των επτά θόλων σε επτά ναούς, και φεύγει για ένα τελευταίο κυνήγι όπου και χάνεται για πάντα.
Ο ποιητής κάνει ένα λογοπαίγνιο λέγοντας ότι, προσπαθώντας να κυνηγήσει τον όναγρο (γκουρ) ο Σάχης έφθασε μπροστά στον τάφο (γκουρ) του. Η ίδια λεξη στα φαρσί έχει δύο νοήματα. Στην ιρανική και τουρανική παιδεία, ο Μπαχράμ έμεινε γνωστός ως Μπαχράμ ο Όναγρος (γκουρ).
Βεβαίως το επικό-λυρικό ποίημα είναι γεμάτο κοσμολογικών, μεσσιανικών, σωτηριολογικών κι εσχατολογικών συμβολισμών. Όπως συχνά συμβαίνει και στην περίπτωση του Φερντοουσί, του εθνικού ποιητή των Ιρανών και των Τουρανών, ο Σαχης Μπαχράμ Γκουρ του έπους Χαφτ Πεκάρ δεν είναι αυτό τούτο το ιστορικό πρόσωπο, ο Μπαχράμ Ε’ (420-438 / σε μέσα περσικά: Ουαραχράν και Ουαχράμ) της σασανιδικής δυναστείας, όπως αυτός είναι γνωστό
ς μέσω των συγχρόνων του ιστορικών κειμένων. Πρόκειται για μυθολογογημένο πρόσωπο που επιλέγεται με βάση κάποια από τα καθοριστικά χαρακτηριστικά του ιστορικού Σασανίδη σάχη. Άλλωστε, ο Μπαχράμ Γκουρ είχε επίσης μυθολογηθεί (μέσα σε άλλες ιστορίες) από τον Φερντοουσί (που πέθανε περίπου 120 χρόνια πριν γεννηθεί ο Νιζαμί Γκαντζαβί) στο Σαχναμέ και αργότερα (μέσα σε επίσης διαφορετικές ιστορίες) από τον Αμίρ Χουσράου (εθνικό ποιητή των Ινδών που γεννήθηκε 50 χρόνια μετά τον θάνατο του Νιζαμί Γκαντζαβί) στο Χαστ Μπεχέστ (Οκτώ Παράδεισοι).
Ο Μπαχράμ Γκουρ στο κυνήγι
Ο Μπαχράμ Γκουρ και η Φίτνε, μία σκλάβα που εκτρέφει μία αγελάδα
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Haft Peykar
Haft peykar, a famous romantic epic by Nezami of Ganja (Neẓāmi Ganjavi) from the last decade of the 6th/12th century. The title can be translated literally as “seven portraits,” but also with the figurative meaning of “seven beauties.” Both translations are meaningful and the poet doubtless exploited intentionally the ambiguity of the words.
Editions and translations
The Haft peykar has come down to us as part of the Ḵamsa, the posthumous collection of Nezami’s narrative poems. A critical edition of the Haft peykar was produced by Helmut Ritter and Jan Rypka (Prague, printed Istanbul, 1934) on the basis of fifteen Ḵamsa manuscripts and the Bombay lithograph of 1265. This is one of the very few editions of a classical Persian text that uses a strict text-critical methodology: the editors divided the principal manuscripts into two families (called ‘a’ and ‘b’). Only those verses shared by both families are regarded as authentic.
The ‘b’ family is taken as the main basis for the edition, with those verses missing in the ‘a’ family printed in square brackets. The verses specific to the ‘a’ family are printed in the critical apparatus. More recently, the Haft peykar was re-edited by the Azerbayjani scholar T. A. Magerramov (Maharramov) (Moscow, 1987).
This edition quotes variants from fourteen manuscripts, the Ritter/Rypka edition and the uncritical edition by Waḥīd Dastgerdī (Tehran, 1315 Š./1936 and reprints), but Magerramov made no attempt to divide the manuscripts into families and in this regard his version is a step backwards from the Prague edition. There is also an edition by Barāt Zanjāni (Tehran, 1373 Š./1994), but the present writer has not been able to consult it. In the following, all references are to chapter and line of the Prague edition.
