Abstract:
Religious symbolic signs in Iran are rooted in the esoteric beliefs and religious convictions of the people, and to understand them more deeply, Islamic culture and art and ancient pre-Islamic beliefs must be taken into account. Religious commemorations are among the most prominent spiritual symbolic signs in Iran, which have always been accompanied by a type of ritual performance. The semantic source of these symbolic manifestations can be recognized by exploring the beliefs and convictions of the people; because these elements have been connected to the social and spiritual life of the people throughout history. The national media, by displaying religious mourning, plays an important role in strengthening Islamic values and the religious essence of the people in different regions of Iran. In this regard, the media representation and deep analysis and investigation of the symbolisms and simulations of Muharram mourning will significantly contribute to the rational and wise consolidation of the Ashura beliefs of the people, and this mission will be achieved through the profound insight of experts into the core meanings of tools, characters, causes, instruments, and especially Ashura poems, behaviors, and concepts in the media. In this representation, one can seek help from the modes of expressing the symbols themselves, namely icon (image), index (Ali), and symbol (conventional).
Machine summary:
Symbolic Manifestations of Muharram Mourning in Different Regions of Iran 1 Ali Anizadeh Abstract Religious symbolic signs in Iran are rooted in the inner beliefs and religious convictions of the people, and to understand them more deeply, Islamic culture and art as well as pre-Islamic perceptions must be taken into account.
In the mourning ceremonies of the month of Muharram, the beliefs and inner intentions of the people are expressed in the form of symbols and signs; symbols that are rooted in the history and myth of the people.
For instance, the people of Fasa, on the day of Ashura, would dress the representation of Hazrat Ali Asghar (AS) in black clothes and, while putting him to sleep in the cradle, would recite this poem: Empty cradle, empty cradle O God, let Asghar sleep, O God, let my lap sleep (Ali Shahi, Fasa, 1352) Similarly, in Bandar Lengeh, they would decorate the cradle of Hazrat Ali Asghar (AS) with mirror work and, in symbolic remembrance of him, would place a lamp of light inside the cradle and sing this lament: O my little Asghar My unweaned child, my Asghar, lay lay Crown of my head, lay lay (Tarakmeh, Bandar Lengeh, 1349) 1-2.
Dressing the Alam, the various ways of carrying the 1 Alam and lowering its cloth that are prevalent in different regions of Iran, indicate the deep influence of this symbol in the beliefs and convictions of the people; to such an extent that certain practices are considered reprehensible, such as Alam-bandan, making sacrifices in front of the Alam, and Alam-vachini, each of which conveys a specific meaning.
The ceremonies of the month of Muharram are full of symbolic signs, and its common rituals have artistic manifestations in the forms of objects, movement, behavior, color, sound, speech, time, place, character, and so on.
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