The Significance of the Haft-Seen Table in the Persian New Year

Persian New Year, known as Nowruz, is a celebration deeply rooted in Iran’s cultural, historical, and spiritual fabric. Marking the arrival of spring and the vernal equinox, Nowruz is a time of renewal, hope, and unity. Central to this celebration is the Haft-Seen table, a symbolic arrangement that reflects the values, beliefs, and aspirations of those who partake in this ancient tradition. The Haft-Seen table is not merely a decorative feature but a profound representation of nature, time, and human resilience.

Origins of Haft-Seen

The concept of Haft-Seen has evolved over the centuries. Its roots can be traced back to Zoroastrianism, the ancient religion of Persia, which emphasized the harmony between humans and nature. The term “Haft-Seen” translates to “Seven S” in Persian, referring to seven items on the table that begin with the letter “S” (pronounced “Seen” in Farsi Languages). These items symbolize life, health, prosperity, and the cycles of nature. While the exact origin of the tradition is debated, it is clear that it reflects the profound connection between Iranians and their environment, emphasizing gratitude and hope for the future.

Elements of the Haft-Seen Table

A traditional Haft-Seen table consists of seven items, each carrying a deep symbolic meaning. Let’s explore these elements:

1. Sabzeh (Sprouted Grains): Sabzeh is typically wheat, barley, or lentil sprouts grown in a dish. It symbolizes rebirth, renewal, and the flourishing of life. The vibrant green color signifies the arrival of spring and the promise of growth in the coming year.
2. Senjed (Dried Oleaster Fruit): Representing love and the wisdom gained from past experiences, senjed holds a significant place on the table. Its association with affection stems from ancient Persian literature, where it was often linked to love and the heart.
3. Seer (Garlic): Garlic, a symbol of health and medicine, reflects the value of well-being and protection against illness. Its strong aroma and medicinal properties have made it a staple in Persian culinary and cultural practices.
4. Samanu (Sweet Wheat Pudding): Samanu, a labor-intensive dish made from wheat germ, represents strength, power, and the rewards of patience. Its preparation involves community effort, further emphasizing the importance of unity during Nowruz.
5. Seeb (Apple): The apple symbolizes beauty, health, and fertility. Its vibrant red color also signifies vitality and joy, making it a key component of the Haft-Seen table.
6. Serkeh (Vinegar): Vinegar represents age, patience, and the transformative power of time. It reminds people to embrace change and learn from the experiences of life.
7. Somaq (Sumac): Sumac, with its reddish hue, symbolizes the sunrise and the triumph of good over evil. Its tart flavor adds balance to the symbolic table, mirroring the balance sought in life.

 

Additional Items and Their Significance

In addition to the seven primary elements, many families include other items on their Haft-Seen table to enhance its meaning and beauty:

• A Mirror: Symbolizing reflection and self-awareness, the mirror encourages individuals to look inward and strive for personal growth.
• Goldfish: Representing life and the movement of time, goldfish are a beloved addition, especially for children.
• Colored Eggs: These signify fertility and the diversity of life.
• Candles: Each candle represents light, hope, and enlightenment, often arranged in even numbers to symbolize balance.
• Coins: Reflecting prosperity and wealth, coins embody wishes for financial success in the coming year.
• Hyacinth Flowers (Sonbol): The fragrant blossoms of the hyacinth add beauty and freshness to the table, symbolizing the renewal of nature.

 

The Spiritual Dimensions of Haft-Seen

The Haft-Seen table is more than a collection of objects. It embodies profound spiritual concepts. The seven elements, many of which are rooted in Zoroastrian symbolism, serve as reminders of humanity’s connection to nature and the divine. Themes of rebirth, purity, and gratitude permeate the table, making it a focal point for prayer and introspection during the New Year festivities. For many Iranians, the Haft-Seen table is a reflection of their inner hopes and dreams. As families gather around it, they express gratitude for the past year and seek blessings for the future. The arrangement is often accompanied by the recitation of poetry, including verses from the Persian poet Hafez, adding a literary and philosophical layer to the celebration.

 

Social and Cultural Significance

The Haft-Seen table is a unifying tradition that transcends geographical, religious, and social boundaries. While Nowruz is rooted in Iranian culture, it is celebrated by millions of people across Central Asia, the Caucasus, and parts of the Middle East. In each region, the Haft-Seen table adapts to local customs, demonstrating the flexibility and inclusivity of this ancient practice. In contemporary Iran, setting up the Haft-Seen table is often a family affair, fostering a sense of togetherness. Parents and children collaborate to select, arrange, and decorate the table, creating cherished memories. The practice also serves as a bridge between generations, allowing elders to pass down traditions and values to younger family members.

Modern Interpretations and Global Recognition

As Iranian communities have spread worldwide, the Haft-Seen table has gained international recognition as a symbol of cultural identity and pride. In many diaspora communities, it serves as a way to connect with ancestral roots and share Persian culture with others. Creative interpretations of the table, incorporating modern aesthetics or sustainable practices, have also emerged, showcasing the tradition’s adaptability. Global events, such as exhibitions and festivals, often include Haft-Seen displays to educate audiences about Nowruz and Iranian culture. The United Nations even recognizes Nowruz as an international day, highlighting its universal themes of peace, renewal, and harmony.

Lessons from the Haft-Seen Table

The Haft-Seen table is more than a New Year tradition. It is a reflection of the human experience. Each element carries lessons that resonate beyond cultural boundaries:

• Resilience: The sprouting grains (Sabzeh) remind us of life’s ability to renew itself, even in challenging circumstances.
• Balance: The combination of sweet (Samanu) and sour (Serkeh) elements teaches us to embrace both joy and hardship as essential parts of life.
• Gratitude: The presence of nature’s gifts on the table encourages appreciation for the environment and its bounty.
• Hope: The candles and mirror inspire hope for the future and self-improvement.
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Conclusion

The Haft-Seen table is a testament to the richness of Iranian culture and its enduring values. It bridges the past and present, connecting generations through shared rituals and collective memories. As families gather around this symbolic table during Nowruz, they celebrate not only the arrival of spring but also the timeless ideals of unity, resilience, and hope.

In a rapidly changing world, the Haft-Seen table serves as a reminder of the importance of tradition, reflection, and connection. Its significance extends far beyond the boundaries of Iran, resonating with anyone who values renewal, gratitude, and the beauty of life. As Nowruz continues to be celebrated globally, the Haft-Seen table stands as a vibrant symbol of cultural heritage and the universal quest for harmony and prosperity.