Ο Νεζαμί Γκαντζεβί γίνεται δεκτός από τον Κιζίλ Αρσλάν, τον Κιπτσάκ Τουρανό ηγεμόνα (αταμπέκ) του Αζερμπαϊτζάν
There are three complete translations in western European languages. First, the one in very rough English “blank verse” by C. E. Wilson (The Haft paikar, 2 vols., London, 1924, with extensive notes), wherein the post-Victorian translator felt compelled to render a fairly large number of verses in Latin; second, an Italian prose version by A. Bausani (Le sette principesse, Bari, 1967), based on the critical edition by Ritter/Rypka, with omission of the bracketed verses; and finally an English version by J. S. Meisami (The Haft Paykar, a medieval Persian Romance, Oxford and New York, 1995), in “free verse” (partially rhymed, partially in near-rhymes, partially unrhymed) based on the Ritter/Rypka edition (but retaining the bracketed verses).
There are also versions in Russian prose (R. Aliyev, Baku, 1983) and verse (V. Derzhavin, Moscow, 1959 and reprints). Of the various partial translations it might suffice to mention the one by R. Gelpke in very elegant German prose (Die sieben Geschichten der sieben Prinzessinnen, Zurich, 1959), also in English metatranslation by E. Mattin and G. Hill (The Story of the Seven Princesses, Oxford, 1976).
Date and dedication
The Haft peykar is probably Nezami’s last work. The manuscripts of the superior ‘b’ recension contain a dedication to the ruler of Marāḡa, ʿAlāʾ-al-Dīn Körpe-Arslān b. Aq-Sonqor (he is named in V. 12), who is known to have died in 604/1208 (see Storey/de Blois V, p. 441, n. 2), and the date of completion is indicated in LIII, 63-64 with the words: “three conjunctions after five hundred and ninety I recited this book like the famous (poets of the past), on the fourteenth day of the month of fasting, when four hours of the day were complete,” evidently meaning on 14 Ramadan 593 (early August 1197).
This is probably correct. But the manuscripts of the ‘a’ recension have altered (or miscopied?) the name of the dedicatee to Qïzïl Arslān, retained the verse giving the day, month and hour of completion, but altered the year to “after ṯā (variant: tā) and ṣād and ḥē” i.e., either “after 498” (which is much too early) or “after 598/1202.”
Ο Νεζαμί Γκαντζεβί γίνεται δεκτός από τον Τουρανό ηγεμόνα (αταμπέκ) του Αζερμπαϊτζάν
Synopsis of the frame-story
The Haft peykar is a romanticized biography of the Sassanian ruler Bahrām-e Gūr. His adventurous life had already been treated in Persian verse by Ferdowsi in the Šāh-nāma, to which fact Nezami alludes a number of times. In general, his method is to omit those episodes that the earlier poet had treated, or to touch on them only very briefly, and to concentrate in new material.
After the customary long introductory sections, the poet gives an account of the birth of Bahrām, the often-told story of his upbringing at the court of the Arab king Noʿmān (here, as often, mislocated in the Yemen instead of al-Ḥira) and the construction of Noʿmān’s fabled palace, Ḵᵛarnaq. Reared in the desert, Bahrām becomes a formidable huntsman. Wandering through the palace, Bahrām discovers a locked room containing the portraits of seven princesses, one from each of the seven climes, with whom he immediately falls in love.
Bahrām’s father Yazdjerd (i.e. Yazdegerd I) dies, and Bahrām returns to Persia to claim his throne from a pretender. After much palaver he is recognized as king. He rescues his people from a famine. Next Nezami picks up the story of Bah-rām’s hunting expedition with the loose-tongued slave-girl Feṭna, but alters the version known from the Šāh-nāma considerably; here the girl is not put to death, but eventually pardoned, and the king learns a lesson in clemency.
The king sets out in search of the seven princesses and wins them as his brides. He orders his architect to construct seven domes to house his new wives. The craftsman tells him that each of the climes is ruled by one of the seven planets and advises him to assure his good fortune by adorning each dome with the color associated with the clime and planet of its occupant. The king is at first skeptical but eventually lets the architect have his way. The princesses take up residence in the splendid pavilions.
The king visits each princess on successive days of the week: on Saturday the Indian princess, who is governed by Saturn, in the black dome, on Sunday the Greek princess, who is governed by the sun, in the yellow dome, and so on. Each princess regales the king with a story matching the mood of her respective color. These seven beautifully constructed, highly sensuous stories occupy about half of the whole poem.
