Page 5 - (کیهان لندن - سال سى و دوم ـ شماره ۳۷ (دوره جديد

P. 5

‫ﺻﻔﺤﻪ ‪ 5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪37‬‬
‫ﺟﻤﻌﻪ ‪ 4‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 10‬ﺩﺳﺎﻣﺒﺮ ‪2015‬‬

‫ﺩﺳﺘﮕﻴﺮﻯ ﮔﻠﺮﻭ ﻳﻐﻤﺎﻳﻰ‪:‬‬ ‫ﺑﺰﺭﮔﺪﺍﺷﺖﻣﻌﻴﻨﻰﻛﺮﻣﺎﻧﺸﺎﻫﻰﺩﺭﺩﺍﻧﺸﮕﺎﻩﻟﺲﺁﻧﺠﻠﺲ‬

‫» ﺍﻣﺎ ﻣﻰ ﺩﻭﻧﻴﻢ ﺁﺧﺮ ﻗﺼﻪ ﺁﺯﺍﺩﻯ ﺍﺳﺖ«‬ ‫»ﻣﻤﻨﻮﻧﻢ ﺁﻗﺎﻯ ﺣﺴﻴﻦ ﻣﻬﺮﻯ!«‬ ‫ﺳﻴﺎﻭﺵ ﺁﺫﺭﻯ‪ -‬ﺁﺋﻴﻦ ﺑﺰﺭﮔﺪﺍﺷﺖ‬
‫ﮔﺮﺩﺁﻓﺮﻳﺪ ﻫﻨﺮﻣﻨﺪ ﺑﻌﺪﻯ ﺍﻳﻦ ﻳﺎﺩﻣﺎﻥ‬ ‫ﻭ ﻭﺩﺍﻉ ﺑﺎ ﺷﺎﻋﺮ ﻭ ﺗﺮﺍﻧﻪﺳﺮﺍﻯ ﻧﺎﻣﺪﺍﺭ‬
‫ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﺍﮔﺮ ﭼﻪ ﻭﻗﺘﻰ ﺗﺮﺍﻧﻪ ﺳﺮ‬ ‫ﺑﻮﺩ ﻛﻪ ﺑﺎ ﺳﻪ ﺗﺎﺭ ﻧﻮﻳﺪ ﻛﻨﺪﻟﻮﺳﻰ‬ ‫ﺍﻳﺮﺍﻥ ﺍﺳﺘﺎﺩ ﺭﺣﻴﻢ ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ‬
‫ﺩﺍﺩ »ﺧﻮﺷﺤﺎﻝ ﻭ ﺷﺎﺩ ﻭ ﺧﻨﺪﻭﻧﻴﻢ ﺑﺎ‬ ‫ﻧﻮﺍﺯﻧﺪﻩ ﺟﻮﺍﻥ ﻭﻳﻮﻟﻦ ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﺍﺷﻌﺎﺭ‬ ‫ﻛﻪ ﺳﺮﻭﺩﻩﻫﺎﻯ ﻧﺎﺏ ﻭ ﻧﻐﺰﺵ ﺳﺎﻝﻫﺎ‬
‫ﺍﻳﻨﻜﻪ ﺗﻮﻯ ﺯﻧﺪﻭﻧﻴﻢ« ﻫﻨﻮﺯ ﭘﺸﺖ‬ ‫»ﺷﺎﻫﻜﺎﺭ« ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﻧﻘﺎﻟﻰ ﺍﺟﺮﺍ‬ ‫ﺑﺎ ﺻﺪﺍﻯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﺭﺍﺩﻳﻮ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ‬
‫ﻣﻴﻠﻪﻫﺎﻯ ﺯﻧﺪﺍﻥ ﻧﺒﻮﺩ ﻭ ﺑﺮﺍﻯ ﻫﻤﻮﻃﻨﺎﻥ‬ ‫ﻛﺮﺩ‪.‬ﭘﺲ ﺍﺯ ﺁﻥ‪ ،‬ﺁﺭﺵ ﺁﻫﻨﮓ ﺗﺮﺍﻧﻪ‬ ‫ﺑﻪ ﮔﻮﺵ ﻣﺮﺩﻡ ﺳﺮﺍﺳﺮ ﻛﺸﻮﺭ ﻧﺸﺴﺘﻪ‬
‫ﺩﺭﺑﻨﺪﺵ ﺩﺭ ﺯﻧﺪﺍﻥ ﻭ ﺩﺭ ﺟﺎﻣﻌﻪ‬ ‫ﺑﻪ ﻳﺎﺩﻣﺎﻧﺪﻧﻰ »ﺳﻨﮓ ﺧﺎﺭﺍ«ﻯ ﻣﺮﺿﻴﻪ‬ ‫ﺍﺳﺖ‪ ،‬ﻋﺼﺮ ﺭﻭﺯ ﻳﻚﺷﻨﺒﻪ ‪ 29‬ﻧﻮﺍﻣﺒﺮ‬
‫ﺍﺳﺘﺒﺪﺍﺩﺯﺩﻩ ﺳﺮﻭﺩﻩ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺭﻭﺯ‬ ‫ﺭﺍ ﺑﻪ ﺯﻳﺒﺎﺋﻰ ﺧﻮﺍﻧﺪ ﻭ ﺍﻳﻦ ﻭﺍﻗﻌﻴﺖ ﺭﺍ‬ ‫ﺑﺎ ﺷﺮﻛﺖ ﺷﻤﺎﺭﻯ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻯ ﺍﻳﺮﺍﻧﻰ‬
‫ﻧﺸﺎﻥ ﺩﺍﺩ ﻛﻪ ﻧﺴﻞ ﺍﻣﺮﻭﺯ ﻫﻢ ﺁﺛﺎﺭ‬ ‫ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻳﻮ‪.‬ﺳﻰ‪ .‬ﺍﻝ‪ .‬ﺍﻯ‪ .‬ﺑﺮﮔﺰﺍﺭﺷﺪ‪.‬‬
‫ﺩﻭﺷﻨﺒﻪ ﺧﻮﺩ ﺍﻭ ﮔﺮﻓﺘﺎﺭ ﺯﻧﺪﺍﻥ ﺷﺪ‪.‬‬ ‫ﺑﺮﺟﺴﺘﻪ ﻣﻌﻴﻨﻰ ﻭ ﺳﺎﻳﺮ ﺳﺮﺍﻳﻨﺪﮔﺎﻥ‬ ‫ﺩﺭ ﺍﻳﻦ ﺁﺋﻴﻦ ﻛﻪ ﺩﺭ »ﺩﺍﺩ ﻫﺎﻝ« ﺍﻳﻦ‬
‫ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﺗﺮﺍﻧﻪﺳﺮﺍ ﻭ ﺷﺎﻋﺮ ﺭﻭﺯ ‪9‬‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺍﻧﺠﺎﻡ ﺷﺪ ﻋﻼﻭﻩ ﺑﺮ ﻧﻮﺷﻴﻦ‬
‫ﺍﺳﻼﻣﻰ ﺑﻪ ﻃﻮﺭ ﻣﺴﺘﻘﻞ ﺗﻮﺳﻂ ﻳﻐﻤﺎ‬ ‫ﺍﺟﺮﺍ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺁﺫﺭ ‪ 94‬ﺩﺳﺘﮕﻴﺮ ﻭ ﺑﻪ ﻣﻜﺎﻥ ﻧﺎﻣﻌﻠﻮﻣﻰ‬ ‫ﻭ ﻓﺮﻫﺎﺩ ﻓﺮﺯﻧﺪﺍﻥ ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ‪،‬‬
‫ﮔﻠﺮﻭﻳﻰ ﺩﺭ ﺁﻟﻤﺎﻥ ﭼﺎپ ﺷﺪ‪.‬‬ ‫ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻴﻨﺨﺴﺘﻴﻦ ﻛﺘﺎﺏﻫﺎﻯ ﻳﻐﻤﺎ‬ ‫ﺑﺮﺩﻩ ﺷﺪ؛ ﻫﻤﺴﺮ ﻭﻯ ﺁﺗﻨﺎ ﺣﺒﻴﺒﻰ ﺩﺭ‬ ‫ﺍﻳﺮﺝ ﭘﺰﺷﻚ ﺯﺍﺩ ﻃﻨﺰﭘﺮﺩﺍﺯ ﺳﺮﺷﻨﺎﺱ‬
‫ﮔﻠﺮﻭﻳﻰ ﺩﺭ ﻗﺎﻟﺐ ﺷﻌﺮ ﺳﭙﻴﺪ ﻣﻨﺘﺸﺮ‬ ‫ﺷﺒﻜﻪ ﺍﻳﻨﺴﺘﺎﮔﺮﺍﻡ ﻧﻮﺷﺖ‪» :‬ﻣﺎﻣﻮﺭﺍﻥ‬ ‫ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﻛﺘﺎﺏ ﻣﻌﺮﻭﻑ »ﺩﺍﺋﻰ ﺟﺎﻥ‬