Sizdah Bedar

Iranian people start their New Year with the Nowruz Festival, which lasts 13 days. Sizdah Bedar is a continuing Persian tradition celebrated annually on the 13th day of the Farvardin month (the second day of April), the first month of the Iranian calendar. As a part of Nowruz, it has a special place in Iranian culture. On this designated day, people explore nature, engage in specific customs to mark the end of Nowruz festivities, do some sports activities, reconnect with the environment, and enjoy that day. In addition, it is an official holiday in Iran. It is also known as Nature Day after the revolution in Iran.

History

The historical roots of this day are unspecified before the Qajar era. However, there is some evidence that Sizdah Bedar has deep ties to the Zoroastrian and ancient beliefs. Ancient Iran had a deep respect for nature and the four fundamental elements: water, air, fire, and wind. They believed the 13th day of Farvardin was the peak of natural energies, making it an ideal time to reconnect with nature. This day marks the conclusion of the Nowruz festivities, leading individuals back to their everyday activities.

In ancient Iranian tradition, Sizdah Bedar means a celebration to mark the victory of the rain god over the drought demon. Moreover, after holding the Nowruz ceremony, people would go to the plains and deserts on that day, which belongs to the rain god and is named Tashtar or Tishtar. Thus, they celebrate, dance, and pray to God for rain. Therefore, Sizdah-Bedar was a special day to ask for rain. Also, in ancient Persia, the number 13 was sacred. Nevertheless, there is a mistaken belief about this number that originated from other religions and traditions. They believed that the number 13 was sinister (bad luck).

Philosophy of Sizdah Bedar

One of the central aspects of Sizdah Bedar is the emphasis on human harmony with nature. On this specific day, Iranians represent symbiosis with nature by going out into nature and doing activities, such as knotting Sabzeh (brunette) and releasing it into the water. This philosophy shows values like respect for the environment, thanks to the earth and water, and a renewed commitment to nature.

Manners and Customs

On Sizdah Bedar day, people go to nature and enjoy themselves with their families, relatives, and friends. In addition to enjoying nature, this day has other manners and customs.

Knotting Sabzeh

One of the most significant customs of Sizdah Bedar is knotting Sabzeh. People, especially the young generation, knot Sabzeh and make wishes in hopes of happiness, marriage, and achieving aspirations. This action symbolizes human interaction with nature and belief in positive energies from the environment.

Returning Sabzeh to nature

Sabzeh is one of the seven elements on the Haft Sin table for the Nowruz Festival. On the 13th day of Nowruz, people take their Sabzeh outside and place it in flowing water or nature. This act marks the end of Nowruz and the return to the earth’s natural cycle. It also emphasizes the importance of respecting and preserving nature.

Prayers and Wishes

Besides knotting Sabzeh, many people share their wishes and prayers with nature. This practice is rooted in the belief in nature’s mystical powers.

Family Picnics

Spending time in nature and having family picnics is a central ritual of Sizdah Bedar. On this particular day, families bring traditional foods such as Ash Reshteh, Kebabs, and local dishes outdoors to enjoy.

Eating Lettuce and Sekanjabin

Sekanjabin is one of the oldest traditional Iranian drinks. It is made of honey, vinegar, and sometimes mint. This drink is particularly popular during the summer months. Its taste is sweet and sour, and it has a cool nature. Since many of the foods prepared for Nowruz are sweet, the consumption of lettuce and Sekanjabin can moderate people’s flavor and nature.

Eating Ashe Dough

Ashe Dough is known as a Yogurt Soup. It is originally from the northwest of Iran and is one of the traditional and popular soups of Ardabil City. This soup has a mild flavor.

Games and Entertainment

Sizdah Bedar is an opportunity for group games and entertainment. These activities include volleyball, dodgeball, and local competitions. These activities create fun and foster social relationships.

Lie of Thirteen

 

The lie of thirteen (in Persian, Dourugh-e Sizdah) is the same as April Fool’s Day, which is held on the first of April. On that day, relatives and friends lie to each other, which is more like telling jokes.

Throwing 13 Pebbles

In the Kurdish areas of Iran, when the fun of Sizdah Bedar is over, people decide to go back to their homes, so they pick up 13 pebbles on the way and throw them behind their backs. As mentioned, some people believe that the number 13 brings bad luck, so this custom is to ward off bad luck.

Social Dimensions of Sizdah Bedar

Sizdah Bedar is not only an individual or family tradition. It is a chance to increase social connection. On this date, all generations gather together and share joyful moments. This social convergence enhances the sense of belonging to the Iranian culture and identity.

Environmental Aspects of Sizdah Bedar

One of the significant aspects of Sizdah Bedar is the preservation and respect of nature. This day can be an opportunity to train on the importance of protecting the environment. A few things are essential to preserve nature and the environment, such as:

1- Collecting waste and avoiding leaving garbage behind.

2- Respecting plants and avoiding breaking twigs and branches or damaging trees.

3- Using reusable containers instead of single-use plastics.

4- Avoiding fires in sensitive natural areas.

Sizdah Bedar in the Modern World

Despite lifestyle changes, Sizdah Bedar remains in Iranian traditions. Even in the modern lifestyle, many people hold this tradition and find it a chance to recover energy and create joyful moments.

Sizdah Bedar is an essential Iranian tradition that has endured across generations. It is still held in all parts of Iran. This day symbolizes joy, happiness, social connections, and unity with the environment. Moreover, it emphasizes the connection between humanity and the natural environment.

 

Chaharshanbe Suri Ritual

Iranian people have many customs and traditions with a civilization of thousands of years. As you know, these customs are not created overnight, but for many years, the customs of a people and nation form. Chaharshanbe Suri is one of the traditional Iranian festivals held on the eve of the last Wednesday of the solar year and before the arrival of Persian New Year (Nowruz) and includes various customs from setting fire and fireworks to eating nuts, family gatherings, spooning, etc. On this night, people hold a ceremony that goes back centuries to ward off evil and calamity and to fulfill their wishes.

They light big fires and jump over them. The custom of Chaharshanbe Suri derived from the ancient rituals of Iranians, which is still prevalent among them and in other forms among the survivors of the Aryan tribes. “Sur” in Persian language, literature, and in some Iranian dialects means “celebration,” “party,” And “red.” As stated in the history and customs of the Chaharshanbe Suri festival, before the arrival of Islam in Iran, every year had 12 months, each month had 30 days, each with a specific name, and after the arrival of Islam in Iran, they also added the week divisions. In ancient Iran, at every month’s end, it was customary to celebrate with the name of Sur (festival).

