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73-508: The Farāvahār ( Avestan : 𐬟𐬀𐬭𐬎𐬎𐬀𐬵𐬀𐬭𐬀 ; Persian : فَرْوَهَر ), also called the Foruhār ( فروهر ) or the Fārre Kiyâni ( فرّ کیانی ), is one of the most prominent symbols of Zoroastrianism . There is no universal consensus on what it means or stands for, as a variety of interpretations exist. The most common belief is that it depicts the fravaṣ̌i ( 𐬟𐬭𐬀𐬎𐬎𐬀𐬴𐬌 ), which

146-493: A Persian tradition. Some of the biographies of Ferdowsi are now considered apocryphal, nevertheless, this shows the important impact he had in the Persian world. Among the famous biographies are: Famous poets of Persia and the Persian tradition have praised and eulogized Ferdowsi. Many of them were heavily influenced by his writing and used his genre and stories to develop their own Persian epics, stories and poems: The candle of

219-800: A number of reasons for this shift, based on both the Old Avestan and the Young Avestan material. As regards Old Avestan, the Gathas show strong linguistic and cultural similarities with the Rigveda , which in turn is assumed to represent the second half of the second millennium BC. As regards Young Avestan, texts like the Yashts and the Vendidad are situated in the eastern parts of Greater Iran and lack any discernible Persian or Median influence from Western Iran. This

292-514: A reference to the Muslim invaders who despoiled Zoroastrianism. After the Shahnameh , a number of other works similar in nature surfaced over the centuries within the cultural sphere of the Persian language. Without exception, all such works were based in style and method on the Shahnameh , but none of them could quite achieve the same degree of fame and popularity. Some experts believe the main reason

365-456: A result, the faravahar icon became a national symbol for Iranians, and it became tolerated by the government as opposed to the Lion and Sun. The winged disc has a long history in the art, religion, and culture of the ancient Near and Middle East , being about 4000 years old in usage and noted as also symbolizing Ashur , Shamash , and other deities. Avestan language The Avestan text corpus

438-453: Is a long epic poem written by the Persian poet Ferdowsi between c.  977 and 1010 CE and is the national epic of Greater Iran . Consisting of some 50,000 distichs or couplets (two-line verses), the Shahnameh is one of the world's longest epic poems, and the longest epic poem created by a single author. It tells mainly the mythical and to some extent the historical past of

511-479: Is a round figure; most of the relatively reliable manuscripts have preserved a little over fifty thousand distichs. Nizami Aruzi reports that the final edition of the Shahnameh sent to the court of Sultan Mahmud of Ghazni was prepared in seven volumes. The Shirvanshah dynasty adopted many of their names from the Shahnameh . The relationship between Shirvanshah and his son, Manuchihr, is mentioned in chapter eight of Nizami's Layla and Majnun . Nizami advises

584-459: Is attested in roughly two forms, known as "Old Avestan" (or "Gathic Avestan") and "Younger Avestan". Younger Avestan did not evolve from Old Avestan; the two differ not only in time, but they are also different dialects. Every Avestan text, regardless of whether originally composed in Old or Younger Avestan, underwent several transformations. Karl Hoffmann traced the following stages for Avestan as found in

657-549: Is briefly mentioned with his son Nariman , whose own son Sam acted as the leading paladin of Manuchehr while reigning in Sistan in his own right. His successors were his son Zal and Zal's son Rostam , the bravest of the brave, and then Faramarz. Among the stories described in this section are the romance of Zal and Rudaba , the Seven Stages (or Labors) of Rostam , Rostam and Sohrab , Siyavash and Sudaba , Rostam and Akvan Div,

730-560: Is classified as Eastern Old Iranian. But the east–west distinction is of limited meaning for Avestan, as the linguistic developments that later distinguish Eastern from Western Iranian had not yet occurred. Avestan does not display some typical (South-)Western Iranian innovations already visible in Old Persian, and so in this sense, "eastern" only means "non-western". Old Avestan is closely related to Old Persian and largely agrees morphologically with Vedic Sanskrit . The Avestan language