‫ﺩﺭ ﭘﺎﻳﻴﺰ ‪ 1392‬ﺷﺎﻫﻴﻦ ﻧﺠﻔﻰ‬ ‫ﮔﺸﺖ‪ .‬ﺍﻭﻟﻴﻦ ﻛﺴﻰ ﻛﻪ ﺷﻌﺮﻫﺎﻯ‬ ‫ﺍﻣﻨﻴﺘﻰ ﺑﺎ ﻣﺮﺍﺟﻌﻪ ﺑﻪ ﺧﺎﻧﻪﻯ ﻣﺎ‪ ،‬ﺿﻤﻦ‬ ‫ﻧﺎﭘﻠﺌﻮﻥ«‪ ،‬ﺩﺍﺭﻳﻮﺵ ﺍﻗﺒﺎﻟﻰ ﺧﻮﺍﻧﻨﺪﻩ‬
‫ﺁﻟﺒﻮﻣﻰ ﺑﺎ ﻧﺎﻡ »ﺗﺮﺍﻣﺎﺩﻭﻝ« ﻣﻨﺘﺸﺮ‬ ‫ﻳﻐﻤﺎ ﺭﺍ ﺍﺟﺮﺍ ﻛﺮﺩ‪ ،‬ﺍﻣﻴﺮ ﻛﺮﻳﻤﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﺑﺎﺯﺭﺳﻰ ﺧﺎﻧﻪ ﺍﻗﺪﺍﻡ ﺑﻪ ﺑﺎﺯﺩﺍﺷﺖ ﻳﻐﻤﺎ‬ ‫ﻣﺸﻬﻮﺭ‪ ،‬ﺳﻌﻴﺪ ﺩﻳﻬﻴﻤﻰ ﻧﻮﺍﺯﻧﺪﻩ‬
‫ﺳﺎﺧﺖ ﻛﻪ ﻗﻄﻌﻪﺍﻯ ﺑﺎ ﻧﺎﻡ »ﭘﻮﻧﺰ«‬ ‫ﺩﺭ ﺁﻟﺒﻮﻡ »ﺗﺎ ﻫﻤﻴﺸﻪ« ﭼﻬﺎﺭ ﺷﻌﺮ ﺍﺯ‬ ‫ﮔﻠﺮﻭﻳﻰ ﻭ ﺍﻧﺘﻘﺎﻝ ﺍﻭ ﺑﻪ ﻣﻜﺎﻥ ﻧﺎﻣﻌﻠﻮﻣﻰ‬ ‫ﺭﻭﺷﻨﺪﻝ ﭘﻴﺎﻧﻮ ﻭ ﺷﻤﺎﺭﻯ ﺍﺯ ﭼﻬﺮﻩﻫﺎﻯ‬
‫ﺍﺯ ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﺩﺭ ﺁﻥ ﺧﻮﺍﻧﺪﻩ ﺷﺪﻩ‬ ‫ﺗﺮﺍﻧﻪﻫﺎﻯ ﺍﻭ ﺭﺍ ﺿﺒﻂ ﻧﻤﻮﺩ‪ .‬ﺍﻣﺎ ﺍﻭﻟﻴﻦ‬ ‫ﻛﺮﺩﻧﺪ‪ .‬ﺗﺎ ﺍﻳﻦ ﻟﺤﻈﻪ‪ ،‬ﺍﺯ ﺍﻭ ﻫﻴﭻ ﺧﺒﺮﻯ‬
‫ﺑﻮﺩ‪ .‬ﻳﻐﻤﺎ ﺩﺭ ﺻﺤﻨﻪﻫﺎ ﻭ ﺭﺧﺪﺍﺩﻫﺎﻯ‬ ‫ﺁﻟﺒﻮﻣﻰ ﻛﻪ ﺍﻧﺘﺸﺎﺭ ﻳﺎﻓﺖ‪ ،‬ﻛﺎﺭﻯ ﺍﺯ ﻧﺎﺻﺮ‬ ‫ﻧﺪﺍﺭﻳﻢ ﻭ ﻋﻤﻴﻘﺎً ﻧﮕﺮﺍﻥ ﻭﺿﻌﻴﺖ ﻭ‬ ‫ﻣﺨﺘﻠﻒ ﺭﺳﺎﻧﻪﺍﻯ ﺣﻀﻮﺭﺩﺍﺷﺘﻨﺪ‪.‬‬
‫ﺍﺟﺘﻤﺎﻋﻰ ﺣﻀﻮﺭﻯ ﻣﻠﻤﻮﺱ ﺩﺍﺭﺩ‪.‬‬ ‫ﻋﺒﺪﺍﻟﻠﻬﻰ ﺑﻮﺩ ﺩﺭ ﺁﻟﺒﻮﻡ »ﺩﻭﺳﺘﺖ‬ ‫ﺳﻼﻣﺘﻰﺍﺵ ﻫﺴﺘﻴﻢ‪ .‬ﺍﺯ ﻫﻤﻪﻯ‬
‫ﺩﺭ ﻓﺮﻭﺭﺩﻳﻦ ﻣﺎﻩ ‪ 1393‬ﺧﺒﺮ ﺍﻋﺪﺍﻡ‬ ‫ﺩﺍﺭﻡ« ﻛﻪ ‪ 2‬ﺗﺮﺍﻧﻪ ﺍﺯ ﻳﻐﻤﺎ ﺩﺭ ﺁﻥ ﺑﻮﺩ‪.‬‬ ‫ﺩﻭﺳﺘﺎﻥ ﻭ ﻣﺨﺎﻃﺒﺎﻥ ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ‬ ‫ﻭ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺁﺛﺎﺭ ﻣﻮﺳﻴﻘﻰ ﺑﺮ ﺟﺎﻯ‬ ‫ﺳﭙﺲ ﻧﻮﺑﺖ ﺑﻪ ﺍﺟﺮﺍﻯ ﻣﻮﺳﻴﻘﻰ‬ ‫ﺳﺎﻟﻦ ﻣﻤﻠﻮ ﺍﺯﻋﻼﻗﻤﻨﺪﺍﻥ ﺁﺛﺎﺭ‬
‫ﮔﺮﻭﻫﺒﺎﻥ ﺍﻳﺮﺍﻧﻰ ﺑﺎ ﻧﺎﻡ ﺟﻤﺸﻴﺪ‬ ‫ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﭘﺲ ﺍﺯ ﻧﺎﻣﻪ ﺧﺪﺍﺣﺎﻓﻈﻰ‬ ‫ﻣﻰﺧﻮﺍﻫﻴﻢ ﺿﻤﻦ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﺎﻧﺪﻩ ﺍﺯ ﺑﺰ ﺭﮔﺎﻥ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺭﺳﻴﺪ ﻛﻪ ﺧﺎﻧﻢ ﻓﺘﺎﻧﻪ ﺍﻗﺒﺎﻟﻰ ﻫﻤﺮﺍﻩ ﺑﺎ‬ ‫ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺑﻮﺩ ﻭ ﮔﺮﻭﻫﻰ‬
‫ﺩﺍﻧﺎﻳﻰ ﻓﺮ ﺗﻮﺳﻂ ﻳﻚ ﮔﺮﻭﻩ ﻣﺴﻠﺢ‬ ‫ﺧﻮﺩ ﺍﺯ ﺩﻧﻴﺎﻯ ﻫﻨﺮ ﻣﺪﺗﻰ ﺑﻰ ﺳﺮ ﻭ ﺻﺪﺍ‬ ‫ﺧﺼﻮﺹ‪ -‬ﻛﻪ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﺩﺭﻳﺎﻓﺖ‬ ‫ﻭﻳﻠﻦ ﻧﻮﻳﺪ ﻛﻨﺪﻭﻟﻮﺳﻰ ﻛﻪ ﺍﺯ ﻧﻴﻮﻳﻮﺭﻙ‬ ‫ﺩﺭ ﺗﻤﺎﻡ ﺳﺎﻋﺎﺗﻰ ﻛﻪ ﻣﺮﺍﺳﻢ ﺑﺮﮔﺰﺍﺭ‬
‫ﻭﺍﻛﻨﺶﻫﺎﻳﻰ ﺭﺍ ﺑﺮﺍﻧﮕﻴﺨﺖ ﻛﻪ ﻳﻐﻤﺎ‬ ‫ﺑﻪ ﺯﻧﺪﮔﻰ ﻋﺎﺩﻯ ﺍﺩﺍﻣﻪ ﺩﺍﺩ ﺍﻣﺎ ﻛﺎﺭﺵ ﺭﺍ‬ ‫ﺧﺒﺮﻯ ﺍﺯ ﻭﺿﻌﻴﺖﺍﺵ ﻛﻤﻚ ﻛﻨﺪ‪ -‬ﺍﺯ‬ ‫ﻧﺎﺻﺮ ﭘﻴﺮﺍﺳﺘﻪ ﺁﺭﺷﻴﺘﻜﺖ ﺍﺯ ﺩﻭﺳﺘﺎﻥ‬ ‫ﺁﻣﺪﻩ ﺑﻮﺩ ﻭ ﻧﻮﺍﻯ ﺗﻨﺒﻚ‪ ،‬ﺗﺮﺍﻧﻪ ﻣﻌﺮﻭﻑ‬ ‫ﻣﻰﺷﺪ‪ ،‬ﺳﺮ ﭘﺎ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﺑﺮﻧﺎﻣﻪ ﺭﺍ‬
‫ﮔﻠﺮﻭﻳﻰ ﻫﻢ ﺑﺎ ﺳﺮﻭﺩﻥ ﺷﻌﺮﻯ ﺑﺎ ﻧﺎﻡ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﺎ ﺧﻮﺍﻧﻨﺪﻩ ﺍﻳﺮﺍﻧﻰ ﺳﺎﻛﻦ ﺁﻟﻤﺎﻥ‬ ‫ﻫﺮ ﮔﻮﻧﻪ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﻭ ﭘﻴﺶﺩﺍﻭﺭﻯ‬ ‫ﺷﺎﺩﺭﻭﺍﻥ ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺷﻤﻪﺍﻯ‬ ‫»ﺭﻓﺘﻢ ﻛﻪ ﺭﻓﺘﻢ« ﺭﺍ ﺑﺎ ﺷﻌﺮ ﻣﻌﻴﻨﻰ‬
