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Ethnology is the study of the inquisitive, perseverant and shrewd people whose new chapter in the history and culture of Iran .
The studies and researches carried out into the cultural and religious features and the ceremonies descended from our ancestors result in a valuable collection which typifies the talent and thoughts of this nation these features and ceremonies include national and religious celebrations wedding, mourning, rituals related to lunar and solar months, food and clothing production, traditional arts, handcrafts, farming, animal husbandry and popular medicine. The area of Mazandaran has ever enjoyed a wealth of folkloric features in the course of history.
Some of these are Loocho wrestling, 4 th of July ceremonies, Chahar shanbe soori, Nowrooz khani, traditional bird hunting, traditional bazaars, folk medicine and varf-chal, or barf-chal.
Saqqa-Tallars :
Iran is one of the most ancient foci of world civilization, the time honored , patrician Iranian ethos constanly influencing human culture .Iran is aptly named “ The archeologists heaven “ , as continuous human presence in Iran ever since prehistoric times and throughout times and throughout historical ages has made it a fertile field for the study of biological ,social and cultural evolution of man
Iran is like a “ Small Earth “ becaus of the diversity of climates it hosts .The resulting ethnological variety has given rise to numerous subcultures , which all have their roots in the ancient ,treasured Iranian civilization . The north of Iran, has a humid and moderate climate and is lavish of countless natural resources, such as the sea, high mountains, lush forest, valleys ,torrential rivers and abundant springs .features giving it not only infinite beauty ,but also serving as a strategic obstacle blocking the progress of invaders intending to invade the plateau of Iran .
For this reason , even 3 centuries after Islam entered Iran , the North was still populated by follows that Northern Iran is the beast place to study the influence of Mazda ism on the social and cultural lives of Iranians. The unprecedented study in the current volume describes a type of traditional architecture of Northern Iran, which the author believes to have originated from ancient Iranian culture .This construction is mostly made of wood and is called “saqqa-talar “,better known as “saqqa-nefsr” to natives . Saqqa-tallars are present in holy places like shrines (imam –zades), burial grounds, and tekyes ( which are also traditional architectural structures ) .At present ,they are rarely Sighted in urban areas ,but in rural regions where traditions are still alive and in full force ,they are not at all uncommon Saqqa-talars are built at a considerable height four wooden props known as Sofali that take up little space .The only way to reach the main building (ushkubeh) is a ladder or staircase usually built at the structure.
These uniqe constructions are found exclusively in the north, especially in Mazandaran , the onlt part of Iran under the reign of Sassanid survivors for eight and a half centuries . I . e. unit 750 Hejira. It must be noted that these local rulers who claimed to originate from the Sassanid era, the last dynasty of ancient monarchy in Iran before Arab invasion .had converted Islam .but still ruled in the same way as their ancestoes did.
In this book ,Saqqa-talars are studied from are studied from an architectural standpoint ,and also with respect to the decorative carvings . Saqqq-talars are beautifully ornamented with attractive designs . These are dichotomized based on varieties of forms and content:
a. Religious designs
b. Secular designs
These two substantial groups can be further classified as follows:
a.Relegious designs referring referring to:
1.Prophets
2.Imams and other religious leaders
3.the karbala incident and Imam Hossein s ( PBUH ) epic battle against Yazid s army
4. The Hereafter with figures of angels, the devil and punishment of sinners
b.Secular designs referring to:
1.Myths and epics
2.Follklore and legends
3.Anciend Farsi literary lexts
4.Work and industry of natives
5. Battles and wars
6.Astrology and constellations
7.Eantastic creations, including crosses between humans and animals orbirds.
8.Anamilas
9.Geometrical motifs Commonplace native artists have designed this entire multitude of ornaments .Calligraphy also plays a very important role in defining the identity of saqqa-talars .Poetry prasing Abol-fazl ( the brother of Imam Hossin) (PBUH) or those describing the incidents of karbala are considered favorites among the populace .In most saqqa –talars the name of the designer ,calligraphist and builders of the construction are inscribed.
At most decorated saqqa-talars date back to a century and a haif ago and the most recent ones belong to about acentury ago . However another group of Saqqq-talars existsthat are devoid of devoid of ornaments judging by the amount of structural and material decay they have sustained , they seemto be far older than the former group. Also noteworthy are the intricate and beautiful woodcarvings .Various pillar forms.pillar heads sculpted like dragons ,horned serpent –dragons or human forms are allartic displays of the abilities of local artisans.In anothersection of the book after an overview of themotifs and decorative elements and architectural motifs and decorative elements and architectural is analyzed ,based on the throry that originally these buildings were associated with the worship of water goddess. Anahita , existing from long before the Islamic era. Saqqa-talar is made by compounding two separate words.”saqqa”and “talar” saqqa means one who gives water to others .on the other hand all saqqa-talars are devoted to Aboulfazl (PBUH)the valorous brother of Imam Hossein (PBUH)the third shi ite Islamic leader Abulfazl has been designated the Saqqa of karbala and up to now to commemorate those eventful days ceremonies are lied in the saqqa –talars and water,sherbet and tea in given to mourners .In spite of this ,there are certain symbols and signs directory or indirectly related to water ,such as serpants dragons horned serpent –dragons, the two gurdian angels of water and greenery ( Khordad and Morda) ,the king of rain among others .The quantity and diversity of animal and plant forms in saqqa-talars may also be of the theory of the worship of Anahita ,as she was also the guardian of plants and animals and a symbol of fertility ,love and prosperity. The widespread use of mythological animals such as dragons in the decorations and pillar head carvings is surprising, in the light of the fact that in Iran traditionally the world .Iranian myths also speak of a hero that defeats the defeats the dragon and sets the water ,free .So the dragon is related to water ,albeit indirectly .In Saqqa-talars it is especially common to find it in the form of horned serpent deagons .In many cultures horns themselves are associated with the moon ,and the moon is ,by virtue of its regular rhythem , related to water .These are all discussed in detail in the section dragons The sing assigned to the king of rain is reminiscent of Tishtar the glorious angle of rain who aids Ahura-Mazda and finally defeats the Dev Apush , the symbol of draught ,in battle ,appearing as a beautiful white horse with ahrness , hooves and ears of gold .this image is also present in Saqqa-talars .The dev of draught appears as a black unsightly horse with a Short tail and mane. Another reason for the assumption of antiquity for saqqa-talars is the word talar ,which in Iranian architecture denotes a place with many pillars and a royal atmosphere the most majestic of which can be seen in talar-e-sad-sotoon(the hall of a hundred pillars ) in persepolis In saqqa-talar one of the most profound features is the unusually liberal use of pillars in a very small area . This happens in a way that sometimes the pillars are only 1 meter Basis:mazandaran miras iranian cultural heritage organization
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