Dutar
Photo by ijavan.ir

Dutar is a traditional simple long-necked lute that has a dulcet and melodic tone despite its simplicity. The neck which is sometimes decorated with camel bone and precious stones ranges between one to two meters long. Dutar in Persian means two strings; some attribute one string that plays the main melody to female, and another that functions as the accord to male. The majority of Dutar players use their index and thumb fingers for playing.

Kalil Sheikh, Dutar player from Khaf region, Khorasan Razavi, Iran
Photo by Meysam Bazekavat

The images of Dutar in ancient inscriptions prove the antiquity of this instrument that is still popular in contemporary Iran. The crafting and playing Dutar are tied with the culture of many ethnic groups in Iran who play this instrument in a wide range of social and cultural occasions and ceremonies along with ethnic, cultural, epic, and historical lyrics strengthening their identity and cultural pride. Traditionally, the knowledge of crafting and playing the Dutar transmits from master to pupil.

Kalil Sheikh, Dutar player from Khaf region, Khorasan Razavi, Iran
Photo by Meysam Bazekavat

The Traditional Skills of Crafting and Playing Dutar was registered in the list of Intangible World Heritage of UNSECO in 2019.

The post The Traditional Skills of Crafting and Playing Dutar appeared first on Persia Advisor.

Qali Shuyan (Carpet Washing) Rituals of Mashhad-e Ardahal in Kashan, Iran
Photo by Abbas Torabzadeh / © ICHHTO, 2011

The holy shrine of Sultan Ali ibn Muhammad, the son of the fifth Shia Imam is located in the village of Mashhad Ardahal, 40 km far from Kashan city. This shrine is the origin of historical- religious rituals of Carpet Washing (Qali Shuyan) which is annually held on the second Friday of autumn by villagers, attracting a significant number of pilgrims and tourists. This event as the only Islamic religious ritual held in accordance with the solar Hijri calendar (in the Iranian month of Mehr in early October) was registered by UNESCO in 2012 on the Representative List of the Intangible Cultural Heritage of Humanity.

What is the story?

Ali ibn Muhammad al-Baqir, mostly known as Sultan Ali, was the son of Imam Baqir (677-733 CE), the fifth Shia Imam. According to historical resources, Sultan Ali migrated to Mashhad Ardahal from Medina in 731 CE upon the request of some of the followers of Ahl al-Bayt (the family of the prophet Muhammad) who were from Chehel Hesaran and Fin counties in Kashan. The main purpose of his mitigation was to guide and train locals in the religious principles of Islam for three years. However, he was eventually martyred by Umayyad forces in Darband of Aznaveh County in 116 CE.

Before he was buried in a tomb in Mashhad Ardahal, turned gradually into a holy shrine for the Shia Muslims, his body was wrapped in a carpet by his followers and washed in a near stream. Since then, a special mourning ceremony, later called “Carpet Washing” is held annually on the occasion of the anniversary of this tragic event to mourn for Sultan Ali.

The shrine is located around the hillside of a mountain overlooking the vast and dry land of Ardahal. It is believed that the history of the primary site refers to the Buyid dynasty (934-1062) but was gradually changed and improved during the empires of Seljuq (1037-1187), Timurid (1370-1507), Safavid (1501-1736), and Qajar (1796-1925). At present, the shrine consists of three halls (Iwan) and three courtyards (Sahn) in its Eastern, Southern, and Western sides.

The Carpet Washing ritual is annually held gloriously in Mashhad Ardahal on the second Friday of autumn to commemorate Sultan Ali’s martyrdom.

The Ritual of Announcement

One week before the start of the Carpet Washing ceremony usually on the first Friday of autumn, another ceremony literally called “the Friday of Announcement” is held in Fin and Kashan. On this occasion, people are invited to attend the Carpet Washing ceremony in Mashhad Ardahal. In addition, town criers go to the markets and alleys of Fin, Kashan, and Khaveh to inform people of the upcoming Carpet Washing ceremony.

Day of Carpet Washing

The second Friday of the Iranian month of Mehr in early October is the Day of Carpet Washing in Ardahal, Known by the inhabitants of the village as “Carpet Friday” (Jom’e-ye Qāli). However, if it coincides with another religious celebration or mourning, it will be held one week sooner or later.