‫»ﺍﻳﻦ ﺁﺳﻴﺎﺏ ﺑﻪ ﻧﻮﺑﺖ ﺧﻮﻥ ﻣﻰﮔﺮﺩﺩ«‬ ‫ﺷﺎﻫﻴﻦ ﻧﺠﻔﻰ ﺍﺯ ﺳﺮ ﮔﺮﻓﺖ‪.‬ﺩﻭ ﻗﻄﻌﻪ‬ ‫ﻛﻪ ﻣﻰﺗﻮﺍﻧﺪ ﻣﻨﺠﺮ ﺑﻪ ﭘﻴﭽﻴﺪﻩ ﺷﺪﻥ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺳﺤﺮ ﻛﻼﻡ ﺍﺳﺘﺎﺩ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ‬ ‫ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺧﻮﺍﻧﺪ ﻛﻪ ﻣﺮﺿﻴﻪ‪ ،‬ﺑﺎﻧﻮﻯ‬ ‫ﺩﻧﺒﺎﻝ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬
‫ﺍﻧﺰﺟﺎﺭ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺍﻳﻦ ﺣﺮﻛﺖ ﻧﺸﺎﻥ ﺩﺍﺩ‪.‬‬ ‫»ﺳﮓ ﻫﺎﺭ« ﻭ »ﺭﺍﻧﻨﺪﮔﻰ ﺩﺭ ﻣﺴﺘﻰ«‬ ‫ﺩﺭ ﺁﻏﺎﺯ‪ ،‬ﻫﻤﺎ ﺳﺮﺷﺎﺭ ﮔﺮﺩﺍﻧﻨﺪﻩ‬
‫ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﺷﻮﺩ ﻛﻪ ﺣﺴﻴﻦ‬ ‫ﺩﺭ ﭼﻬﺎﺭﻣﻴﻦ ﺁﻟﺒﻮﻡ ﺷﺎﻫﻴﻦ ﻧﺠﻔﻰ ﺑﺎ ﻧﺎﻡ‬ ‫ﺷﺮﺍﻳﻂ ﻳﻐﻤﺎ ﺷﻮﺩ ﺧﻮﺩﺩﺍﺭﻯ ﻛﻨﻨﺪ«‪.‬‬ ‫ﺳﺨﻦ ﮔﻔﺖ‪.‬‬ ‫ﺁﻭﺍﺯ ﺍﻳﺮﺍﻥ‪ ،‬ﺁﻥ ﺭﺍ ﺍﺟﺮﺍ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬ ‫ﻣﺮﺍﺳﻢ‪ ،‬ﺧﺎﻃﺮﻧﺸﺎﻥ ﻛﺮﺩ ﻛﻪ ﺍﻳﻦ‬
‫ﻧﻮﺵﺁﺑﺎﺩﻯ‪ ،‬ﺳﺨﻨﮕﻮﻯ ﻭﺯﺍﺭﺕ ﻓﺮﻫﻨﮓ‬ ‫»ﻫﻴﭻ ﻫﻴﭻ ﻫﻴﭻ« ﺍﺯ ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﺍﺳﺖ‪.‬‬ ‫ﺧﺒﺮﮔﺰﺍﺭﻯ ﺍﻳﻠﻨﺎ ﻧﻴﺰ ﻋﻴﻦ ﺍﻳﻦ ﺧﺒﺮ ﺭﺍ‬ ‫ﺩﻛﺘﺮ ﻣﺎﻧﺪﺍﻧﺎ ﺯﻧﺪﻳﺎﻥ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﻭ‬ ‫ﺍﻧﮕﺎﻩ ﻋﻠﻴﺮﺿﺎ ﻣﻴﺒﺪﻯ ﺷﺎﻋﺮ ﻭ‬ ‫ﮔﺮﺩﻫﻤﺎﻳﻰ ﻳﺎﺩﻣﺎﻥ ﺭﺣﻴﻢ ﻣﻌﻴﻨﻰ‬
‫ﻭ ﺍﺭﺷﺎﺩ ﺍﺳﻼﻣﻰ ﺍﻳﺮﺍﻥ‪ ،‬ﻫﻢﺯﻣﺎﻥ ﺑﺎ‬ ‫ﺗﺮﺍﻧﻪ »ﺭﺍﻧﻨﺪﮔﻰ ﺩﺭ ﻣﺴﺘﻰ« ﻧﺎﻡ ﻛﺘﺎﺏ‬ ‫ﺷﻌﺮﻋﺎﺷﻘﺎﻧﻪ ﺍﺯ ﺳﺮﻭﺩﻩﻫﺎﻯ ﻣﻌﻴﻨﻰ‬ ‫ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺍﺳﺖ‪.‬ﺳﭙﺲ ﻓﺮﻫﺎﺩ‬
‫ﺩﺳﺘﮕﻴﺮﻯ ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﺍﻋﻼﻡ ﻛﺮﺩﻩ‬ ‫ﺗﺮﺍﻧﻪﻫﺎﻯ ﻳﻐﻤﺎ ﮔﻠﺮﻭﻳﻰ ﺍﺳﺖ ﻛﻪ ﺗﻮﺳﻂ‬ ‫ﻣﻨﺘﺸﺮ ﻛﺮﺩ‪.‬‬ ‫ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺭﺍ ﺧﻮﺍﻧﺪ‪.‬ﺍﻧﮕﺎﻩ ﺳﻮﺳﻦ‬ ‫ﺑﺮﻧﺎﻣﻪﺳﺎﺯ ﺭﺍﺩﻳﻮ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻃﻰ‬ ‫ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﻛﻪ ﺑﺮﺍﻯ ﺷﺮﻛﺖ‬
‫ﺑﻮﺩ ﺑﺎ »ﺧﻮﺍﻧﻨﺪﮔﺎﻧﻰ ﻛﻪ ﺑﺎ ﺷﺒﻜﻪﻫﺎﻯ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺯﺧﻤﻪ ﺩﺭ ﺁﻟﻤﺎﻥ ﺍﻧﺘﺸﺎﺭ‬ ‫ﺍﺯ ﺁﺛﺎﺭ ﻳﻐﻤﺎ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺟﻤﻠﻪ »ﺧﺴﺘﻪ‬ ‫ﻳﻮﺳﻔﻰ ﺑﺎ ﻫﻤﺮﺍﻫﻰ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ‪،‬‬ ‫ﺳﺨﻨﺎﻧﻰ ﺩﺭ ﺳﺘﺎﻳﺶ ﻣﻌﻴﻨﻰ‬ ‫ﺩﺭ ﻣﺮﺍﺳﻢ ﻳﺎﺩﺑﻮﺩ ﭘﺪﺭ ﺍﺯ ﺳﻴﺎﺗﻞ ﺑﻪ ﻟﺲ‬
‫ﻣﺎﻫﻮﺍﺭﻩﺍﻯ ﻭ ﻣﻌﺎﻧﺪ ﻧﻈﺎﻡ ﻫﻤﻜﺎﺭﻯ ﻭ‬ ‫ﻳﺎﻓﺖ‪ .‬ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻪ‬ ‫ﺷﺪﻡ«‪» ،‬ﺭﺅﻳﺎﻳﻰ ﺩﺍﺭﻡ«‪» ،‬ﺳﺘﺎﺭﻩ‪،‬‬ ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﺳﺮﻭﺩﻩﻫﺎﻯ ﺷﺎﺩﺭﻭﺍﻥ‬ ‫ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺍﺯ ﺗﺴﻠﻂ ﻭﻯ ﺑﻪ ﺗﺎﺭﻳﺦ ﺩﺭ‬
‫ﺍﺭﺗﺒﺎﻁ ﺩﺍﺭﻧﺪ‪ ،‬ﺑﺮﺧﻮﺭﺩ ﻗﺎﻧﻮﻧﻰ« ﺧﻮﺍﻫﺪ‬ ‫ﻋﻠﺖ ﻣﺨﺎﻟﻔﺖ ﻭﺯﺍﺭﺕ ﺍﺭﺷﺎﺩ ﺟﻤﻬﻮﺭﻯ‬ ‫ﺿﻴﺎﻓﺖ«‪» ،‬ﺭﺍﻧﻨﺪﮔﻰ ﺩﺭ ﻣﺴﺘﻰ«‪،‬‬ ‫ﻛﺘﺎﺏﺍﺵ‪ ،‬ﺍﺷﻌﺎﺭ »ﺷﺎﻫﻜﺎﺭ« ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﺍﻧﺠﻠﺲ ﺁﻣﺪﻩ ﺑﻮﺩ ﺳﺨﻦ ﺁﻏﺎﺯ ﻛﺮﺩ‪.‬‬
