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‫و ه ﻮروز‬ ‫ﺻﻔﺤﻪ ‪ - Page 20 - 20‬ﺷﻤﺎﺭﻩ ‪1‬‬
‫ﺷﻨﺒﻪ ‪ 1‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ‪ 13‬ﻓﺮﻭﺭﺩﻳﻦ ﻣﺎﻩ ‪1394‬ﺧﻮﺭﺷﻴﺪﻯ‬

‫ﺁﻳﻴﻦ ﺑﺎﺳﺘﺎﻧﻰ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ‬ ‫ﺭﻧﮓ ﻫﺎ ﺍﻣﺎ ﺣﺮﻑ ﺩﻳﮕﺮﻯ ﺩﺍﺭﻧﺪ‬
‫)ﺟﺸﻦ ﺁﺗﺶ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺁﺧﺮ ﺳﺎﻝ(‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﭼﻬﺎﺭ ﻫﻨﺮﻣﻨﺪ ﺟﻮﺍﻥ ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﺑﺮﻟﻴﻦ ﺁﺯﺍﺩﻩ ﻛﺮﻳﻤﻰ ‪ -‬ﻋﻠﻰ ﺍﺷﺘﻴﺎﻕ‬
‫ﺩﺭ ﮔﻔﺘﮕﻮ ﺑﺎ ﺩﻛﺘﺮ ﻣﺤﻤﻮﺩ ﻛﻮﻳﺮ‬
‫ﻣﻌﻄﻮﻑ ﻣﻰﺷﻮﺩ‪ .‬ﻛﺴﺎﻧﻰ ﻛﻪ ﺳﻦ ﺑﻴﺸﺘﺮﻯ‬ ‫ﺩﺭ ﻣﺤﻞ ﻳﻚ ﺍﺳﺘﺨﺮ ﻗﺪﻳﻤﻰ ﺩﺭ‬
‫ﺩﻛﺘﺮ ﻣﺤﻤﻮﺩ ﻛﻮﻳﺮ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﺍﺩﻋﺎ ﻛﻪ‬ ‫»ﻣﺴﺌﻠﻪ ﺁﺗﺶ ﺑﺎﺯﻯ ﺁﺧﺮ ﺳﺎﻝ ﻧﻴﺰ‬ ‫ﻛﻪ ﺍﺑﻌﺎﺩﻯ ﻛﻮﭼﻚﺗﺮ ﺍﺯ ﺑﺎﻗﻰ ﻧﻘﺎﺷﻰﻫﺎﻯ‬ ‫ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﻭﻟﻰ ﻓﺎﻗﺪ ﺳﻘﻒ ﻭ ﺣﺼﺎﺭ ﺑﺮﺍﻯ‬ ‫ﺩﺍﺭﻧﺪ‪ ،‬ﺩﺭﻭﻥﮔﺮﺍ ﻫﺴﺘﻨﺪ ﻭ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻬﻢ‬ ‫ﺩﻝ ﻣﻨﻄﻘﻪ ﻭﺩﻳﻨﮓ ﺑﺮﻟﻴﻦ ﻛﻪ ﻳﻜﻰ‬
‫ﺩﺭ ﮔﺎﻩﺷﻤﺎﺭﻯ ﺍﻳﺮﺍﻧﻴﺎﻥ ﻫﻔﺘﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺘﻪ‬ ‫ﻣﻮﺿﻮﻉ ﺩﻳﮕﺮ ﻣﻮﺭﺩ ﺍﺷﺎﺭﻩ ﺍﺳﺖ‪ .‬ﻣﻠﺖ ﻣﺎ‬ ‫ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﺍﺭﻧﺪ‪ ،‬ﺷﺎﺩﻯ‪ ،‬ﺍﻣﻴﺪ‪ ،‬ﻣﻬﺮ ﻭ‬ ‫ﻳﻚ ﺯﻧﺪﮔﻰ ﺷﺨﺼﻰ ﺍﺳﺖ؛ ﭘﻨﺎﻫﮕﺎﻫﻰ ﻛﻪ‬ ‫ﺍﻳﺮﺍﻥ ﻣﺜﻞ ﺍﻧﻘﻼﺏ ﻭ ﺟﻨﮓ ﺭﺍ ﺩﻳﺪﻩﺍﻧﺪ ﻭﻟﻰ‬ ‫ﺍﺯ ﮔﺎﻟﺮﻯﻫﺎﻯ ﺁﻭﺍﻧﮕﺎﺭﺩ ﺷﻬﺮ ﺑﻪ ﺷﻤﺎﺭ‬
‫ﺍﺳﺖ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺩﺭ ﺷﺎﻫﻨﺎﻣﻪ ﻓﺮﺩﻭﺳﻰ‬ ‫ﻓﺮﻫﻴﺨﺘﻪ ﺍﺳﺖ‪ .‬ﺁﺗﺶ ﺑﺎﺯﻯ ﺩﺍﺭﺍﻯ ﻫﻴﭻ‬ ‫ﺍﻳﻦ ﺟﻮﺍﻧﺎﻥ ﻧﻪ ﺟﻨﮓ ﺭﺍ ﺩﻳﺪﻩﺍﻧﺪ ﻭ ﻧﻪ ﺩﺭ‬ ‫ﻣﻰﺭﻭﺩ‪ ،‬ﭼﻬﺎﺭ ﻫﻨﺮﻣﻨﺪ ﺟﻮﺍﻥ ﺍﻳﺮﺍﻧﻰ‬
‫ﺑﻴﺸﺘﺮ ﺍﺯ ﻳﻚﺻﺪ ﻭ ﺑﻴﺴﺖ ﺑﺎﺭ ﻭﺍژﻩ ﻫﻔﺘﻪ‬ ‫ﻣﻨﺸﺄﻳﻰ ﻧﻴﺴﺖ‪ .‬ﺍﺯ ﻣﻨﻈﺮ ﺣﻘﻮﻗﻰ ﺍﻳﻦ ﺁﺗﺶ‬ ‫ﺷﻮﻕ ﺑﻪ ﺯﻧﺪﮔﻰ ﺩﻳﺪﻩ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﻫﻢﭼﻨﺎﻥ ﺯﻳﺮ ﺳﻴﻄﺮﻩ ﺧﻴﺎﺑﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺍﻧﻘﻼﺏ ﺷﺮﻛﺖ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺍﺯ ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫ﺁﺛﺎﺭﺷﺎﻥ ﺭﺍ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺁﺭﺯﻭ‪ ،‬ﺭﻭﻳﺎ‪ ،‬ﺍﻣﻴﺪ«‬
‫ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﻛﻪ ﺷﺎﻫﻨﺎﻣﻪ‬ ‫ﺑﺎﺯﻯﻫﺎ ﺗﺠﺎﻭﺯ ﺑﻪ ﺣﻘﻮﻕ ﺩﻳﮕﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺍﺯ‬ ‫»ﻋﺎﺩﻝ ﻳﻮﻧﺴﻰ« ﺑﺎ ﺩﻭ ﺗﺎﺑﻠﻮﻯ ﺳﺒﻚ‬ ‫ﺑﺨﺶ ﺩﻳﮕﺮﻯ ﺍﺯ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﻪ ﺁﺛﺎﺭ‬
