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ASSASSIN'S CREED MIRAGE LA PORTE DE KHORASSAN UBISOFT - AMAZON LUNA
ASSASSIN'S CREED MIRAGE LA PORTE DE KHORASSAN UBISOFT - AMAZON LUNA
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BYJMCV 2024/04
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#youtube#byjmcv#carpentiervantourout#ubisoft#ASSASSIN'S CREED MIRAGE#LA PORTE DE KHORASSAN#Amazon Luna
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Far from being eternal, pair-unions developed slowly and precariously over a long period of time. The right of safe passage into the community of cross-cousins was a signal advance over earlier fleeting encounters between the sexes in the forest. But there were still many hesitations, suspicions, and fears between the men of the two moieties, and these were reflected in the relations between the young men and old women.
This precarious situation can be seen more clearly in what is sometimes called the "institution of the visiting husband." In the earliest stage of matrimony the husband was little more than a visitor to his wife's community. He did not start out by occupying a separate house or hut with his wife; he was given accommodations in the male clubhouse reserved for strangers and visiting husbands. There under the surveillance of his wife's male kin he slept and took his meals. A survival of this ancient practice is noted by Webster:
‘In Samoa . . . the young men slept by themselves and received the visitors to the community. In the Fiji Islands at least two Bures-ni-sa, or strangers' houses, were found in every village. In them all the male population passed the night. "The women and girls sleep at home; and it is quite against Fijian etiquette for a husband to take his night's repose anywhere except at one of the public bures of his town or village, though he will go to his family soon after dawn."’ (Primitive Secret Societies, pp. 11-12)
According to some reports, when a visiting husband arrived at the village of his wife, he parked his weapons outside before entering. Others say that he did not immediately walk into the wife's community; he sat down at the outskirts and waited until one of his wife's kinsmen summoned him to the male clubhouse where he was given accommodations.
Thus before men achieved the status of full-fledged husbands, living and sleeping under the same roof with their wives, they passed through an interim period of history in which they were only part-time visitors. Briffault refers to them as "surreptitious" husbands, and to matrimony at this stage of its evolution as "clandestine marriage":
‘Even more extraordinary in the light of our notions than the position of the husband as a stranger, guest or visitor within the group to which his wife belongs is the fact that he is commonly a clandestine and surreptitious visitor. One of the Japanese words for marriage is "Home-iri," which may be interpreted "to slip by night into the house," and the expression accurately describes the mode of connubial intercourse among a large proportion of primitive peoples.
Among the Khasis "the husband came to his mother-in-law's home after dark only. . . . The Tipperah husband gains access to his wife's room like a burglar, and leaves it before dawn. Among the Yakut, the husband visits his wife in a similar manner after dark. . . . The Kuril never visit their wives publicly, "but steal to them privately in the night." Among the Tartars, the bride-groom likewise slips into the bride's house surreptitiously, and he is particularly careful not to be seen leaving it, for her male relatives are waiting, ready to administer a sound drubbing if they should happen to catch sight of him.’ (The Mothers, vol. I, pp. 513-14)
This indicates a certain advance on the part of the stranger seeking a bride; he has breached the "citadel," that is, the sector so carefully guarded because it is occupied by the older women and the children. He is now cohabiting with his wife, in the same sector and even under the same roof as that dangerous old witch, his mother-in-law. His chief concern now is to escape detection by his wife's male kinsmen. We learn from Briffault that often the mother-in-law herself acts as a "go-between" in the cause of love:
‘The Kirghis bridegroom is secretly introduced into the bride's chamber by the "go-between," and he must depart before dawn. . . . In Khorassan, it was the rule for the mother of the bride to introduce the bridegroom secretly into the house by the back door; the male relatives were not supposed to know anything of his visits, and he had to depart before dawn.’ (ibid., p. 514)
The fearsome old witch gradually became transformed into a proper mother-in-law, although she still remained a formidable figure, to be treated with great circumspection. This explains the curious remark made by an Australian aborigine which Radcliffe Brown reports as follows:
‘In its most extreme form there is complete avoidance of any social contact between a man and his mother-in-law. This avoidance must not be mistaken for a sign of hostility. One does, of course, if one is wise, avoid having too much to do with one's enemies, but that is quite a different matter. I once asked an Australian native why he had to avoid his mother-in-law, and his reply was, "Because she is my best friend in the world; she has given me my wife"’ (Structure and Function in Primitive Society, p. 92)
-Evelyn Reed, Woman’s Evolution: From Matriarchal Clan to Patriarchal Family
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30th September
1207 Jalal al-Din Muhammad Rumi, Persian mystic and poet, born in Khorassan, Afghanistan (d. 1273)
Rug: Anatolian with traditional tribal designs, Konya.