Years pass. While the king is busy with his wives an evil minister seizes power in the realm. Eventually Bahrām discovers that the affairs of the kingdom are in disarray, the treasury is empty and the neighboring rulers poised for invasion. To clear his mind, he goes hunting in the steppe. Returning from the hunt he comes across a herdsman who has suspended his dog from a tree. He asks him why. The shepherd tells the story of how the once faithful watchdog had betrayed his flock to a she-wolf in return for sexual favors.
The king realizes that his own watchdog (the evil minister) is the cause of his misfortune. He investigates the minister. From the multitude of complainants he selects seven, who tell him of the injustices that they have suffered (the stories of the seven victims are the somber counterweight to the stories of the seven princesses). The minister is put to death. The king restores justice, and orders the seven pleasure-domes to be converted into fire temples for the worship of God. Bahrām goes hunting one last time and disappears mysteriously into a cavern. He seeks the wild ass (gūr) but finds his tomb (gūr).
General characteristics
In his introduction to the critical edition, Ritter described the Haft peykar as “the best and most beautiful epic in New Persian poetry and at the same time . . . one of the most important poetical creations of the whole of oriental Indo-European literature,” a judgment with which it is difficult to disagree. The poet made artful use of various older sources, among them the Šāh-nāma and other versions of ancient Iranian history and legend, also the Siāsat-nāma of Neẓām-al-Molk, from which he took the crucial story of the shepherd and his unfaithful dog.
It is possible that the seven stories told by the princesses derive from earlier works, but it has not actually been possible to trace any of them to known literary sources. Nezami’s telling of the stories has in any event had great influence on the later development of Persian literature and world literature; for example the story told by the fourth (Russian) beauty is the oldest known, and arguably best, version of the tale of the cruel princess who is unnamed in Nezami’s version, but known in Pétis de la Croix’s translation of a later retelling as Turāndoḵt (Turandot; see, e.g., Meier).
Nezami’s Haft peykar is a masterpiece of erotic literature, but it is also a profoundly moralistic work. In some modern studies it has been regarded more or less as a versified treatise on astrology, but this is a misapprehension. The point of the story is clearly that Bahrām’s attempt to find happiness by living in accordance with the stars is a failure.
The seven domes are built in perfect accord with the properties of the stars, but they are very nearly the cause of his downfall. In the end it is only justice that matters. Only by abandoning the pleasures represented by the seven domes and heeding the complaints of the seven victims of tyranny does Bahrām acquire the status of a true hero.
And the essentially anti-fatalistic message is underlined by the story of the second (Greek) princess, which tells of a king who, because of an unhappy horoscope, had foresworn marriage, but then is led by the selfless love of a slave-girl to defy the astrologers and take his fate in his own hands.
Although there are mystic (Sufic) traits in the narrative (notably in the story of the seventh victim) it is also misguided to regard it, with some, as a Sufic allegory. It is a work of art that is very firmly rooted in this world, and its ethical content is of essentially worldly, not religious, nature.
Μπορείτε να βρείτε την αναφερόμενη βιβλιογραφία εδώ:
http://www.iranicaonline.org/articles/haft-peykar
======================
Περισσότερα:
A Key to the Treasure of the Hakim – Christine van Ruymbeke & Johann-Christoph Bürgel (eds.)
Κατεβάστε το Pdf με πολλά άρθρα ειδικών σχετικά με τον Νεζαμί Γκαντζεβί και το έπος Χαφτ Πεϋκάρ:
https://vk.com/doc429864789_620827883
https://www.docdroid.net/Y6MroCn/key-to-the-treasure-of-the-hakim-on-nizami-khamsa-pdf
Cameron Cross The Many Colors of Love in Niẓāmī’s Haft Paykar
Κατεβάστε το Pdf:
https://vk.com/doc429864789_620829460
https://www.docdroid.net/OUB35qe/cameron-cross-the-many-colors-of-love-in-nizamis-haft-paykar-pdf
Δείτε σμικρογραφίες άλλου χειρογράφου του Χαφτ Πεϋκάρ: https://findit.library.yale.edu/?f%5Blanguage_sim%5D%5B%5D=Persian&f%5Bsubject_topic_sim%5D%5B%5D=Persian+poetry
Επίσης:
https://www.sid.ir/en/journal/ViewPaper.aspx?id=408542
http://www.complete-review.com/reviews/nizami/hpaykar.htm
http://azeribooks.narod.ru/poezia/nizami/sem_krasavits.htm
https://ru.wikipedia.org/wiki/Семь_красавиц
https://en.wikipedia.org/wiki/Haft_Peykar
https://ru.wikipedia.org/wiki/Низами_Гянджеви
https://en.wikipedia.org/wiki/Nizami_Ganjavi
https://en.wikipedia.org/wiki/Bahram_V
https://ru.wikipedia.org/wiki/Бахрам_V
https://en.wikipedia.org/wiki/Amir_Khusrow
https://ru.wikipedia.org/wiki/Сакалиба
https://en.wikipedia.org/wiki/Saqaliba
==============================
Σχετικά με τις παραστάσεις μπαλέτου Χαφτ Πεϊκάρ:
Haft Paykar: Seven Beauties Dance Concert
February 26, 2011 at 2:00 PM
INTERSECTIONS: New America Arts Festival
WASHINGTON DC PREMIERE!
