Farzad Ghaemi Articles List

List of Articles Farzad Ghaemi

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1 - Comparative analysis of serpent Zahhak’s myth Based on the old tradition of sacrifice for serpent Gods of the Underworld
Farzad Ghaemi
20.1001.1.23225793.1394.11.19.2.7

Zahhak, the most central demonic creature in Shahnameh, equivalent to Avestic Azdyhak and the three headed dragon of Indo-Iranian origin is one of the most distinct evil creatures in Mazdisna writings. Numerous interpretations of the Zahhak’s myth were made and co More

Zahhak, the most central demonic creature in Shahnameh, equivalent to Avestic Azdyhak and the three headed dragon of Indo-Iranian origin is one of the most distinct evil creatures in Mazdisna writings. Numerous interpretations of the Zahhak’s myth were made and considering the fact that Zahhak is of the Arab origin in Shahnameh, and assuming that the plain where horsemen fight with spears (Dashte Savarane Nayzehgozar) a place within Iraj’s domain in Shahnameh is one with the Arabic Sahara, certain interpretations regard the Zahhakk’s myth as a legacy of the migrants’ battles with the races of the Sami origin such as Assurians, Sumerians, and Babylonians. While criticizing other interpretations this research shows that Zahhak’s myth could be related to the Underworld Serpent God in the ethnic cultures of Iran’s plateau and its adjacent lands. According to this myth, the best youth were sacrificed for the God of the Underworld and the dragon killing myth is not a relic of a historic battle, but a symbol to end this bloody tradition of the prehistory.   Manuscript profile
Open Access Article
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2 - The study of symbolic imagery of Farr (In connection with the images in Shahnameh)
Fatemeh Mahvan Mohammad Jafar Yahaghi Farzad Ghaemi
20.1001.1.23225793.1394.11.19.5.0

Motifs used in Shahnameh’s imagery are on one hand in connection with the textual sign systems and on the other hand are of a nature belonging to the visual sign system. An example from this dual system of textual-visual kind is seen in the visual motifs of heaven More

Motifs used in Shahnameh’s imagery are on one hand in connection with the textual sign systems and on the other hand are of a nature belonging to the visual sign system. An example from this dual system of textual-visual kind is seen in the visual motifs of heavenly concept of farr. In textual system, Kiani Farr refers to Shah’s legitimacy. Researches made in this regard generally describe the concept of Farr, and deal with its application in Shahnameh and ancient texts. The emphasis of these works is mostly on the semantic aspect of Farr. This essay however attempts to study the concept of Farr from another approach. Looking for its meaning among the images to find out how the visual artists depicted the concept of Farr. Thus the attempt is made in this article to seek and find symbolic imagery in between the images in Shahnameh, rock reliefs, and images depicted in banners. For this reason apart from the textual sources, one made use of visual sources as well. Studying the images illustrate that Farr is manifested in form of three motifs of light, bird and crown. These three motifs each has different manifestations dealt with in detail in this study. The purpose of this research is to find the symbols of Farr by inspection of visual sources. Manuscript profile

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List of Articles Farzad Ghaemi