‫ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺭﺍ ﺍﺟﺮﺍ ﻛﺮﺩ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﺗﺴﻠﻂﻫﺎﻯ‬ ‫ﻭﻯ ﮔﻔﺖ‪» :‬ﭘﺪﺭﻡ ‪ 93‬ﺳﺎﻟﺶ ﺑﻮﺩ ﻭ‬
‫ﺷﺪ‪.‬‬ ‫»ﻛﻮﭼﻪ ﻣﻠﻰ« ﻧﺎﻡ ﺑﺮﺩ‪.‬‬ ‫ﭘﺲ ﺍﺯ ﺁﻥ ﺩﺍﺭﻳﻮﺵ ﺍﻗﺒﺎﻟﻰ ﻃﻰ‬ ‫ﺗﺎ ﺭﻭﺯ ﺁﺧﺮ ﻋﻤﺮ ﺑﺮﺧﻼﻑ ﺧﺒﺮﻫﺎﺋﻰ ﻛﻪ‬
‫ﻛﺘﺎﺏ »ﻣﻦ ﺭﻭﻳﺎﻳﻰ ﺩﺍﺭﻡ« ﺳﺎﻝ‪93‬‬ ‫ﺳﺨﻨﺎﻧﻰ ﺑﻪ ﺫﻛﺮ ﺧﺎﻃﺮﺍﺕ ﻫﻤﻜﺎﺭﻯ‬ ‫ﺣﻴﺮﺕ ﺍﻧﮕﻴﺰ ﺍﻭ ﻳﺎﺩ ﻛﺮﺩ‪.‬‬
‫ﺩﺭ ﺗﻬﺮﺍﻥ ﺭﻭﻧﻤﺎﻳﻰ ﻭ ﺟﺰﻭ ﭘﺮﻓﺮﻭﺵﻫﺎ‬ ‫ﺧﻮﺩ ﺑﺎ ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﭘﺮﺩﺍﺧﺖ‬ ‫ﻣﻴﺒﺪﻯ ﮔﻔﺖ‪» :‬ﺍﻳﻦ ﺍﺛﺮ ﻧﺸﺎﻥ‬ ‫ﺩﺭ ﺑﺮﺧﻰ ﺭﺳﺎﻧﻪﻫﺎ ﻣﻨﺘﺸﺮ ﺷﺪ ﺑﻴﻤﺎﺭ‬
‫ﺷﺪ ﻭ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻣﺤﺒﻮﺏ‬ ‫ﻭ ﮔﻔﺖ‪» :‬ﻣﻌﻴﻨﻰ ﺷﻤﻌﻰ ﺑﻮﺩ ﻛﻪ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺑﺎ‬ ‫ﻧﺒﻮﺩ‪ .‬ﻛﻬﻮﻟﺖ ﺳﻦ ﺩﺍﺷﺖ‪ ،‬ﺧﺴﺘﻪ ﻭ‬
‫ﺍﻳﺮﺍﻧﻰ ﻣﺎﻧﻨﺪ ﺳﻴﺎﻭﺵ ﻗﻤﻴﺸﻰ‪ ،‬ﺷﺎﺩﻣﻬﺮ‬ ‫ﺳﻮﺧﺖ ﺗﺎ ﺟﺎﻣﻌﻪ ﺭﺍ ﺭﻭﺷﻦ ﻛﻨﺪ‪«.‬‬ ‫ﭼﻴﺮﮔﻰ ﻭ ﺍﺣﺎﻃﻪ ﻛﺎﻣﻞ ﻣﻨﺰﻝ ﺑﻪ‬ ‫ﺩﻟﺸﻜﺴﺘﻪ ﺍﺯ ﺭﻭﺯﮔﺎﺭ ﺑﻮﺩ‪ .‬ﺗﺎ ﻭﺍﭘﺴﻴﻦ‬
‫ﻋﻘﻴﻠﻰ‪ ،‬ﺷﺎﻫﻴﻦ ﻧﺠﻔﻰ ﻭ ﺭﺿﺎ ﻳﺰﺩﺍﻧﻰ‬ ‫ﺳﭙﺲ ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﺍﺛﺮ ﻣﺸﺘﺮﻙ ﻣﻌﻴﻨﻰ‬ ‫ﻣﻨﺰﻝ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺴﺎﻓﺮ ﺗﺎﺭﻳﺦ ﺍﻳﺮﺍﻥ‬ ‫ﺩﻡ ﺣﻴﺎﺕ ﻫﻢ ﻗﻠﻢ ﺑﺮﺍﻯ ﺳﺮﺍﻳﺶ‬
‫ﺳﺮﻭﺩﻩﻫﺎﻯ ﮔﻠﺮﻭﻳﻰ ﺭﺍ ﺑﻪ ﺷﻜﻞ ﺗﺮﺍﻧﻪ‬ ‫ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺭﺍ ﺑﺎ ﺁﻫﻨﮓ ﺯﻧﺪﻩﻳﺎﺩ ﻋﻤﺎﺩ‬ ‫ﺳﻔﺮﻛﺮﺩﻩ ﻭ ﺷﺎﻫﻜﺎﺭ ﺭﺍ ﻛﻪ ﺍﻣﺮﻭﺯ‬ ‫ﺍﺷﻌﺎﺭ ﻧﺎﺏ ﻭ ﻧﻐﺰ ﺩﺭ ﺩﺳﺘﺶ ﺑﻮﺩ ﻭ‬
‫ﺍﺭﺯﻧﺪﻩﺗﺮ ﺍﺯ ﻫﺮ ﺯﻣﺎﻥ ﺩﻳﮕﺮﻯ ﺍﺳﺖ ﺍﺯ‬
‫ﻣﻮﺯﻩ ﺁﻧﻼﻳﻦ ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﺭﺍﻡ ﺧﻮﺍﻧﺪ‪:‬‬ ‫ﻫﺮﮔﺰ ﺁﻥ ﺭﺍ ﺑﺮ ﺯﻣﻴﻦ ﻧﮕﺬﺍﺷﺖ‪.‬‬
‫ﺧﻮﺩ ﺑﻪ ﻳﺎﺩﮔﺎﺭ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‪«.‬‬ ‫ﻓﺮﻫﺎﺩ ﺳﭙﺲ ﺑﻪ ﺍﺛﺮ ﺟﺎﻭﺩﺍﻥ‬
‫ﻓﺮﻳﺪ ﻗﺎﺳﻤﻰ ﺣﺎﻓﻈﻪ ﮔﻮﻳﺎﻯ ﻣﻄﺒﻮﻋﺎﺕ ﺍﻳﺮﺍﻥ‬ ‫ﺳﺒﺐﮔﺮﺑﺴﻮﺯﺩ‪،‬ﻣﺴﺒﺐﺗﻮﻫﺴﺘﻰ‬ ‫ﻣﻴﺒﺪﻯ ﺁﻧﮕﺎﻩ ﺍﺯﮔﺮﺩﺍﻧﻨﺪﻩ ﻣﺠﻠﺲ ﺑﺎ‬ ‫»ﺷﺎﻫﻜﺎﺭ« ﺩﺭ ﺣﺪﻭﺩ ‪ 5‬ﻫﺰﺍﺭ ﺻﻔﺤﻪ‬
‫ﻧﺎﻡ »ﻫﻤﺎ ﺍﺣﺴﺎﻥ« ﺗﺸﻜﺮ ﻛﺮﺩ ﻭ »ﻫﻤﺎ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭﺭﻩﻫﺎﻯ ﻣﻨﻈﻮﻡ ﺗﺎﺭﻳﺦ‬
‫ﻭ ﺑﺎﻳﺪ ﺑﺮﺍﻯ ﺁﻧﻬﺎ ﻛﻼﺱ ﺩﺭﺱ ﻭ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻫﺎ ﻭ ﺟﺎﻣﻌﻪﻯ ﺭﺳﺎﻧﻪﺍﻯ ﻧﻴﺰ‬ ‫ﺍﻭﻟﻴﻦ ﻣﻮﺯﻩ ﻭ ﻣﺮﻛﺰ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ‬ ‫ﺳﺒﺐﺳﺎﺯ ﺍﻳﻦ ﺟﻬﺎﻥ ﺗﻮﺋﻰ‬ ‫ﺳﺮﺷﺎﺭ« ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﻃﻨﺰ ﮔﻔﺖ‪:‬‬
‫ﺯﻣﻴﻨﻪﻫﺎﻯ ﺩﺍﻧﺶﺍﻓﺰﺍﻳﻰ ﺭﺍ ﺩﺭ ﻓﻀﺎﻯ‬ ‫ﺑﺎﻳﺪ ﺍﺣﺴﺎﺱ ﻧﻴﺎﺯ ﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻧﻼﻳﻦ ﻣﻄﺒﻮﻋﺎﺕ ﺍﻳﺮﺍﻥ ﻃﺮﺡ ﺧﻮﺭﺩ‪.‬‬ ‫ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪.‬‬
‫ﻭﺏ ﺗﻌﺮﻳﻒ ﻛﺮﺩ ﺗﺎ ﺑﺎ ﻛﻤﺘﺮﻳﻦ ﻭﻗﺖ ﻭ‬ ‫ﺍﻳﻦ ﻃﺮﺡ ﺗﻮﺳﻂ ﺳﻴﺪ ﻓﺮﻳﺪ ﻗﺎﺳﻤﻰ‬ ‫ﺩﺭ ﭘﺎﻳﺎﻥ ﻧﻮﺷﻴﻦ ﻣﻌﻴﻨﻰ‬ ‫ﭘﺲ ﺍﺯ ﺁﻥ ﺩﻛﺘﺮ ﻣﺎﻧﺪﺍﻧﺎ ﺯﻧﺪﻳﺎﻥ‪،‬‬