‫ﻓﺮﺩﻭﺳﻰ ﺭﺍ ﺗﺮﺟﻤﺎﻥ ﻭﻓﺎﺩﺍﺭ ﺩﺍﺳﺘﺎﻥﻫﺎ‬ ‫ﻣﻨﻈﺮ ﺷﺮﻋﻰ ﺑﻪ ﺩﻟﻴﻞ ﺍﺳﺒﺎﺏ ﺍﺫﻳﺘﻰ ﻛﻪ‬ ‫ﺭﺋﺎﻟﻴﺴﻢ ﺟﺎﺩﻭﻳﻰ ﺩﺭ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﻓﻴﮕﻮﺭﺍﺗﻴﻮ »ﺯﻫﺮﺍ ﺷﻔﻴﻌﻰ« ﺍﺧﺘﺼﺎﺹ‬ ‫ﺍﻟﻬﺎﻡ ﻣﻰﮔﻴﺮﻧﺪ‪.‬‬ ‫ﺑﻪ ﻧﻤﺎﻳﺶ ﻫﻤﮕﺎﻧﻰ ﮔﺬﺍﺷﺘﻨﺪ‪.‬‬
‫ﻯ ﺩﻭﺭﺍﻥ ﺑﺎﺳﺘﺎﻥ ﻣﻰﺩﺍﻧﻨﺪ‪ ،‬ﺩﻭﺭ ﺍﺳﺖ ﻛﻪ‬ ‫ﺷﺮﻛﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺗﺎﺑﻠﻮﻫﺎﻯ ﺍﻭ ﭘﺮ‬ ‫ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﺎ ﺁﻟﻜﺮﻳﻚ ﻭ ﺭﻭﻯ ﻛﺎﻏﺬ‬ ‫ﺍﻭ ﺧﻮﺩ ﻧﻴﺰ ﻛﻪ ﻳﻚ ﻣﺪﻳﺮﻫﻨﺮﻯ ﺟﻮﺍﻥ‬ ‫»ﺁﺩﻝ ﻳﻮﻧﺴﻰ«‪» ،‬ﺭﻭﻣﻴﺴﺎ ﺳﻜﺎﻛﻰ«‪،‬‬
‫ﺍﺳﺘﺎﺩ ﺗﻮﺱ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﭼﻨﻴﻦ ﻣﻔﻬﻮﻣﻰ‬ ‫ﺩﺍﺭﺩ‪ ،‬ﺣﺮﺍﻡ ﺍﺳﺖ«‪.‬‬ ‫ﻛﺎﺭﺍﻛﺘﺮ‪ ،‬ﺑﺎ ﺟﺰﺋﻴﺎﺕ ﺑﺴﻴﺎﺭ‪ ،‬ﺳﺮﺷﺎﺭ ﺍﺯ‬ ‫ﻭ ﺭﻧﮓ ﺭﻭﻏﻦ ﺭﻭﻯ ﺑﻮﻡ ﻛﺸﻴﺪﻩ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺍﺳﺖ‪ ،‬ﺩﺭﺑﺎﺭﻩ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﺭ‬ ‫»ﺯﻫﺮﺍ ﺷﻔﻴﻌﻰ« ﻭ »ﻋﻠﻰ ﺍﺳﻤﺎﻋﻴﻞ ﻟﻮ« ﺑﺎ‬
‫ﺩﺭ ﻣﺘﻮﻥ ﻣﺒﻨﺎ ﺑﻪ ﻛﺎﺭ ﺭﻓﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺗﺎ ﺍﻳﻦ‬ ‫ﺍﻳﻦ ﺻﺤﺒﺖﻫﺎﻯ ﺍﺣﻤﺪ ﺧﺎﺗﻤﻰ ﻋﻀﻮ‬ ‫ﺭﻧﮓ‪ ،‬ﺣﺮﻛﺖ ﻭ ﻓﺮﻡ ﻫﺴﺘﻨﺪ ﻭ ﻣﻔﺎﻫﻴﻤﻰ‬ ‫ﺁﻧﭽﻪ ﺗﺎﺑﻠﻮﻫﺎﻯ ﺯﻫﺮﺍ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮ ﻧﻘﺎﺷﻰﻫﺎﻯ‬ ‫ﺑﺮﻟﻴﻦ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺑﺮﻟﻴﻦ ﺁﺩﻡﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ‬ ‫ﺣﻤﺎﻳﺖ ﭘﺎﻳﮕﺎﻩ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ‬
‫ﻣﺠﻠﺲ ﺧﺒﺮﮔﺎﻥ ﺭﻫﺒﺮﻯ ﻭ ﺍﻣﺎﻡ ﺟﻤﻌﻪ‬ ‫»ﺁﺭﺯﻭ‪ ،‬ﺭﻭﻳﺎ‪ ،‬ﺍﻣﻴﺪ« ﻣﺘﻤﺎﻳﺰ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻧﺘﺰﺍﻉ‬ ‫ﻭ ﻓﺮﻫﻨﮓﺩﻭﺳﺖ ﺯﻳﺎﺩ ﺩﺍﺭﺩ‪ .‬ﻣﺎ ﺻﺮﻓﺎ ﺑﺮﺍﻯ‬ ‫ﺍﻳﺮﺍﻥ )‪ (YPA‬ﺁﺛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ‬
‫ﺍﻧﺪﺍﺯﻩ ﺍﺯ ﺁﻥ ﺑﻬﺮﻩ ﺑﺮﮔﻴﺮﺩ‪.‬‬ ‫ﻣﻮﻗﺖ ﺗﻬﺮﺍﻥ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺣﻤﺪ ﺧﺎﺗﻤﻰ‬ ‫ﻓﺮﺍﻭﺍﻗﻌﻰ ﺭﺍ ﺍﻟﻘﺎ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻭ ﻋﻈﻤﺖ ﺑﺎﺷﻜﻮﻩ ﻓﻀﺎﻫﺎﻯ ﺧﺎﻟﻰ ﺍﺳﺖ‪.‬‬ ‫ﻓﺮﻭﺵ ﺁﺛﺎﺭ ﺑﻪ ﺍﻳﻨﺠﺎ ﻧﻴﺎﻣﺪﻩﺍﻳﻢ‪ ،‬ﺑﻠﻜﻪ‬ ‫ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ »‪ «Stadtbad‬ﺩﺭ ﺑﺮﺍﺑﺮ ﺩﻳﺪ‬
‫ﻣﺘﻮﻥ ﻣﺎﻧﻮﻯ ﻧﻴﺰ‪ ،‬ﻛﺎﺭﺑﺮﺩ ﮔﺴﺘﺮﺩﻩ‬ ‫ﺩﺭ ﻣﺴﻴﺮ »ﺣﺮﺍﻡ« ﺧﻮﺍﻧﺪﻥ ﺟﺸﻨﻰ ﻛﻪ‬ ‫ﻳﻜﻰ ﺍﺯ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻋﺎﺩﻝ ﻳﻮﻧﺴﻰ‪ ،‬ﻣﺮﺍﺳﻢ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻳﻦ ﻫﺴﺘﻴﻢ ﺗﺎ ﺗﻮﺳﻂ ﺟﺎﻣﻌﻪ‬ ‫ﻋﻤﻮﻡ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﻧﺪ‪ .‬ﮔﺮﻭﻩ ‪YPA‬ﺑﺎ ﺍﻟﻬﺎﻡ‬
