چکیده:
چکیده یکی از مهمترین ابزارهای انتقال میراث فرهنگی و حفظ آثار گذشتگان، ادبیات است و بایدگفت بخشی از عناصر فرهنگی ایرانِ دوران اسلامی تحت تأثیر ایران باستان قرار داشته که ردِّ پای آن را میتوان در متون ادبی این دوران مشاهده نمود. در این پژوهش تلاش شده تا عناصر معنوی ایران باستان که شامل، فلسفه و مذهب، مناسک، اساطیر و تمامی پدیدارهای ناملموس که به نحوی یادآور آن دوران بوده و در شعر خیّام بازتاب داشته است، بررسی نماید. این عناصر معنوی به طور خاص مباحثی چون اندیشههای زُروانی و تأثیر فردوسی، نمود عقاید باستانی اسماعیلیان و خرّمدینان در شعر خیّام، موسیقی، مراسم شراب و همچنین تجلّی اساطیر ایران باستان در شعر خیّام را در برمیگیرد. شعر خیّام آمیختهای از پرسشهای عمیق فلسفی در قالب رباعی است که این قالب شعری خود محملی ایرانی برای سرودن است. شاعرتحت تأثیر حماسههای سبک خراسان و همچنین نزدیکی تاریخی به دوران احیای تمدن ایرانی در زمان سامانیان و بالاگرفتن کار اسماعیلیان در دوران حیات شاعر که ایشان خود تحت تأثیر ایران باستان بودهاند، به سرودن این رباعیات پرداخته است. این اشعار بازتاب مضامینی اسطورهای و باستانی است که در قالب ادبیات و طی یک رشته تداوم فرهنگی به عصر شاعر رسیده است.
IntroductionCultural and spiritual heritage has been mentioned in the literary texts of nations and in their social relations and worldview, like valuable capitals from generation to generation. Considering the current era and contemporary social developments, cultural heritage is felt more in the process of globalization, and Article 5 of the UNESCO Declaration in 2001 emphasizes the importance of preserving, exchanging and developing cultural heritage as stated in Article 27 of the Universal Declaration of Human Rights. But cultural heritage cannot simply rely on its material products because culture is constantly metamorphosing and it is the intangible part of culture that forms its inherent essence and gives in different societies. It can be specific and individual. This intangible heritage (ICH), which includes all the intangible manifestations of culture, represents the diversity of the living heritage of humanity and is also the most important means of transmitting cultural diversity in the UNESCO World Convention in 2003 for the preservation of cultural heritage. Intangible emphasized that, of course, its operation was based on the model provided by the World Heritage Convention in 1972, so spiritual and intangible heritage can be defined as a part of cultural assets. Expression, which is one of the basic aspects of the social and intellectual life of nations and forms the source of identity, diversity and creativity. One of the most important means of cultural transmission and preservation of the heritage of the past is the literature of the nations, which is the expression of myths, symbols and signs, rituals, philosophy and knowledge of the lives of the ancients in the form of words. From this point of view, Persian literature is a repository of ancient teachings, and Khayyam, as one of the most influential poets of the Seljuk period, represented these elements in his quatrains. It should be said that from the collapse of the Sassanid Empire, part of the spiritual heritage of ancient Iran can be transferred to the Islamic era after Hakim Sohrvardi, who was familiar with the connection between Khosravani's thoughts and Pahlavi wisdom before and after Islam, with authentic Pahlavi and Avesta sources. be And he made direct use of that treasure, and during the Samanian era, epic works such as the Shahnameh were written to revive the national identity of Iranians. These poems, which were written in the Khorasani style, were mixed with ancient legends and heroes with a resonating order, but later he was a style poet. Iraqi replaced introspection, complexity and mysticism with openness and epicness, however, there are cultural and mythological elements of ancient Iran in the poems of the poets of the era of the Turks and the Mughal patriarchs and some of these elements in the poems of poets. It also appeared later, and Hakim Omar Khayyam was no exception to this rule and used these cultural elements many times in his quatrains. MethodologyThis research is based on the qualitative method (non-quantitative, descriptive and analytical and with the tool of taking files from library sources) and follows the interpretive methodology (explaining and expanding the poems and expressing the historical records of the themes) and an attempt has been made to