‫ﺑﺪﻭﻥ ﻫﺰﻳﻨﻪ ﺑﻪ ﺍﻃﻼﻋﺎﺗﻰ ﻛﻪ ﺩﺭ ﺣﻮﺯﻩ‬ ‫ﻗﺎﺳﻤﻰ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﺍﻧﺘﻘﺎﺩ ﺑﺮﺧﻰ‬ ‫ﻛﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺣﺎﻓﻈﻪ ﮔﻮﻳﺎﻯ ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﻃﻰ ﺳﺨﻨﺎﻥ ﻛﻮﺗﺎﻫﻰ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺑﺎ ﺷﻌﺮﻯ ﺍﺯ ﻓﺮﺩﻭﺳﻰ‬
‫ﺍﺯ ﻛﺎﺭﺷﻨﺎﺳﺎﻥ ﻭ ﺍﺳﺎﺗﻴﺪ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻭ‬ ‫ﺍﻳﺮﺍﻥ ﺷﻨﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ‪ ،‬ﻣﻄﺮﺡ ﺷﺪﻩ‬ ‫ﺍﺯ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﮔﺎﻥ ﻣﺮﺍﺳﻢ‪ ،‬ﻣﺠﺮﻳﺎﻥ‬ ‫ﺳﺨﻨﺎﻥﺍﺵ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ ﻃﻰ ﺁﻥ‬
‫ﺧﺒﺮ ﻣﻰﺧﻮﺍﻫﻨﺪ‪ ،‬ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪.‬‬ ‫ﺭﺳﺎﻧﻪ ﻧﺴﺒﺖ ﺑﻪ ﻏﻠﻂﻫﺎﻯ ﺭﺳﺎﻧﻪﺍﻯ‪،‬‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺑﺰﺭﮔﺪﺍﺷﺖ ﭘﺪﺭﺵ ﻭ‬ ‫ﭼﻨﺪ ﺑﻴﺖ ﺍﺯ ﺳﺮﻭﺩﻩﻫﺎﻯ ﺯﻧﺪﻩ ﻳﺎﺩ‬
‫ﻗﺎﺳﻤﻰ ﻛﻪ ﺑﺎﻭﺭ ﺩﺍﺭﺩ ﺍﮔﺮ ﺑﻪ ﻃﺮﺡ‬ ‫ﺍﻇﻬﺎﺭ ﻛﺮﺩ‪ :‬ﺑﻪ ﻧﻈﺮﻣﻦ ﻗﺒﻞ ﺍﺯ ﺍﻧﺘﻘﺎﺩ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺣﻀﺎﺭ ﺗﺸﻜﺮ ﻛﺮﺩ ﻭ ﮔﻔﺖ‪» :‬ﭘﺪﺭﻡ ﺑﺮﺍﻯ‬ ‫ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺭﺍ ﺑﻪ ﺯﻳﺒﺎﺋﻰ‬
‫ﻣﻮﺯﻩ ﻭ ﻣﺮﻛﺰ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﺁﻧﻼﻳﻦ‬ ‫ﻛﺮﺩﻥ ﺍﻭﻝ ﺑﺎﻳﺪ ﺩﻳﺪ ﻛﻪ ﭼﻪ ﺍﻣﻜﺎﻧﺎﺗﻰ‬ ‫ﻭﻯ ﻛﻪ ﻣﻮﺭﺥ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﺗﺎﺭﻳﺨﻰ‬ ‫ﻣﺎ ﻓﺮﺯﻧﺪﺍﻧﺶ ﻳﻚ ﻭﺟﻮﺩ ﺷﺎﺧﺺ ﺑﻮﺩ‪.‬‬
‫ﺟﺎﻣﻪ ﻋﻤﻞ ﭘﻮﺷﺎﻧﻴﺪﻩ ﺷﻮﺩ‪ ،‬ﺑﺰﺭﮔﺘﺮﻳﻦ‬ ‫ﺑﺮﺍﻯ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ ﺟﻮﺍﻥ ﺗﺪﺍﺭﻙ‬ ‫ﺍﺳﺖ‪ 25 ،‬ﺳﺎﻝ ﭘﻴﺶ ﻃﺮﺡ ﻣﻮﺯﻩ ﻭ‬ ‫ﺍﺯ ﻛﻮﺩﻛﻰ ﺑﻪ ﻣﺎ ﻣﻰﺁﻣﻮﺧﺖ ﺍﻧﺴﺎﻧﻴﺖ‬ ‫ﺧﻮﺍﻧﺪ‪.‬‬
‫ﭘﮋﻭﻫﺸﮕﺎﻩ ﺭﺳﺎﻧﻪﺍﻯ ﻛﺸﻮﺭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‬ ‫ﺩﻳﺪﻩﺍﻳﻢ ﻛﻪ ﺍﺯ ﺁﻧﻬﺎ ﺍﻧﺘﻈﺎﺭ ﺍﻃﻼﻋﺎﺕ‬ ‫ﻣﺮﻛﺰ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﻓﻴﺰﻳﻜﻰ ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﻴﻢ ﻭ ﭼﮕﻮﻧﻪ ﺩﺭﻙ ﺩﺍﺷﺘﻪ‬
‫ﺩﺭﺑﺎﺭﻩ ﺳﺎﺧﺘﺎﺭ ﺍﻳﻦ ﻃﺮﺡ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪:‬‬ ‫ﺩﺭﺳﺖ ﻭ ﺧﺒﺮﻫﺎﻯ ﺑﺪﻭﻥ ﻏﻠﻂ ﺩﺍﺭﻳﻢ‪.‬‬ ‫ﺭﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻮﻗﻌﻴﺖ ﻭ ﺷﺮﺍﻳﻂ‬ ‫ﺑﺎﺷﻴﻢ ﻭ ﭼﮕﻮﻧﻪ ﺑﺎ ﻣﺮﺩﻡ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﻭ‬
‫ﺗﻨﻬﺎ ﺑﺨﺸﻰ ﺍﺯ ﺍﻳﻦ ﻃﺮﺡ ﺑﻪ ﮔﺎﻟﺮﻯ‬ ‫ﺍﻳﻦ ﻣﻮﺭﺥ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﻣﻄﺒﻮﻋﺎﺕ‬ ‫ﺁﻥ ﺯﻣﺎﻥ ﺍﺭﺍﺋﻪ ﺩﺍﺩ ﻛﻪ ﺑﺎ ﺩﺭ ﻧﻈﺮ‬
‫ﻭ ﺟﻨﺒﻪ ﻣﻮﺯﻩﺍﻯ ﺍﺧﺘﺼﺎﺹ ﻣﻰﻳﺎﺑﺪ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﺭﺍﻩﺍﻧﺪﺍﺯﻯ ﺑﺎﻧﻚﻫﺎﻯ‬ ‫ﮔﺮﻓﺘﻦ ﺷﺮﺍﻳﻂ ﻭ ﻣﻘﺘﻀﻴﺎﺕ ﺯﻣﺎﻥ‪،‬‬ ‫ﺳﻠﻮﻙ ﺑﺎﺷﻴﻢ…«‬
‫ﻭ ﺗﻤﺮﻛﺰ ﺍﺻﻠﻰ ﺍﻳﻦ ﻃﺮﺡ ﺑﻴﺸﺘﺮ ﺑﺮ‬ ‫ﺍﻃﻼﻋﺎﺗﻰ ﻣﺴﺘﻨﺪﺳﺎﺯﻯ ﺷﺪﻩ‪ ،‬ﺭﺍﻩ ﺣﻞ‬ ‫ﺍﻛﻨﻮﻥ ﻃﺮﺡ ﺁﻧﻼﻳﻦ ﻣﻮﺯﻩ ﻭ ﻣﺮﻛﺰ‬ ‫ﺍﻳﻦ ﺑﺰﺭﮔﺘﺮﻳﻦ ﻳﺎﺩﻣﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ‬