At the beginning of the ceremony, the elders of Fin get the remains of the sacred carpet, used before for the body of Sultan Ali, from the elders of Khaveh village in his shrine. The carpet is then carried by the villagers on their shoulders to a stream near the shrine to be washed in front of a huge gathering. The carpet is then turned back by mourners to Khaveh village from another path, delivered to the elders of the shrine of Sultan Ali, and finally kept there in a safe box.

Mythical Roots

Apart from the history of the Carpet Washing ceremony mentioned earlier, it is believed that the roots of this ritual can be found in the mythical and ancient stories and events in Iran. Some experts state that this ritual is a heritage of the Siavosh story that was changed after the advent of Islam. Siavosh was a major figure in Ferdowsi’s epic poem book and the rituals of his death and mourning are the origins of many Iranian mourning ceremonies. Also, some people believe that the ritual of Carpet Washing is a memorial of Tishtrya (a Zoroastrian benevolent divinity associated with life-bringing rainfall and fertility).

The post Qali Shuyan Rituals of Mashhad-e Ardehal in Kashan appeared first on Persia Advisor.

Traditional Skills of Carpet Weaving in Fars
Photo by eFesenko/Shutterstock

Fars Province is located in the southwest of Iran. Suitable condition and weather in the province led to the popularity of the place among various nomadic tribes such as Qashqai (the largest one), Khamseh, Afshar, and Abade. One of the main income sources of these nomads includes handicraft products and most importantly carpet weaving. Historically, the oldest Fars carpet discovered is over three hundred years old.

However, the oldest document mentioning the Fars carpets refers to the treasury list of Harun al-Rashid (766-809 CE), the fifth Abbasid Caliph. Two books dating back to the 10th century CE also indicate the extent of Fars carpets were spread in the past. One of them is written by Estakhri, the geographer of medieval Islam and the other by an anonymous writer is entitled Hudud Al-Alam Al-Mashregh El Al-Maghreb (the boundaries of the world from the east to the west).

Nowadays, Qashqai tribes weave the carpets that are known as the Fars carpets. This form of carpet weaving, both in terms of style and pattern, is an example of the exquisite nomadic art in Iran.

Qashqai weavers braid the carpet according to symmetrical knots known as Turkish knots, while in some exceptional cases, asymmetric knots are used as well. Fars woofs are mostly in red or blue and are woven on small horizontal looms as in this way, it would be easier to be carried when migrating and then re-setup in another spot. This feature is of salient importance for these tribes that have to migrate frequently.

The most notable feature of a Qashqai carpet is its colors, just like the area they live in their carpets are colorful, while carpets of other Fars tribes like Khamseh consist of darker colors. The main reason behind such difference is that for some tribes like Khamseh, carpet weaving is a serious source of income and so they need to meet the costumers’ wants and demands. In contrast, carpet is an applied tool for the Qashqai tribe; they have not changed their traditional patterns or colors.

Generally, carpets in Iran have a pattern of an octagonal medallion at the center and bergamot in each corner of the carpet. However, the exclusive traditional style of Fars carpets is based on a pattern known as Dastur. This pattern is divided into two major forms, one that follows the traditional patterns or regular motifs including Moharamat, Afshan, Mahi Darham, Botee, and herbal motifs. The other form refers to patterns with imaginary motifs including asymmetrical geometrical structures. In the case of Bakhtiari carpets, the central area is divided into several squares each with a different motif turning the carpets into a collection of motifs and patterns. Qashqai carpets, like Bakhtiari carpet, is a combination of motifs and patterns most of which are imaginary and asymmetrical.

The rug is an outcome of weaving warps and woofs. In mountainous areas of Fars like Darab, Eqlid, Abadeh cotton warps, and woofs are used. Nowadays, Shiraz, Abadeh, and Neyriz cities are the most famous locations to find authentic Fars carpets with traditional motifs and materials and female weavers who know how to apply a mesmerizing amalgam of designs and colors. The traditional skills of carpet weaving in Fars was inscribed in 2010 on the Representative List of the Intangible Heritage by UNESCO.

The post Traditional Skills of Carpet Weaving in Fars Province appeared first on Persia Advisor.

