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Niavaran, in the northern part of Tehran, is one of the most affluent and expensive districts of the city. Passing by some of its modern tall buildings with their luxury apartments and ostentatious facades, it is difficult to imagine that it was just a small village until about a century ago. Yet, a closer examination reveals winding leafy backstreets leading to some other remnants of its past, such as crumbling old houses, traditional bakeries, or a public bath.

The documentary film maker, Hadi Afarideh, stumbled upon these when one day he accidentally lost his way in the area. This incident sparked off his interest in the history of Niavaran, and particularly its complex of palaces built during the Qajar and Pahlavi periods in a vast garden of eleven hectares. Situated in the foothills of the Alborz mountains, north of the then much smaller Tehran, Niavaran had a cooler climate compared to the rest of the city. This made it a favourite location for the Qajar rulers to choose as their summer retreat.



Later, during the reign of the last Shah, all the buildings, with the exception of the Sahebqaraniyeh Palace and the Ahmad Shahi Pavilion from the Qajar period, were demolished. They were replaced by a modern palace and several other buildings, which together with the two existing palaces constitute the present-day Niavaran Palace complex. These were all occupied by the revolutionary forces after the Islamic Revolution, and gradually opened to the public many years later.

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After extensive and painstaking research into various archives, interviewing several people and encountering many obstacles on the way, Hadi Afarideh finally succeeded in completing his documentary on the fascinating history of Niavaran and its palaces. In this multimedia report, he takes us on a nostalgic journey to this old village.
Source: jadidonline.com

Hushang Ebtehaj (هوشنگ ابتهاج), with the pen name of H. E. Sayeh (ه‍. ا. سایه, or H. A. Sayeh, lit. Shade) is an eminent Iranian poet of the 20th century, whose life and work spans many of Iran’s political, cultural and literary upheavals.

ارغوان
شاخه همخون جدا مانده من
آسمان تو چه رنگ است امروز؟
آفتابی است هوا؟
یا گرفته است هنوز؟

من درین گوشه که از دنیا بیرون است،
آسمانی به سرم نیست،
از بهاران خبرم نیست،
آنچه می بینم دیوار است
آه، این سخت سیاه
آن چنان نزدیک است
که چو بر می کشم از سینه نفس
نفسم را بر می گرداند
ره چنان بسته که پرواز نگه
در همین یک قدمی می‌ماند
کورسویی ز چراغی رنجور
قصه پرداز شب ظلمانی است
نفسم می گیرد
که هوا هم اینجا زندانی است

هرچه با من اینجاست
رنگ رخ باخته است
آفتابی هرگز
گوشه چشمی هم
بر فراموشی این دخمه نینداخته است
اندر این گوشه خاموش فراموش شده،
کز دم سردش هر شمعی خاموش شده،
یاد رنگینی در خاطر من گریه می‌انگیزد
ارغوانم آنجاست
ارغوانم تنهاست
ارغوانم دارد می گرید
چون دل من که چنین خون آلود
هر دم از دیده فرو می ریزد

ارغوان
این چه رازی است که هر بار بهار
با عزای دل ما می آید؟
که زمین هر سال از خون پرستوها رنگین است؟
وین چنین بر جگر سوختگان
داغ بر داغ می‌افزاید

ارغوان
پنجه خونین زمین
دامن صبح بگیر
وز سواران خرامنده خورشید بپرس
کی برین دره غم می‌گذرند؟

ارغوان
خوشه خون
بامدادان که کبوترها
برلب پنجره باز سحر غلغه می‌آغازند،
جام گلرنگ مرا
بر سر دست بگیر،
به تماشاگه پرواز ببر
آه بشتاب که هم پروازان
نگران غم هم پروازند

ارغوان
بیرق گلگون بهار
تو بر افراشته باش
شعر خونبار منی
یاد رنگین رفیقانم را
بر زبان داشته باش
تو بخوان نغمه ناخوانده من

ارغوان،
شاخه همخون جدا مانده من
هوشنگ ابتهاج

ه. ا. سایه
فروردین ۱۳۶۳

Oraman is an isolated village in Kurdistan near the border of Iraq. Its history goes back more than a thousand years ago, when it is believed that the Aryans came to settle there. It nestles amongst the rocks of the surrounding mountains and until about fifty years ago it did not have a single road connecting it to the outside world. This has led to a culture of self-sufficiency, practiced here long before this expression was coined. For centuries the people have been wearing the cloth they weave and eating the food they produce.

But Oraman’s main feature is the stone which literally encircles the village. It provides an infinite source of material and is almost sacred. Here everything is made of stone, from houses to mills, garden walls and livestock pens. Its distinctive style of architecture follows an overlapping pattern, with every roof serving as a small courtyard for the house above.

Another major feature of Oraman is its traditional ceremonies and rituals. Because of its seclusion throughout centuries, the village had provided a safe haven for the followers of Sufi orders who were able to practice their faith freely and openly here. The colourful, and at times musical, ceremonies are rooted in the rituals and ancient traditions attached to these Sufi orders.

The biggest ceremony is called the wedding of Pir Shaliar, named after a legendary spiritual leader. According to legend, he healed the daughter of the ruler of Bukhara who was suffering from an apparently incurable disease. He subsequently marries her and this event is celebrated every year with a great feast and dervishes chanting and moving to the sound of the daf.

This multimedia report invites us to visit this ancient village and take part in its fascinating ceremonies. Oraman Council member, Bashir Ghassemi guides us through this historic village.

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