‫ﺭﻭﻯ ﻣﺮﻛﺰ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬ ‫ﻣﻨﺎﺳﺒﻰ ﺑﺮﺍﻯ ﺗﻘﻮﻳﺖ ﻛﺎﺭ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ‬ ‫ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﻣﻄﺒﻮﻋﺎﺕ ﺭﺍ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩ‬ ‫ﺑﺰﺭﮔﺪﺍﺷﺖ ﻭ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﺩﺭﮔﺬﺷﺖ‬
‫ﺍﻳﻦ ﻃﺮﺡ ﺍﻳﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﺑﻪ ﻛﺎﺭﺑﺮﺍﻥ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﺎﻧﻚﻫﺎﻯ ﺍﻃﻼﻋﺎﺗﻰ‬ ‫ﺍﺳﺘﺎﺩ ﻣﻌﻴﻨﻰ ﻛﺮﻣﺎﻧﺸﺎﻫﻰ ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ‬
‫ﻣﻰﺩﻫﺪ ﺗﺎ ﺍﻃﻼﻋﺎﺕ ﻣﻮﺭﺩ ﻧﻴﺎﺯﺷﺎﻥ‬ ‫ﻣﻰﺗﻮﺍﻧﺪ ﻣﺮﺟﻊ ﻣﻨﺎﺳﺐ ﻭ ﺩﺭﺳﺘﻰ‬ ‫ﺍﺳﺖ‪.‬‬
‫ﺭﺍ ﺟﺴﺖﻭﺟﻮ ﻛﻨﻨﺪ ﻭ ﺑﻪ ﺁﻧﻬﺎ ﺩﺳﺖ‬ ‫ﺑﺮﺍﻯ ﻳﻚ ﺧﺒﺮﻧﮕﺎﺭ ﺑﺎﺷﺪ ﺗﺎ ﺩﺭﺑﺎﺭﻩﻯ‬ ‫ﺳﻴﺪ ﻓﺮﻳﺪ ﻗﺎﺳﻤﻰﺩﺭ ﮔﻔﺖﻭﮔﻮ‬ ‫ﻛﺸﻮﺭ ﺑﺮ ﭘﺎ ﮔﺮﺩﻳﺪ‪.‬‬
‫ﻫﺮ ﺭﻭﻳﺪﺍﺩ ﻭ ﻫﺮ ﻓﺮﺩﻯ ﻣﺴﺘﻨﺪﺍﺕ‬ ‫ﺑﺎﺍﻳﺴﻨﺎ ﺑﺎ ﺑﻴﺎﻥ ﺍﻳﻨﻜﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‬
‫ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪.‬‬ ‫ﺗﺎﺭﻳﺨﻰ ﻭ ﭘﻴﺸﻴﻨﻪﻫﺎﻯ ﺩﺭﺳﺘﻰ ﺩﺍﺷﺘﻪ‬ ‫ﻧﻴﺎﺯ ﺑﻪ ﻭﺟﻮﺩ ﻣﻮﺯﻩ ﻣﻄﺒﻮﻋﺎﺕ ﺩﺭ ﺗﻤﺎﻡ‬ ‫ﺭﺩﭘﺎﻯﺟﺎﻳﮕﺎﻩﺯﻧﺎﻥﺩﺭﺁﺛﺎﺭﺑﺎﺳﺘﺎﻧﻰ‪ 2800‬ﺳﺎﻟﻪﺍﻳﺮﺍﻧﻰ‬
‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺍﻳﺮﺍﻥ ﺁﻧﻼﻳﻦ‪ ،‬ﻗﺎﺳﻤﻰ‬ ‫ﺟﻮﺍﻣﻊ ﺍﺣﺴﺎﺱ ﻣﻰﺷﻮﺩ‪ ،‬ﺍﻇﻬﺎﺭ ﻛﺮﺩ‪:‬‬
‫ﻫﻤﭽﻨﻴﻦ ﺍﻭﻟﻴﻦ ﺍﻧﺪﻳﺸﻪ ﺑﺮﺍﻯ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺑﺎﺷﺪ‪.‬‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﭘﻴﺸﺮﻓﺖ ﺳﺮﻳﻊ ﺩﻧﻴﺎﻯ‬ ‫ﺷﻮﺍﻫﺪ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪﻩ ﺍﺯ ﻧﮕﺎﺭﻛﻨﺪﻫﺎﻯ‬
‫ﻣﻮﺯﻩ ﻣﻄﺒﻮﻋﺎﺕ ﻛﺸﻮﺭﺭﺍ ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ‬ ‫ﺍﻭ ﺗﺎﻛﻴﺪ ﻛﺮﺩ‪ :‬ﻣﺎ ﺍﺯ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ‬ ‫ﻣﺠﺎﺯﻯ‪ ،‬ﺑﻴﺸﺘﺮ ﻛﺸﻮﺭﻫﺎﻯ ﭘﻴﺸﺮﻓﺘﻪ‬
‫‪ 1370‬ﻣﻄﺮﺡ ﻛﺮﺩ ﻭ ﺍﺳﺎﺱﻧﺎﻣﻪ ﺁﻥ‬ ‫ﻣﺘﻮﻗﻊﺍﻳﻢ ﻛﻪ ﻏﻠﻂ ﺭﺳﺎﻧﻪﺍﻯ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺟﻬﺎﻥ ﻣﻮﺯﻩ »ﺑﺮﺧﻂ« ﻣﻄﺒﻮﻋﺎﺕ ﺭﺍ‬ ‫ﺍﻳﺬﻩ‪ ،‬ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻧﻘﺶ ﻭ ﻣﻨﺰﻟﺖ‬
‫ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻣﺮﻛﺰ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ‬ ‫ﺑﺎﺷﻨﺪ؛ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺎﻳﺪ ﻧﺴﺒﺖ ﺑﻪ ﺁﻥ‬ ‫ﺑﺮﺍﻯ ﺧﻮﺩﺷﺎﻥ ﺭﺍﻩﺍﻧﺪﺍﺯﻯ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻣﺎ‬
‫ﻭ ﻣﻮﺯﻩ ﻣﻄﺒﻮﻋﺎﺕ« ﺗﻮﺳﻂ ﻭﻯ ﻧﻮﺷﺘﻪ‬ ‫ﺍﻣﻜﺎﻧﺎﺗﻰ ﻛﻪ ﺑﺮﺍﻯ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ ﺗﺪﺍﺭﻙ‬ ‫ﻧﻴﺰ ﺑﺎﻳﺪ ﺑﻪ ﻫﻤﻴﻦ ﺳﻤﺖ ﭘﻴﺶ ﺑﺮﻭﻳﻢ‪.‬‬ ‫ﺯﻧﺎﻥ ﺩﺭ ﺍﻣﻮﺭ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﻣﺬﻫﺒﻰ‬
‫ﺷﺪ ﻛﻪ ﻋﻨﻮﺍﻥ ﺁﻥ ﺑﻌﺪﻫﺎ ﺑﻪ ﻣﻮﺯﻩ‬ ‫ﺩﻳﺪﻩﺍﻳﻢ‪ ،‬ﺍﺯ ﺁﻧﻬﺎ ﻣﺘﻮﻗﻊ ﺑﺎﺷﻴﻢ‪ .‬ﺍﮔﺮ‬ ‫ﺍﻳﻦ ﻣﻮﺭﺥ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﻣﻄﺒﻮﻋﺎﺕ‬
‫ﻣﻌﺘﻘﺪﻳﻢ ﻛﻪ ﺑﺎﻳﺪ ﻏﻠﻂﻫﺎﻯ ﺭﺳﺎﻧﻪﺍﻯ‬ ‫ﺧﺎﻃﺮﻧﺸﺎﻥ ﻛﺮﺩ‪ :‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﻫﮕﺬﺭ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﻭ ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ ﺩﻭﺭﻩ‬
‫ﻣﻄﺒﻮﻋﺎﺕ ﺗﻐﻴﻴﺮ ﻛﺮﺩ‪.‬‬ ‫ﻛﻤﺘﺮ ﺷﻮﺩ ﺑﺎﻳﺪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻐﻴﻴﺮ‬ ‫ﺍﻳﻦ ﻭﺍﺩﻯ ﻧﻴﺎﺯ ﺭﺍ ﺍﺣﺴﺎﺱ ﻛﺮﺩﻡ ﻭ ﺑﻪ‬
‫ﻣﺪﻳﺮﻋﺎﻣﻞ ﻣﺆﺳﺴﻪ ﻓﺮﻫﻨﮕﻰ‬ ‫ﺷﻴﻮﻩ ﺍﺭﺗﻘﺎﻯ ﺩﺍﻧﺶﺍﻓﺰﺍﻳﻰ ﺩﺭ ﺩﻧﻴﺎ‪ ،‬ﻣﺎ‬ ‫ﻫﻤﻴﻦ ﻣﻨﻈﻮﺭ ﻃﺮﺡ ﺁﻥ ﺭﺍ ﻧﻮﺷﺘﻢ ﻭ‬ ‫ﻋﻴﻼﻣﻴﺎﻥ ﺍﺯ ﺍﻫﻤﻴﺖ ﻭﻳﮋﻩﺍﻯ ﺑﺮﺧﻮﺭﺩﺍﺭ‬
‫ﻣﻮﺯﻩﻫﺎﻯ ﺑﻨﻴﺎﺩ ﻣﺴﺘﻀﻌﻔﺎﻥ ﺍﻋﻼﻡ‬ ‫ﺑﺮﺍﻯ ﻣﺴﻮﻭﻻﻥ ﺍﺭﺳﺎﻝ ﻛﺮﺩﻡ‪ .‬ﺍﻳﻨﻜﻪ‬
‫ﻛﺮﺩ‪ :‬ﻛﻪ ﺗﺎ ﭘﺎﻳﺎﻥ ﺳﺎﻝ ‪ 94‬ﻣﻮﺯﻩ‬ ‫ﻧﻴﺰ ﺷﻴﻮﻩﻫﺎﻯﻣﺎﻥ ﺭﺍ ﺗﻐﻴﻴﺮ ﺩﻫﻴﻢ‪.‬‬ ‫ﭼﻘﺪﺭ ﺩﻧﺒﺎﻝ ﺁﻥ ﺭﺍ ﺧﻮﺍﻫﻨﺪ ﮔﺮﻓﺖ‪،‬‬ ‫ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻣﻄﺒﻮﻋﺎﺕ ﻛﺸﻮﺭ ﺭﺍ ﺩﺭ ﻣﻜﺎﻥ ﻣﻮﺯﻩ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻛﺘﺎﺏﻫﺎﻯ »ﺳﺮﮔﺬﺷﺖ‬ ‫ﺑﻪ ﻣﺴﻮﻭﻻﻥ ﺍﻳﻦ ﺣﻮﺯﻩ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺭﺩ؛‬
‫ﻣﻄﺒﻮﻋﺎﺕ ﺍﻳﺮﺍﻥ« ﻭ »ﺭﻭﻳﺪﺍﺩﻫﺎﻯ‬ ‫ﺍﻟﺒﺘﻪ ﭘﺲ ﺍﺯ ﺳﺎﻝﻫﺎ ﺩﺭﻳﺎﻓﺘﻪﺍﻡ ﻛﻪ‬ ‫ﺍﺭﺩﺷﻴﺮ ﺻﺎﻟﺢ ﭘﻮﺭ‪ ،‬ﻧﻮﻳﺴﻨﺪﻩ ﻭ‬
‫ﺩﻓﻴﻨﻪ ﺗﺄﺳﻴﺲ ﺧﻮﺍﻫﻨﺪ ﻛﺮﺩ‪.‬‬ ‫ﻣﻄﺒﻮﻋﺎﺗﻰ« ﺑﺎ ﺑﻴﺎﻥ ﺍﻳﻨﻜﻪ ﺷﻴﻮﻩ‬ ‫ﻣﺎ ﺑﺎﻳﺪ ﺣﺮﻑ ﺧﻮﺩ ﺭﺍ ﺑﺰﻧﻴﻢ ﻭ ﻃﺮﺡ‬
‫ﺑﻨﺎ ﺑﻪ ﺍﻳﻦ ﮔﺰﺍﺭﺵ‪ ،‬ﺩﻏﺪﻏﻪ ﺑﺮﺍﻯ‬ ‫ﺩﺍﻧﺶﺍﻓﺰﺍﻳﻰ ﺩﺭ ﺁﻣﻮﺯﺵ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺑﻨﻮﻳﺴﻴﻢ ﻭ ﻣﺴﻮﻭﻻﻥ ﺫﻯﺭﺑﻂ ﻫﻢ‬ ‫ﭘﮋﻭﻫﺸﮕﺮ ﻛﺘﺎﺏ ﺗﺎﺭﻳﺸﺎ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‬
‫ﺳﺎﺧﺖ ﻣﻮﺯﻩ ﻣﻄﺒﻮﻋﺎﺕ ﺍﺯ ﺳﻮﻯ ﭼﻨﺪ‬ ‫ﺣﻮﺯﻩﻫﺎ ﺍﺯ ﺟﻤﻠﻪ ﺭﺳﺎﻧﻪ ﺩﮔﺮﮔﻮﻥ ﺷﺪﻩ‬
‫ﻧﻬﺎﺩ ﻣﺨﺘﻠﻒ ﭘﻴﮕﻴﺮﻯ ﻣﻰﺷﻮﺩ ﻭ ﮔﻮﻳﻰ‬ ‫ﺍﺳﺖ‪ ،‬ﺍﻇﻬﺎﺭ ﻛﺮﺩ‪ :‬ﺍﻣﺮﻭﺯ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ‬ ‫ﻫﻴﭻ ﺗﻮﺟﻬﻰ ﻧﻜﻨﻨﺪ‪.‬‬ ‫ﻣﻰﮔﻮﻳﺪ‪ ،‬ﻏﺎﺭ ﻣﻌﺒﺪ ﺗﺎﺭﻳﺸﺎ ﻳﻜﻰ ﺍﺯ‬
‫ﺍﻛﻨﻮﻥ ﻣﻴﺎﻥ ﺷﻬﺮﺩﺍﺭﻯ ﺗﻬﺮﺍﻥ ﻭ ﺑﻨﻴﺎﺩ‬ ‫ﺷﺒﺎﻧﻪﺭﻭﺯ ﮔﺮﻓﺘﺎﺭ ﻣﺴﺎﺋﻞ ﺣﺮﻓﻪﺍﻯ ﻭ‬ ‫ﺍﻟﺒﺘﻪ ﺍﻭ ﻫﻤﻪ ﻣﺸﻜﻼﺕ ﺭﺍ ﻣﺮﺑﻮﻁ ﺑﻪ‬
‫ﻣﺴﺘﻀﻌﻔﺎﻥ ﺑﺮ ﺳﺮ ﺭﺍﻩﺍﻧﺪﺍﺯﻯ ﺁﻥ‪ ،‬ﻳﻚ‬ ‫ﺩﻏﺪﻏﻪﻫﺎﻯ ﻣﻌﻴﺸﺘﻰ ﺧﻮﺩ ﻫﺴﺘﻨﺪ‬ ‫ﻣﺴﻮﻭﻻﻥ ﻧﻤﻰﺩﺍﻧﺪ ﻭ ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪،‬‬ ‫ﻏﺎﺭﻫﺎﻯ ﺑﺎﺳﺘﺎﻧﻰ ﻣﺮﺑﻮﻁ ﺑﻪ ﻋﻴﻼﻡ ﻧﻮ‬

‫ﺭﻗﺎﺑﺖ ﺑﻪ ﺭﺍﻩ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﺖ ﻛﻪ ﺳﺎﺑﻘﻪ ﺣﻜﺎﻛﻰ ﻧﮕﺎﺭﻛﻨﺪﻫﺎﻯ‬

‫ﺁﻥ ﺑﻪ ‪ 2800‬ﺳﺎﻝ ﭘﻴﺶ ﺑﺎﺯ ﻣﻰﮔﺮﺩﺩ‪.‬‬

‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺧﺒﺮﮔﺰﺍﺭﻯ ﺍﻳﺮﻧﺎ‪ ،‬ﺍﻭ ﺑﺎ ﺍﺷﺎﺭﻩ‬

‫ﻣﺮﺍﺳﻢ ﺭﻭﻧﻤﺎﻳﻰ ﻛﺘﺎﺏ ﺗﺎﺭﻳﺸﺎ‬ ‫ﺑﻪ ﺳﺎﺑﻘﻪ ﺑﺎﺳﺘﺎﻧﻰ ﻭ ﻧﺸﺎﻧﻪﻫﺎﻯ ﺯﻧﺪﮔﻰ ﺻﺎﻟﺢ ﭘﻮﺭ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﻭﻳﮋﮔﻰﻫﺎﻯ‬