‫ﺭﻭﺯﻫﺎﻯ ﻫﻔﺘﻪ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰ ﺩﻫﺪ‪ .‬ﺩﺭ‬ ‫ﺣﺘﻰ ﺣﺎﺿﺮ ﻧﻴﺴﺘﻨﺪ ﻧﺎﻡ ﺁﻥ ﺭﺍ ﺑﻪ ﺯﺑﺎﻥ‬ ‫ﻫﻨﺮﺩﻭﺳﺖ ﻓﻬﻤﻴﺪﻩ ﺷﻮﻳﻢ‪ .‬ﺫﻭﻕ ﻛﺸﻒ‬ ‫ﺍﺯ ﮔﺮﻭﻩ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ ﺑﺮﻳﺘﺎﻧﻴﺎ )‪(YBA‬‬
‫ﻧﻮﺷﺘﺎﺭﻫﺎﻯ ﻣﺎﻧﻮﻯ ﻳﺎﻓﺖﺷﺪﻩ ﺩﺭ ”ﺗﻮﺭﻓﺎﻥ“‬ ‫ﺑﻴﺎﻭﺭﻧﺪ ﻭ ﺗﻨﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ »ﭼﻬﺎﺭﺷﻨﺒﻪ ﺁﺧﺮ‬ ‫ﺗﺎﺯﻩﻫﺎ‪ ،‬ﺑﻪ ﻭﺿﻮﺡ ﺩﺭ ﺷﻬﺮ ﺑﺮﻟﻴﻦ ﺩﻳﺪﻩ‬ ‫ﺗﺸﻜﻴﻞ ﺷﺪﻩ ﻭ ﺍﺯ ﻃﺮﻳﻖ ﺍﻳﻨﺘﺮﻧﺖ ﺩﺭ‬
‫ﻭ ﻧﻴﺰ ﺩﺭ ”ﻣﻮگﺗﺎگ“ ﺍﺯ ﺭﻭﺯﻫﺎﻯ ﻳﻚﺷﻨﺒﻪ‬ ‫ﺳﺎﻝ« ﻳﺎ »ﺁﺗﺶﺑﺎﺯﻯ ﺁﺧﺮ ﺳﺎﻝ« ﺍﺯ ﺁﻥ ﻳﺎﺩ‬ ‫ﺗﻼﺵ ﺍﺳﺖ ﺗﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ ﺍﻳﺮﺍﻧﻰ‬
‫ﻭ ﺩﻭﺷﻨﺒﻪ ﺑﺎ ﻧﺎﻡﻫﺎﻯ ﻣﻬﺮﺭﻭﺯ ﻳﺎ ﺧﻮﺭﺭﻭﺯ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬
‫ﻭ ﻣﺎﻩﺭﻭﺯ ﻳﺎﺩ ﺷﺪﻩ ﻭ ﺍﻳﻦ ﺩﻭ‪ ،‬ﺭﻭﺯﻫﺎﻯ‬ ‫ﻣﻰﻛﻨﻨﺪ ﺗﻨﻬﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﮔﺮ ﭼﻪ ﺑﺪﻭﻥ ﺣﻀﻮﺭ‬ ‫ﺭﺍ ﺑﻪ ﺩﻧﻴﺎ ﻣﻌﺮﻓﻰ ﻛﻨﺪ‪.‬‬
‫ﺭﻭﺯﻩﺩﺍﺭﻯ ﻣﺎﻧﻮﻯ ﺩﺍﻧﺴﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ‬ ‫ﺁﻳﺖﺍﷲ ﻣﻜﺎﺭﻡ ﺷﻴﺮﺍﺯﻯ ﺑﺎ »ﺧﺮﺍﻓﻪ«‬ ‫ﺁﻓﺮﻳﻨﻨﺪﮔﺎﻥ ﺗﺎﺑﻠﻮﻫﺎﻳﺶ ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﻭﻟﻰ ﺑﺎ‬ ‫»ﻣﻬﺴﺎ« ﻣﺪﻳﺮﻳﺖ ﺍﻳﻦ ﭘﺎﻳﮕﺎﻩ ﺍﻳﻨﺘﺮﻧﺘﻰ‬
‫ﻣﺘﻮﻥ ﻣﺎﻧﻮﻯ‪ ،‬ﻫﻤﺮﺍﻩ ﺑﺎ ﺭﻭﺯﻫﺎﻯ ﻫﻔﺘﻪ‪ ،‬ﺍﺯ‬ ‫ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﺁﺋﻴﻦ ﻣﻰﮔﻮﻳﺪ‪» :‬ﭼﻬﺎﺭﺷﻨﺒﻪ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﮔﺮﻡ ﻫﻨﺮﺩﻭﺳﺘﺎﻥ ﺑﺮﻟﻴﻦ ﻣﻮﺍﺟﻪ ﺷﺪ‬ ‫ﺭﺍ ﺑﻪ ﻋﻬﺪﻩ ﺩﺍﺭﺩ؛ ﺍﻭ ﺩﺭﺑﺎﺭﻩ ﻧﺴﻞ ﺟﺪﻳﺪ‬
‫ﻧﺎﻡﻫﺎﻯ ﺳﻰﮔﺎﻧﻪ ﺑﺮﺍﻯ ﺭﻭﺯﻫﺎﻯ ﻣﺎﻩ ﻧﻴﺰ‬ ‫ﺳﻮﺭﻯ ﻳﻚ ﺳﻨﺖ ﺧﺮﺍﻓﻰ ﺍﺳﺖ‪ ،‬ﻧﺒﺎﻳﺪ‬ ‫ﻭ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﺍﻳﻦ ﺗﺎﺑﻠﻮﻫﺎ ﺑﻪ ﻓﺮﻭﺵ ﺭﺳﻴﺪ‪.‬‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﻳﺮﺍﻥ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺍﻳﻦ ﻧﺴﻞ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﺪﻩ ﺍﺳﺖ ﻭ ﻫﻢﭼﻨﻴﻦ ﻣﻰﺩﺍﻧﻴﻢ‬ ‫ﺳﻨﺖ ﺧﺮﺍﻓﻰ ﺭﺍ ﺍﺣﻴﺎ ﻛﻨﻴﻢ ﻭ ﺍﺯ ﻫﻤﻪ‬ ‫ﺗﺎﺑﻠﻮﻫﺎﻯ ﻧﻘﺎﺷﺎﻥ ﺟﻮﺍﻥ ﺍﻳﺮﺍﻧﻰ ﻓﻀﺎﻫﺎﻳﻰ‬ ‫ﺑﻴﻨﺶ ﻭ ﻧﮕﺎﻫﻰ ﺟﻬﺎﻧﻰ ﺩﺍﺭﺩ ﻭ ﻧﻪ ﺗﻨﻬﺎ‬
‫ﻛﻪ ﺭﻭﺯ ﺩﻭﺷﻨﺒﻪ‪ ،‬ﺭﻭﺯ ﻣﻘﺪﺱ ﻭ ﺗﻌﻄﻴﻞ‬ ‫ﺍﻳﻨﻬﺎ ﮔﺬﺷﺘﻪ ﺍﺳﺮﺍﻑ ﺩﺭ ﻣﺎﻝ ﺍﺳﺖ ﻭ ﻧﺒﺎﻳﺪ‬ ‫ﭘﺮ ﺍﺯ ﻭﻫﻢ‪ ،‬ﺧﻴﺎﻝ‪ ،‬ﺗﺮﺱ‪ ،‬ﺳﻘﻮﻁ ﻭ ﺷﺎﺩﻯ ﺭﺍ‬ ‫ﻓﺮﺍﺗﺮ ﺍﺯ ﺍﻳﺮﺍﻥ ﺑﻠﻜﻪ ﻓﺮﺍﺗﺮ ﺍﺯ ﺳﺒﻚﻫﺎﻯ‬
‫ﻣﺎﻧﻮﻳﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺘﻮﻥ ﻭ ﻣﻨﺎﺑﻊ ﻛﻬﻦ‬ ‫ﺍﺳﺮﺍﻑ ﺩﺭ ﻣﺎﻝ ﻛﺮﺩ«‪ .‬ﺁﻳﺖﺍﷲ ﺳﺒﺤﺎﻧﻰ ﻧﻴﺰ‬ ‫ﺑﺎ ﺑﻴﻨﻨﺪﻩ ﺑﻪ ﺍﺷﺘﺮﺍﻙ ﻣﻰﮔﺬﺍﺭﻧﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ‬ ‫ﺭﺍﻳﺞ ﺟﻬﺎﻥ ﭘﻴﺶ ﻣﻰﺭﻭﺩ‪ .‬ﺁﻧﻬﺎ ﺩﻟﺸﺎﻥ‬