Jumping over fire

In the history and customs of the Chaharshanbe Suri celebration, the oldest and most beautiful tradition of the Chaharshanbe Suri celebration has been fire-setting. A few days before the last Wednesday of the year, people went to the mountains and the desert and collected firewood. Before the evening, people collected this firewood in the house yard, in the city square, on the street, or even in their garden, and they would put them in individual bundles at a distance from each other. Shortly after sunset, they would build a fire, jump over it and sing the song (your redness from Me, my yellowness from You). Jumping over fire is a way to dispose of negative energy, sickness, and problems and to receive fulfillment, warmth, and strength in return.

Fireworks

Today, this festival is slightly out of its traditional state, and people celebrate it differently. Everything is no longer just about setting fire and jumping over it. Fireworks give different views to the city streets. Illumination, lanterns, fireworks, and firecracker have caused Chaharshanbe Suri to take on a new form and be celebrated differently than in the past. Colorful fires and waterfalls of fire sparks are everywhere. Fireworks became popular in Iran during the time of Naser al-Din Shah done by the French.

Granting nuts (Ajeel)

Preparing and eating salted and sweet nuts is one of the delicious parts of Chaharshanbe Suri. These nuts, in addition to the main ingredients of salted nuts, peach leaves, apricots, green raisins, currants, basil, unroasted pistachios, almonds, and hazelnuts, also contain traditional candies and walnut kernels. When families sit together and talk warmly, eating nuts makes the atmosphere heartier and enjoyable.

Spoon Banging (Ghashogh Zani)

One of the other fascinating customs in the history of Chaharshanbe Suri is the custom of banging a spoon on a metal dish, popular in the old days. According to this custom, boys and girls cover their faces with a veil, go to their neighbor’s houses, and take nuts and sweets from them. The neighbors would fill their bowls with nuts and sweets.

Smashing The Pot (Koozeh Shekani)

In most cities of Iran, during Chaharshanbe Suri, they used to break the pots after jumping over the fire. This ritual was because people believed that bad luck goes into the jar, and breaking it results in getting rid of bad luck and misfortune. Some believe that this tradition had a health base. Since the clay pots were not glazed, they got dirty very quickly, and considering that they could not be washed and cleaned, they had to destroy. Ancient Iranians believed a clay pot should not stay in the house for more than a year, which has health origin, as mentioned.

Reciting Shahnameh

In Ferdowsi’s Shahnameh, there are references to a Wednesday night near Nowruz, which indicates the antiquity of this celebration. Reciting a poem from the Shahnameh on Chaharshanbe Suri around the fire is also one of the other customs performed by the family elders on this night. People who have a hand in music also perform with their instruments. They recite poems describing the coming of spring.

Burning Rue “Espand”

One of the oldest and most significant traditions of the Chaharshanbe Suri festival is the burning of rue or “Espand.” This tradition involves throwing rue and a small amount of salt on the fire while reciting rhymes to ward off the evil eye and negative energies, clearing the way for a fresh and new start in the coming year. The use of rue for spiritual and medical purposes has been common in Persian culture for centuries. In ancient times it was believed that the burning of rue could purify the air and protect us from various diseases. Even today, it is believed to have a range of healing properties.

 

Yalda Night is the name of the longest night of the year in the northern hemisphere. 

The contour between the sunset of Azar 30th (December 21th, the last day of autumn) and the sunrise of the first of Dey (December 22th, the first day of winter) is accurately the longest night.

Iranians and many other tribes celebrate Yalda. In the Northern Hemisphere, this night coincides with the winter solstice. It means the days start to get longer and the nights shorter. In the mythical world and polytheism, people celebrated Yalda because the light (sun) finally defeats the darkness (the night). From a scientific aspect, people who worked on farmland, and in ancient Iran that considered a large population, honored the days becoming longer with the perspective of getting close to Spring.

The word “Yalda” means “birth.” The ancient Iranians believed that the radiance of divine light increases and held a glamorous celebration for it. Sun in Persian is Mihr, and this Mihr is the same Mithra who was the popular god before Ahura Mazda. Mithra traveled with the sun to see everyone and everything, so tome after time sun became Mithra himself.

We know that after Zoroastrianism became the official religion of Iran, Mithraism did not fade under the mighty shadow of Zoroastrianism. Some elements held their ground, and the others traveled across the Persian Empire and landed in the Romans.

The Romans gave Mithraism a new spirit, and they believed that on the night of the winter solstice, Mithra, the sun, was born. There are rumors and some historical facts to back them up that Jesus was not born in December. Aloysius Lilius indeed adjusted the Gregorian Calendar to set the chronometry right by putting Christmas eve in December. However, in those days, when Christians fought their way into the Roman Empire, some parts of the old Mithraism beliefs remained in Christianity. That is why there are so many resemblances between these two belief systems, the day they were born, for instance. Christmas is only four days after Yalda.

Meanwhile, in Iran, with all the controversy with the pagans during the Sassanid era, the 10th month of the Solar Persian calendar was the second most religious month after Farvardin (Nowruz). Given that the last day of Autom is the longest night of the year, this month’s connection to the sun stands on both logic and myth, which the Sassanid had no power to reject. Yalda was celebrated long before them, and because it had ties to agriculture and how people’s lives depended on that, during the Sassanid reign, it only got richer. 

The Persian solar calendar indicated that on Yalda Night, the sun rises again, and the life of the villagers connected to nature grasps a ray of hope.

After Nowruz, the second national sacred festive is Yalda. Little by little, with the villagers’ immigration and urbanization, Yalda was taken more seriously than before. It became a grand heritage from the past and a reason for all the nation to be united. As it was winter, people did not have much to do, so they joined the other members of the family. Creativity shaped new costumes like reading poetry, love stories, cherishing the moment now, and enjoying themselves. Celebrating the end of a season of struggle with nature, celebrating the ancient sun!

Paying attention to how the farmers and villagers reserved food for the harsh winter ahead and the months when no one could expect anything from the lands, may be able to explain the reason for eating nuts and snacks on Yalda Night: elm, almond, walnut, apricot kernel, Sunflower seeds, dried fruit, and raisins, and in lower-income families Cambrian hand (roasted wheat and cooked beans or semi-dried cooked lentils).

It is customary for Iranians to gather around on the night of Yalda in the head of the family’s home. In the old days, when there were no gas heaters, packages, and radiators, the Iranians used a heating device called Korsi. There was a charcoal table (Korsi) under which they placed a large, thick blanket called a quilt, and in the winter, family members gathered around it to warm themselves under the quilt.

On the Yalda Night, family members sat around the Korsi, put Yalda-specific snacks on it, and stayed up late at night, spending the night eating snacks, telling joys and symbolic stories and fairy tales.