This epic romance is a visual treat, taking viewers to seven different cultures.
Based on the 12th century poem by Nizami Ganjavi, the tale tells of the young warrior Bahram Gur, who enters a mysterious, locked room to discover the portraits of seven beautiful princesses, each from a different land.
After he wins a kingdom and achieves great wealth and power, he remembers the maidens and sets out on a quest to bring each to his kingdom, commissioning the architect Shideh to build seven domed structures – one for each bride
http://www.silkroaddance.com/2011.html
Περισσότερα για τους συντελεστές και παραγωγούς της παράστασης:
https://www.facebook.com/HaftPaykar
http://www.laurelvictoriagray.com/
http://www.silkroaddance.com/
=============================
Κατεβάστε την αναδημοσίευση σε PDF:
https://www.slideshare.net/MuhammadShamsaddinMe/o-250655546
https://issuu.com/megalommatis/docs/nezami_ganjavi
https://vk.com/doc429864789_620935781
https://www.docdroid.net/8Lza618/ethnikos-poiitis-ton-azeron-o-nezami-gkantzevi-xaft-peykar-epta-omorfies-pdf
Κοσμάς Μεγαλομμάτης, Μαρδούκ: Παγκόσμια Μυθολογία-1989
Κοσμάς Μεγαλομμάτης, Μαρδούκ: Παγκόσμια Μυθολογία, Ελληνική Εκπαιδευτική Εγκυκλοπαίδεια, 1989
Кузьма Мегаломматис, Мардук: мировая мифология, Греческая педагогическая энциклопедия, 1989
Kosmas Megalommatis, Marduk: Weltmythologie, Griechische Pädagogische Enzyklopädie, 1989
Kosmas Gözübüyükoğlu, Marduk: Dünya Mitolojisi, Yunan Pedagoji Ansiklopedisi, 1989
قزمان ميغالوماتيس، مردوک : اساطیر جهانی، دایره المعارف آموزشی یونانی، 1989
Côme Megalommatis, Marduk: Mythologie mondiale, Encyclopédie pédagogique grecque, 1989
1989 قزمان ميغالوماتيس، مردوخ (مرْدُوك) : الأساطير العالمية، الموسوعة التربوية اليونانية،
Cosimo Megalommatis, Marduk: mitologia mondiale, Enciclopedia pedagogica greca, 1989
Cosimo Megalommatis, Marduk: mitología mundial, Enciclopedia pedagógica griega, 1989
Cosmas Megalommatis, Marduk: World Mythology, Greek Pedagogical Encyclopedia, 1989
--------------------
Скачать PDF-файл: / PDF-Datei herunterladen: / Télécharger le fichier PDF : / PDF dosyasını indirin: / :PDF قم بتنزيل ملف / Download PDF file: / : یک فایل دانلود کنید / Κατεβάστε το PDF:
The Alexander Romance (a series of fictional stories about Alexander the Great) doesn’t just celebrate Alexander’s virility and skill in warfare; it also portrays him as insatiably curious about the world. In one story, Alexander descends deep under the sea in a primitive diving bell. He brought with him a rooster (to help him keep time by crowing), a dog, and a cat.
We have a version of the story from the Mughal Empire in the late 1500s:
And another from Germany in the 1400s:
{WHF} {Ko-Fi} {Medium}
“The Temple of Ramesses III at Medinet Habu was an important New Kingdom period temple structure in the West Bank of Luxor in Egypt. Aside from its size and architectural and artistic importance, the mortuary temple is probably best known as the source of inscribed reliefs depicting the advent and defeat of the Sea Peoples during the reign of Ramesses III.” [X]
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