803-478: Is important to note the symbol is neither Zoroastrian nor Persian in its origin. It originates as a Mesopotamian Assyrian depiction of the wing deity Ashur . After the Achaemenian dynasty , the image of the farohar was no longer present in Persian art or architecture. The Parthians , Sassanians and Islamic kings that followed did not use the image. It was not until the 20th century, over 2000 years later, that

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876-489: Is interpreted such that the bulk of this material, which has been produced several centuries after Zarathustra, must still predate the sixth century BC. As a result, more recent scholarship often assumes that the major parts of the Young Avestan texts mainly reflect the first half of the first millennia BC, whereas the Old Avestan texts of Zarathustra may have been composed around 1000 BC or even as early as 1500 BC. The script used for writing Avestan developed during

949-519: Is not known what the original speakers of Avestan called the language. The modern term "Avestan" comes from the Avesta , a collection of Zoroastrian religious literature composed in the language, the name of which comes from Persian اوستا , avestâ and is of obscure origin, though it might come from or be cognate with the Avestan term 𐬎𐬞𐬀𐬯𐬙𐬁𐬬𐬀𐬐𐬀 , upastāvaka , 'praise'. The language

1022-528: Is read as foruhar or faravahar (pronounced as furōhar or furūhar in Classical Persian ). The Middle Persian forms were frawahr ( Book Pahlavi : plwʾhl, Manichaean : prwhr), frōhar (recorded in Pazend as 𐬟𐬭𐬋𐬵𐬀𐬭 ; it is a later form of the previous form), and fraward ( Book Pahlavi : plwlt', Manichaean : frwrd), which was directly from Old Persian *fravarti- . The Avestan language form

1095-459: Is regarded as a literary masterpiece, and definitive of the ethno-national cultural identity of Iran. Ferdowsi started writing the Shahnameh in 977 and completed it on 8 March 1010. The Shahnameh is a monument of poetry and historiography , being mainly the poetical recast of what Ferdowsi, his contemporaries, and his predecessors regarded as the account of Iran 's ancient history. Many such accounts already existed in prose, an example being

1168-699: Is the Zoroastrian concept of the monotheistic god in Zoroastrianism . Rooted in ancient Near Eastern tradition , the Faravahar was especially prevalent in the Achaemenid Empire , correspondingly appearing in many works of Achaemenid architecture . Although it is originally religious in nature, it has become a secular and cultural symbol among non-Zoroastrian Iranian peoples (including Persians , Kurds and Tajiks ), having been popularized in this capacity after

1241-470: Is thought to be highly accurate. The text is written in the late Middle Persian, which was the immediate ancestor of Modern Persian . A great portion of the historical chronicles given in Shahnameh is based on this epic and there are in fact various phrases and words which can be matched between Ferdowsi's poem and this source, according to Zabihollah Safa . Traditional historiography in Iran holds that Ferdowsi

1314-561: The c.  12th century texts of Neryosang Dhaval and other Parsi Sanskritist theologians of that era, which are roughly contemporary with the oldest surviving manuscripts in Avestan script. Today, Avestan is most commonly typeset in the Gujarati script ( Gujarati being the traditional language of the Indian Zoroastrians). Some Avestan letters with no corresponding symbol are synthesized with additional diacritical marks, for example,

1387-571: The Shahnameh of Abu-Mansur . A small portion of Ferdowsi's work, in passages scattered throughout the Shahnameh , is entirely of his own conception. The Shahnameh is an epic poem of over 50,000 couplets written in Early New Persian . It is based mainly on a prose work of the same name compiled in Ferdowsi's earlier life in his native Tus . This prose Shahnameh was in turn and for the most part

1460-519: The /z/ in zaraθuštra is written with j with a dot below. Avestan has retained voiced sibilants, and has fricative rather than aspirate series. There are various conventions for transliteration of the Avestan alphabet , the one adopted for this article being: Vowels: Consonants: The glides y and w are often transcribed as < ii > and < uu >. The letter transcribed < t̰ > indicates an allophone of /t/ with no audible release at

1533-492: The Modern Persian language today is more or less the same language as that of Ferdowsi's time over 1000 years ago is due to the very existence of works like the Shahnameh , which have had lasting and profound cultural and linguistic influence. In other words, the Shahnameh itself has become one of the main pillars of the modern Persian language. Studying Ferdowsi's masterpiece also became a requirement for achieving mastery of

