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notesaboutafarawayland · 3 years ago

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Introduction to Iranian/Persian aesthetics part 1

Before we begin (feel free to skip this):

I used the terms Iranian and Persian to refer to the same thing (of greater Iran). Back in the day, the natives referred to the land with various names which later became Iran, while foreigners (mostly greeks) referred to them by the name of the ruling tribe of the achaemenid dynasty (Persian).

Just to clarify, this isn’t political, it’s just about aesthetics. I’m using greater Iran instead of individual countries or ethnicities due to cultural overlap and an abundance of shared culture and heritage. It’s very difficult to separate many of these aesthetics and associate them with only one country or ethnicity (or smaller region) and it would be quite unethical to do so; As such, I’ve put them all together. I also didn’t use the term Iranic because there are other non-Iranic ethnicities in the region who also share much culture and history with us so once again, it would be unethical to exclude them.

I’m not familiar with the modern aesthetics of various other countries though so I won’t include them.

Intro:

some of the aesthetics that are mentioned here will be purely aesthetics, not subcultures while others are more than just aesthetics but I wont be mentioning their other features. Some of these don’t have an official name so I’ll be putting a name to them to make referencing them easier.

This post will only focused on some of our historical aesthetics, modern and other historical ones will be explored in other posts.

Mirror/Pari

This is purely an aesthetic and nothing else (most often found in films, dance videos, ... but also interior decoration and other forms of art). This aesthetic doesn’t have a name or if it does I’m not aware of it. I called it mirror aesthetic because it is greatly associated with the mirror art in our architecture. It has somewhat of an ethereal feeling to it so that’s why I thought pari also fits well.

Colour pallet: silver, white, shiny/sparkly pastels, turquoise, deep blue, light blue, purple, light pearl tones.

Fabrics and embellishments: light and flowy fabrics, satin, bead work, mirror embroidery, pearls and gems.

Gems: Opal (specifically white and blue), pearls, diamonds, turquoise, moon stone.

Other items and places: mirror halls, next to flowy curtains, white flowers, those old silver oil lamps with turquoise decorations, sometimes persian mina art.

image sources: iranian film- delshodegan, iranian film - hasan kachal, iranian series - sarbedaran, tajik film - roodaki, dance video - persian metaphysical dance, dance video - Iranian Dance Dances of Tribes of Greater Iran, dance video - Santur dance Dr. Lloyd Miller dastgah Segah.

19th Century Noble Lady

The aesthetics of this time period were naturally quite diverse as many different sub-cultures had aesthetics of their own and there were also differences based on occupation, socioeconomic status, ... however there were also some general similarities.

This particular aesthetic is associated with the affluent ladies who lived during the 19th century. This general style came about before the Ghajar dynasty and continued to develop during the Ghajar era but I’ve focused on it’s form during the end of the 19th century. The general style is what most city dwelling women in Iran wore at the time, however, it has some more expensive elements that was linked to the wealthy.

Colour pallet: various colours but usually decorated with a bit of gold and silver.

Fabrics and embellishments: termeh, silk, satin, velvet, sermeh-doozi, bead work, zar-doozi.

Clothing and appearance: square headscarves worn in a specific way, traditional clothing of the time, lots and lots of jewelry, typically unibrow and beauty marks, flowers in scarf.

Other aesthetic features: wooden furniture, stained glasses, carpets, horses and carriages, tea sets, ...

image source: TV series - “lady of the mansion”

Laat/Looti

This style is associated with the laat subculture. These were a gang-like groups that mostly existed in old and crowded neighborhoods in big cities and their purpose was usually to uphold traditional ethics, keep local cultures alive and stop chivalry and the likes from dying. They apparently go back to the 10th century and naturally their style and aesthetics (as well as their name, mannerisms, what they stood for, ... ) changed as time went on but this particular style is from their last days during the late Ghajar to Pahlavi eras (these aren’t the original Pahlavis who were Parthian warriors and who we get the name pahlavan (heroic warrior) from, the guy who established this dynasty, which was the last dynasty of Iran, didn’t have a clan or surname so he just copied the name of an ancient prestigious clan).

When the central government was weak, these groups played a big role in establishing local safety and protecting weaker groups as well as standing up to dictators. They had a very strict code of conduct and principles that they abided by and they were often made up of lower working-class men who trained in ancient warrior methods and ethics (what we call ayin-e-pahlavani). They often had roles in overthrowing local governments, riots and rebellions. They often put a lot of emphasis on protecting the weak or disadvantaged and on friendship and brotherhood. Loyalty was extremely important to them and they treated each-other like family.

During the time that this aesthetic came about they really weren’t what they used to be. These concepts were still ingrained in the subculture but it was a far cry from its origin as they were overwhelmingly responsible for many of the crimes committed by the working-classes (and I’m not talking about crimes for helping people or overthrowing corruption), they were perpetually drunk and they often engaged in gang wars, they were mostly illiterate so they were very behind the times in many ways (remember the ethics they were upholding and see how that illiteracy factors into things) and basically they lost quite a bit of respect and the term came to take on a derogatory connotation.

I won’t get much into their history and nuances. Their style in these eras was influenced by European fashion (influenced may not be the right word here) as well as bazari styles with some garmabeh (traditional persian public baths) elements because during those times, they were one of the main groups of people who used garmabehs. They dressed quite differently before the Pahlavi era, however, many of their embellishments that set them apart have their roots in the late Ghajar era (western clothing was violently enforced and traditional clothing was legally banned in the 30s, the ghajar era ended in 1925). The original baba karam dance/skit that was done in urban weddings was also an expression of laati culture (the one that was done by men).