They arrange Yalda’s special snacks on a table that is like the Haftsin table of Nowruz. Family members crave food with jokes and laughter. The head of the family tells mythical and epic stories, fortune-tellers, and they all stay up late into the night. They say that the Yalda Night is only one minute longer than other nights, but Iranians make this one minute count and spend more time together.

The most enjoyable costume of Yalda is its snacks. In almost all regions of Iran, they bake sweets of that region. Nuts like seeds and kernels of plant seeds such as almonds, hazelnuts, pistachios, and walnuts are on the table of Yalda too, and we mentioned the reason above. 

Among all the edible things you could find on Yalda’s table, watermelon and pomegranate are the most favorite ones. Like Christmas, Yalda is known for its red color. People wear red and decorate the table with red fruits. They say this color represents the new sun.

Pomegranate is often granulated into seeds and eaten with a combination of mint powder and salt. Each of Yalda’s dishes is considered a symbol, and placing them on the table has a special symbolic meaning.

These recent decades, Yalda’s main tradition is fortune telling by opening Hafez’s Divan. Hafez is one of the greatest Persian poets, and the Iranians believe that he reached the level of enlightenment in mysticism. Hence, he knows about the unseen world, and they consider his poems as divination. 

Usually, the head of the family opens the Divan for each member and recites the poem for them. It works like this: you say praises to God Almighty and bless Hafez’s soul and make a wish in their heart. Then they open the book randomly, and the poem is the person’s fortune.

Today’s Yalda Night is more sophisticated despite the table, the usual snacks, drinks, and fruits we see watermelon-shaped cakes and biscuits, pomegranate and watermelon jellies, red velvet cakes, and gift-giving for guests in the form of Yalda’s popular elements.

A week before this festive, Yalda elements decorates all the streets and markets. Fruit and nut shops full of people, excitement, the general joy of the people, boxes of sweets in the hands of the citizens are all definite signs of getting close to Yalda. 

However, in the city, you cannot see the details of Yalda unless you Iranians invite you to their home, which they would and share the joy with you.

 

Muharram and its rituals are to honor a man who never wanted to yield to any tyranny.

Muharram mourning is a collection of Shiite (and sometimes non-Shiite) rituals in the month of Muharram in mourning the martyrs of Karbala. Ali ibn Husayn Zayn al-Abidin, Sayyida Zaynab, Umm ul-Banin, and Al-Rabab were the first to mourn Imam Husayn ibn Ali and call on others to mourn.

Ibn Athir writes: Al-Rabab did not live for more than a year after Karbala. She refused to sit in the shadows because Imam Husayn ibn Ali, her husband, was killed and beheaded under the burning sun. Eventually, she died of grief and sorrow.

Mourning for Muharram in Iran began with weeping and poetry, and then Marsiya, fasting, icon-painting, chest-beating for mourning, and Ta’zieh ceremonies began. Most of these rituals were formed during the Buyid dynasty, Safavid, and Qajar periods. When the Safavid came into power, the official religion of Iran changed from Suni to Shiite. Therefore, mourning for Imam Husayn ibn Ali became more serious.

Mourning for the martyrs of Karbala began in the first days after Ashura in 61 AH and continued. What happened in Karbala, especially on the tenth day called Ashura, was the battle between Imam Husayn ibn Ali and his companions and the army of Yazid ibn Mu’awiya. Karbala took place on the 10th of Muharram of 61 AH when Imam Husayn ibn Ali refused to pledge his allegiance to Yazid. As predicted, on that day, Christ would be crucified in Nineveh once again. Imam Husayn ibn Ali denied Yazid, promised himself to Allah, and this action led to his martyrdom and beheading and his companions. Then his family, women, and children were captivated. 

Karbala is the most tragic event in the history of Islam; Hence, the Shiites hold their most respectful mourning ceremony on its anniversary every Muharram.

With the Buyid dynasty coming to power in 352 AH for the first time, the government declared Ashura a public holiday and public mourning. They ordered butchers not to slaughter in honor of the day, cooks were not allowed to cook, and people sat up mourning tents in markets.

Ta’zieh, Alam (a large flag), Nakhl Gardani, preparing votive food, Nawhakhwani (citing and mentioning the hardships with grief for the great religious leaders), and Marsiya are among the ceremonies of Muharram in Iran.

Marsya: composing and reciting poetry about the martyrdom of Imam Husayn ib Ali and his companions. Marsya and lamentation have been popular among Shiites in different periods.

Chest-beating for mourning: This is the most common type of religious mourning of Shiites in different countries, especially in Muharram. Chest-beating for mourning can be held anywhere, in mosques, Hussainiya, and homes.

Ta’zieh: Ta’zieh is a play. Some actors and actresses dress up as a character present in Karbala and play what happened there. This play is usually performed in the first ten days of Muharram and on the streets for any audience. The script includes lamentation. Ta’zieh is a mutual performance in Islamic and Shiite countries, including Iran, Afghanistan, India, and Pakistan. 

Fasting: Fasting is the expression of the events of Ashura with sorrow and grief, which is also called mentioning the tragedy of Sayyid al-Shuhada, and is usually accompanied by chanting and weeping.

Chain-beating for mourning:  One of the rituals of Shiite mourning is that they form groups of several parallels columns. Chain-beating for mourning is the act of beating the chains in harmony and order with the sound drums on their shoulders to show the mourner’s grief.

Alam Gardani: Alam means a flag but with metal and unique decorations, and it should be heavy. As Abbas ibn Ali held the banner and streamer of Husayn bin Ali’s caravan and gave his life to protects his brother, the ritual of carrying an Alam in Muharram mourning groups is to honor him. This Alam is very heavy, and young men who wanted to obtain magnanimity and chivalry volunteer to carry the Alam. 

Sham-e-Ghariban: There are many resemblances to the story of Christ and Imam Husayn. The last supper where Christ gave the Apostles bread and wine as his blood and flesh, and Husayn is the Blood of God, both innocent and knew they would end up alone. Sham-e-Ghariban means the night of the expatriates. It is a tradition, a ritual on the night of the 11th of Muharram, to mourning the sufferings of the captivated children and family of Imam Husayn. As they were in chains and all of their loved ones were killed before their eyes, in Shame-Ghariban women, and children light up candles and walk around in the dark crying.

Nakhl Gardani: One of the mourning rituals on the day of Ashura, in which a group of young and strong men turns the embellished black-clad Nakhl in a certain way with etiquette. Nakhl Gardani is the symbolic gesture of carrying Imam Husayn’s body in a coffin. Nakhl means palm tree, and some say those who buried him used a palm tree trunk to move him.