The Art of Crafting and Playing Kamancheh
Photo by Vigen M / Shutterstock

Kamancheh is an authentic old bowed string musical instrument with a bow (like a violin), long neck, small bowl, four strings (in the past it has three strings), and different parts made of wood, the skin of lamb or goat, bones, and metals. The bottom of Kamancheh has a metal base that is put on the thigh or ground when playing. This instrument is capable of being played individually or in bands to convey a vast range of themes including epic, spiritual, amusing, and happy themes.

According to pieces of evidences, the history of Kamancheh dates back to over one thousand years ago, played mostly in the classical music of Iran and Azerbaijan. Based on the available visual proofs from different historical eras, it can be argued that Kamancheh has been played in many Iranian ceremonies, out of which includes historical miniatures in Chehel Sotoun Palace in Isfahan remained from the Safavid dynasty (1501-1736).

The Art of Crafting and Playing Kamancheh
Photo by Levent Konuk/ Shutterstock

However, after the entrance of the violin to Iran, many of the Kamancheh players put this instrument away and started playing the violin. Given that they were unfamiliar with the principles of playing the violin, they played it based on the existing rules and principles of playing Kamancheh and the only difference lied in the way they held it in their hands.

In fact, Kamancheh is played while sitting down similar to a cello. Ali Asqar Bahari was the first contemporary Iranian musician who attempted to survive Kamancheh and managed to introduce it to the Western world.

The post Art of Crafting and Playing with Kamancheh appeared first on Persia Advisor.

Radif Music of Iran (Persia), Persian Setar
Photo by Frank Middendorf / Shutterstock

The first written evidence of Persian music dates back to the Sassanid Period (224-651 CE). Barbad, a court musician of the Sassanid Empire of Persia created the first musical system in the Middle East, known as the Royal Khosravani, dedicated to the king Khosro II. Many of the current melodic figures of the Persian classical music in various tonal spaces (in Persian called Dastgah), have been survived from this period by the oral tradition.

However, many of them have been disappeared in the course of time. Radif comprises seven Dastgahs and five vocal Radifs, each with its specific number of melodies (20-40) called Gousheh. A typical performance of a Dastgahs includes prelude (Pishdaramad), introduction (Daramad), song (Tasnif), rhythmic (Chaharmezrab), dance (Reng) and a chosen number of Goushehs. of note is that Gousheh and Daramad are non-metric, while Tasnif, Pishdaramad, Reng and Chaharmezrab are rhythmic.

A typical performance of a Dastgahs includes prelude (Pishdaramad), introduction (Daramad), song (Tasnif), rhythmic (Chaharmezrab), dance (Reng) and a chosen number of Goushehs.

During the years, Iranian classical music has been combined with other musical genres (e.g., pop). Also, today the societal position of musicians in Iran is much higher than it used to be such that they are now considered artists who present their works in concerts (not just at parties like before), and this art is taught at universities and institutes. To introduce this art internationally and to value its significance, Radif of Iranian music was inscribed UNESCO in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity.

The post Radif of Iranian Music appeared first on Persia Advisor.

Pahlevani & Zoorkhaneh Rituals
Photo by Vladimir Melnik / Shutterstock

Pahlevani and Zoorkhaneh (literary means house of strength) tradition have their roots in the pre-Islamic era generally and Mithraism particularly. There is a striking resemblance between the architectural structure of Mithraic temples and that of a Zoorkhaneh. For example, the underground location, the central place of the ritual, the stands for the audiences, and the focus on the sky and sun are out of the similarities.

After the advent of Islam and with the increasing popularity of Shiite Islam in Iran, this ancient tradition was influenced such that religious hymns were combined with athletic movements and moreover, Imam Ali was considered an epic athlete and symbol. This sport has also been taught later in neighboring countries such as India, Pakistan, Iraq, and Azerbaijan. Today, the tournaments of this sport are held in the forms of the Asian League and the World League.

Although the nature of this tradition is a sport, the Zoorkhaneh system of training focuses on much deeper matters, in that improving solidarity, patriotism, and modesty is one of its main purposes. The highest title bestowed on athletes in this sport is Pahlavan, emphasizing strong physical health and skills, and on the other hand morality as well.

An athlete will not get the title of Pahlavan unless he becomes an example of moral perfection. The entrance door of Zoorkhaneh is usually lower than the average height so that athletes have to bend to pass through it as a way to remind them of modesty and morality while passing the stages of the physical skills.

