Hajji Firuz
转自：http://en.wikipedia.org/wiki/Hajji_Firuz
参见：http://en.wikipedia.org/wiki/Norouz；http://www.angelfire.com/rnb/bashiri/Nowruz/NowRuz.html
【思考题：读完这段关于波斯新年（Nowruz）Hajji Firuz风俗的介绍，你想到了中国何种相似的节日风俗呢？】
Hājji Firuz or Hajji Piruz, (Persian: حاجی فیروز) is the traditional herald of Nowruz, the Persian New Year. He oversees celebrations for the new year perhaps as a remnant of the ancient Zoroastrian fire-keeper. His face is covered in soot and he is clad in bright red clothes and a felt hat. While ushering in Nowruz, Hajji Firuz plays a tambourine and sings "Hāji Firuz-e, sal-i-ye ruz-e" (It is Hāji Firuz time, It happens one day in a year). People of all ages gather around him and his troupe of musicians and listen to them play the drum, saz or kamancheh, and dance through the streets with tambourines and trumpets spreading good cheer and the news of the coming New Year.
History
Hāji Firuz is believed to be based in a tradition called "Mir-Norowzi". Mir-Norowz was a comical figure chosen to rule the municipality for the last five days of the year (also called Panjeh). The temporary five-day king (Hakem Panj Roozeh) would often parade the city with a group of singers and dancers for the Norowz Celebrations.[1][citation needed]
[edit]Importance of Haji Firuz
The sound of his songs and the sight of his dance is often analogous to hearing Christmas music in a shopping mall, telling all that Nowruz is in the air. Although the blackness of his skin has been the source of some racial controversy in Iranian intellectual circles, Hāji Firuz's intentions and spirit have always been well received and loved by the people. People consider it only as a face paint and there is no racial implication.[2]
Others believe that the appearance of Hāji Firuz is related to creating a happy atmosphere in the families. The New Year's Day must begin with joy, happiness and laughter so that during the rest of the year the families will continue to be happy. If the families are not happy, the Fravahrs who are guests of the families will leave the households which may result in the loss of abundance and blessings from the household. It is for this reason that during these days there are people with funny makeup and joyful songs who will bring laughter and joy to families and with their comical jests and songs bring laughter to houses, streets and market places.[citation needed]
Fire holds an important role for Zoroastrians. It appears that Haji Firouz represents the red-dressed fire keepers of the Zoroastrians, who at the last Tuesday of the year, was sent by the white-dressed Moghs (Zoroastrian priests) to spread the news about the arrival of the Nowruz. The fire-keeper's second duty was to call on the people to burn their old items in the fire, and to renew their life and regain health by obtaining the solved energy of the fire. The dark colour of the fire-keeper's face is allegedly caused by the heat of the holy fire. Fire-keepers use of rather unfamiliar expressions combined with their humorous nature, brought laughter to people's faces.[citation needed]
Mehrdad Bahar opined that the figure of the Haji firouz is derived from ceremonies and legends connected to the epic of prince Siavash, which are in turn derived from those associated with the Mesopotamian deities of agriculture and flocks, Tammuz (Sumerian: Dumuzi). Later, he claimed that Haji firouz’s blackened face symbolizes his returning from the world of the dead, his red clothing is the sign of Siavash’s red blood and the coming to life of the sacrificed deity, while his joviality is the jubilation of rebirth, typical of those who bring rejuvenation and blessing along with themselves. He speculates that the name Siyāwaxš might mean "black man" or "dark-faced man" and suggests that the black part of the name may be a reference either to the blackening of the faces of the participants in the afore-mentioned Mesopotamian ceremonies, or to the black masks that they wore for the festivities.[2]
[edit]Etymology
Hāji Firuz is also called Khawja Piruz, Khawja means master and Piruz/Firuz means victory. "Hāji" in here is just a form of address and has nothing to do with the Islamic (Haajhi) hajj, like using 'sir' to address a gentleman in English without the person being a knight in the technical sense.
[edit]Typical songs
Hāji firouz-e /Sal-i ye ruz-e sal-i ye ruz-e....It’s Ḥāji Firuz/[He’s] only one day a year.
Hame midunan /Man-am midunam....Everyone knows /I know as well.
ʿEyd-e nowruz-e /Sāl-i ye ruz-e....It is Nowruz /It’s only one day a year.