Per region of our country has its style and context in mourning and holding mourning ceremonies. On the other hand, there are many similarities in many mourning traditions of different cities. Citing the tourists who have seen these rituals, they believe that: if one attendest these rituals, you are participating in something bigger than life.

 

Southern cities of Iran

One of the rituals that impress others is the ritual the people of Abadan, Khorramshahr, Bandar Ganaveh, Bushehr, and Bandar Abbas mourn Imam Husayn.

On the nights of the first ten days of Muharram, these cities hold a type of mourning known as “Bushehri” with lamentation. Traditional southern chest-beating for mourning is a kind of ritual dance founded by Nakhoda Abbas. People come together in nested and concentric circles. The lamenter stands in the center. The mourners hold the next person’s back with their left hand while they do the chest-beating with their right. 

By beating with the lament’s rhythm, the movements of the hands and feet form a sort of unity and harmony. They move in a counterclockwise direction on the path of the circle. 

 

After finishing the chest-beating for mourning with epic laments, on special nights, people shape two columns. They hold the shoulder of the person in front of them. They move in a way between loping and trotting and walking hurry while one person sings short laments in the middle of two columns, and the chest-beaters respond. After a while, they stand and face inwards (two columns facing each other) and hit their chest hard with grief.

 

Ilam

In the city of Ilam, they hold a ritual called Chamar. Chamar is a mourning service not specific to Muharram. However, the most sorrowful Chamar is the one they perform in that month. Chamar is a chant, a tune, a cry of grief with an afflicted voice. Women perform this service. Generation after generation, they have learned how to do it as a tradition.

Tabriz

Another glorious ceremony held during the mourning days of Imam Husayn in Iran is the “Shah Husayn” ceremony in Tabriz. This ritual, called “Shakhsi” in the local dialect, begins a few days before Muharram and continues until the noon of Ashura.

In this ceremony, the mourners in the black form a human path. They move a special stick from head to toe. These movements follow a chant “Shah Husayn” (Shakhsi) and “Vay Husayn” (Vakhsi) of the mourners. Shah Hussein’s religion is a symbolic behavior; It seems that the mourners are leaving for Karbala and standing next to the companions of Imam Husayn.

Zanjan

The mourning of the people of Zanjan has been the center of attention these years. Zanjan was entitled the capital of the Husayni Passion. The people mourn like no other place and show their love for Imam Husayn as if he was the last piece of truth and they have lost it. No one should shed the blood of an innocent. Those capable of such murder are damned forever.

Yazd

Nakhl Gardani is one of the most famous Muharram customs in the days of Tasu’a and Ashura in Yazd. Nakhl is a large wooden structure that is covered with mirrors and decorated with colorful shawls and fabrics. Nakhl Gardani is a symbolic ritual that takes place at noon or evening of Ashura. The Nakhl carriers allegedly carried the body of Imam Hussayn on the afternoon of Ashura to bury it.

 

Naqqali (Iranian Dramatic Storytelling) and narrating Shahnameh is one of the intangible cultural heritage of Iranians registered by UNESCO. This Persian art has always been popular among Iranians as a branch of traditional performing arts and storytelling.

Experts divide traditional performing arts in Iran are four: Tazieh (Passion Play), Marionette, Ruhowzi, and “Naqqali.”

According to historical documents, this dramatic storytelling or in Persian “Naqqali” arose from the masses of the people.

Naqqali is a branch of theatrical form that mostly performed solo. Narrators or Naqqals narrate various topics and themes in the form of stories that we can divide into three groups: national and mythical epic Naqqali, religious epic Naqqali, and romantic Naqqali.

“Art,” especially “storytelling,” has been popular among Iranian for a long time. When the Sassanid dynasty came into power, storytelling accompanied by musicians reached its peak. There were many mythical and historical stories to tell. For example, Ancient tales of Mithra and Anahita, the mourning of Siyâvash, Rostam’s Seven Labours, and Khosrow and Shirin were the most popular ones.

Storytelling in Iran always had something to say because it developed inside a country with rich sources and subjects in various types and categories.

With the Arabs’ invasion and the spread of Islam in Iran, Naqqali did not stop prospering. It used the new religion as another source and augmented a wider audience.

Shahnameh is the longest book of epic poetry in the world written by a single poet. Ferdowsi, the most famous Iranian poet of the tenth and eleventh centuries AD, wrote this book, and with this book, he saved the Persian language and identity. Shahnameh has long been the first source for those who perform Naqqali.

By telling historical and mythical stories with dramatic movements and scenarios appropriate to the events and happenings of the story, the storytellers or Naqqals, had no purpose but to attract and motivate the audience. In most cases, people were deeply under the magnetism of their Naqqal and performer that they started to call these Naqqals Morshed, Pir, or in common English Masters.

Mohammad Taqi Bahar, quoting Ibn Qutaybah, one of the scholars of the third century AH and the author of the book Ayoun al-Akhbar, writes in this regard:

“In Marv, we came across a Naqqal who told stories that impressed us. Then he took his tambourine out and began to play, saying, but with all this misery, we need a little laughter.”

This line shows that these Naqqals believed in a responsibility they had towards society and the people. To be that dim ray of hope in the darkest moments of despair, that the stories they carried and how they performed them were the only comforting remedy for those under severe depression.

Where did Naqqali first appear? Who were the earliest performers? Who thought of it for the first time? The exact appearance date of this art is unknown. We can only read between the lines of a few sources we have from the pre-Islamic ages. We know for sure that One Thousand and One Nights, where Scheherazade uses the art of Naqqali, is a pre-Islamic book. Or how Kings had entertainers who would tell stories with specific acts.

Persian literature like Shahnameh or Nizami Ganjavi’s poems and books such as the History of Sistan, the History of Bukhara, and Al-Fihrist, are the references that tell us about Naqqali.

In Haft Peykar, for instance, we learn that King Bahram the fifth is willing to hear stories to acquire knowledge. This same Kings invites many gypsies to play music and tell stories for people in the street and main squares.

One of the reasons that many stories are still alive today and people have heard about without reading them is Naqqali. For a considerable amount of time, the only source was the memory of these Naqqals. There were no written books to be saved and passed on to the next generation. Even if they were, with too many invasions and burning the libraries in Iran, they all got destroyed. Nevertheless, we still have them today because these Nqqals kept them in heart, and later poets and writers wrote them down. They recorded Vis and Ramin, Samak-e Ayyar, Darab-Nama, and Amir Arsalan while quoting the narrators. Although these epics and tales are in the formal Persian literature, their content is Conversational, much closer to the informal language of the people.

