Mohammad arefian: Difference between revisions

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The first type is specific to Pardekhans who are masters of [[Ta'ziyekhani]] (sung playing) and who play the roles of the holy personages. The second type is more prevalent than the other two and is mainly specific to Pardekhans whose main profession is Ma'rekegiri or street performances. These persons might also engage in [[Rawza-khani]] and [[Maddahi]] on the side of their main profession. And the third and less frequently liked type is that of those who do not have a strong singing voice.
The first type is specific to Pardekhans who are masters of [[Ta'ziyekhani]] (sung playing) and who play the roles of the holy personages. The second type is more prevalent than the other two and is mainly specific to Pardekhans whose main profession is Ma'rekegiri or street performances. These persons might also engage in [[Rawza-khani]] and [[Maddahi]] on the side of their main profession. And the third and less frequently liked type is that of those who do not have a strong singing voice.
At the beginning of the gathering of Sultan e Qeys the melody is of the acoustic atmosphere of Avaze Bayat-e Turk (Daramad intervals) and in the second section, in the hemstitch of An ke shiran ra konad rubah mazaj... it is performed in the atmosphere of Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). Sometimes the intervals performed by the curtain-narrators do not perfectly correspond to the intervals of Dastgah and urban music and the only atmosphere which is evoked is that of one roughly corresponding to some Dastgahs or Avazes; this is true of the section sung in Homayun.
At the beginning of the gathering of Sultan e Qeys the melody is of the acoustic atmosphere of Avaze Bayat-e Turk (Daramad intervals) and in the second section, in the hemstitch of An ke shiran ra konad rubah mazaj... it is performed in the atmosphere of Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). Sometimes the intervals performed by the curtain-narrators do not perfectly correspond to the intervals of Dastgah and urban music and the only atmosphere which is evoked is that of one roughly corresponding to some Dastgahs or Avazes; this is true of the section sung in Homayun.
The Dot of the B of Besmellah[[File:Mohammad_Arefian_7.jpg|345x345px]]and ” Hashemi's Mole"  
The Dot of the B of Besmellahand ” Hashemi's Mole"  
Darvish Aref begins a poem with these words: That dot beneath the B of Besmeallah ( In the name of Allah )  
Darvish Aref begins a poem with these words: That dot beneath the B of Besmeallah ( In the name of Allah )  
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 .  
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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.


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<br />[[File:Mohammad_Arefian_7.jpg|345x345px]]
==Narration==
==Narration==
Sultan e Qeys of India dreams of a dangerous lion. He relates his dream to his astrologers and interpreters of dreams but they cannot interpret it.  
Sultan e Qeys of India dreams of a dangerous lion. He relates his dream to his astrologers and interpreters of dreams but they cannot interpret it.  

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