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Mohammad ahadi: Difference between revisions
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2. Goshavesh means introduction. In the past Mahur used to begin with this Gushe but today this Gushe has become secondary in importance and has retained but its name. | 2. Goshavesh means introduction. In the past Mahur used to begin with this Gushe but today this Gushe has become secondary in importance and has retained but its name. | ||
The figure of the martyred [[Ali Akbar]] is usually lying down with his head on the knee of [[Imam Hussain]]. On the unique curtain painted by Mohammad Farahani with which Darvish Ahadi works and sings, Ali Akbar is illustrated in a sitting position. The curtain is more than a few decades old. The faces are distinguished and the gatherings are painted in the traditional ways. The only other difference separating this curtain from the other curtains is the gathering and face replacement which is a normal difference found in all curtains. | The figure of the martyred [[Ali al-Akbar ibn al-Hussain|Ali Akbar]] is usually lying down with his head on the knee of [[Imam Hussain]]. On the unique curtain painted by Mohammad Farahani with which Darvish Ahadi works and sings, Ali Akbar is illustrated in a sitting position. The curtain is more than a few decades old. The faces are distinguished and the gatherings are painted in the traditional ways. The only other difference separating this curtain from the other curtains is the gathering and face replacement which is a normal difference found in all curtains. | ||
Since in the curtains of Darvish Farahani only four large faces have been depicted of which the changes in position of the figure of Ali Akbar is very noticeable and raises a question. This scene of seated Ali Akbar is only found in two of the hundreds of curtains made by Mohammad Farahani. One of the reasons for the request is perhaps to create some difference with other curtains and another reason rises perhaps from the belief in the martyrs being alive. The open eyes of most of the martyrs on the darvish curtains are related to the same interpretation. | Since in the curtains of Darvish Farahani only four large faces have been depicted of which the changes in position of the figure of Ali Akbar is very noticeable and raises a question. This scene of seated Ali Akbar is only found in two of the hundreds of curtains made by Mohammad Farahani. One of the reasons for the request is perhaps to create some difference with other curtains and another reason rises perhaps from the belief in the martyrs being alive. The open eyes of most of the martyrs on the darvish curtains are related to the same interpretation. | ||