For not so long, this process became art, and the Naqqals were called artists. Naqqali formed its structures, and others could learn how to perform it.

The poems and epic stories, especially Shahname or the battels of Ali, had a unique tone which later the Naqqals used to create assured criteria of performing arts known as Naqqali.

Naqqali was so popular and well-received that even when European play (theater) stepped foot in Iran, people still routed for Naqqali.

Naqqali is one of the forms of drama that usually had an actor and was considered the brightest dramatic figure in the history of Iranian drama.

Bahram Beyzai writes in the definition of Naqqali: “Naqqali is the narration of an event or story, to a poem or prose with movements and reactions and appropriate expression in front of the audience.”

The point was that a narrator had to have a particular tone and characteristics. Their work was sensitive and delicate. They had to picture the story and deliver its message without any tools and only with the power of expression, movements, facial and hand gestures. Stamping foot and deliberately moving the cane have been very effective in the effectiveness of the narrator on the listeners and the audience.

In addition to having the listed features, in explaining the technical characteristics of this form of performance, it should be a “Witted and agile narrator, know wrestling, wheelbarrows, swimming, and horseback riding.” The Naqqal’s words, like the words of the sage, must be as strong as iron, and like running, unaffected water, Naqqali is not based on reason. It relies more on the listener’s emotions.”

The way a Naqqal performs their play is very different from others who practice Mareke Giri (A Mareke Gir is a person who entertains people with his “power,” such as breaking chains with his arms or breaking stones with his hands) or does magic. These practices are not under the category of performing arts. Their words and deeds were not continuous or impressive for a long time. On the other hand, the narrator’s work dragged people along with it. The audience wanted more. They engaged with the story that would come back to hear more the other day.

Naqqali has been the guardian of folk and epic stories and folk music. Naqqals wore white or navy blue shirts, long robes, coats, traditional shoes (Charoq), a dervishes-style shawl, and attended coffee houses. Sometimes they wore old hats and armor to tell battle scenes and other stories.

Women were the first to perform Naqqali. But due to some social issues, they have been pushed aside. Naqqali entered the coffee houses, where it was not considered culturally appropriate for women. Women found other places to perform, and today they are prominent Naqqals among them. As a result, they played a delicate role in keeping this ancient art alive. Such a glamourous event is important because it brings together fans of art and culture in Iran.

Pir Shalyar Ceremony 

The ceremony of Pir Shalyar is a traditional service that people hold every year in mid-February in Uraman Takht. Not only do the locals join this ritual, but the people of the surrounding villages also attend this annual recognition.

Because of Uraman’s unique charm and ancient culture, stepped texture, and nature, it hosts travelers and guests from inside and outside the country throughout the year. The ministry of cultural heritage has nationally registered this region, and preparations for its world heritage registration are underway.

A ceremony with the local name of Zamawand (in Kurdish, meaning wedding), of Pir Shalyar Uraman, involves a series of traditional and historical rituals.

Although the name of this ceremony is the wedding of Pir Shalyar, this ceremony is a traditional ritual in which they sacrifice animals and dedicate them to God Almighty. Although, we are aware that sacrificing animals is an ancient way to satisfy the gods. So this ritual has deep roots in mystery and myths.

Historians believe that this ritual is more than a thousand years old and has continued to impress people and those who believe in it.

In ancient times, a person named Pir Shalyar lived in the village of Uraman Takht. Pir Shalyar has been famous for doing extraordinary things, especially healing the sick.

Pir Shalyar, with the real name of Seyyed Mostafa, was born in Uraman. As a child, he went to Kurdistan and Syria to study science. Finally, he served the Sufi and Persian preacher Sheikh Abdul Qadir Gilani and cultivated the soul and conduct of mysticism. When Abdul Qadir Gilani learns of Pir Shalyar’s gifts, he sends the man back to his hometown, Uraman. The purpose was to guide the people of Uraman. For Uraman, this was its first step toward mysticism. These are the historical facts. And then, somehow, as people often do, raised a mythical luminosity around Pir Shalyar’s character.

Pir Shalyar’s wedding is the story of healing Shah Bahar Khatun, the daughter of the King of Bukhara. When by the blessing of God and healing powers of Pir Shalyar, a miracle happens.

They say that Bahar Khatun was deaf and dumb. No physician could treat her until the name of Pir Shalyar reaches Bukhara. The king of Bukhara promises that whoever heals his daughter would marry her. Eventually, the king’s uncle and some of the king’s entourage set out for the Uraman region to bring the girl to Pir Shalyar.

When they get close to the village of Uraman Takht, Bahar Khatun started to hear sounds. And when they get closer to Pir Shalyar’s house, the sound of a demon’s scream petrifies them. The demonو jumps out of a furnace -which people of Uraman still cal their furnace, demon furnaces- and dies instantly. At that moment, Shah Bahar Khatun opens her tongue and begins to speak.

Standing by his promise, the king of Bukhara marries his daughter to Pir Shalyar, and the people hold a big wedding celebration for them.

Celebrating this event as a sacred and holy ritual feast is to honor Pir Shalyar. Every year, on the evening of Thursday, the first week of Bahman (end of January), the ceremony begins.

There is an ancient walnut garden attributed to Pir Shalyar. Children and teenagers bring walnuts from this consecrated garden to the houses of people. This offering ritual is what the folks of Uraman call Khabar (the new), which tells everyone that the ceremony has started.

During the week, people all around Uraman prepare for the old commemorative service after the Khabar day convention. The preparation includes preparing meals, walnuts, and biscuits for the children ‘s breakfast, preparing traditional cooking means for the ceremony, and donated the cattle to be sacrificed.

One of the conspicuous traditions of this ceremony during the week is that the brothers visit their sisters and nephews with gifts (walnuts, sweets).

This ceremony continues from evening till dawn on Wednesday. From the evening call to prayer until after sunrise, every single house in Uraman celebrates the wedding.

At the end of the visiting ceremony, they sacrifice the cattle near the old house of Pir Shalyar, and their meat provides a special soup. The blood and the flesh shared with everyone around a table to keep a miracle, and the sacredness of a man alive sounds a bit familiar. Though, this is merely an outline.

Every year, a few sheep, the people’s pledges for Pir Shalyar, are sacrificed on Wednesdays and around 9:00 AM.

They send these cattle to a person in Uraman Takht in late autumn. The pledged sheep come from the whole Uraman region. Many other people around Iran also send sheep as oblation in this time to Uraman. That keeper person takes care of them until winter. At the dawn of the chosen day, he brings the sheep for oblation. So, there will be blood.

