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3- Narration in the spoken word | 3- Narration in the spoken word | ||
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|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 | 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 | ||
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The Dot of the B of Besmellahand ” 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 Hussain]], [[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, [[Hasan B. Ali B. Abi Taleb|Imam Hasan]], [[Imam Hussain]], [[Ali al-Akbar ibn al-Hussain|Ali Akbar]] and [[Ali Asqar ibn Hussain|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. | ||