‫ﭼﻴﻨﻰ ﻧﻴﺰ ﻛﺎﺭﺑﺮﺩ ﻫﻔﺘﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ‬ ‫ﺑﺎ »ﺟﻬﻞ« ﺧﻮﺍﻧﺪﻥ ﺁﻧﭽﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺮﺍﺳﻢ‬ ‫ﻳﻚ ﮔﺎﻟﺮﻯ »ﺁﻧﺎﺭﺷﻴﺴﺖ« ﻛﻪ ﭘﻴﺶ ﻓﺮﺽ‬ ‫ﻣﻰﺧﻮﺍﻫﺪ ﺟﺰﻭﻯ ﺍﺯ ﺟﺎﻣﻌﻪ ﺟﻬﺎﻧﻰ‬
‫ﻭ ﻧﺎﻡ ﺭﻭﺯﻫﺎﻯ ﺁﻥ ﺭﺍ ﮔﺰﺍﺭﺵ ﻛﺮﺩﻩﺍﻧﺪ‪.‬ﻳﻚ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﺮﺳﻮﻡ ﺍﺳﺖ‬ ‫ﺷﻤﺎ ﺭﺍ ﺍﺯ ﮔﺎﻟﺮﻯﻫﺎﻯ ﺷﻴﻚ ﻭ ﻓﺎﺧﺮ ﺩﺭ ﻫﻢ‬ ‫ﺑﺎﺷﻨﺪ ﻭ ﺳﻌﻰ ﻣﻰﻛﻨﻨﺪ ﺍﺯ ﻃﺮﻳﻖﺍﻳﻨﺘﺮﻧﺖ‬
‫ﻣﺘﻦ ﻛﻬﻦ ﺑﻮﺩﺍﻳﻰ ﺍﺯ ﻧﺎﻡ ﺭﻭﺯﻫﺎﻯ ﻫﻔﺘﻪ ﺩﺭ‬ ‫ﻣﻰﮔﻮﻳﺪ‪» :‬ﭘﺮﻳﺪﻥ ﺭﻭﻯ ﺁﺗﺶ ﻭ ﮔﻔﺘﻦ ﺑﺮﺧﻰ‬
‫ﺯﺑﺎﻥ ﭼﻴﻨﻰ ﻭ ﻣﻌﺎﺩﻝ ﺁﻧﻬﺎ ﺑﺎ ﺭﻭﺯﻫﺎﻯ ﻫﻔﺘﻪ‬ ‫ﺟﻤﻼﺕ ﻭ… ﺑﻪ ﻫﻴﭽﻮﺟﻪ ﺩﺭﺳﺖ ﻧﻴﺴﺖ«‪.‬‬ ‫ﻣﻰﺷﻜﻨﺪ‪.‬‬ ‫ﺑﻪ ﺁﻥ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﻨﻨﺪ‪.‬‬
‫ﺩﺭ ﻓﺎﺭﺳﻰ ﻣﻴﺎﻧﻪ ﻭ ﺳﻐﺪﻯ ﻳﺎﺩ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺁﻳﺖﺍﷲ ﺧﺎﻣﻨﻪﺍﻯ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‬
‫ﺩﺭ ﺍﻳﻦ ﻣﺘﻦ‪ ،‬ﻧﺎﻡ ﺍﻳﺮﺍﻧﻰ ﺭﻭﺯﻫﺎﻯ ﻫﻔﺘﻪ‪،‬‬ ‫ﺩﺭ ﺩﻓﻌﺎﺕ ﮔﻮﻧﺎﮔﻮﻧﻰ ﺑﻪ »ﺟﺎﻳﺰ ﻧﺒﻮﺩﻥ«‬
‫ﻛﻪ ﺍﺯ ﻳﻚﺷﻨﺒﻪ ﺁﻏﺎﺯ ﻣﻰﺷﻮﻧﺪ‪ ،‬ﺑﺪﻳﻦ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺗﺎﻛﻴﺪ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﮔﻮﻧﻪ ﺑﺎﺯﮔﻮ ﺷﺪﻩ ﺍﺳﺖ ”ﻳﻮﺷﻤﺒﺖ ﺭﻭﺯ‬ ‫ﺍﻣﺎ ﺍﻭ ﺟﻨﺒﻪ ﺩﻳﮕﺮﻯ ﻫﻢ ﺑﺮ »ﺗﺤﺮﻳﺮﺍﺕ‬
‫ﺗﻌﻄﻴﻞ‪ ،‬ﺩﻭﺷﻤﺒﺖ‪ ،‬ﺳﻪﺷﻤﺒﺖ‪ ،‬ﭼﺮﺷﻤﺒﺖ‪،‬‬ ‫ﺩﻳﻨﻰ« ﺑﺮ ﻋﻠﻴﻪ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺍﺿﺎﻓﻪ‬
‫ﭘﻨﺞﺷﻤﺒﺖ‪ ،‬ﺷﺶﺷﻤﺒﺖ‪ ،‬ﺷﻤﺒﺖ”‪ .‬ﺩﺭ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﻣﺎﻧﻨﺪ ﺑﺴﻴﺎﺭﻯ ﺍﻣﻮﺭ ﺩﻳﮕﺮ‬
‫ﻫﻤﺎﻥ ﻣﺘﻦ‪ ،‬ﻣﻌﺎﺩﻝ ﺳﻐﺪﻯ ﺍﻳﻦ ﻧﺎﻡﻫﺎ ﺑﺪﻳﻦ‬ ‫ﺑﻪ »ﺩﺷﻤﻦ« ﻧﺴﺒﺖ ﻣﻰﺩﻫﺪ‪ .‬ﺳﺎﻝﻫﺎ‬
‫ﭘﻴﺶ ﻭ ﺩﺭ ﺳﺨﺮﺍﻧﻰ ﺍﻭﻟﻴﻦ ﺭﻭﺯ ﺳﺎﻝ‬
‫ﮔﻮﻧﻪ ﺁﻣﺪﻩ ﺍﺳﺖ‪:‬‬ ‫ﺧﻮﺩ ﺩﺭ ﻣﺸﻬﺪ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺷﻤﺎ ﻣﻰﺑﻴﻨﻴﺪ‬
‫ﻣﻬﺮﺭﻭﺯ ﻳﺎ ﺧﻮﺭﺷﻴﺪﺭﻭﺯ‪ ،‬ﻣﺎﻩﺭﻭﺯ‪،‬‬ ‫ﻛﻪ ﺭﺍﺟﻊ ﺑﻪ ﺗﺤﻮﻳﻞ ﺳﺎﻝ ﺩﺭ ﺗﺒﻠﻴﻐﺎﺕ‬
‫ﺑﻬﺮﺍﻡﺭﻭﺯ‪ ،‬ﺗﻴﺮﺭﻭﺯ‪ ،‬ﺍﻭﺭﻣﺰﺩﺭﻭﺯ‪ ،‬ﻧﺎﻫﻴﺪﺭﻭﺯ‬ ‫ﺭﺍﺩﻳﻮﻫﺎﻯ ﺑﻴﮕﺎﻧﻪ‪ ،‬ﺻﺤﺒﺖ ﺯﻳﺎﺩﻯ ﻧﻴﺴﺖ؛‬

‫ﺷﺎﻡ ﺁﺧﺮ ﻣﺴﻴﺢ ﺭﺍ ﺩﺭ ﺩﻝ ﻳﻚ ﺳﻴﺮﻙ‬ ‫ﺩﺭ ﺳﻪ ﺗﺎﺑﻠﻮﻯ »ﻛﻨﺠﻜﺎﻭﻯ ﺣﻮﺍ«‪،‬‬ ‫ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻫﻪ ﺷﺼﺘﻰ ﺍﻳﺮﺍﻥ‪ ،‬ﺯﻳﺮ‬ ‫ﻣﻬﺴﺎ ﻣﻰﺍﻓﺰﺍﻳﺪ‪ :‬ﺍﮔﺮ ﻛﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ‬
‫ﺁﻭﺭﺩﻩ‪ ،‬ﺩﺭ ﺍﻳﻦ ﺗﺎﺑﻠﻮ ﺣﻮﺍﺭﻳﻮﻥ‪ ،‬ﺑﻬﺖﺯﺩﻩ‬ ‫»ﺁﺭﺯﻭﻯ ﺁﺩﻡ« ﻭ »ﺑﺎﻍ ﻛﻮﭼﻚ ﺯﺭﺩ«‪ ،‬ﺁﺩﻡﻫﺎ‬ ‫ﻋﻨﻮﺍﻥ »ﺁﺭﺯﻭ‪ ،‬ﺭﻭﻳﺎ‪ ،‬ﺍﻣﻴﺪ« ﺑﺎ ﻣﻬﺎﺭﺕ ﺑﺴﻴﺎﺭ‬ ‫ﺟﻮﺍﻥ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﻨﻴﺪ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ‬