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1606-635: The Muslim conquest of Persia and the subsequent fall of Sasanian Empire . More recently, the Faravahar and other aspects of the Zoroastrian religion were at the forefront of a campaign by the Pahlavi dynasty to revive the pre-Islamic Iranian identity . Since the Islamic Revolution in 1979, it has remained a popular symbol among both Iranians inside of Iran and the Iranian diaspora . The New Persian word فروهر

1679-463: The Persian Empire from the creation of the world until the Muslim conquest in the seventh century. Iran , Azerbaijan , Afghanistan , Tajikistan and the greater region influenced by Persian culture such as Armenia , Dagestan , Georgia , Turkey , Turkmenistan and Uzbekistan celebrate this national epic. The work is of central importance in Persian culture and Persian language . It

1752-474: The Persian literary tradition , particularly by the Shahnameh , which probably explains the fact that he named all of his sons after Shahnameh characters. Dickson and Welch suggest that Ismail's Shāhnāma-i Shāhī was intended as a present to the young Tahmasp . After defeating Muhammad Shaybani's Uzbeks , Ismail asked Hatefi , a famous poet from Jam (Khorasan) , to write a Shahnameh -like epic about his victories and his newly established dynasty. Although

1825-695: The Qarakhanid dynasty in Central Asia calling itself the 'family of Afrasiyab' and so it is known in the Islamic history." Turks, as an ethno-linguistic group, have been influenced by the Shahnameh since the advent of Seljuks . The Seljuk sultan Toghrul III is said to have recited the Shahnameh while swinging his mace in battle. According to Ibn Bibi , 1221 the Seljuk sultan of Rum Ala' al-Din Kay-kubad decorated

1898-499: The Sasanian period ". The Avestan language is only known from the Avesta and otherwise unattested. As a result, there is no external evidence on which to base the time frame during which the Avestan language was spoken and all attempts have to rely on internal evidence. Such attempts were often based on the life of Zarathustra as the most distinct event in the Avestan period . Zarathustra

1971-465: The Shahnameh are dedicated to Alexander, running over 2,500 verses in total, and Alexander's life is the work's turning point between mythic and historical rulers of Persia. It also represents a turning point of Persian-language representations of Alexander, from negative in pre-Islamic Zoroastrian writings to positive. After the Shahnameh introduced the Alexander Romance tradition into Persian,

2044-614: The Shahnameh are devoted to the age of heroes, extending from Manuchehr's reign until the conquest of Alexander the Great . This age is also identified as the kingdom of the Kayanians , which established a long history of heroic age in which myth and legend are combined. The main feature of this period is the major role played by the Saka or Sistani heroes who appear as the backbone of the Empire. Garshasp

2117-510: The Shahnameh shows characteristics of both written and oral literature. Some claim that Ferdowsi also used Zoroastrian nasks , such as the now-lost Chihrdad , as sources as well. Many other Pahlavi sources were used in composing the epic, prominent being the Kar-Namag i Ardashir i Pabagan , which was originally written during the late Sassanid era and gave accounts of how Ardashir I came to power which, because of its historical proximity,

2190-508: The Shahnameh teaches a wide variety of moral virtues, like worship of one God; religious uprightness; patriotism; love of wife, family and children; and helping the poor. There are themes in the Shahnameh that were viewed with suspicion by the succession of Iranian regimes. During the reign of Mohammad Reza Shah , the epic was largely ignored in favor of the more abstruse, esoteric and dryly intellectual Persian literature. Historians note that

2263-454: The Šāh-nāma are quite popular, and the stories of Rostam and Sohrāb , or Bījan and Maniža became part of Georgian folklore. Farmanfarmaian in the Journal of Persianate Studies : Distinguished scholars of Persian such as Gvakharia and Todua are well aware that the inspiration derived from the Persian classics of the ninth to the twelfth centuries produced a 'cultural synthesis' which saw, in

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2336-477: The Šāh-nāma that is no longer extant. ... The Šāh-nāma was translated, not only to satisfy the literary and aesthetic needs of readers and listeners, but also to inspire the young with the spirit of heroism and Georgian patriotism. Georgian ideology, customs, and worldview often informed these translations because they were oriented toward Georgian poetic culture. Conversely, Georgians consider these translations works of their native literature. Georgian versions of