Although the nature of this tradition is a sport, the Zoorkhaneh system of training focuses on much deeper matters, in that improving solidarity, patriotism, and modesty is one of its main purposes The highest title bestowed on athletes in this sport is Pahlavan, emphasizing strong physical health and skills, and on the other hand, morality as well.

Zoorkhaneh is a domed chamber, and although made with various styles of architecture and decoration, it has typically three sections including 1) Sardam (a stand where the Morshed (master) sits on and leads the athletes), 2) Goad (a rectangular, octagonal, or hexagonal space in the center that is lower than the surface and athletes perform in it), and 3) stands (where the audiences sit and watch the performance).

The whole scene that takes place in a Zoorkhaneh is a symbolic battle. Sardam is somehow the planning and control room of the whole battle with Morshed who acts as the leader determining the pace of the performance, welcoming athletes to the Goad with epic music and poetry, and announcing the hierarchy of the performers. Morshed must be aware of the rules of the sport, a person who is religious, eloquent speaker, knows music and poetry, and importantly treats everyone equally.

Pahlevani & Zoorkhaneh Rituals
Photo by Fotokon / Shutterstock

The performance starts with Morshed when he asks for the elders’ permission or blessing, and then he takes his place in Sardam, and takes a Persian drum called Zarb. The Morshed’s performance then starts with the name of God and eulogy of the Prophet Muhammad and the Shiite Imams. He then introduces the athletes based on their ranks and invites them to enter the Goad and perform. The introductory ceremony is accompanied by Morshed’s belling and chanting. When the performance of athletes starts, nobody should talk, enter or exit the Zoorkhaneh.

The athletes must wear the custom of the Goad, and enter it only when Morshed has announced their names and allowed them. They should be barehanded and barefooted. There are both team and solo exercises with or without Zarb using various tools including, but not restricted to, metal shields (Sang), (wooden club (Mil), and bow-shaped iron weights )Kabadeh(. The performance bears a resemblance to martial arts.

The athletic aspect of the whole performance is just a part of the social gathering that emphasizes morality, kindness, and philanthropy. For example, an interesting tradition in Zoorkhaneh is “casting of flowers” (Gol Rizan) that is like a public donation ceremony. If one of the members of the community faced a financial problem, the tradition was used in that the audience of the performances in Zoorkhaneh would donate money. If the gathered fund was more than what the person needed, the extra fund was given to a trustable person to be saved for the case of future donations. Pahlevani and Zoorkhaneh ritual was inscribed in 2010 on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

The post Pahlevani and Zoorkhaneh Rituals appeared first on Persia Advisor.

Valiollah Torabi, Naghal (Storyteller) of Shahnameh
Photo by Y.movahed via Wikimedia Commons / Public Domain

The history of Naqqāli (meaning story-telling or narrating) tradition in Iran dates back to the Parthian Empire (247 BCE- 224 CE) during which wandering minstrels went from one city to the other to tell exotic stories about existing or imaginary historical events usually accompanied by songs and musical instruments. Minstrels performed also during the Sassanid Empire (224- 651 CE) but they became famous for their paranormal abilities as well, especially the ability to foretell the future.

After the advent of Islam and the Muslim conquest of Persia (651 CE), however, the task of storytelling was handed over to peasants and the themes of the stories focused more on prophets and Islam. Nevertheless, a couple of decades later, the national and epic themes proved popular particularly since the Safavid dynasty (1501-1736). In this era, the stories of Shahnameh, one of the world’s longest epic poem written by the Persian poet Ferdowsi gained high attention in the country. In most crowded parts of the cities like bazaars, caravanserais, and mosques, narrators recounted the tales of this book in verse or prose in front of audiences often accompanied by music and dance.

With the growing popularity of teahouses in the early 17^th century, these places turned out to be the main center for this traditional form of performance art. From the Qajar era (1796-1925), the title of Naqqāl in the local language (meaning narrator) was chosen for the narrators, and this dramatic art was named Naqqāli, and furthermore, it was considered an official and respected job. In general, the Naqqāls have the ability to improvise their performances and choose the best genre of the story according to the dominant characteristics of the audiences (e.g., age, gender, and mood). They are also good at memorizing poems, body language, voice vibrancy, local cultural expressions, and dialects, enabling them to mesmerize a crowd.