Then, they take the meat to all people who participated in the ceremony.

After the evening prayer on Wednesday, the mystical daf playing and dancing takes over the cooking and sharing. They all gather in the yard of Pir Shalyar’s house until near sunset, play daf, and dance till the next day.

The mystical dance and listening to the dervishes, accompanied by playing the daf, is a kind of collective behavior that brings everyone to the sensation that they are experiencing a mutual understanding. Like how the Collective unconscious works, they all remember a man who showed them the right path of God.

The last part of the wedding ceremony (Zamawand) of Pir Shalyar in Uraman is called Torbeh. Some refer to Torbe as snowplowing the tomb of Pir Shalyar. Every tribe in Uraman has its own elderly or a leader. On Torbeh day, people visit the grave of their leader and then all together go to the shrine of Pir Shalyar.

The tradition is to bake a special bread and break the bread in a circle of people present. They bake the bread with wheat flour, walnut kernels, and Uraman mountain spices. On Friday, they visit the tomb of their elders and share the bread with their tribes and the villagers.

Pir Shaliar ceremony is one of the traditional celebrations and rituals of Iran. This classical, powerful gathering has explicit roots in mythological beliefs. The Kurds, one of the original Iranian ethnic tribes, celebrate this ritual every year in two seasons, winter and spring. Their commitment to the ceremony is astonishing.

The memory of the World 

The memory of the world is a Unesco program aiming at preservation and dissemination of valuable archive holdings and library collections worldwide. Two exquisite Iranian manuscripts, namely the Shahnameh Bayasonghori and Rab’ I-Rashidi endowment were registered in Unesco Memory of the world List in June 2007.

 

Bayasanghori Shahnameh

It is a copy of the Book of Kings or Shahnameh by famous Iranian poet Ferdowsi made in 1430 at the request of Prince Bayasanghor (1399-1433). The manuscript is written by Master Ja’far Bayasonghori, a renowned calligrapher of the Timurid era. The book is beautifully illuminated and illustrated. It has been published several times inside and outside Iran.

The Deed For Endowment: Rab’ i-Rashidi

The deed was written by Rashid al-din (1247-1318), Persian statesman and historian who built a huge complex on the outskirts of Tabriz comprising schools, hospitals, libraries, baths, caravanserais, workshops, etc, known under the name of Rab’ I-Rashidi.

Oral and Intangible Heritage of Humanity

Unesco registered the Iranian new year festival, Nowruz, and ‘the Radif of Persian Music’ in its list for Masterpieces of the Oral and Intangible Heritage of Humanity. An Iranian passion play called Ta’zieh which depicts the martyrdom of Imam Hossein on the day of āshūra has also been proposed for registration on this list.

 

Nowrūz The Greatest Iranian Festival of All Times

It is at least 3000 years the Iranian people celebrate the first day of spring –when the sun enters the point of the vernal equinox– as the beginning of the Persian New year. The Nowrūz (lit. New Time) is one of the oldest national festivals of Iran surviving to the present day. It has played a significant role in helping preserve the continuity of the Persian culture. Despite Iran’s eventful history from 1000 BC to the present day, there is reason to believe that the celebration of Nowrūz has not experienced any significant changes since the ancient times. It is thus a means of maintaining cultural concord among the people of the Iranian plateau and the entire Persian-speaking world. Today, Nowrūz is celebrated in the same way in numerous parts of the globe. It is also revered by Iranians as a symbol of their national identity and cultural heritage. The legend says king Jamshīd celebrated the rushing fires of spring after the last glacial period was over. An account of this age is given in the Avesta: “There were ten months of winter there, and two months of summer and these were cold for the waters, cold for the earth, cold for the trees.” The ancient people thought it was the best day of the year because it was a day of renewal for Nature. Persian mathematician, astronomer and poet Omar Khayyām in his Nowrūz Nāmah (The book of Nowrūz) writes that king jamshīd celebrated Nowrūz because of the sun’s entry into the point of the vernal equinox. In 534 BC, Cyrus the Great made Nowrūz an official festival. The military officers would receive promotions on Nowrūz, the convicts would receive amnesty and the natural environment would be purified of pollutions. 

 

The Radif of Iranian Music

The classical music of Iran is based on the Radif, which is a collection of old melodies that have been handed down by the masters to the students through the generations. overtime, each master’s interpretation has shaped and added new melodies to this collection, which may bear the master’s name. The preservation of these melodies greatly depended on each successive generation’s memory and mastery, since the interpretive origin of this music was expressed only through the oral tradition. To truly learn and absorb the essence of the Radif, many years of repetition and practice are required. A master of the Radif must internalize the Radif so completely to be able to perform any part of it at any given time. The Radif contains several different Maqam’s which are distinguished from each other by their relationship of note intervals and the form of the movement of the melodies within them. A Maqam portrays a specific sonic space. A Dastgah may contain approximately from 10 to 30 Gousheh’s (melodies). The principle Gousheh’s of the Dastgah specify the different Gaqams within that Dastgah. The note, upon which the Gousheh is based and often is the center of the Gousheh, is called the Shahead. The Shahead moves when we modulate between principle Gousheh’s and this movement creates a new sonic space. Rhythm in these melodies takes three different forms: symmetric, asymmetric(lang), and free form. The rhythm is greatly influenced by the rhythm and meter of Persian poetry. The instrumental and vocal Radif are different from the rhythmical point of view; however, their melodic structures are the same. The Radif of Iranian music is the traditional repertoire of the classical music of Iran and reflects the cultural and national identity of the Iranian people.

Day of Ashura and Ta’zieh Passion Play

The Mourning of Moharram is an important period of mourning in the Shi’a branch of Islam, taking place in Moharram which is the first month of the Islamic calendar. Many of the events associated with the remembrance take place in congregation halls known as Hossainiyeh. The event marks the anniversary of the Battle of Karbala when Imam Husayn ibn Ali, a grandson of Prophet Muhammad, and the third Shi’a Imam, was killed by the forces of the second Ummayad Caliph Yazid I. The event is marked by arranging ‘Majālis’ (gatherings) to review Islamic teachings and to commemorate Husayn’s sacrifice. The mourning reaches its climax on the tenth day, known as Ashura, on which the forces of Yazid killed Imam Hossain, his 72 companions and members of his family. The women and children left living were enslaved and transported to Yazid’s court in Damascus.