‫ﻣﺴﻴﺢ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰﻛﻨﻨﺪ ﻭﻟﻰ ﺍﻧﮕﺎﺭ ﻣﺴﻴﺢ‬ ‫ﺩﺭﻭﻥ ﻛﺎﺭﺗﻦ ﻣﻘﻮﺍﻳﻰ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ ﻭ ﻗﺎﺏ ﺁﻧﻬﺎ‬ ‫ﺩﺭ ﺳﺒﻚﻫﺎﻯ ﻧﻘﺎﺷﻰ ﻣﺪﺭﻥ ﻭ ﺭﻭﺯ ﺩﻧﻴﺎ‪،‬‬ ‫ﻣﻰﺭﺳﻴﺪ ﻛﻪ ﺁﻧﻬﺎ ﻟﺰﻭﻣﺎ ﺑﻮﻣﻰ ﻧﻤﻰﻧﮕﺮﻧﺪ‬
‫ﺧﻴﺮﻩ ﺑﻪ ﺑﺎﺯﻯ ﺩﻟﻘﻚﻫﺎﻯ ﺳﻴﺮﻙ ﺍﺳﺖ‪.‬‬ ‫ﻓﺎﻗﺪ ﭘﺲﺯﻣﻴﻨﻪ‪ ،‬ﺟﺰﺋﻴﺎﺕ ﻭ ﻧﺸﺎﻧﮕﺮ ﺗﺴﻠﻂ‬ ‫ﺷﻨﺎﺳﻨﺎﻣﻪﺍﻯ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺭﺍﺋﻪ ﺩﺍﺩﻩﺍﻧﺪ‪.‬‬ ‫ﻭ ﺩﺭﻭﻥﮔﺮﺍﻳﻰ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪﺍﻥ‬
‫ﻧﻤﺎﻳﺶ ﺭﻧﮓﻫﺎﻯ ﺗﻨﺪ ﻭ ﻫﻴﺠﺎﻥﺑﺮﺍﻧﮕﻴﺰ‬ ‫ﻧﻘﺎﺷﻰﻫﺎﻯ »ﺭﻭﻣﻴﺴﺎ ﺳﻜﺎﻛﻰ« ﺗﺼﻮﻳﺮ‬ ‫ﺑﻪ ﺭﻭﺵ ﻛﻼﺳﻴﻚ ﺁﻣﻮﺯﺵ ﺩﻳﺪﻩﺍﻧﺪ ﻭ‬
‫ﻳﻚ ﺳﻴﺮﻙ‪ ،‬ﺩﺭ ﻛﻨﺎﺭ ﺗﻘﺪﺱ ﻫﻤﻴﺸﮕﻰ‬ ‫ﺩﻧﻴﺎﻯ ﻛﺎﺭﺗﻦ ﺑﺮ ﺁﻧﻬﺎﺳﺖ‪.‬‬ ‫ﺍﻧﺴﺎﻥ ﺩﺭ ﻣﻴﺎﻥ ﺟﻤﻊ ﺍﺳﺖ ﻛﻪ ﺳﻌﻰ ﺩﺍﺭﺩ‬ ‫ﺳﻮﺍﺩ ﻫﻨﺮﻯ ﺩﺍﺭﻧﺪ ﻭﻟﻰ ﺩﺭ ﺁﺛﺎﺭﺷﺎﻥ ﺑﻪ‬
‫ﺗﺼﺎﻭﻳﺮ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﺴﻴﺢ‪ ،‬ﻃﻨﺰﺁﻣﻴﺰ‬ ‫ﺍﻃﻼﻕ ﻧﺎﻡ ﺁﺩﻡ ﻭ ﺣﻮﺍ ﺑﻪ ﺍﻳﻦ ﻣﺮﺩ ﻭ‬ ‫ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﺮﺧﻰ ﻧﻤﺎﺩﻫﺎ ﭼﻮﻥ ﭘﺮﭼﻢ‬
‫ﻫﺴﺘﻨﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﺣﻴﻮﺍﻧﺎﺕ ﺍﻳﻦ ﺗﺎﺑﻠﻮ‬ ‫ﺯﻥ ﻧﮕﺮﺷﻰ ﺗﺎﺯﻩ ﺑﻪ ﺩﺍﺳﺘﺎﻥ ﺁﺩﻡ ﻭ ﺣﻮﺍ‬ ‫ﺍﻳﺮﺍﻥ ﻭ ﺑﺮﺝ ﻣﻴﻼﺩ ﺑﻪ ﺁﻥ ﺭﻧﮓ ﺑﻮﻣﻰ‬ ‫ﻣﻮﺿﻮﻋﺎﺕ ﺭﻭﺯ ﺟﻬﺎﻥ ﻣﻰﭘﺮﺩﺍﺯﻧﺪ‪.‬‬
‫ﺗﺪﺍﻋﻰﻛﻨﻨﺪﻩ ﺭﻭﺍﻳﺖ ﻛﺸﺘﻰ ﻧﻮﺡ ﻫﻢ‬ ‫ﻣﻰﺑﺨﺸﺪ‪ ،‬ﻧﮕﺮﺷﻰ ﻛﻪ ﺍﺯ ﻧﮕﺎﻫﻰ ﻣﺪﺭﻥ‬ ‫ﺑﺒﺨﺸﺪ‪ .‬ﺍﻳﻦ ﺁﺛﺎﺭ »ﺗﻬﺮﺍﻥ ﺷﻬﺮ ﻣﺮﻣﻮﺯ« ﻧﺎﻡ‬ ‫ﻣﻬﺴﺎ ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪ :‬ﺍﻳﻦ ﺟﻮﺍﻥﻫﺎ‬
‫ﻣﻰﺗﻮﺍﻧﻨﺪ ﺑﺎﺷﻨﺪ‪ .‬ﺗﺎﺑﻠﻮﻯ ﺩﻳﮕﺮ ﺍﻳﻦ‬ ‫ﻣﻰﺁﻳﺪ‪ .‬ﺁﺩﻡ ﺩﺍﺧﻞ ﻳﻚ ﻛﺎﺭﺗﻦ ﻧﻪ ﻋﺮﻳﺎﻥ‬ ‫ﺩﺍﺭﻧﺪ ﻭ ﺑﺎ ﺭﻧﮓ ﺭﻭﻏﻦ ﺭﻭﻯ ﺑﻮﻡ ﻛﺎﺭ ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺭگ ﻭ ﺭﻳﺸﻪﺷﺎﻥ ﺭﺍ ﻓﺮﺍﻣﻮﺵ ﻧﻜﺮﺩﻩﺍﻧﺪ‪،‬‬
‫ﻧﻘﺎﺵ ﺟﻮﺍﻥ ﻳﻚ ﺟﺸﻦ ﻋﺮﻭﺳﻰ ﺭﺍ‬ ‫ﺑﻠﻜﻪ ﺑﺎ ﻳﻚ ﺷﻮﺭﺕ ﻣﺮﺩﺍﻧﻪ ﺍﻣﺮﻭﺯﻯ ﻭ‬ ‫ﺗﺎﺑﻠﻮﻫﺎﻯ »ﺗﻬﺮﺍﻥ ﺷﻬﺮ ﻣﺮﻣﻮﺯ« ﺍﮔﺮ‬ ‫ﺑﻠﻜﻪ ﻓﻌﺎﻟﻴﺖﺷﺎﻥ ﺭﺍ ﻭﺳﻴﻊ ﻭ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ‬
‫ﭘﻴﺶ ﺍﺯ ﻫﺠﻮﻡ ﻳﻚ ﺳﻴﻼﺏ ﻧﺸﺎﻥ‬ ‫ﺩﻣﭙﺎﻳﻰ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﻭ ﺣﻮﺍ ﻳﻚ‬ ‫ﭼﻪ ﺍﺯ ﺭﻧﮓﻫﺎﻯ ﻓﻠﻮﺭﺳﻨﺘﻰ ﻓﺎﻧﺘﺰﻯ ﺑﻬﺮﻩ‬ ‫ﻛﺮﺩﻩﺍﻧﺪ‪ .‬ﺍﻳﻦ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﺗﺎ ﺑﺎ ﺁﺩﻡﻫﺎﻯ‬
‫ﺯﻥ ﺍﻣﺮﻭﺯﻯ ﻭ ﺣﺘﻰ ﻳﻚ ﻣﺎﺩﺭ ﺗﺼﻮﻳﺮ ﺷﺪﻩ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻨﺪ‪ ،‬ﭼﻮﻥ ﺩﺭ‬

‫ﻭ ﻛﻴﻮﺍﻥﺭﻭﺯ‪ .‬ﺍﻳﻦ ﻧﺎﻡﻫﺎ ﺍﺯ ﻧﺎﻡ ﻫﻔﺖ ﺍﺧﺘﺮ‬ ‫ﺍﻣﺎ ﺭﺍﺟﻊ ﺑﻪ ﭼﻬﺎﺭﺷﻨﺒﻪﺳﻮﺭﻯ ﺩﺭ ﺍﻳﻦ ﭼﻨﺪ‬ ‫ﻣﻰﺩﻫﺪ؛ ﺗﺎﺑﻠﻮﻳﻰ ﺣﺎﻭﻯ ﻳﻚ ﻫﺸﺪﺍﺭ‪ :‬ﺩﺭ‬ ‫ﻛﻪ ﻣﻐﻤﻮﻡ ﻭ ﺑﻼﺗﻜﻠﻴﻒ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﺑﺮﺩﻩﺍﻧﺪ ﻭﻟﻰ ﻧﻪ ﺗﻨﻬﺎ ﺩﻧﻴﺎﻳﻰ ﻛﻮﺩﻛﺎﻧﻪ ﻭ‬ ‫ﺯﻧﺪﮔﻰ ﺍﻣﺮﻭﺯﻯ ﺑﺎﻳﺪ ﺟﻬﺎﻧﻰ ﻓﻜﺮ ﻛﺮﺩ‪.‬‬