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La guerre anglo-afghane de 1838-1842 racontée par Friedrich Engels
par Friedrich Engels. L’Afghanistan, vaste pays d’Asie, au nord-ouest de l’Inde, se situe entre la Perse et les Indes, et dans l’autre sens entre l’Hindou Kouch et l’océan Indien. Il comprenait autrefois les provinces perses du Khorassan et du Kuhistan, ainsi que Hérat, le Beloutchistan, le Cachemire et le Sind, ainsi qu’une partie considérable du Punjab. Dans ses limites actuelles, il ne compte…
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just realized that kherson and khorassan are different places. urgh..
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Daech, Ukraine, FSB: les hypothèses sur l'attentat près de Moscou et leurs probabilités
La fusillade du 22 mars dans une salle de concert de la banlieue de Moscou a été revendiquée par le groupe État islamique au Khorassan (EI-K), mais le régime russe n'a fait allusion qu'à l'Ukraine.
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STARTS & ENDS WITH "O" (YACHTSHOP)
1. NARROW NECK OF LAND
2. EXPECTED DISSOLUTION OF MR
3. SHEFFIELD DUKE OF BUCKINGHAMSHIRE
4. TENDER CHARM OF POETRY
5. GIANT FOSSILS OF MY
6. DYES OF HEAVEN
7. BOOK OF IAMBS
8. LALLA ROOKH: THE VEILED PROPHET OF KHORASSAN
9. THE LAW OF LIFE MAN
10. COMPLETE STEEL THE JUSTICE OF MY
11. EPISTLES OF HORACE
12. IMITATION OF HORACE
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Iazul
Em nome de Allah, Clemente e Misericordioso! Viveu, outrora, na Pérsia, meio século depois de Timur Lenk, um Príncipe, generoso e bravo, que se chamava Shack Bock. Afirmam historiadores altamente abalizados que esse glorioso Emir tinha, em sua imponente corte, um sábio, mestre e conselheiro, cuja nobre função era orientar o monarca em suas decisões, esclarecê-lo em suas dúvidas e corrigi-lo em seus erros e injustiças. Esse ulemá, judicioso e previdente, chamava-se Ismail Hassan, e era, pelos nobres muçulmanos, apelidado o Saryh (aquele que é sincero).
Um dia muito cedo, logo depois da prece da madrugada, prece do ritual que os árabes denominam sobh, o Príncipe mandou que viesse à sua presença o douto conselheiro da corte. Fazia todo o empenho em ser urgentemente elucidado sobre um caso que se apresentava enrodilhado pelo mistério.
Sem perda de tempo, o ilustre Ismail, o Saryh, deixou os seus aposentos, e foi ter ao luxuoso divan (sala de audiências) do soberano persa. O que teria acontecido? Que caso, assim, tão grave, intrigava o Rei? O monarca parecia pálido. Em sua fisionomia morena surgiam, tracejando linhas incertas, as sete rugas da intranqüilidade.
Depois das saudações habituais, sem mais preâmbulo, disse o Emir ao judicioso Ismail:
— Acabo de receber, do Khorassan, este pequeno cofre, encontrado pelos meus agentes secretos, entre os despojos do infeliz e estouvado Khalil, senhor de Candahar. Dentro desse cofre vinha, apenas, esse singularíssimo anel de ouro. Desconfio que se trata de jóia raríssima, que pertenceu ao grande Timur Lenk. Como poderei descobrir o enigma que envolve esse anel?