‫ﺍﺷﻜﻔﺖ ﺳﻠﻤﺎﻥ‪ ،‬ﻏﺎﺭ ﻣﻌﺒﺪ ﺑﺎﺳﺘﺎﻥ‬ ‫ﭼﻨﺪ ﻫﺰﺍﺭ ﺳﺎﻟﻪ ﺍﻗﻠﻴﻤﻰ ﺩﺭ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﺟﺬﺍﺏ ﻭ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﻳﻦ ﻧﮕﺎﺭﻛﻨﺪﻫﺎ‬
‫ﻧﻮﻋﻴﻼﻣﻴﺎﻥ ﻧﻮﺷﺘﻪ ﺍﺭﺩﺷﻴﺮ ﺻﺎﻟﺢ ﭘﻮﺭ‬ ‫ﺗﺼﺮﻳﺢ ﻛﺮﺩ‪ 4 ،‬ﻧﮕﺎﺭﻛﻨﺪ ﺑﺎ ﺗﺼﺎﻭﻳﺮ ﺯﻳﺒﺎ ﺑﻪ ﻭﻳﮋﻩ ﺗﺼﺎﻭﻳﺮ ﺯﻥ ﻭ ﻛﻮﺩﻛﺎﻥ )ﺩﺧﺘﺮ‬
‫ﺑﺎ ﺣﻀﻮﺭ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻣﺴﻮﻭﻻﻥ ﻣﺤﻠﻰ‪،‬‬ ‫ﻭ ﺟﺬﺍﺏ ﺍﺯ ﻫﺎﻧﻰ ﭘﺎﺩﺷﺎﻩ ﻣﺤﻠﻰ ﺁﻳﺎﭘﻴﺮ ﻭ ﭘﺴﺮ( ﺗﺄﻛﻴﺪ ﻛﺮﺩ ﻛﻪ ﺣﻀﻮﺭ ﺯﻧﺎﻥ ﺩﺭ‬
‫ﻋﻼﻗﻤﻨﺪﺍﻥ ﻭ ﺑﺎ ﻫﻤﻜﺎﺭﻯ ﺍﻧﺠﻤﻦﻫﺎ‬ ‫)ﺍﻳﺬﻩ(‪ ،‬ﺷﻮﺗﺮﻭ ﻭﺯﻳﺮ ﻭﻯ ﺩﺭ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﺍﻳﻦ ﻣﻜﺎﻥ ﻧﺸﺎﻧﮕﺮ ﺣﺮﻣﺖ‪ ،‬ﺍﻫﻤﻴﺖ ﻭ‬
‫ﻭ ﻧﻬﺎﺩﻫﺎﻯ ﺩﻭﺳﺘﺪﺍﺭ ﻣﻴﺮﺍﺙ ﻓﺮﻫﻨﮕﻰ‬ ‫ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ ،‬ﻫﻤﭽﻨﻴﻦ ﺁﻣﺎﻧﺘﺎ ﺯﻥ ِ ﻣﻨﺰﻟﺖ ﺯﻧﺎﻥ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﻏﺎﺭ ﺍﺷﻜﻔﺖ ﺳﻠﻤﺎﻥ ﺩﺭ ﺷﻬﺮ ﺍﻳﺬﻩ‬ ‫ﻫﺎﻧﻰ ﻧﻴﺰ ﺩﺭ ‪ 2‬ﻧﮕﺎﺭﻛﻨﺪ ﺟﺪﺍﮔﺎﻧﻪ ﺩﻳﺪﻩ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﭘﮋﻭﻫﺸﮕﺮ ﻛﺘﺎﺏ ﺗﺎﺭﻳﺸﺎ‬
‫ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪.‬ﺻﺎﻟﺢ ﭘﻮﺭ‪ ،‬ﻛﺘﺎﺏ ﺗﺎﺭﻳﺸﺎ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﮔﻮﻳﺎﻯ ﺍﺣﺘﺮﺍﻡ ﻭ ﻧﻴﺎﻳﺶ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪ :‬ﺩﺭ ﻫﻴﭻ ﺟﺎﻯ ﺍﻳﺮﺍﻥ‬
‫ﺭﺍ ﭘﺲ ﺍﺯ ﭼﺎپ ﻛﺘﺎﺏ ﺍﻟﻴﻤﺎ ﻛﻪ ﻳﻜﻰ‬ ‫ﺧﺎﻧﻮﺍﺩﻩ ﺣﻜﻤﺮﺍﻥ ﻣﺤﻠﻰ ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﺗﺼﺎﻭﻳﺮﻯ ﺑﺎ ﺍﻳﻦ ﻭﻳﮋﮔﻰ ﻭ ﺑﻪ ﺍﻳﻦ ﺯﻳﺒﺎﻳﻰ‬
‫ﺩﻳﮕﺮ ﺍﺯ ﻛﺘﺎﺏﻫﺎﻯ ﭘﮋﻭﻫﺸﻰ ﻭﻯ ﺍﺳﺖ‬ ‫ﻣﻌﺒﺪ ﻣﻘﺪﺱ ﺍﺳﺖ‪.‬‬
‫ﺑﻪ ﺯﻧﺎﻥ ﻭ ﻛﻮﺩﻛﺎﻥ ﭘﺮﺩﺍﺧﺘﻪ ﻧﺸﺪﻩ ﺍﺳﺖ‬
‫ﻣﻬﺮﻣﺎﻩ ﺍﻣﺴﺎﻝ ﺭﻭﺍﻧﻪ ﺑﺎﺯﺍﺭ ﻛﺮﺩ‪.‬‬ ‫ﻭﻯ ﺍﻇﻬﺎﺭ ﻛﺮﺩ‪ :‬ﺩﺭ ‪ 2‬ﻛﺘﻴﺒﻪ ﺩﻳﮕﺮ ﺩﺭ ﻭ ﺍﺯ ﺍﻳﻦ ﺣﻴﺚ ﺍﻳﻦ ﻧﮕﺎﺭﻛﻨﺪﻫﺎ ﺩﺭ ﻧﻮﻉ‬
‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺭﻭﺍﺑﻂ ﻋﻤﻮﻣﻰ ﭘﮋﻭﻫﺸﮕﺎﻩ‬ ‫ﺩﻝ ﻫﻤﻴﻦ ﻏﺎﺭ‪ ،‬ﻧﮕﺎﺭﻩﺍﻯ ﺑﺎ ﺧﻂ ﻣﻴﺨﻰ ﺧﻮﺩ ﻣﻤﺘﺎﺯ ﻭ ﺑﻰ ﻣﺎﻧﻨﺪ ﺍﺳﺖ‪.‬‬
‫ﻣﻴﺮﺍﺙ ﻓﺮﻫﻨﮕﻰ ﻭ ﮔﺮﺩﺷﮕﺮﻯ‪ ،‬ﺍﻳﻦ‬ ‫ﺑﻪ ﺻﻮﺭﺕ ﻣﺒﺴﻮﻁ ﺩﺭﺑﺎﺭﻩ ﺍﺣﺘﺮﺍﻡ ﺑﻪ ﭘﮋﻭﻫﺸﮕﺮ ﻛﺘﺎﺏ ﺗﺎﺭﻳﺸﺎ ﮔﻔﺖ‪ :‬ﺑﺎ‬
‫ﺍﺛﺮ ﭘﮋﻭﻫﺸﻰ ﺑﺎ ﻫﻤﻜﺎﺭﻯ ﻛﻤﻴﺘﻪ ﻣﻠﻰ‬ ‫ﺍﻳﻦ ﻣﻌﺒﺪ ﻭ ﺧﺪﺍﻳﺎﻥ ﻋﻴﻼﻣﻰ ﺣﻜﺎﻛﻰ ﺗﻮﺟﻪ ﺑﻪ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩ ﺳﻨﮓ ﻧﮕﺎﺭﻩﻫﺎ‪،‬‬
‫ﻣﻮﺯﻩﻫﺎﻯ ﺍﻳﺮﺍﻥ )ﺍﻳﻜﻮﻡ( ﺩﺭ ﻳﻚ ﻫﺰﺍﺭ‬ ‫ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪ ﺍﻓﺮﺍﺩ ﺩﺭ ﺁﻥ ﺑﻪ ﻛﺘﻴﺒﻪﻫﺎ ﻭ ﻧﻘﻮﺵ ﺁﻳﻴﻨﻰ ﻭ ﻣﺬﻫﺒﻰ ﺩﺭ‬
‫ﻧﺴﺨﻪ ﻭ ‪140‬ﺻﻔﺤﻪ ﺑﺎ ﻛﺎﻏﺬ ﮔﻼﺳﻪ‬ ‫ﺣﺎﻟﺘﻰ ﺍﻳﺴﺘﺎﺩﻩ ﻭ ﺩﺳﺖ ﺑﺮ ﺳﻴﻨﻪ ﻭ ﺍﻳﺬﻩ )ﺁﻳﺎﭘﻴﺮ( ﻣﻰﺗﻮﺍﻥ ﺍﻳﻦ ﺷﻬﺮ ﺭﺍ ﺑﻪ‬
‫ﻭ ﺗﺼﺎﻭﻳﺮ ﺗﺤﻠﻴﻠﻰ ﻭ ﺗﻮﺻﻴﻔﻰ ﺍﺯ ﺁﺛﺎﺭ ﻭ‬ ‫ﻣﻮﻗﻌﻴﺖ ﺩﻋﺎ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﻛﻪ ﭘﺎﻫﺎﻯ ﺁﻧﺎﻥ ﻋﻨﻮﺍﻥ ﺷﻬﺮ ﻧﮕﺎﺭﻛﻨﺪﻫﺎ ﻭ ﺷﻬﺮﻣﻮﺯﻩﻯ‬
‫ﻧﻴﺰ ﺑﻪ ﻧﺸﺎﻧﻪ ﺣﺮﻣﺖ ﺑﺮﻫﻨﻪ ﺍﺳﺖ‪.‬‬
‫ﻧﮕﺎﺭﻩﻫﺎ ﺑﻪ ﭼﺎپ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﮕﺎﺭﻩﻫﺎ ﻣﻌﺮﻓﻰ ﻛﺮﺩ‪.‬‬

1 2 3 4 5 6 7 8 9 10