‫ﺳﻴﺎﺭ ﺁﺳﻤﺎﻥ‪ ،‬ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺑﺮﮔﺮﻓﺘﻪ ﺷﺪﻩ‬ ‫ﺭﻭﺯ ﻗﺒﻞ ﺍﺯ ﺳﺎﻝ‪ ،‬ﺗﻘﺮﻳﺒﺎً ﺗﻤﺎﻡ ﺭﺍﺩﻳﻮﻫﺎﻯ‬ ‫ﺁﺳﺘﺎﻧﻪ ﺧﻄﺮ‪.‬‬ ‫ﻋﻨﺎﺻﺮ ﺩﻳﮕﺮﻯ ﭼﻮﻥ ﺳﻴﺐ ﻭ ﺗﺨﻢ ﻣﺮﻍ‬ ‫ﭘﺮﺷﻮﺭ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻧﻤﻰﻛﺸﻨﺪ‪ ،‬ﺑﻠﻜﻪ ﺗﻨﺪ‪،‬‬ ‫ﻣﻬﺴﺎ ﻛﻪ ﺷﻐﻞ ﺍﺻﻠﻰ ﺍﺵ ﻭﻛﺎﻟﺖ‬
‫ﺍﺳﺖ‪ .‬ﺗﻌﻄﻴﻠﻰ ﺭﻭﺯ ﻳﻚﺷﻨﺒﻪ ﺩﺭ ﺗﻘﻮﻳﻢ‬ ‫ﺑﻴﮕﺎﻧﻪ ﺻﺤﺒﺖ ﻛﺮﺩﻧﺪ! ﺩﺭﺳﺖ ﻧﻘﻄﻪ ﻣﻘﺎﺑ ِﻞ‬ ‫ﻋﺎﺭﻯ ﺍﺯ ﻃﺮﺍﻭﺕ‪ ،‬ﻧﺸﺎﻁ ﻭ ﺗﺎﺯﮔﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺍﺳﺖ‪ ،‬ﺣﻀﻮﺭ ﻫﻨﺮ ﺍﻳﺮﺍﻥ ﺩﺭ ﻋﺮﺻﻪ‬
‫ﻣﻴﻼﺩﻯ ﻧﻴﺰ ﺍﺯ ﺭﻭﺯ ﺗﻌﻄﻴﻞ ﺍﻳﺮﺍﻧﻰ ﺑﺮﮔﺮﻓﺘﻪ‬ ‫ﻭ ﺍﻣﺎ ﺗﺎﺑﻠﻮﻫﺎﻯ »ﻋﻠﻰ ﺍﺳﻤﺎﻋﻴﻞ ﻟﻮ« ﺑﺎ‬ ‫ﺗﺎﺑﻠﻮﻫﺎﻯ ﺯﻫﺮﺍ‪ ،‬ﺳﺮﺩ‪ ،‬ﺑﻰ ﺍﺣﺴﺎﺱ ﻭ‬ ‫ﻣﺮﻣﻮﺯ ﻭ ﭘﺮﺧﻄﺮ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺟﻬﺎﻧﻰ ﺭﺍ ﻣﺤﺪﻭﺩ ﺑﻪ ﺣﺮﺍﺝﻫﺎﻯ ﻫﻨﺮﻯ‬
‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻰﺩﺍﻧﻴﻢ ﻛﻪ ﻧﺎﻡ ﺭﻭﺯ ﻳﻚﺷﻨﺒﻪ‬ ‫ﺁﻥ ﻧﻈﺮ ﺍﺳﻼﻣﻰ!«‪.‬‬ ‫ﻧﺎﻡﻫﺎﻯ ‪ 9‬ﻣﺎﻩ ﻋﻈﻤﺖ«‪» ،‬ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ‬ ‫ﺧﺎﻟﻰ ﺍﺯ ﺯﻧﺪﮔﻰ ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ ﻭ ﺣﺘﻰ‬ ‫ﺗﻤﺎﺷﺎﮔﺮ ﺑﺎ ﻭﺟﻮﺩ ﺗﻌﺪﺩ ﻭ ﺗﺤﺮﻙ‬ ‫ﻭ ﻋﺮﺿﻪ ﺍﻗﺘﺼﺎﺩﻯ ﻣﻰﺩﺍﻧﺪ‪ :‬ﻫﻨﺮ ﻣﺎ ﺩﺭ‬
‫ﺩﺭ ﻫﺮ ﺩﻭﻯ ﺁﻧﻬﺎ ﺑﻪ ﻳﻚ ﻣﻌﻨﺎ ﺍﺳﺖ ﻭ ﺑﻪ‬ ‫ﺩﺳﺘﮕﺎﻩ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻧﻈﺎﻡ ﺟﻤﻬﻮﺭﻯ‬ ‫ﺯﻧﺪﮔﻰ«‪» ،‬ﭘﻨﺞ ﺩﻗﻴﻘﻪ ﺑﻪ ﺳﻠﻄﻨﺖ«‬ ‫ﻛﻮﺩﻙ ﻣﻌﺼﻮﻡ ﺗﺎﺑﻠﻮﻯ »ﺑﺎﻍ ﻛﻮﭼﻚ ﺯﺭﺩ«‬ ‫ﻛﺎﺭﺍﻛﺘﺮﻫﺎﻯ ﻣﻮﺟﻮﺩ ﺩﺭ ﺗﺎﺑﻠﻮﻫﺎ‪ ،‬ﺗﻨﻬﺎﻳﻰ‬ ‫ﺩﻧﻴﺎ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻭﻟﻰ ﻣﻨﺤﺼﺮ‬
‫ﻣﻌﻨﺎﻯ »ﺧﻮﺭﺷﻴﺪ ﺭﻭﺯ« ﺍﺳﺖ‪ .‬ﺩﺭ ﺩﻭﺭﻩ‬ ‫ﺍﺳﻼﻣﻰ ﺟﺪﺍ ﺍﺯ ﺍﻳﻦ ﺗﻼﺵﻫﺎ ﺑﺮﺍﻯ »ﺣﺮﺍﻡ«‬ ‫ﻭ »ﻫﻔﺖ ﺭﻭﺯ ﺳﺎﺩﮔﻰ« ﻛﺎﻣﻼ ﺳﻮﺭﺋﺎﻝ‬ ‫ﺑﺎ ﮔﻞﻫﺎﻳﻰ ﻛﺎﺷﺘﻪ ﺷﺪﻩ ﺩﺭ ﺩﻝ ﺯﻣﻴﻨﻰ‬ ‫ﺁﺩﻡﻫﺎ‪ ،‬ﺑﻰ ﺛﺒﺎﺗﻰ ﻭ ﺧﺸﻮﻧﺘﻰ ﭘﻨﻬﺎﻥ ﺭﺍ ﺩﺭ‬ ‫ﺑﻪ ﺑﺨﺶﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ ﺍﺳﺖ‪ .‬ﻫﻨﺮ‬
‫ﺳﺎﺳﺎﻧﻰ ﻭ ﻫﻤﺮﺍﻩ ﺑﺎ ﺩﻳﮕﺮ ﺗﺤﺮﻳﻒﻫﺎﻯ‬ ‫ﻛﺮﺩﻥ ﺍﻳﻦ ﺟﺸﻦ‪ ،‬ﺍﺯ ﺳﻮﻳﻰ ﺩﻳﮕﺮ ﺑﺮ »ﻏﻴﺮ‬ ‫ﻫﺴﺘﻨﺪ ﻭ ﻣﻮﺗﻴﻒﻫﺎﻯ ﺗﻜﺮﺍﺭ ﺷﻮﻧﺪﻩ ﺗﺎﺝ‪،‬‬ ‫ﺁﻧﻬﺎ ﻟﻤﺲ ﻣﻰﻛﻨﺪ‪ .‬ﺁﺩﻡﻫﺎﻯ ﺍﻳﻦ ﺗﺎﺑﻠﻮﻫﺎ‬ ‫ﻣﻌﺎﺻﺮ ﻣﺎ ﻛﻤﺘﺮ ﺑﻪ ﻣﻮﺯﻩﻫﺎ‪ ،‬ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎ‬
‫ﺑﻰﺷﻤﺎﺭ ﺁﻧﺎﻥ ﺍﺯ ﺁﻳﻴﻦ ﻭ ﻓﺮﻫﻨﮓ ﺍﻳﺮﺍﻥ‬ ‫ﺍﻳﺮﺍﻧﻰ« ﺑﻮﺩﻥ ﻭ ﻳﺎ »ﻋﺪﻡ ﻭﺟﻮﺩ ﻣﺒﻨﺎﻯ‬ ‫ﻧﺦ‪ ،‬ﭘﺮﻳﺰ ﺑﺮﻕ‪ ،‬ﻋﺪﺳﻰﻫﺎﻯ ﺗﻚ ﭼﺸﻤﻰ‬ ‫ﻣﺼﻨﻮﻋﻰ ﺍﺣﺎﻃﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺣﺘﻰ ﺩﺭ ﭼﻬﺎﺭﺩﻳﻮﺍﺭﻯ ﺧﺎﻧﻪ ﻫﻢ ﺑﻴﻢﻧﺎﻙ‬ ‫ﻭ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺟﻬﺎﻥ ﺭﺍﻩ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﻭ‬