2409-414: The 3rd or 4th century AD. By then the language had been extinct for many centuries, and remained in use only as a liturgical language of the Avesta canon. As is still the case today, the liturgies were memorized by the priesthood and recited by rote. The script devised to render Avestan was natively known as Din dabireh "religion writing". It has 53 distinct characters and is written right-to-left. Among

2482-503: The 53 characters are about 30 letters that are – through the addition of various loops and flourishes – variations of the 13 graphemes of the cursive Pahlavi script (i.e. "Book" Pahlavi) that is known from the post-Sassanian texts of Zoroastrian tradition. These symbols, like those of all the Pahlavi scripts, are in turn based on Aramaic script symbols. Avestan also incorporates several letters from other writing systems, most notably

2555-577: The Great ( r.  522–486 BC ) and Artaxerxes III ( r.  358–338 BC ). The symbol was also used on some of the coin mints of the frataraka of Persis in the late 3rd and early 2nd BC centuries. Even after the Arab conquest of Iran , Zoroastrianism continued to be part of Iranian culture. Throughout the year, festivities are celebrated such as Nowruz , Mehregan , and Chaharshanbe Suri which relate to Zoroastrian festivals and calendar . These are remnants of Zoroastrian traditions. From

2628-478: The Persian language by subsequent Persian poets, as evidenced by numerous references to the Shahnameh in their works. Although 19th-century British Iranologist E. G. Browne has claimed that Ferdowsi purposefully avoided Arabic vocabulary, this claim has been challenged by modern scholarship, specifically Mohammed Moinfar, who has noted that there are numerous examples of Arabic words in the Shahnameh which are effectively synonyms for Persian words previously used in

2701-552: The Shahname inscribed on the walls of Konya and Sivas . When we take into consideration domestic life in the Konya courts and the sincerity of the favor and attachment of the rulers to Persian poets and Persian literature, then this fact [i.e., the importance of Persian influence] is undeniable. Shah Ismail I (d.1524), the founder of the Safavid dynasty of Iran, was also deeply influenced by

2774-564: The areas of Central Asia beyond the Oxus up to the 7th century (where the story of the Shahnameh ends), was generally an Iranian-speaking land. According to Richard Frye , "The extent of influence of the Iranian epic is shown by the Turks who accepted it as their own ancient history as well as that of Iran ... The Turks were so much influenced by this cycle of stories that in the eleventh century AD we find

2847-632: The creation of the world and of man as believed by the Sasanians . This introduction is followed by the story of the first man, Keyumars , who also became the first king after a period of mountain-dwelling. His grandson Hushang , son of Siamak , accidentally discovered fire and established the Sadeh Feast in its honor. Stories of Tahmuras , Jamshid , Zahhak , Kawa or Kaveh , Fereydun and his three sons Salm , Tur , and Iraj , and his grandson Manuchehr are related in this section. Almost two-thirds of

2920-459: The divine power and royal glory. Although there are a number of interpretations of the individual elements of the symbol, most are recent interpretations and there is still debate as to its meaning. After the Islamic Revolution of 1979, the Lion and Sun , which was part of Iran's original national flag, was banned by the government from public places. Nevertheless, faravahar icons were not removed and as

2993-569: The earliest stages of written secular literature in Georgia, the resumption of literary contacts with Iran, "much stronger than before" (Gvakharia, 2001, p. 481). Ferdowsi's Shahnama was a never-ending source of inspiration, not only for high literature, but for folklore as well. "Almost every page of Georgian literary works and chronicles [...] contains names of Iranian heroes borrowed from the Shahnama " (ibid). Ferdowsi, together with Nezāmi , may have left

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3066-531: The end of a word and before certain obstruents . According to Beekes, [ð] and [ɣ] are allophones of /θ/ and /x/ respectively (in Old Avestan). The following phrases were phonetically transcribed from Avestan: Shahnameh The Shahnameh ( Persian : شاهنامه , romanized :  Šāhnāme , lit.   'The Book of Kings', modern Iranian Persian pronunciation [ʃɒːh.nɒː.ˈme] ), also transliterated Shahnama ,