The following song is usually sung with a traditional "funny accent" or a mimicking of a speech impediment:
Arbab-e khod-am salāmo ʿaleykom....Greetings my very own lord
Arbab-e khod-am sar-eto bala kon!....Raise your head my lord!
Arbab-e khod-am be man niga kon,....Look at me, my lord!
Arbab-e khod-am lotf-i be ma kon....Do me a favor, my lord!
Arbab-e khod-am boz-boz-e qandi....My very own lord, the billy goat,
Arbab-e khod-am chera nemikhandi?....Why don’t you smile, my lord?[2]
[edit]References
^ According to research by Dr. Mahmoud Roh-ol-Amini based on the writings of Alameh Mohamad Ghazvini on Mir-Norouzi in the early twentieth century.
^ a b c Omidsalar, Mahmoud. "ḤĀJI FIRUZ". Encyclopedia Iranica. Retrieved 2012-01-08.
[edit]External links
The Persian Nowruz By Iraj Bashiri
Haji Firuz: The Traditional Herald of Norouz
——————————————————
ḤĀJI FIRUZ
the most famous among the traditional folk entertainers, who appears in the Persian streets in the days preceding Nowruz. The Ḥāji Firuz entertains passers-by by singing traditional songs and dancing and playing his tambourine for a few coins. He rarely knocks on a door, but begins his performance as soon as the door is opened.
ḤĀJI FIRUZ, the most famous among the traditional folk entertainers, who appears in the Persian streets in the days preceding Nowruz (Figure 1). The Ḥāji Firuz entertains passers-by by singing traditional songs and dancing and playing his tambourine for a few coins. He rarely knocks on a door, but begins his performance as soon as the door is opened.
Ḥāji Firuz blackens his face, wears very colorful clothes, usually—but not always—red, and always a hat that is sometimes long and cone-shaped. His songs, quite traditional in wording and melody, are very short repetitive ditties (Bolukbāši, 1977, pp. 108-9; idem, 2001, p. 38). Typical of these songs is:
Ḥāji Firuz-e /Sāl-i ye ruz-e sāl-i ye ruz-e.
Hame midunan /Man-am midunam.
ʿEyd-e nowruz-e /Sāl-i ye ruz-e.
(It’s Ḥāji Firuz/[He’s] only one day a year.
Everyone knows /I know as well.
It is Nowruz /It’s only one day a year.)
The following song is usually sung with a traditional “funny accent” or a mimicking of a speech impediment:
Arbāb-e ḵod-am salāmo ʿaleykom,
Arbāb-e ḵod-am sar-eto bālā kon!
Arbāb-e ḵod-am be man nigā kon,
Arbāb-e ḵod-am loṭf-i be mā kon.
Arbāb-e ḵod-am boz-boz-e qandi,
Arbāb-e ḵod-am čerā nemiḵandi?
(Greetings my very own lord,
Raise your head my lord!
Look at me, my lord!
Do me a favor, my lord!
My very own lord, the billy goat,
Why don’t you smile, my lord?)
Occasionally, the Ḥāji Firuz, whose income depends on his ability and talent to entertain by humor, manages to work other traditional songs into his routine. One of the most popular of these, which is almost impossible to translate, goes as follows:
Beškan beškan-e, beškan!
Man nemiškanam, beškan!
Injā beškanam yār gel-e dār-e,
Unjā beškanam yār gel-e dār-e,
In siāh-e bičāre čeqad howṣele dār-e
(The word “beškan” may be called out as a refrain to the song by the onlookers.)
Classical Arabic and Persian sources that mention many folk entertainers do not refer to Ḥāji Firuz at all, nor is he mentioned in casual reference in poetry or prose of the classical period. There can be little doubt, however, that Ḥāji Firuz has virtually replaced all the other New Year entertainers of the past such as Kusa, Mir-e Nowruzi, Ḡul-e biābāni, Ātaš-afruz, etc. (for some of these see Enjavi, II, pp. 112-13, 170-71; Mostowfi, Šarḥ-e zendagāni I, pp. 354-55).