 

Ta’zieh The Original Dramatic Art of the Islamic World 

One form of mourning is the theatrical reenactment of the Battle of Karbala. In Iran, this is called Ta’zieh. day. Ta’zieh were popular through the Qājār dynasty up into the early twentieth century. Nonetheless, Ta’zieh continued to exist in Iran on a smaller scale especially in more rural and traditional areas. rezā Shāh, the first of the Pahlavi dynasty, had outlawed Ta’zieh. In Persian tradition, Ta’zieh and Pardehkhānī, inspired by historical and religious events, symbolize epic spirit and resistance. The common theme is the hero tales of love and sacrifice and resistance against the evil. while in the west the two major genres of dramas have been comedy and tragedy, in Persia, Ta’zieh seems to be the dominant genre. considered as Persian opera, Ta’zieh resembles the European opera in many respects. Persian cinema and Persian symphonic music have been influenced by the long tradition of Ta’zieh in Iran. Abbas Kiarostami, the famous Iranian filmmaker, made a documentary movie entitled “A look to Ta’zieh” in which he explores the relationship of the audience to this theatrical form. Nasser Taghvā’ī also made a documentary entitled “Tamrīn-e Akhar” on Ta’zieh. He believes that Ta’zieh is the only original dramatic art of the Islamic world.

Nowruz

Everyone knows the meaning of the New Year (in Farsi: Nowruz). Both internally and as a phenomenon that occurs in the galaxies. Like the New Year means that the earth has orbited the sun exactly once.

Iranians have the most accurate calendar in the world with someone like Omar Khayyam, 365 days and 6 hours to be precise, which after four years becomes 366 days.

But physics and astronomy do not tell us why the March equinox, when the old year turns into the new year, is the first day of spring.

We must see through the worldview, mythology, theology, and philosophy of Iranians for that.

Some are dependent on farm fields, land and have agricultural products to determine their livelihood. These people have a more accurate and complete understanding of spring. For this reason, spring has an entirely different definition for this group of people.

Many years ago, Zoroaster gave credit to the land (the earth). And so, the agricultural lifestyle got a special sanctity, as well as its products.

On the other hand, Zoroastrianism is a dualistic religion, meaning it is good and, on the other part, stands evil. The conflict between these two has always determined the fate of all beings. In general, the principles of creation in the Zoroastrianism worldview lies within the constant battle between the two forces of good and evil.

Ahura Mazda is the absolute good, and Ahriman (the devil) is the basis of all evil. What do you think is the relationship between this duality and Nowruz?

Everything that has to do with life, light, and all that is good was considered positive, sacred, and holy. On the contrary, anything dark and harmful to life, such as death, as autumn and winter, when plant life and agricultural products stop and die, was condemned, rejected, and unacceptable.

Iranians have always been waiting for spring in autumn and winter, so it is very natural for them to celebrate the end of winter and the beginning of spring when spring occurs. That is why Nowruz means new life, new day.

If we look at the whole of Zoroastrianism and Persian mythology, there is only one thing that is clear: the constant conflict between the destructive spirit and the holy creative spirit. If spring is the source of all life, time for the earth to be reborn and the trees to be green, winter is death, and it is demonic because it takes the life out and is the enemy of life.

So, in a way, spring and winter were at war with each other. Nowruz is much more than the beginning of the new year. Celebrating life after a long battle means hope, the continuation of life, the final victory of good over evil, and this means that the devil is disgraced and void.

There are many words to describe spring. From ancient texts, we learn that Iranians have an obligation to renew themselves along with spring and Nowruz. 

In other words, there must be a battle between good and evil within humans too. With the arrival of Nowruz, this battle should also lead to their renewal. That is the philosophy of Nowruz.

Many stories were told for Nowruz, for example, that Jamshid, who was the first king and the first example of the Early Modern human, overcame evil on this day, and his coronation was just on the first day of spring.

From ancient times, Iranians formed a beautiful ritual which later became known as the Nowruz ritual. Nowruz is a global feast among all Persian speakers (and some non-Persians) in the world. Despite opposition and sabotages, this celebration will be registered in the name of Iran.

Nowruz has different rituals in different cities of Iran, and among its ethnic groups, they celebrate it in different ways. But what is often common in all these ceremonies is the table, which is referred to as the “Haft-Sin” (Seven-Sins, Sin is the letter “S” in Farsi).

Haft-sin is seven edible seeds, which start with the letter “S” in Farsi. Seven seeds that will grow green if planted in the ground and will bring blessings to Iranians throughout the year and health, love, hope, empathy, and participation: Haft-sin are Senjed (Russian Olive), Sib (apple), Samanu (a sweet paste made entirely from germinated wheat), Sir (Garlic), Sabzeh (raw and green wheat), Sumac, and Serkeh (vinegar).

This table not only shows the importance of spring and agricultural products in Nowruz, but these symbolic seeds also peruse Iranians to realize some issues such as friendship and unity between each other, peace, and reconciliation. Nowruz is a messenger of peace for the whole world. A messenger of joy that nothing in the world is for granted, so as long as we are alive and have time, we should appreciate being with each other.

Another tradition that confirms the message of peace of Nowruz is a meeting called “Eid-Didani” (Eid is Nowruz and “Didani” means visiting). It is when the younger members of the family visit the elders like their parents or grandparents.

People bake sweets for Nowruz. This baking ceremony is one of the traditions of the last moments of winter. When everyone knows that spring will come. Then they will gather together to create happiness and bake homemade sweets.

In Iranian literature, many poems with the theme of Nowruz have been written that invites everyone to be refreshed.

Nowruz is a 12-day holiday in Iran. These 12 days are completely symbolic because according to Zoroastrian philosophers or Zoroastrian worldviews, the whole life of the world and creation is twelve thousand years. These 12 days of Nowruz represent the twelve thousand years.

Because at the end of these 12,000 years, the apocalypse will happen and everything will be a total mess. Just so that this complexity in the new year will not bring bad luck to them, on the 13th of Farvardin (April 2nd), Iranian tend to go out of their homes and into nature. 

Another symbol of Nowruz is to have a person play the role of “Mir-e-Nowruz”. Mir Nowruz is a person dressed in red with a black face, speaking funny, and sings folk songs with comedic gestures. Later on, this tradition turned into a comedic play called “Siyah-Bazi” or a Ruhowzi play.

Mir-e-Nowruzi’s part and duty were to sit on the throne instead of the king with full courage so that the turmoil that occurs on the thirteenth day does not grieve the King (or Queen) of the country and Iran would not be left alone with no a helmsman.

The most obvious manifestation of the importance of Nowruz in Persepolis is beautifully engraved in stones. The elders talk to each other peacefully and know that there is a celebration coming up that makes them realize the importance of this reconciliation.