3139-461: The end of this great history And all the land will talk of me: I shall not die, these seeds I've sown will save My name and reputation from the grave, And men of sense and wisdom will proclaim When I have gone, my praises and my fame. Another translation of by Reza Jamshidi Safa: Much I have suffered in these thirty years, I have revived the Ajam with my verse. I will not die then alive in

3212-456: The epic was left unfinished, it was an example of mathnawis in the heroic style of the Shahnameh written later on for the Safavid kings. The Shahnameh 's influence has extended beyond the Persian sphere. Professor Victoria Arakelova of Yerevan University states: During the ten centuries passed after Firdausi composed his monumental work, heroic legends and stories of Shahnameh have remained

3285-508: The extant texts. In roughly chronological order: Many phonetic features cannot be ascribed with certainty to a particular stage since there may be more than one possibility. Every phonetic form that can be ascribed to the Sasanian archetype on the basis of critical assessment of the manuscript evidence must have gone through the stages mentioned above so that "Old Avestan" and "Young Avestan" really mean no more than "Old Avestan and Young Avestan of

3358-452: The four main bodies of world literature. Goethe was inspired by Persian literature, which moved him to write his West-Eastern Divan . Goethe wrote: When we turn our attention to a peaceful, civilized people, the Persians, we must—since it was actually their poetry that inspired this work—go back to the earliest period to be able to understand more recent times. It will always seem strange to

3431-559: The genre would become popular and numerous Alexander legends would be composed in the language, with the most significant works owing much to the Shahnameh . These include the anonymous Iskandarnameh , the Iskandarnameh of Nizami , the Ayina-i Iskandari of Amir Khusrau , and others. Illustrated copies of the work are among the most sumptuous examples of Persian miniature painting . Several copies remain intact, although two of

3504-504: The historians that no matter how many times a country has been conquered, subjugated and even destroyed by enemies, there is always a certain national core preserved in its character, and before you know it, there re-emerges a long-familiar native phenomenon. In this sense, it would be pleasant to learn about the most ancient Persians and quickly follow them up to the present day at an all the more free and steady pace. Sargozasht-Nameh or biography of important poets and writers has long been

3577-481: The imagery of Shahnameh heroes in their poetry. The Shahnameh 's impact on Persian historiography was immediate, and some historians decorated their books with the verses of Shahnameh. Below is sample of ten important historians who have praised the Shahnameh and Ferdowsi: The Shahnameh contains the first Persian legend of Alexander the Great in the tradition of the Alexander Romance . Three sections of

3650-424: The interpretations of the faravahar is that it is a representation of the human soul and its development along with a visual guide of good conduct. Another popular interpretation is that it is a visual representation of a Fravashi , though Fravashis are described in Zoroastrian literature as being feminine. One of the most prevalent views in academia as to the meaning of the faravahar is that it represents Khvarenah ,

3723-773: The king's son to read the Shahnameh and to remember the meaningful sayings of the wise. According to the Turkish historian Mehmet Fuat Köprülü : Indeed, despite all claims to the contrary, there is no question that Persian influence was paramount among the Seljuks of Anatolia . This is clearly revealed by the fact that the sultans who ascended the throne after Ghiyath al-Din Kai-Khusraw I assumed titles taken from ancient Persian mythology , like Kai Khosrow , Kay Kāvus , and Kai Kobad ; and that Ala' al-Din Kai-Qubad I had some passages from

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3796-462: The main source of the storytelling for the peoples of this region: Persians, Kurds, Gurans, Talishis, Armenians, Georgians, North Caucasian peoples, etc. Jamshid Giunashvili remarks on the connection of Georgian culture with that of Shahnameh : The names of many Šāh-nāma heroes, such as Rostom-i , Thehmine, Sam-i , or Zaal-i , are found in 11th- and 12th-century Georgian literature. They are indirect evidence for an Old Georgian translation of

3869-522: The most enduring imprint on Georgian literature (...) Despite a belief held by some, the Turanian of Shahnameh (whose sources are based on Avesta and Pahlavi texts) have no relationship with Turks . The Turanians of the Shahnameh are an Iranian people representing Iranian nomads of the Eurasian Steppes and have no relationship to the culture of the Turks. Turan, which is the Persian name for