In a paper originally published in 1983, Mehrdād Bahār opined that the figure of the Ḥāji Firuz is derived from ceremonies and legends connected to the epic of prince Siāvaš, which are in turn derived from those associated with the Mesopotamian deities of agriculture and flocks, Tammuz (Sumerian: Dumuzi). Following James Frazer, Bahār argued that Tammuz returned from the world of the dead every spring, and his festival, commemorated the yearly death and rebirth of vegetation. In some of these ceremonies during which people sang and danced in the streets, many blackened their faces. From this flimsy evidence, Bahār deduced that the Iranian Ḥāji Firuz with his blackened face must be a survival of the Mesopotamian rite of darkening one’s face while participating in the festival of Tammuz (Bahār, 1995a, p. 226). Ten years later in an interview Bahār stated his original supposition more emphatically, and claimed that “Ḥāji Firuz’s blackened face symbolizes his returning from the world of the dead, his red clothing is the sign of Siāvaš’s red blood and the coming to life of the sacrificed deity, while his joviality is the jubilation of rebirth, [typical] of those who bring rejuvenation and blessing [along] with themselves” (Bahār, 1995b, p. 231). In a later note written on Chapter 14 of the Bundahišn, he speculates that the name Siyāwaxš might mean “black man,” or “dark-faced man;” and suggests that the “black” part of the name may be a reference either to the blackening of the faces of the participants in the afore-mentioned Mesopotamian ceremonies, or to the black masks that they wore for the festivities. He adds that the Ḥāji Firuz character may be a remnant of these ancient practices (Bahār, 1996, pp. 194-95). He fails, however, to substantiate his views, and they remain a series of speculations based only on analogies with absolutely no evidentiary support. Another scholar finds the Ḥāji Firuz to be a continuation of a New Year’s tradition of the Sasanian period, during which black slaves, wearing colorful clothing and a great deal of makeup, would entertain the public with song and dance (Rażi, p. 44). Jaʿfar Šahri considers the Ḥāji Firuz a more recent character, and related not to some ancient religious ceremonies but rather to black slaves who formed troupes of entertainers. He suggests that the red color of Ḥāji Firuz’s clothes may represent happiness and the name Firuz (lit. ‘victorious’) must have been given to them as a good omen (Šahri, IV pp. 111-14). In a brief anthropological essay on Iranian festivals, two distinct characters, namely mir-e nowruzi (the Nowruz prince) and Ḥāji Firuz are unjustifiably mixed, with the suggestion that Ḥāji Firuz is a remnant of the older character (Ruḥ-al-Amini, pp. 47-48). The Ḥāji Firuz chant that is given by Maḥmud Ruḥ-al-Amini is slightly different from what most sources provide (p. 48):
Ḥāji Firuz-e,
ʿEyd-e nowruz-e,
Sāl-i čand ruz-e
It’s Ḥāji Firuz
It’s the Nowruz festival
It’s only a few days a year.)
Be that as it may, the Ḥāji Firuz as a character of traditional Iranian minstrelsy has fallen on hard times in this age of religious governance, and may not survive the official piety.
Bibliography:
Mehrdād Bahār, “Nowruz, zamān-e moqaddas,” Čistā 2, 1362 Š./1983, pp. 772-78; repr. in idem, Jostār-i čand dar farhang-e Irān, 2nd ed., Tehran, 1374 Š./1995a, pp. 221-29.
Idem, “Nowruz, jašn-i āriāʾi nist,” in Jostār-i čand dar farhang-e Irān, 2nd ed., Tehran, 1374 Š./1995b, pp. 229-37.
Idem, Pažu-heš-i dar asāṭir-e Irān, ed. Katāyun Mazdāpur, Tehran, 1375 Š./1996.
ʿAli Bolukbāši, Farhang-e ʿāmma, Tehran, 1356 Š./1977.
Idem, Nowruz: jašn-e now-zāʾi-e āfarineš, 2nd ed. Tehran, 2001.
Abu’l-Qāsem Enjavi Širāzi, Jašnhā wa ādāb wa moʿtaqadāt-e zemestān, 2 vols. Tehran, 1354 Š./11975.
Mortażā Honari, Āʾinhā-ye nowruzi, Tehran, 1353 Š./1974, pp. 44-47.
Maḥmud Ruḥ-al-Amini, Āʾinhā wa jašnhā-ye kohan dar Irān-e emruz, 2nd ed., Tehran, 1999.
Hāšem Rażi, Nowruz, sawābeq-e tāriḵi tā emruz, jašn-e ābpāšān, Tehran, 1358 Š./1979.
Jaʿfar Šahri, Tehrān-e qadim, 6 vols., Tehran, 1371 Š./1992.
(Mahmoud Omidsalar)
Originally Published: December 15, 2002
Last Updated: March 1, 2012
This article is available in print.