‫ﺑﺎﺳﺘﺎﻥ‪ ،‬ﺭﻭﺯﻫﺎﻯ ﻫﻔﺘﻪ ﺭﺍ ﻧﻴﺰ ﺍﺯ ﮔﺎﻩﺷﻤﺎﺭﻯ‬ ‫ﺗﺎﺭﻳﺨﻰ« ﺑﺮﺍﻯ ﺟﺸﻦ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ‬ ‫ﻭ ﭼﺮﺥ ﺩﻧﺪﻩ ﺩﺭ ﺁﻧﻬﺎ ﻣﻜﺮﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺍﻣﺎ ﻣﺠﻤﻮﻋﻪ ﺩﻭﺍﺯﺩﻩ ﺗﺎﺑﻠﻮﻳﻰ »ﺑﻪ ﺟﺸﻦ‬ ‫ﻭ ﻫﺮﺍﺳﺎﻥ‪ ،‬ﻣﻨﺘﻈﺮ ﺍﺗﻔﺎﻕ ﻳﺎ ﺗﻨﺸﻰ ﻧﺎﻣﻌﻠﻮﻡ‬ ‫ﺁﻥ ﻃﻮﺭ ﻛﻪ ﺑﺎﻳﺪ ﻭ ﺷﺎﻳﺪ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ‬
‫ﺧﻮﺩ ﺣﺬﻑ ﻣﻰﻛﻨﻨﺪ ﻭ ﻧﺎﻡ ﺭﻭﺯﻫﺎﻯ ﻣﺎﻩ ﺭﺍ‬ ‫ﺗﺒﻠﻴﻐﺎﺕ ﮔﺴﺘﺮﺩﻩﺍﻯ ﺭﺍ ﺁﻏﺎﺯ ﻧﻤﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻘﺎﺷﻰﻫﺎ ﺁﺩﻡﻫﺎﻳﻰ ﺩﺭﺑﻨﺪ‪ ،‬ﻭﺍﻣﺎﻧﺪﻩ ﻭ ﻣﺴﺦ‬ ‫ﺯﻧﺪﮔﻰ ﺧﻮﺵ ﺁﻣﺪﻳﺪ« ﻫﻤﻴﻦ ﻫﻨﺮﻣﻨﺪ‪،‬‬ ‫ﻧﻴﺴﺖ‪ .‬ﺟﻬﺎﻥ ﻭﻗﺘﻰ ﺍﺯ ﻫﻨﺮ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ‬
‫ﻛﻮﺭﺵ ﻧﻴﻜﻨﺎﻡ‪ ،‬ﻧﻤﺎﻳﻨﺪﻩ ﺯﺭﺗﺸﺘﻴﺎﻥ ﺩﺭ‬ ‫ﺷﺪﻩ ﺭﺍ ﺍﻟﻘﺎ ﻣﻰﻛﻨﻨﺪ ﻛﻪ ﭼﻮﻥ ﻣﺎﺷﻴﻦﻫﺎﻯ‬ ‫ﻗﺼﻪ ﺑﺮﺧﻮﺭﺩ ﺍﻧﺴﺎﻥﻫﺎ ﺑﺎ ﺟﻌﺒﻪﻫﺎﻯ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﻨﺪ‪.‬‬ ‫ﺣﺮﻑ ﻣﻰﺯﻧﺪ‪ ،‬ﺑﻪ ﺍﺳﺎﺗﻴﺪ ﺍﻳﻦ ﺟﻮﺍﻧﺎﻥ‬
‫ﺑﻪ ﻛﺎﺭ ﻣﻰﮔﻴﺮﻧﺪ‪«.‬‬ ‫ﻣﺠﻠﺲ ﻫﻔﺘﻢ ﺷﻮﺭﺍﻯ ﺍﺳﻼﻣﻰ ﺩﺭ ﻣﻮﺭﺩ‬ ‫ﻛﺎﺩﻭﻳﻰ ﺗﺰﺋﻴﻦ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺗﺎﺑﻠﻮﻫﺎ‬ ‫ﺍﻳﻦ ﺁﺛﺎﺭ ﺗﺼﻮﻳﺮﮔﺮ ﻫﺠﻮﻡ ﺁﺩﻡﻫﺎ ﺑﻪ‬
‫ﺩﻛﺘﺮ ﻣﺤﻤﻮﺩ ﻛﻮﻳﺮ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﺋﻴﻦﻫﺎ‬ ‫ﺟﺎﻳﮕﺎﻩ ﺗﺎﺭﻳﺨﻰ ﺟﺸﻦ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ‬ ‫ﻛﻮﻛﻰ ﺯﻳﺮ ﺳﻠﻄﻪ ﺩﻳﮕﺮﺍﻥ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻣﺤﻠﻰ ﺑﻪ ﻧﺎﻡ ﺧﺎﻧﻪ ﺍﺳﺖ ﻛﻪ ﺍﮔﺮ ﭼﻪ ﺍﻣﻦ ﺑﻪ‬
‫ﺭﺍ ﺑﺮﺁﻣﺪﻩ ﺍﺯ ﺍﺳﻄﻮﺭﻩ ﻭ ﻃﺒﻴﻌﺖ ﻣﻰﺩﺍﻧﺪ ﻭ‬ ‫ﻣﻰﮔﻮﻳﺪ‪» :‬ﺩﺭ ﮔﺎﻩﺷﻤﺎﺭﻯ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﻭ‬
‫ﺍﺿﺎﻓﻪ ﻣﻰﻛﻨﺪ »ﺍﺳﻨﺎﺩ ﺗﺎﺭﻳﺨﻰ ﻣﺴﺘﻘﻴﻢ ﻭ‬ ‫ﺯﺭﺗﺸﺘﻴﺎﻥ ﺍﺻﻸ ﻫﻔﺘﻪ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻣﺎ ﺩﺭ‬
‫ﻏﻴﺮﻣﺴﺘﻘﻴﻢ« ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪.‬‬ ‫ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﻫﻔﺖ ﺭﻭﺯ ﻫﻔﺘﻪ ﻧﺪﺍﺷﺘﻴﻢ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﻣﻰﺗﻮﺍﻧﺪ »ﺍﺳﻢ« ﺗﻐﻴﻴﺮ ﻛﻨﺪ‬ ‫ﺷﻨﺒﻪ ﻭ ﻳﻚﺷﻨﺒﻪ ﻭ… ﺑﻌﺪ ﺍﺯ ﺗﺴﻠﻂ ﺍﻋﺮﺍﺏ‬
‫ﺍﻣﺎ ﻫﻮﻳﺖ ﻭ ﻛﻴﻔﻴﺖ ﺁﻥ »ﺟﺸﻦ ﺁﺗﺶ‬ ‫ﺑﻪ ﻓﺮﻫﻨﮓ ﺍﻳﺮﺍﻥ ﻭﺍﺭﺩ ﺷﺪ‪ .‬ﺑﻨﺎ ﺑﺮ ﺍﻳﻦ ﺍﻳﻨﻜﻪ‬
‫ﻣﺎ ﺷﺐ ﭼﻬﺎﺭﺷﻨﺒﻪﺍﻯ ﺭﺍ ﺟﺸﻦ ﺑﮕﻴﺮﻳﻢ‬
‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺁﺧﺮ ﺳﺎﻝ« ﺍﺳﺖ‪.‬‬ ‫)ﭼﻮﻥ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺩﺭ ﻓﺮﻫﻨﮓ ﻋﺮﺏ ﺭﻭﺯ‬
‫ﺍﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﻣﻨﺎﺑﻊ ﺗﺎﺭﻳﺨﻰ ﻭ ﻫﻢﭼﻨﻴﻦ‬ ‫ﻧﺤﺲ ﻫﻔﺘﻪ ﺑﻮﺩﻩ( ﺧﻮﺩﺵ ﮔﻮﻳﺎﻯ ﺍﻳﻦ‬
‫ﻧﺸﺎﻧﻪﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ ﺑﻪ ﺍﻳﻦ‬ ‫ﻫﺴﺖ ﻛﻪ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺑﻌﺪ ﺍﺯ ﺍﺳﻼﻡ‬
‫ﺟﺸﻦ ﺍﺷﺎﺭﻩ ﺩﺍﺷﺘﻪﺍﻧﺪ ﺗﻮﺟﻪ ﻣﻰﺩﻫﺪ ﻭ‬
‫ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺑﻪ ﺗﺎﺭﻳﺦ ﺑﺨﺎﺭﺍ ﺍﺯ ﺍﺑﻮﺑﻜﺮ ﻣﺤﻤﺪﺑﻦ‬ ‫ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﺮﺳﻮﻡ ﺷﺪ‪«.‬‬
‫ﺟﻌﻔﺮ ﻧﺮﺷﺨﻰ‪ ،‬ﺁﺛﺎﺭ ﺍﻟﺒﺎﻗﻴﻪ ﺍﺯ ﺍﺑﻮﺭﻳﺤﺎﻥ‬ ‫ﻣﺤﻤﺪﻫﺎﺩﻯ ﻳﻮﺳﻔﻰ ﻏﺮﻭﻯ‪ ،‬ﻋﻀﻮ‬
‫ﺑﻴﺮﻭﻧﻰ ﻭ ﺍﺷﻌﺎﺭ ﻣﻨﻮﭼﻬﺮﻯ ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﻛﻤﻴﺘﻪ ﻋﻠﻤﻰ‪ ،‬ﺗﺨﺼﺼﻰ ﺗﺎﺭﻳﺦ ﺩﺭ ﻣﺪﺍﺭﺝ‬
‫ﺩﻛﺘﺮ ﻣﺤﻤﻮﺩ ﻛﻮﻳﺮ‪ ،‬ﺟﻨﺒﻪﻫﺎﻯ‬ ‫ﺣﻮﺯﻭﻯ‪ ،‬ﻧﻴﺰ ﺩﺭ ﻣﻮﺭﺩ ﻣﺒﻨﺎﻯ ﺗﺎﺭﻳﺨﻰ‬
‫ﺍﺳﺎﻃﻴﺮﻯ ﺟﺸﻦ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﺭﺍ ﺑﻪ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ ﻣﻰﮔﻮﻳﺪ‪» :‬ﺩﺭ ﻣﺘﻮﻥ‬
‫»ﻋﺒﻮﺭ ﺳﻴﺎﻭﺵ ﺍﺯ ﺁﺗﺶ« ﭘﻴﻮﻧﺪ ﻣﻰﺯﻧﺪ‪.‬‬ ‫ﺗﺎﺭﻳﺨﻰ ﺣﺘﻰ ﻳﻚ ﻣﺘﻦ ﻣﺴﺘﻨﺪ ﺗﺎﺭﻳﺨﻰ‬
‫ﺍﻭ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﭘﻴﻮﻧﺪ ﺍﺳﻄﻮﺭﻩ ﻭ ﻃﺒﻴﻌﺖ‬ ‫ﻛﻪ ﺍﻋﻼﻡ ﻛﻨﺪ ﺩﺭ ﻓﻼﻥ ﺳﺎﻝ ﻳﺎ ﺩﺭ‬
‫ﺍﺷﺎﺭﻩ ﻣﻰﻛﻨﺪ ﻭ »ﺳﻴﺎﻭﺵ ﻛﻪ ﻣﻴ ِﺮ ﻧﻮﺭﻭﺯ ﻭ‬ ‫ﻓﻼﻥ ﺟﺎ ﺩﺭ ﺷﺐ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺁﺗﺶ‬
‫ﻣﮋﺩﻩﺁﻭ ِﺭ ﺑﻬﺎﺭ ﺍﺳﺖ ﻫﻤﺮﺍﻫﺎﻧﻰ ﺩﺍﺭﺩ ﻛﻪ ﻳﻜﻰ‬ ‫ﺭﻭﺷﻦ ﻣﻰﻛﺮﺩﻩﺍﻧﺪ‪ ،‬ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﻭ ﺩﺭ‬
‫ﺍﺯ ﺁﻧﻬﺎ ﺧﻮﺍﺟﻪ ﭘﻴﺮﻭﺯ ﻳﺎ ﺩﻣﻮﺯﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎ‬ ‫ﺳﺎﻝﺷﻤﺎﺭﻫﺎﻯ ﺗﺎﺭﻳﺦ ﻫﺠﺮﻯ ﭼﻨﻴﻦ ﭼﻴﺰﻯ‬
‫ﺳﺎﺯ ﻭ ﺁﻭﺍﺯ ﻣﻰ ﺭﻭﺩ ﺗﺎ ﺳﺎﻝ ﻧﻮ ﺭﺍ ﺑﻴﺎﻭﺭﺩ ﻭ‬ ‫ﻧﻴﺴﺖ… ﺍﻣﺮﻭﺯ ﻣﺘﺄﺳﻔﺎﻧﻪ ﭼﻬﺎﺭﺷﻨﺒﻪ‬
‫ﭼﻮﻥ ﺍﺯ ﺟﻬﺎﻥ ﻣﺮﺩﮔﺎﻥ ﻣﻰﺁﻳﺪ ﺻﻮﺭﺗﺶ‬ ‫ﺳﻮﺭﻯ ﺟﻨﺒﻪ ﺷﺒﻪ ﻋﺒﺎﺩﻯ ﻫﻢ ﭘﻴﺪﺍ‬
‫ﺳﻴﺎﻩ ﺍﺳﺖ ﻭ ﺳﻴﺎﻭﺵ ﻫﻢ ﻫﻤﻴﻦ ﻣﻌﻨﻰ‬ ‫ﻛﺮﺩﻩ‪ ،‬ﻣﺮﺩﻡ ﺁﺗﺶ ﺭﺍ ﻣﺨﺎﻃﺐ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻭ‬
‫]ﻣﺮﺩﻯ ﺑﺎ ﺻﻮﺭﺕ ﺳﻴﺎﻩ[ ﺭﺍ ﻣﻰﺩﻫﺪ‪ ،‬ﻳﻜﻰ‬ ‫ﺍﺷﻌﺎﺭﻯ ﻣﻰﺧﻮﺍﻧﻨﺪ ﻛﻪ ”ﺯﺭﺩﻯ ﻣﻦ ﺍﺯ ﺗﻮ‪،‬‬
‫ﻫﻢ ﺁﺗﺶﺍﻓﺮﻭﺯ ﺍﺳﺖ ﻛﻪ ﺭﻭﺷﻨﻰ ﻭ ﮔﺮﻣﺎ‬ ‫ﺳﺮﺧﻰ ﺗﻮ ﺍﺯ ﻣﻦ“ ﮔﻮﻳﺎ ﺁﺗﺶ ﻣﺎﻧﻨﺪ ﺍﻟﻬﻪﺍﻯ‬
‫ﻣﻰ ﺁﻭﺭﺩ‪ .‬ﺁﺗﺶﺍﻓﺮﻭﺯﺍﻥ ﻳﻜﻰ ﺍﺯ ﺳﭙﺎﻫﻴﺎﻥ‬ ‫ﺗﺼﻮﺭ ﻣﻰﺷﻮﺩ ﻛﻪ ﻗﺪﺭﺕ ﺷﻨﻴﺪﻥ ﻭ ﺩﺭﻙ‬

‫ﻧﻮﺭﻭﺯﺧﻮﺍﻥ ﺑﻮﺩﻩﺍﻧﺪ‪«.‬‬ ‫ﺳﺨﻨﺎﻥ ﺁﻧﻬﺎ ﺭﺍ ﺩﺍﺭﺩ«‪.‬‬
‫ﮔﻔﺘﮕﻮﻯ ﻛﺎﻣﻞ ﻭ ﻭﻳﺪﺋﻮﻳﻰ ﺭﺍ ﻣﻰﺗﻮﺍﻧﻴﺪ‬
‫ﺩﺭ ﻛﺎﻧﺎﻝ ﻳﻮﺗﻴﻮﺏ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﺩﺭ ﻧﺸﺎﻧﻰ‬ ‫ﺍﻣﺎ ﺁﻳﺎ ﺟﺸﻦ ﭼﻬﺎﺭﺷﻨﺒﻪ ﺳﻮﺭﻯ‬

‫ﺯﻳﺮ ﺑﺸﻨﻮﻳﺪ‪:‬‬ ‫ﻣﺒﻨﺎﻯ ﺗﺎﺭﻳﺨﻰ ﻧﺪﺍﺭﺩ؟‬

‫‪https://www.youtube.com/‬‬ ‫ﺑﺮﺍﻯ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﭘﺮﺳﺶ ﺑﻪ ﺳﺮﺍﻍ‬
‫ﺩﻛﺘﺮ ﻣﺤﻤﻮﺩ ﻛﻮﻳﺮ‪ ،‬ﭘﮋﻭﻫﺸﮕﺮ ﺗﺎﺭﻳﺦ ﻭ‬
‫‪watch?v=yFvZhTDorWM‬‬
‫ﺍﺩﺑﻴﺎﺕ ﺍﻳﺮﺍﻥ ﺭﻓﺘﻴﻢ‪.‬‬

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