E o Príncipe, estendendo a mão, entregou ao douto Ismail o misterioso anel de Candahar. Ismail, o sábio (Allah, porém é mais sábio!), examinou detidamente a jóia, virando-a e revirando-a na palma da sua mão. E depois de refletir, em silêncio, durante algum tempo, assim falou ao Príncipe, seu amo e senhor:
— Julgo-me capaz de esclarecer esse mistério. Afirmo que uma das peças mais valiosas do tesouro persa acaba de chegar às vossas mãos. Este anel é o precioso e tão ambicionado anel mágico, que pertenceu ao invencível Timur Lenk, o Perseverante (que Allah o tenha entre os eleitos!). Como podeis ver, este anel, no rico escudo em forma de tâmara, ostenta, em letras bem talhadas, a palavra tão bela e sonora: - Iazul.
Sim, sim – confirmou o Príncipe, muito sério – já o havia notado. No escudo, entre dois brilhantes pequeninos, lê-se a palavra Iazul. O mistério, a meu ver, permanece. O que significa, afinal, Iazul?
O sábio Saryh ergueu o rosto e, discorrendo em tom pausado e claro, explicou:
— Cumpre-me dizer-vos, ó Rei do Tempo!, que Iazul é uma palavra mágica, de alto e misterioso poder. Asseguro que é a palavra mais expressiva e eloqüente entre todas as que figuram no riquíssimo vocabulário persa. É mágica, repito. Reparai bem: Tem o dom de nos tornar alegres, quando estamos tristes, e de moderar as nossas alegrias, nos momentos de extrema felicidade e ventura.
Singular, muito singular – refletiu o Rei. - É, realmente, de alta magia, essa palavra que transforma as alegrias em preocupações, e que consegue aniquilar, ou pelo menos conter, as mágoas e tristezas que pesam em nosso coração!
E, fitando gravemente o sábio, acrescentou:
— Mas insisto em perguntar: O que significa essa palavra Iazul? Como podemos traduzi-la? Respondeu o eloqüente e esclarecido ulemá:
Iazul, ó Rei!, dentro da sua espantosa simplicidade, significa, apenas Isso passa! Ou ainda: Tudo passa! Quando o homem atravessa períodos de felicidade, de alegria cor-de-rosa, de sorte e tranqüilidade, deve pensar no futuro e ser comedido em suas expansões, sóbrio em suas atividades. Convém que o afortunado não esqueça: Iazul! (Isso passa!), a roda do Destino é incerta; a vida é cheia de mudanças. Há ocasiões, porém, em que nos sentimos anavalhados pelos sofrimentos, pelas enfermidades, feridos pelas desgraças, caminhando sob a nuvem da má sorte, da ruína e atingidos pelos golpes imprevistos do infortúnio. Para que o ânimo volte ao nosso espírito, proferimos, cheios de fé, fortalecidos de esperanças: Iazul! (Isso passa!). Sim, tudo passa! Virão dias melhores, dias calmos, dias felizes; a prosperidade e a boa sorte voltarão a iluminar a nossa jornada; a saúde será reconquistada; a serenidade procurará pouso em nosso atribulado coração!
E, depois de ligeira pausa, o sábio concluiu:
— E, assim, ó Rei!, posso afirmar que Iazul, a palavra contida no pequeno escudo deste anel, é mágica! Alivia e abranda as tristezas dos infelizes; controla e arrefece as alegrias alucinadas dos exaltados!
Ao ouvir as eloqüentes e judiciosas explicações do velho ulemá, o Rei tomou o anel, colocou-o no dedo indicador da mão esquerda e disse, serenamente:
— Que notável, interessante e proveitosa lição recebi hoje! Conservarei comigo este precioso anel. Jamais esquecerei em todos os momentos culminantes de minha vida, no meio de estonteantes triunfos, ou sob o guante da desgraça, de recorrer ao eterno ensinamento contido nesta palavra mágica: Iazul!
Quero, ó irmão dos árabes!, terminar esta lenda exatamente como a iniciei: Esquece, pois meu amigo, esquece, por um momento, as tuas tristezas e aflitivas preocupações; livra-te desta angústia instilada em tua alma pelas incertezas da vida, senta-te, aqui a meu lado, e escuta, com religiosa atenção a palavra mágica: Iazul!
E vale a pena repetir: Iazul! Iazul! Isso passa! Isso passa!
Iazul, Malba Tahan
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« Ayy Yorum Biyo » by the legendary Tajik singer Muboraksho.