Vol. XI, Fasc. 5, pp. 551-552
参见：http://en.wikipedia.org/wiki/Norouz；http://www.angelfire.com/rnb/bashiri/Nowruz/NowRuz.html
【思考题：读完这段关于波斯新年（Nowruz）Hajji Firuz风俗的介绍，你想到了中国何种相似的节日风俗呢？】
 |
Hājji Firuz or Hajji Piruz, (Persian: حاجی فیروز) is the traditional herald of Nowruz, the Persian New Year. He oversees celebrations for the new year perhaps as a remnant of the ancient Zoroastrian fire-keeper. His face is covered in soot and he is clad in bright red clothes and a felt hat. While ushering in Nowruz, Hajji Firuz plays a tambourine and sings "Hāji Firuz-e, sal-i-ye ruz-e" (It is Hāji Firuz time, It happens one day in a year). People of all ages gather around him and his troupe of musicians and listen to them play the drum, saz or kamancheh, and dance through the streets with tambourines and trumpets spreading good cheer and the news of the coming New Year.
History
Hāji Firuz is believed to be based in a tradition called "Mir-Norowzi". Mir-Norowz was a comical figure chosen to rule the municipality for the last five days of the year (also called Panjeh). The temporary five-day king (Hakem Panj Roozeh) would often parade the city with a group of singers and dancers for the Norowz Celebrations.[1][citation needed]
[edit]Importance of Haji Firuz
The sound of his songs and the sight of his dance is often analogous to hearing Christmas music in a shopping mall, telling all that Nowruz is in the air. Although the blackness of his skin has been the source of some racial controversy in Iranian intellectual circles, Hāji Firuz's intentions and spirit have always been well received and loved by the people. People consider it only as a face paint and there is no racial implication.[2]
Others believe that the appearance of Hāji Firuz is related to creating a happy atmosphere in the families. The New Year's Day must begin with joy, happiness and laughter so that during the rest of the year the families will continue to be happy. If the families are not happy, the Fravahrs who are guests of the families will leave the households which may result in the loss of abundance and blessings from the household. It is for this reason that during these days there are people with funny makeup and joyful songs who will bring laughter and joy to families and with their comical jests and songs bring laughter to houses, streets and market places.[citation needed]
Fire holds an important role for Zoroastrians. It appears that Haji Firouz represents the red-dressed fire keepers of the Zoroastrians, who at the last Tuesday of the year, was sent by the white-dressed Moghs (Zoroastrian priests) to spread the news about the arrival of the Nowruz. The fire-keeper's second duty was to call on the people to burn their old items in the fire, and to renew their life and regain health by obtaining the solved energy of the fire. The dark colour of the fire-keeper's face is allegedly caused by the heat of the holy fire. Fire-keepers use of rather unfamiliar expressions combined with their humorous nature, brought laughter to people's faces.[citation needed]
Mehrdad Bahar opined that the figure of the Haji firouz is derived from ceremonies and legends connected to the epic of prince Siavash, which are in turn derived from those associated with the Mesopotamian deities of agriculture and flocks, Tammuz (Sumerian: Dumuzi). Later, he claimed that Haji firouz’s blackened face symbolizes his returning from the world of the dead, his red clothing is the sign of Siavash’s red blood and the coming to life of the sacrificed deity, while his joviality is the jubilation of rebirth, typical of those who bring rejuvenation and blessing along with themselves. He speculates that the name Siyāwaxš might mean "black man" or "dark-faced man" and suggests that the black part of the name may be a reference either to the blackening of the faces of the participants in the afore-mentioned Mesopotamian ceremonies, or to the black masks that they wore for the festivities.[2]
[edit]Etymology
Hāji Firuz is also called Khawja Piruz, Khawja means master and Piruz/Firuz means victory. "Hāji" in here is just a form of address and has nothing to do with the Islamic (Haajhi) hajj, like using 'sir' to address a gentleman in English without the person being a knight in the technical sense.
[edit]Typical songs
Hāji firouz-e /Sal-i ye ruz-e sal-i ye ruz-e....It’s Ḥāji Firuz/[He’s] only one day a year.
Hame midunan /Man-am midunam....Everyone knows /I know as well.
ʿEyd-e nowruz-e /Sāl-i ye ruz-e....It is Nowruz /It’s only one day a year.