3942-421: The preservation of the pre-Islamic legacy of myth and history, a number of authors have formally challenged this view. This portion of the Shahnameh is relatively short, amounting to some 2100 verses or four percent of the entire book, and it narrates events with the simplicity, predictability, and swiftness of a historical work. After an opening in praise of God and Wisdom, the Shahnameh gives an account of

4015-687: The romance of Bijan and Manijeh , the wars with Afrasiab , Daqiqi 's account of the story of Goshtasp and Arjasp, and Rostam and Esfandyar . A brief mention of the Arsacid dynasty follows the history of Alexander and precedes that of Ardashir I , founder of the Sasanian Empire. After this, Sasanian history is related with a good deal of accuracy. The fall of the Sassanids and the Arab conquest of Persia are narrated romantically. According to Jalal Khaleghi Mutlaq,

4088-471: The start of the 20th century, the faravahar icon found itself in public places and became a known icon among Iranians. The Shahnameh by Ferdowsi is Iran's national epic and contains stories (partly historical and partly mythical) from pre-Islamic Zoroastrian times. The tomb of Ferdowsi (built early 1930), which is visited by numerous Iranians every year, contains the faravahar icon as well. Whilst being used by both modern day Zoroastrians and Persians, it

4161-584: The story to the overthrow of the Sasanians by the Muslim armies in the middle of the seventh century. The first to undertake the versification of the Pahlavi chronicle was Daqiqi , a contemporary of Ferdowsi, poet at the court of the Samanid Empire , who came to a violent end after completing only 1,000 verses. These verses, which deal with the rise of the prophet Zoroaster , were afterward incorporated by Ferdowsi, with acknowledgment, in his own poem. The style of

4234-540: The symbol originates as the winged sun used by various powers of the Ancient Near East , primarily those of Ancient Egypt and Mesopotamia . The Zoroastrian adoption of the symbol comes from its prevalence in Neo-Assyrian iconography. This Assyrian image often includes their Tree of Life , which includes the god Ashur on a winged disk. The faravahar was depicted on the tombs of Achaemenid kings, such as Darius

4307-496: The symbol re-emerged thanks to the work of Parsi scholar, Jamshedji Maneckji Unvala, who published two articles in 1925 and 1930. Unvala's work was discredited by Irach Jehangir Sorabji Taraporewala, who refuted the idea that the winged figure represented Ahura Mazda . Taraporewala suggested that the figures used in Persian reliefs were meant to depict khvarenah or royal glory to reflect the perceived divine empowerment of kings, and, therefore, has no true spiritual meaning. This view

4380-497: The text. This calls into question the idea of Ferdowsi's deliberate eschewing of Arabic words. The Shahnameh has 62 stories, 990 chapters, and some 50,000 rhyming couplets, making it more than three times the length of Homer's Iliad and more than twelve times the length of the German Nibelungenlied . According to Ferdowsi himself, the final edition of the Shahnameh contained some sixty thousand distichs. But this

4453-462: The theme of regicide and the incompetence of kings embedded in the epic did not sit well with the Iranian monarchy. Later, there were Muslim figures such as Ali Shariati , the hero of Islamic reformist youth of the 1970s, who were also antagonistic towards the contents of the Shahnameh since it included verses critical of Islam. These include the line: tofu bar to, ey charkh-i gardun, tofu! (spit on your face, oh heavens spit!), which Ferdowsi used as

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4526-535: The translation of a Pahlavi ( Middle Persian ) work, known as the Khwadāy-Nāmag "Book of Kings", a late Sasanian compilation of the history of the kings and heroes of Persia from mythical times down to the reign of Khosrow II (590–628). The Khwadāy-Nāmag contained historical information on the later Sasanian period, but it does not appear to have drawn on any historical sources for the earlier Sasanian period (3rd to 4th centuries). Ferdowsi added material continuing

4599-432: The vowels, which are mostly derived from Greek minuscules. A few letters were free inventions, as were also the symbols used for punctuation. Also, the Avestan alphabet has one letter that has no corresponding sound in the Avestan language; the character for /l/ (a sound that Avestan does not have) was added to write Pazend texts. The Avestan script is alphabetic , and the large number of letters suggests that its design