From the Qajar era (1796-1925), the title of Naqqāl in the local language (meaning narrator) was chosen for the narrators, and this dramatic art was named Naqqāli, and furthermore, it was considered an official and respected job.

Naqqāls have been divided into three groups of Shahnameh, history, and religion tellers based on the main themes about which they present their stories. However, today Naqqāli is mostly interwoven in Iran with the tales of Shahnameh. The Naqqals start their performance with a baton in hand in front of a painting or curtain, depicting a special epic tale. To simulate the battle scenes and excite more the public, they usually wear military uniforms during the performances.

Although Naqqāli is a way to keep alive the traditional epic tales and poems, it has lost, to a great extent, its popularity mostly because of the effects of modernity and new types of entertainment. As an attempt to introduce the heritage values of Naqqāli internationally and to keep this ancient art survived, it was registered on List of Intangible World Heritage in Need of Urgent Safeguarding by UNESCO in 2011.

The post Naqqāli, Iranian Dramatic Story-Telling appeared first on Persia Advisor.

Photo By Iranian Cultural Heritage, Handicrafts and Tourism Organization
ich.unesco.org

The word Maqam or Moqam refers to the highest level of mastery of composing, playing, and singing a traditional form of music local to the Khorasan Province, Iran. The person who plays Maqami is known as Bakhshis. Maqam also means a position in Farsi, implying the high stand of the Bakhshis musicians. In general, the music of Khorasan is divided into two regions of north and south regions. This form of music with local instruments transmits Gnostic, historical, religious, and epic themes. Maqami music encompasses special vocal and/or instrumental melodic modes performed with Turkish, Persian, Turkmen, or Kurdish lyrics.

Bakhshis know all the maqams and their lyrics learned gradually through traditional master-pupil training, some of them can also make musical instruments. The word Bakhshis is originated from Bakhshesh meaning bestowment that refers to the natural musical talent bestowed upon these musicians by God as a gift. In appreciation of this gift, Bakhshis feels a kind of duty to sing Gnostic poems to show their gratitude to God. Praises of the prophet Muhammad is another subject of the poems in Maqami music. Because of the significance of the music of Bakhshis, it was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010.

The word Bakhshis is originated from Bakhshesh meaning bestowment that refers to the natural musical talent bestowed upon these musicians by God as a gift.

Besides Bakhshis, the other group of Maghami musicians in Khorasan is Ashiqs who play often at joyful ceremonies while accompanying a traditional dance. Of note is that Ashiqs in Iran differ from those of Azarbaijan as they are Kurds and Turkish, respectively, each with their own special musical instruments. Some of the most common Ashiqs’ instruments include Sorna (horn), Dohol (drum), and Kamancheh (bowed string instrument). Finally, the third group of Maghami musicians in Khorasan is Luties who apparently do not exist today. They used to roam villages to play a simple instrument called Dayereh (a frame drum with jungles) and sing poems.

The most common musical instruments used for Maghami music include:

1) Dutar

Dutar, meaning two-strings in Farsi, is the most applied instrument in Maghami music. It is a kind of string instrument in Iran with a pear-shaped bow, a neck made of apricot or walnut wood, and two strings. Its strings represent the sharp and flat pitches. It is believed that Dutar is a cognate of Tanbur (a long-necked instrument with three strings used in Iran and also in Armenia, India, Turkey, Uzbekistan, etc.) created by the Islamic scientist and musician Abu Nasr Farabi. In 2019, the International Committee of UNESCO for the safeguarding of the Intangible Cultural Heritage was held in Bogota, Colombia from 9 to 14 December. The committee inscribed traditional skills of crafting and playing Dutar on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

2) Qoshmeh

A small-sized wind instrument with a double pipe tied together, which is mostly played on joyful occasions by Kourmanji ethnic groups in the Northern Khorasan.

3) Ney

It is a woodwind instrument with a history of more than 4000 years but still in use. It consists of an end-blown hollow cane with five or six finger holes. It can usually be found in Iran in classical orchestras.

4) Sorna

Sorna is another kind of local woodwind instrument similar to Ney but with a double-reed- construction and the higher pitch usually played at ceremonies and festivities.

5) Dohol

It is a type of cylindrical drum struck with two sticks and/or bare hands. Dohol mostly accompanies Sorna at joyous ceremonies like weddings.

The post The Bakhshis Music (Maqam) of Khorasan appeared first on Persia Advisor.

Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf
Photo by SJ Travel Photo and Video / Shutterstock

According to the archeological excavations in the ruins of the ancient Siraf port on the north shore of the Persian Gulf in Bushehr Province, marine trade and the related businesses were popular in Iran since the Sassanid Empire (224-651 C.E). Today also in this region, the life, identity, and culture of the inhabitants are interwoven directly with the sea. For example, one of the local authentic arts indicating this relationship is Lenj making. Lenj, a traditional wooden hand-made type of boat, is the main tool for local villagers for various purposes such as fishing and transportation depending on its size. Lenj is not a mere vehicle of transportation for the local inhabitants; rather it is a handicraft indicating the culture and the way of life.

The methods and skills of Lenj making are usually taught by the son from father in a traditional way. They are built mentally without a predetermined written design and map, each takes around two years to be built. Furthermore, what makes it more interesting is that sailors and workers sing special local sons collectively at work during the construction of Lenjes. There are more than 10 types of Lenj, of which the most common ones include Baghaleh, Boom, Sambook, Jalboot, Tashaleh, Boozi, Tartary, and Sammach.

Lenj is not a mere vehicle of transportation for inhabitants; rather it is a handicraft indicating the culture and the way of life in the region.

The main material used in Lenj making is solid teak wood that is resistant against water. When the main structure and framework of a Lenj is built, the rifts and spaces between the wood planks are filled with cotton wicks (known as Kalfat Kooby in the local language) that are soaked before in sesame oil. Finally, the whole outside hull of Lenj will be covered with sesame oil in order to increase its resistance to salt and moisture.

Sailing Iranian Lenj boats in the Persian Gulf
Photo by Gone For A Drive / Shutterstock

Releasing a Lenj to the sea has its special ceremony. Inhabitants of the village where the Lenj is built gather and the clergy reads the holy Quran and blesses the Lenj with the name of God. Then, the owner of the Lenj, who usually is its captain as well, sacrifices an animal (camel, cow, or sheep depending on the financial affordability), in order to prepare a meal with its meat for the villagers. After the sacrifice, the community starts moving the Lenj to the sea using a tool named Dowvar. It is a wheel with long sticks attached to it with two pulleys.

A thick and rigid rope is fastened around the Lenj, passed from the pulleys, and tightened around the cylinder of the Dowvar. Depending on the size of the Lenj, a certain number of men take the sticks of the Dowvar and begin turning them while singing rhythmic songs. To ease the movement, clogs of wood covered in animal fat are placed in front of the Lenj and the back part of the Lenj is covered with palm leaves. The arrival of Lenj at the sea is accompanied by cheers and feasts.

Today, Lenj making is rare in Iran mostly in use still by a few numbers of old generations as cheaper fiberglass boats have taken the role of this handicraft. This art under the title of “traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf” was registered by UNESCO as an Intangible World Heritage in 2011.

The post Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf appeared first on Persia Advisor.

Kashan Carpet
Photo by Fotokon / Shutterstock

Kashan city is located in the north of Isfahan Province, Iran, with a history dating back to 9,000 years. The ruins of the ancient part of the city have remained at the archeological site of Tepe (hill, mound) Sialk. One of the major arts for which the city is famous for its carpet weaving. Kashan has always been a major center of carpet-makers in Iran, more than two-thirds of whom are women. The objects found from Tepe Sialk bears witness to the advanced skills of fabric making by its prehistoric inhabitants.

The first step of making a carpet is choosing a design elaborated with its special motifs. A design with its motifs/patterns are drawn over a graph paper such that each graph cell represents a knot in the carpet. The patterns in a graph paper are drawn in half or quarter of the original size and the weaver will make the whole carpet based on that. The usual patterns used in Kashan carpets are the same as those used in Isfahan cities, such as Flower Vases, Altar, Hunting, Animals, Arabesque pattern, and Lachak Toranj.

Kashan Carpet
Photo by Michal Knitl / Shutterstock

After choosing a desired design for the carpet, the weaving begins on a loom covered with strands of wool also known as warp. The Kashan carpet is made by asymmetrical knotting, a method of weaving called Farsi weaving style as well.

In this style of weaving the colored wool used for weaving passes behind the first strand of warp and then goes around the second, linking the two strands in a knot. The number of knots, usually made of wool and silk, in a square decimeter accounts for 1600 to 1800. The traditional skills of carpet weaving in Kashan was inscribed in 2010 on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.

