6,077
edits
Mohammad arefian: Difference between revisions
Jump to navigation
Jump to search
m
no edit summary
T.ramezani (talk | contribs) (Created page with "{{Infobox artist | name = Mohammad arefian | image = Mohammad Arefian 1.png | image_size = | alt = | caption = | birth_da...") Tags: Mobile edit Mobile web edit |
mNo edit summary |
||
| Line 19: | Line 19: | ||
| filename = 09 - Mohammad Arefian.mp3 | | filename = 09 - Mohammad Arefian.mp3 | ||
| title = Mohammad Arefian | | title = Mohammad Arefian | ||
}} | }}Morshed Aref uses methods of recalling, prayer, [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] (sending God's greeting to the prophet), to the holy personages and the people, cursing the evil ones, along with other communal behavior during prayers, approving of some and disapproving others and sometimes general questioning and advising, in order to create a relation with the audience. | ||
Morshed Aref uses methods of recalling, prayer, [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] (sending God's greeting to the prophet), to the holy personages and the people, cursing the evil ones, along with other communal behavior during prayers, approving of some and disapproving others and sometimes general questioning and advising, in order to create a relation with the audience. | |||
==Reciting Method== | ==Reciting Method== | ||
At the beginning Morshed Aref sings (Besmellaholrahmanorahim) in a melodic tone as most other Pardekhans. His voice continues to the end of the introduction before the main story. After this section spoken narration is used to explain the gathering and short singing is only used at significant parts of the story. In curtain-storytelling three main methods are usual in expressing the gathering. | At the beginning Morshed Aref sings (Besmellaholrahmanorahim) in a melodic tone as most other Pardekhans. His voice continues to the end of the introduction before the main story. After this section spoken narration is used to explain the gathering and short singing is only used at significant parts of the story. In curtain-storytelling three main methods are usual in expressing the gathering. | ||
| Line 38: | Line 35: | ||
That is the guide to the gateway of Allah on that dot is written the whole of the Koran That is the mole on the lip of Ali the friend of Allah. The poem indicates the relation of the B's dot (in the Arabic alphabet) in the opening lines of the Koran (Besmellaholrahmanolrahim) to the lip of [[Imam Ali]]. Thus, the interpretation appears objectively on the curtains of curtain-storytelling, where a mole appears on the portraits of the saints. Imam Ali, [[Imam Hasan]], [[Imam Husayn]], [[Ali Akbar]] and [[Ali Asqar]] all have moles above their lips known as the Hashemi mole. In Islamic Gnosticism the meaning of the dot and the dot of the B has a multitude of hidden, other wordly and deep meanings, and in the literature a dot and mole are corresponded to each other and a mole is allegory of the dot : On his face his mole is pure Which is the center of the circling surroundings It is from the feeling of the destroyed heart full of blood . | That is the guide to the gateway of Allah on that dot is written the whole of the Koran That is the mole on the lip of Ali the friend of Allah. The poem indicates the relation of the B's dot (in the Arabic alphabet) in the opening lines of the Koran (Besmellaholrahmanolrahim) to the lip of [[Imam Ali]]. Thus, the interpretation appears objectively on the curtains of curtain-storytelling, where a mole appears on the portraits of the saints. Imam Ali, [[Imam Hasan]], [[Imam Husayn]], [[Ali Akbar]] and [[Ali Asqar]] all have moles above their lips known as the Hashemi mole. In Islamic Gnosticism the meaning of the dot and the dot of the B has a multitude of hidden, other wordly and deep meanings, and in the literature a dot and mole are corresponded to each other and a mole is allegory of the dot : On his face his mole is pure Which is the center of the circling surroundings It is from the feeling of the destroyed heart full of blood . | ||
That the dot of the mole is painted black The Pardekhans mainly having gnostic and darvish traditions in thinking, at times indicate the deep meanings even if very rarely and fleetingly with subtlety, and this makes their mastery of spiritual language clear. | That the dot of the mole is painted black The Pardekhans mainly having gnostic and darvish traditions in thinking, at times indicate the deep meanings even if very rarely and fleetingly with subtlety, and this makes their mastery of spiritual language clear. | ||
Alongside the singers, the curtain painters too have prepared the background for the manifestation of the spiritual knowledge of the singers. The Hashemi mole is an example which is indicated in Morshed Aref's choice of opening poem. | Alongside the singers, the curtain painters too have prepared the background for the manifestation of the spiritual knowledge of the singers. The Hashemi mole is an example which is indicated in Morshed Aref's choice of opening poem.[[File:Mohammad_Arefian_7.jpg|453x453px]] | ||
==Narration== | ==Narration== | ||
[[File:Mohammad Arefian 8.jpg|thumb|]] | [[File:Mohammad Arefian 8.jpg|thumb|]] | ||
| Line 45: | Line 42: | ||
Finally, the vizier who is a Muslim tells the Sultan to ask Imam Husayn for aid. The Sultan brings Imam Husayn's name to his lips ... Imam who is himself struggling at war with [[Yazid]]'s army, is in the land of [[Karbala]] and while having a few arrows in his body he comes to the aid of the Sultan and saves him from the danger of the lion ... Now the Sultan intends to return to the aid of Imam Husayn but the distance is far and the Sultan would not be able to translocate in the same way as Imam Husayn and Imam says to plant the ney in the ground, then whenever blood flows from it, know that I have been martyred... The Sultan sees the blood flowing a while after planting the ney. | Finally, the vizier who is a Muslim tells the Sultan to ask Imam Husayn for aid. The Sultan brings Imam Husayn's name to his lips ... Imam who is himself struggling at war with [[Yazid]]'s army, is in the land of [[Karbala]] and while having a few arrows in his body he comes to the aid of the Sultan and saves him from the danger of the lion ... Now the Sultan intends to return to the aid of Imam Husayn but the distance is far and the Sultan would not be able to translocate in the same way as Imam Husayn and Imam says to plant the ney in the ground, then whenever blood flows from it, know that I have been martyred... The Sultan sees the blood flowing a while after planting the ney. | ||
==Source== | ==Source== | ||
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 9. ISBN: 978-964-2986-422(vol.9). 978-964-2986-002(set). | |||
*Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 9. ISBN: 978-964-2986-422(vol.9). 978-964-2986-002(set). | |||
[[Category: Artist]] | [[Category: Artist]] | ||
[[Category: Contemporary Artist]] | [[Category: Contemporary Artist]] | ||
[[Category: Performing Art]] | [[Category: Performing Art]] | ||
[[Category: Ritual Dramatic Art]] | [[Category: Ritual Dramatic Art]] | ||