The question should be answered that the representation of the spiritual elements of ancient Iran in Khayyam's quatrains includes and what social and political conditions did the poet choose these elements? What areas of ancient cultural treasures did the poet pay more attention to and this How has the chain of cultural continuity worked? Based on this, by examining Khayyam's poems and looking at the historical, social and political developments of the poet's time and the literary interpretations of these quatrains in the field of representing the cultural elements of ancient Iran, the understanding of the text, its interpretation and criticism is discussed and new models are presented. DiscussionOne of the most important means of transferring cultural heritage and preserving the works of the past is literature, and it must be said that some of the cultural elements of Iran during the Islamic era were influenced by ancient Iran, whose traces can be seen in the literary texts of this era. In this regard, it should be said that with the fall of the Sassanid Empire, Iran entered the Islamic era of its life by leaving behind its ancient world, but many of the tangible and intangible heritages of that era were transferred to the Islamic era, and this cultural continuity and reflection of spiritual heritage in poetry and literature in the form of legends and legendary kings, light and darkness, wine ceremony and happiness and tarb, sanctity of fire, Magus and Zoroastrian rituals, Mitraism and love, Manichean rituals, Zurvanic thought, Khosravani and Pahlavi wisdom, Nowruz and Yalda, mysticism and pantheism, the games such as Backgammon, Chovgan, Chess and other such things have been represented. In this research, an attempt has been made to find out the spiritual elements of ancient Iran, which include philosophy and religion, rituals, myths and all the intangible phenomena that are somehow reminiscent of that era and in Khayyam's poetry has reflected. These spiritual elements specifically include topics such as Zurvanic thoughts and the influence of Ferdowsi, the expression of the ancient beliefs of the Ismailis and Khorramdins in Khayyam's poetry, music, wine ceremonies, and also the manifestation of ancient Iranian mythology in Khayyam's poetry. Khayyam's poem is a mixture of deep philosophical questions in the form of a quatrain, which is a poetic form of Iran. The poet has composed these quatrains under the influence of the epics of Khorasan style as well as the historical proximity to the revival of Iranian civilization during the Samanid period and the rise of the Ismaili work during the poet's lifetime, who were themselves influenced by ancient Iran. These poems reflect the mythological and ancient themes that were transferred to Khayyam's era in the form of literature and through a series of cultural continuity. ConclusionIt should be said that the Shahnameh epic was the most important factor influencing Khayyam's influence from ancient Iran. This influence was reflected in Khayyam's poetry, especially in the form of fatalistic and Zarvanian ideas, in the form of concepts such as the unreliability of the world, taking advantage of opportunities, accepting Sepehr's rule, and determinism. In a way, Khayyam's era should be seen as the era of expansion of the mystical and philosophical thoughts of the Ismailis and esotericists. The existence of philosophical questioning in Khayyam's poetry cannot be considered unrelated to the esoteric environment and intellectual currents of that era, which were themselves influenced by ancient Iran, especially that Neyshabur of The most important centers of the Ismailis were in Khorasan. We can see in Khayyam’s poetry the Bateni and Khorramdini beliefs in concepts such as keeping secrets, paying attention to the teacher and mentor, living happily, not hurting others, paying attention to the conflict between the rich and the poor, and shared beliefs, as well as beautiful reincarnation in the form of plants growing from the graves of beautiful women and princes, and personification into a jar. Khayyam's other influences from ancient Iran are things like the influence of music and many references to Iranian musical instruments and gatherings of joy and drinking and mention of common terms in these ceremonies. In addition, he repeatedly referred to Iranian mythology and ancient kings.