In 2009 the Iranian group Kiosk covered this song in the Iranian dialect ( « Yarom Bia » ) with the help of the Sufi artist Mohsen Namjoo. The group preserved the Tajik origins of the song and paid tribute to Muboraksho by keeping the lyric « از بدخشانمه ... ( ...from Badakhshan ) » and featuring clips from Soviet director Sergei Parajanov’s 1969 film « The Colour of Pomegranates (Цвет граната) » in the music video.
#iran#tajikistan#tajik#farsi#persian#soviet#soviet film#sergei parajanov#iranian music#tajik music#world music#mohsen namjoo#kiosk#badakhshan#khorassan#armenian film#music video#sufi#sufi music#persian language
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New at Nazmiyal: a Khorassan beauty, perfect for spring with its floral patterns and gentle colors 🌸 • • • • • • #rugsofinstagram #rugaddict #ihavethisthingwithrugs #ruglove #interiordesign #interiors #transitionaldecor #finditstyleit #decorideas #houzz #homesweethome #antiquerugs #vintagerugs #rugcollection #nazmiyal #nazmiyalcollection #antique #vintage #persianrug #khorassan #spring #floral https://www.instagram.com/p/B-zziGJHJTZ/?igshid=g4p878gerlg7
#rugsofinstagram#rugaddict#ihavethisthingwithrugs#ruglove#interiordesign#interiors#transitionaldecor#finditstyleit#decorideas#houzz#homesweethome#antiquerugs#vintagerugs#rugcollection#nazmiyal#nazmiyalcollection#antique#vintage#persianrug#khorassan#spring#floral
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KHORASSAN BRONZE LAMP IN THE FORM OF A RABBIT
NORTH EAST IRAN, 12TH CENTURY
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600 years old pistacia tree in south Khorassan (Iran)
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This speck of life in time's great wilderness, This narrow isthmus 'twixt two boundless seas, The past, the future, two eternities!
Lalla Rookh; The Veiled Prophet of Khorassan. T. MOORE.
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Shulma learns and describes some of the history behind Moff Waddsley’s planned heist of the Khorassan festival jewels—and contemplates returning with Telfien to the Temple of Mak-Gu-Fina to ask the Ashla the question that’s been on her mind for years...
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Após o surgimento dos tapetes persas nos tempos antigos, a arte de tecer foi se aprimorando e se desenvolvendo, ascendendo comercialmente a partir do século XVI. Com diversos segredos e particularidades em sua confecção, foi com o tempo se tornando bens de luxo de extremo valor. Tapetes oriundos da Pérsia e Oriente se transformavam no decorrer dos tempos em materiais cobiçados e valorizados em projetos de decoração. Paralelamente surgiam os tapetes de confecção barata, material primário, acessível as classes médias e baixa.Surgiram diversos tipos, tamanhos e modelos de tapetes que aos poucos começaram a ser comercializados em escala mundial.Lavagem de Tapete com Tapetes de origem nacional e oriental, industrial e artesanal, como tapetes de algodão,tapetes de fibra sintética, tapetes neva,tapetes arraiolo, tapete de sisal, tapete gabbeh, tapete kilim,tapete persa, tapete de pele de caneiro, tapete Aderbil, tapete de pele de boi, tapete Afschari, tapete Bidjar, tapete Belouch, tapete Bakhitiari, tapete Bokhara, tapete Gabbeh, tapete Herat, tapete Hereke, tapete Hamadan, tapete Heris, tapete Hausseinabad, tapete Joshagan, tapete Abadeh, tapete Isfahan, tapete Karshan, tapete Kashimir, tapete Kazak, tapete Khorassan, tapete Kilim, tapete Natura, tapete Kirmanshah, tapete Kescham, tapete Kirman, tapete Dhurrie, tapete Ghoum, tapete Mesched, tapete Mood, tapete Naim, tapete Sarouk, tapete Senneh, tapete Shiraz, tapete Tabriz, tapete Yalameh, tapete Ziegler, tapeteTaj Lã, tapete Taj, tapete de Couro, tapete Kilim, tapete Jaipur, tapete Nepal e tapete Agra.
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“Portuguese” Carpet Fragment
Northeast Persia, Khorassan
First Half of the 17th Century
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