The following song is usually sung with a traditional "funny accent" or a mimicking of a speech impediment:
Arbab-e khod-am salāmo ʿaleykom....Greetings my very own lord
Arbab-e khod-am sar-eto bala kon!....Raise your head my lord!
Arbab-e khod-am be man niga kon,....Look at me, my lord!
Arbab-e khod-am lotf-i be ma kon....Do me a favor, my lord!
Arbab-e khod-am boz-boz-e qandi....My very own lord, the billy goat,
Arbab-e khod-am chera nemikhandi?....Why don’t you smile, my lord?[2]
[edit]References
^ According to research by Dr. Mahmoud Roh-ol-Amini based on the writings of Alameh Mohamad Ghazvini on Mir-Norouzi in the early twentieth century.
^ a b c Omidsalar, Mahmoud. "ḤĀJI FIRUZ". Encyclopedia Iranica. Retrieved 2012-01-08.
[edit]External links
The Persian Nowruz By Iraj Bashiri
Haji Firuz: The Traditional Herald of Norouz
——————————————————
ḤĀJI FIRUZ
the most famous among the traditional folk entertainers, who appears in the Persian streets in the days preceding Nowruz. The Ḥāji Firuz entertains passers-by by singing traditional songs and dancing and playing his tambourine for a few coins. He rarely knocks on a door, but begins his performance as soon as the door is opened.
ḤĀJI FIRUZ, the most famous among the traditional folk entertainers, who appears in the Persian streets in the days preceding Nowruz (Figure 1). The Ḥāji Firuz entertains passers-by by singing traditional songs and dancing and playing his tambourine for a few coins. He rarely knocks on a door, but begins his performance as soon as the door is opened.
Ḥāji Firuz blackens his face, wears very colorful clothes, usually—but not always—red, and always a hat that is sometimes long and cone-shaped. His songs, quite traditional in wording and melody, are very short repetitive ditties (Bolukbāši, 1977, pp. 108-9; idem, 2001, p. 38). Typical of these songs is:
Ḥāji Firuz-e /Sāl-i ye ruz-e sāl-i ye ruz-e.
Hame midunan /Man-am midunam.
ʿEyd-e nowruz-e /Sāl-i ye ruz-e.
(It’s Ḥāji Firuz/[He’s] only one day a year.
Everyone knows /I know as well.
It is Nowruz /It’s only one day a year.)
The following song is usually sung with a traditional “funny accent” or a mimicking of a speech impediment:
Arbāb-e ḵod-am salāmo ʿaleykom,
Arbāb-e ḵod-am sar-eto bālā kon!
Arbāb-e ḵod-am be man nigā kon,
Arbāb-e ḵod-am loṭf-i be mā kon.
Arbāb-e ḵod-am boz-boz-e qandi,
Arbāb-e ḵod-am čerā nemiḵandi?
(Greetings my very own lord,
Raise your head my lord!
Look at me, my lord!
Do me a favor, my lord!
My very own lord, the billy goat,
Why don’t you smile, my lord?)
Occasionally, the Ḥāji Firuz, whose income depends on his ability and talent to entertain by humor, manages to work other traditional songs into his routine. One of the most popular of these, which is almost impossible to translate, goes as follows:
Beškan beškan-e, beškan!
Man nemiškanam, beškan!
Injā beškanam yār gel-e dār-e,
Unjā beškanam yār gel-e dār-e,
In siāh-e bičāre čeqad howṣele dār-e
(The word “beškan” may be called out as a refrain to the song by the onlookers.)
Classical Arabic and Persian sources that mention many folk entertainers do not refer to Ḥāji Firuz at all, nor is he mentioned in casual reference in poetry or prose of the classical period. There can be little doubt, however, that Ḥāji Firuz has virtually replaced all the other New Year entertainers of the past such as Kusa, Mir-e Nowruzi, Ḡul-e biābāni, Ātaš-afruz, etc. (for some of these see Enjavi, II, pp. 112-13, 170-71; Mostowfi, Šarḥ-e zendagāni I, pp. 354-55).