The post Traditional Skills of Carpet Weaving in Kashan appeared first on Persia Advisor.

Iranian Flatbread
Photo by Successo / Shutterstock

The Culture of Flatbread Making and Sharing was inscribed by UNESCO in 2016 in a joint nomination file with Azerbaijan, Turkey, Kyrgyzstan, and Kazakhstan.

According to the archeological excavations in ancient sites like Tepe Hesar in Damghan city, the history of wheat in Iran dates back to around 6-7 thousand years ago. In Avesta, a collection of religious texts of Zoroastrianism, it has been mentioned to a specific type of Iranian flatbread as a sign of blessing and abundance in ritual ceremonies.

According to written resources, after the conquest of Iran (651 CE), Arabs were acquainted with the Iranian flatbread and called it Thin Enjoyment. This name was kept though for a period of time it was called Raqaq. The limitations of planting rice and the difficulty for its transportation to various parts of Iran made bread even more popular in the past. Today, bread is also an inseparable part of Iranian gastronomy irrespective of social and economic status.

Iranian Flatbread
Photo by Grigvovan / Shutterstock

Based on the technique of cooking, Iranian bread is divided into various types including Komaj, frying pan, Sangak, furnace (Tanūr), Taftoon, Lavash, and pot bread. Although different in style, they are all made with wheat flour, water, and salt. The size and type of bread are different following the geographical condition, lifestyle, as well as access to the wheat and its abundance.

Iranian Flatbread
Photo by FuGazi / Shutterstock

Out of the above bread types, Taftoon and Lavash with a round or oval thin shape are most common in Iran. In the past, Taftoon was the main bread of commoners, while Lavash was more popular among nobles and rich people because it was thinner. Nowadays, both of them are widely used in different cities and villages in the country.

In general, traditional bread making is a social and collective skill, indicating an expression of culture inherited from the past. This is more the case in rural regions where traditional styles of cooking bread are still in use. Family members and even neighbors help each other to cook bread in stone or clay oven in the ground (Tanūr) at homes. The Culture of Flatbread Making and Sharing was inscribed by UNESCO in 2016 on the Representative List of the Intangible Cultural Heritage of Humanity in a joint nomination file with Azerbaijan, Turkey, Kyrgyzstan, and Kazakhstan.

The post Flatbread Making and Sharing Culture: Lavash appeared first on Persia Advisor.

Infographic by Negar Ganji & Farzaneh Abangar | Persia Advisor

The Second World War was a nightmare that happened only 25 years after the First World War when the countries were still struggling with the consequences of the First World War. This war was the bloodiest war in the history which had nearly 70 million victims. The ruins remained from the war was only one side of this tragedy. After war, the world was a complete failure, misery and sadness. Critical situation of the post-war countries made officials to find the real causes of such universal wars to prevent the repetition of these frightening experiences.

United Nation held different sessions and invited various countries to take part and present their plans and opinions. The cause of wars and the ways to prevent them were discussed during these sessions. They concluded that the main causes of war were lack of knowledge and tolerance and ignorance of the people was also another main cause. Some of the programs have been arranged to focus on education, to avoid the possibility of occurrence of the upcoming wars and to prepare people to be more tolerant and understanding. The outcome was the establishment of “The United Nations Educational, Scientific and Cultural Organization” or UNESCO.

This organization tries to improve understanding among people from different cultures and nations through educational programs. Besides, it attempts to preserve what is remained of the already damaged earth from further destruction. At last, by emphasizing and highlighting the cultural properties of each nation, interest in other cultures is risen. Having these goals in mind, UNESCO arranged the registration of Natural and Cultural Heritages.

Infographic by Negar Ganji | Persia Advisor

Cultural Heritage is divided into Tangible and Intangible Heritages. Tangible Heritages are historical monuments and Intangible Heritages include rites, customs and spiritual values of a country. UNESCO considered all the countries as parts of the body that share their heritages and try to preserve them.

Many countries joined UNESCO since its establishment; Iran is also one of these countries.

24  Cultural Heritage , 14 intangible heritages as well as 10 works in world memory list have been shown in the following chart.

The post Iran’s Heritages in UNESCO appeared first on Persia Advisor.