4672-499: The walls of Konya and Sivas with verses from the Shahnameh . The Turks themselves connected their origin not with Turkish tribal history but with the Turanians of Shahnameh . Specifically in India, through the Shahnameh , they felt themselves to be the last outpost tied to the civilized world by the thread of Iranianism . Ferdowsi concludes the Shahnameh by writing: I've reached

4745-491: The wise in this darkness of sorrow, The pure words of Ferdowsi of the Tusi are such, His pure sense is an angelic birth, Angelic born is anyone who's like Ferdowsi. How sweetly has conveyed the pure-natured Ferdowsi, May blessing be upon his pure resting place, Do not harass the ant that's dragging a seed, because it has life and sweet life is dear. Many other poets, e.g., Hafez , Rumi and other mystical poets, have used

4818-500: The world, For I have spread the seed of the word. Whoever has sense, path and faith, After my death will send me praise. Many Persian literary figures, historians and biographers have praised Ferdowsi and the Shahnameh . The Shahnameh is considered by many to be the most important piece of work in Persian literature . Western writers have also praised the Shahnameh and Persian literature in general. Persian literature has been considered by such thinkers as Goethe as one of

4891-415: Was fravaṣ̌i ( 𐬟𐬭𐬀𐬎𐬎𐬀𐬴𐬌 ). The Faravahar (or Farvahar ) is a significant symbol in Zoroastrianism that conveys deep spiritual and moral meaning. Its elements are interpreted as follows: The Faravahar embodies moral integrity, spiritual progression, and the concept of choosing good over evil, encouraging individuals to live by the principles of wisdom and virtue. The pre-Zoroastrian use of

4964-478: Was composed in the ancient Iranian satrapies of Arachosia , Aria , Bactria , and Margiana , corresponding to the entirety of present-day Afghanistan as well as parts of Tajikistan , Turkmenistan , and Uzbekistan . The Yaz culture of Bactria–Margiana has been regarded as a likely archaeological reflection of the early " Eastern Iranian " culture that is described in the Zoroastrian Avesta . It

5037-458: Was due to the need to render the orally recited texts with high phonetic precision. The correct enunciation of the liturgies was (and still is) considered necessary for the prayers to be effective. The Zoroastrians of India, who represent one of the largest surviving Zoroastrian communities worldwide, also transcribe Avestan in Brahmi -based scripts. This is a relatively recent development first seen in

5110-458: Was grieved by the fall of the Sasanian Empire and its subsequent rule by Arabs and Turks. The Shahnameh , the argument goes, is largely his effort to preserve the memory of Persia's golden days and transmit it to a new generation, so that, by learning from it, they could acquire the knowledge needed to build a better world. Although most scholars have contended that Ferdowsi's main concern was

5183-473: Was later supported by Alireza Shapour Shahbazi and Mary Boyce . The Sun Throne , the imperial seat of Iran, has visual implications of the Faravahar . The sovereign would be seated in the middle of the throne, which is shaped like a platform or bed that is raised from the ground. This religious-cultural symbol was adapted by the Pahlavi dynasty to represent the Iranian nation. In modern Zoroastrianism, one of

5256-799: Was sometimes called Zend in older works, stemming from a misunderstanding of the Zend (commentaries and interpretations of Zoroastrian scripture) as synonymous with the Avesta itself, due to both often being bundled together as "Zend-Avesta". Avestan and Old Persian are the two attested languages comprising Old Iranian , and while Avestan was localized in the northeastern parts of Greater Iran according to Paul Maximilian Tedesco  [ de ] (1921), other scholars have favored regarding Avestan as originating in eastern parts. Scholars traditionally classify Iranian languages as "old", "middle" and "new" according to their age, and as "eastern" or "western" according to geography, and within this framework Avestan

5329-545: Was traditionally based in the 6th century BC meaning that Old Avestan would have been spoken during the early Achaemenid period . Given that a substantial time must have passed between Old Avestan and Young Avestan, the latter would have been spoken somewhere during the Hellenistic or the Parthian period of Iranian history. However, more recent scholarship has increasingly shifted to an earlier dating. The literature presents

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