In a paper originally published in 1983, Mehrdād Bahār opined that the figure of the Ḥāji Firuz is derived from ceremonies and legends connected to the epic of prince Siāvaš, which are in turn derived from those associated with the Mesopotamian deities of agriculture and flocks, Tammuz (Sumerian: Dumuzi). Following James Frazer, Bahār argued that Tammuz returned from the world of the dead every spring, and his festival, commemorated the yearly death and rebirth of vegetation. In some of these ceremonies during which people sang and danced in the streets, many blackened their faces. From this flimsy evidence, Bahār deduced that the Iranian Ḥāji Firuz with his blackened face must be a survival of the Mesopotamian rite of darkening one’s face while participating in the festival of Tammuz (Bahār, 1995a, p. 226). Ten years later in an interview Bahār stated his original supposition more emphatically, and claimed that “Ḥāji Firuz’s blackened face symbolizes his returning from the world of the dead, his red clothing is the sign of Siāvaš’s red blood and the coming to life of the sacrificed deity, while his joviality is the jubilation of rebirth, [typical] of those who bring rejuvenation and blessing [along] with themselves” (Bahār, 1995b, p. 231). In a later note written on Chapter 14 of the Bundahišn, he speculates that the name Siyāwaxš might mean “black man,” or “dark-faced man;” and suggests that the “black” part of the name may be a reference either to the blackening of the faces of the participants in the afore-mentioned Mesopotamian ceremonies, or to the black masks that they wore for the festivities. He adds that the Ḥāji Firuz character may be a remnant of these ancient practices (Bahār, 1996, pp. 194-95). He fails, however, to substantiate his views, and they remain a series of speculations based only on analogies with absolutely no evidentiary support. Another scholar finds the Ḥāji Firuz to be a continuation of a New Year’s tradition of the Sasanian period, during which black slaves, wearing colorful clothing and a great deal of makeup, would entertain the public with song and dance (Rażi, p. 44). Jaʿfar Šahri considers the Ḥāji Firuz a more recent character, and related not to some ancient religious ceremonies but rather to black slaves who formed troupes of entertainers. He suggests that the red color of Ḥāji Firuz’s clothes may represent happiness and the name Firuz (lit. ‘victorious’) must have been given to them as a good omen (Šahri, IV pp. 111-14). In a brief anthropological essay on Iranian festivals, two distinct characters, namely mir-e nowruzi (the Nowruz prince) and Ḥāji Firuz are unjustifiably mixed, with the suggestion that Ḥāji Firuz is a remnant of the older character (Ruḥ-al-Amini, pp. 47-48). The Ḥāji Firuz chant that is given by Maḥmud Ruḥ-al-Amini is slightly different from what most sources provide (p. 48):
Ḥāji Firuz-e,
ʿEyd-e nowruz-e,
Sāl-i čand ruz-e
It’s Ḥāji Firuz
It’s the Nowruz festival
It’s only a few days a year.)
Be that as it may, the Ḥāji Firuz as a character of traditional Iranian minstrelsy has fallen on hard times in this age of religious governance, and may not survive the official piety.
Bibliography:
Mehrdād Bahār, “Nowruz, zamān-e moqaddas,” Čistā 2, 1362 Š./1983, pp. 772-78; repr. in idem, Jostār-i čand dar farhang-e Irān, 2nd ed., Tehran, 1374 Š./1995a, pp. 221-29.
Idem, “Nowruz, jašn-i āriāʾi nist,” in Jostār-i čand dar farhang-e Irān, 2nd ed., Tehran, 1374 Š./1995b, pp. 229-37.
Idem, Pažu-heš-i dar asāṭir-e Irān, ed. Katāyun Mazdāpur, Tehran, 1375 Š./1996.
ʿAli Bolukbāši, Farhang-e ʿāmma, Tehran, 1356 Š./1977.
Idem, Nowruz: jašn-e now-zāʾi-e āfarineš, 2nd ed. Tehran, 2001.
Abu’l-Qāsem Enjavi Širāzi, Jašnhā wa ādāb wa moʿtaqadāt-e zemestān, 2 vols. Tehran, 1354 Š./11975.
Mortażā Honari, Āʾinhā-ye nowruzi, Tehran, 1353 Š./1974, pp. 44-47.
Maḥmud Ruḥ-al-Amini, Āʾinhā wa jašnhā-ye kohan dar Irān-e emruz, 2nd ed., Tehran, 1999.
Hāšem Rażi, Nowruz, sawābeq-e tāriḵi tā emruz, jašn-e ābpāšān, Tehran, 1358 Š./1979.
Jaʿfar Šahri, Tehrān-e qadim, 6 vols., Tehran, 1371 Š./1992.
(Mahmoud Omidsalar)
Originally Published: December 15, 2002
Last Updated: March 1, 2012
This article is available in print.
Vol. XI, Fasc. 5, pp. 551-552