Element of this aesthetic include:

Stuff: kanjar and ghameh knives, tasbih (rosary), a piece of lowng (fabric used in public baths), sometimes ghelyoon.

Accessories: those big and fancy traditional rings, black hats, giant mustaches.

Clothes: oversized black suit with a white or black shirt or a big, black and rigid robe.

Other: old brick buildings, sometimes old ghahve khoones (traditional coffee houses), baazar corners and sometimes zurkhunes.

Weaver

This is an aesthetic that focuses on traditional rural professions that are related to hand-coloured yarn, things like carpet weaving and cloth weaving that are done in small rural villages. This includes:

Places: where yarn/cloth is made and coloured, in a rural cottage, right outside a rural cottage, in a traditional weaving workshop.

Stuff: colourful yarn, various traditional weaving equipment, carpet patterns.

Clothes: normal village women clothes (their work clothes) like the long floral skirts (usually with trousers worn underneath), the floral square headscarves, the long tunics on top of skirts, floral chadors, various forms of traditional embroidery, giveh shoes (the traditional ones not the modernized ones), ...

Astronomy/Astrology

This is the last aesthetic I’ll be mentioning today. This one isn’t only an Iranian aesthetic, it really belongs to the medieval muslim world but greater Iran was also an important part of that and this aesthetic pops up a lot here so I still included it.

Astronomy and astrology were often interlinked and people who practiced one often also practiced the other. This is an aesthetic that is centered around the astronomers of the medieval muslim world. It includes some general things from that time period such as islamic architecture and Moroccan lamps but if we were to get more specific, this aesthetics includes:

Things and places: Astronomical devices, observatories, the night sky, the astrological wheel, some elements of mysticism, geometry, mathematics, ...

The main colour pallet: gold and dark blue

Other related colours: red, orange, green, silver, light blue, purple, yellow

Clothing: turbans and clothing that astronomers (and other people) at that time wore.

link to part two.

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muzicnews · 5 years ago

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دانلود فیلم دلشدگان ۱۳۷۰

فیلم سینمایی دلشدگان سیزدهمین فیلم ساخته‌ی علی حاتمی است.

این فیلم در ژانر درام تاریخی در سال ۱۳۷۰ ساخته شده است. علی حاتمی بجز کارگردانی این اثر، نویسندهٔ فیلم نامه، تهیه‌کننده و طراح صحنه‌ی دلشدگان نیز بوده‌است.

از آن‌جا که داستان فیلم دربارهٔ موسیقی ایرانی است، سرشار از صحنه‌هایی است که به نوازندگی و فرهنگ اهالی موسیقی در دوران قاجار می‌پردازد.

این صحنه‌ها با توانایی منحصر به فرد علی حاتمی در خلق فضاهای قدیمی همراه شده‌است.

هم‌چنین می‌توان موسیقی این فیلم را، که ساخته حسین علیزاده است، به عنوان یکی از نقاط قوت آن برشمرد.

این موسیقی با صدای آواز محمدرضا شجریان همراه شده‌است.

داستان فیلم دلشدگان

در زمان سلطنت احمد شاه، تاجری فرنگی به بهانه رونق فرهنگ و هنر قصد دارد با پرکردن چند صفحه از چند موسیقیدان ایرانی، ردیف های اصیل ایرانی را که در حال فراموشی است، از گزند گذر زمان حفظ کند.

به همین منظور از آقاحسین دلنواز خواسته می شود که جمعی از بهترین نوازندگان را انتخاب کند.

این قصد و برنامه سفر به فرنگ با مشکلاتی مواجه می شود.

اما استاد دلنواز خود تصمیم می گیرد این برنامه را عملی کند.

در فرنگ صدای دلنشین اهرخان خواننده گروه، هنگام تمرین، موجب شفای لیلا برادرزاده سفیر عثمانی می شود که در مجاورت باغ پانسیون گروه زندگی می کند.

هوای سرد و موذی فرنگ طاهرخان را که جسماً آدم ضعیفی است، دچار ذات الریه می کند.

آنها پس از اتمام کارهای ضبط صفحه، دچار مشکلات مالی شده مجبور می شوند برای جبران، کنسرتی برپا کنند.

در این سفر هر کس خاطرات گذشته‌ی خود را به نوعی مرور یا بازگو می‌کند.

سرانجام خوانندهٔ گروه دلباختهٔ شاهزادهٔ نابینای تُرک می‌شود و در غربت جان می‌سپارد.

بازیگران

امین تارخ اکبر عبدی جلال مقدم فرامرز صدیقی سعید پورصمیمی حمید جبلی محمدعلی کشاورز فتحعلی اویسی رقیه چهره‌آزاد جمشید هاشم پور شهلا ریاحی لیلا حاتمی توران مهرزاد علی اصغر گرمسیری منصور والامقام سرور نجات‌الهی

تماشای آنلاین فیلم دلشدگان

http://dl.iranidata.com/film/cinematic/irani/Del_Shodegan_1370_HQ_(www.IraniData.com).mp4

دانلود فیلم

نوشته دانلود فیلم دلشدگان ۱۳۷۰ اولین بار در دانلود فیلم های تاریخی در تاریخ ما. پدیدار شد.

source https://films.tarikhema.org/%D9%81%DB%8C%D9%84%D9%85-%D9%87%D8%A7%DB%8C-%D8%B2%D9%86%D8%AF%DA%AF%DB%8C%D9%86%D8%A7%D9%85%D9%87-%D8%A7%DB%8C/delshodegan/Movies/1642.html

#تاریخ_ما Tarikhema

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