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Haftsamar Art Gallery Feb 2013 Soheila Shahshahani Symbols Of Wedding 02
Tehran

نمادهای مراسم عروسی در ایران

سلام

من عکاس نیستم، اما طی تحقیق عکس هم می‌گیرم. همۀ عکس‌هایم در محیط‌های طبیعی و  از فعالیت‌هایی که در حال انجام‌اند، گرفته می‌شوند و هیچ کوششی بر بازسازی فضا، جا‌به‌جایی اشیاء یا انسان‌ها نمی‌شود یا تغییر نور صورت نمی‌گیرد. آن‌چه در این نمایشگاه از نظرتان می‌گذرد، مجموعۀ کوچکی زیر عنوانی خاص از عکس‌هایی‌اند که به‌تدریج طی سال‌های 1357 تا 1391 گرفته‌ام. در این عکس‌ها که از منطقه‌های لُر ممسنی و بختیاری، گیلان، کردستان، بندر لنگه، بلوچستان و تهران گرفته شده‌اند، تکرارها را می‌بینید و این‌که چگونه برخی نمادها در جاهای مختلف آمده‌اند و شباهت‌ها و تفاوت‌های منطقه‌ای‌شان چگونه‌اند. گاهی نیز به‌سبب نوگرایی عمومی شباهت‌هایی دیده می‌شود. هیچ دو مراسم عروسی عین هم نیستند، اما نمادها تکرار می‌شوند و این نشانۀ تعلق به یک منطقۀ فرهنگی است.

چند توضیح کوتاه:

جمعیت نشان حضور دو خانواده و وابستگان است که در زمانی خاص کنار یکدیگر قرار می‌گیرند.

دست‌ها نشان از مبادلات اقتصادی است.

آیین «حنابندان» نوعی زیباسازی، تبادل و مرحلۀ آماده‌سازیِ پیش از شادمانی است.

تهیۀ خوراک بسیار و شریک کردن دیگران در آن نشان به‌هم‌پیوستگی گروهی و توان مالی خانوادۀ داماد است. 

موسیقی و شادمانی بخش مهم مراسم عروسی است.

شرکت در رقص نشان اوج شادی در مراسم و نشان شمار افراد و پشتیبانان خانواده‌های عروس و داماد است.

حرکات موزون همۀ حاضران، به‌ویژه وابستگان داماد، نشان مسئولیتی اجتماعی در مراسم است.

سفرۀ عقد نشان وابستگی قومی، نگرش، طبقه و سلیقۀ خانواده‌ها، به‌ویژه خانوادۀ عروس، است.

تک‌تک اجزاء در  سفرۀ عقد معنادارند.

بردن عروس دراماتیک‌ترین بخش مراسم عروسی است که با اشک ریختن عروس و مادرش همراه است.

سهیلا شهشهانی 

عضو هیأت علمی دانشگاه شهید بهشتی

مدیر مجلۀ فرهنگ و انسان و

سردبیر مجلۀ انسان شناسی خاور میانه

Symbols of Wedding

Ever since 1978 I have taken pictures while doing research, but I am not a photographer. All the pictures in this exhibition have been taken in totally natural environment, without any changes in location of objects or persons, never having the time to adjust any details for photographic purposes. This small exhibition is a very small part of my collection, concentrating on one topic with pictures from the Mamassani and Bakhtiyari Lor areas, from Baluchistan, Gilan, Kordestan, Bandar Lengeh and Tehran. There are similarities uniting various areas of the country, while there are never two weddings which are totally the same. Repetitions show belonging to the same culture area.

Few Points of Clarification:

At certain specific points of the ceremony, the families of the bride and the groom are together. Such moments are marked with great celebrity.

Hands symbolize exchange of goods.

The ceremony of henna is a beautification besides an exchange and anticipation of later events. It may happen around the bride and the groom in separate houses.

Preparing great amount of food makes people share in celebration and show support for the families involved.

Music gives the atmosphere for passing some joyful hours.

Dancing which is the height of expression of joy is also a responsibility and an expression of the great support for either side of the family.

The objects which are laid in front of the bride and the groom for the formal ceremony are all symbolic and meaningful.

The most dramatic point of a ceremony is the separation of the bride from her household and the tears of mother of the bride for her daughter. 

Short CV


Soheila Shahshahani is associate professor of anthropology at Shahid Beheshti University in Tehran, Iran. She is the chief editor of Anthropology of the Middle East (Berghahn publication) and Culture and Human Being (in Persian). She received her doctorate degree from the Graduate Faculty of the New School for Social Research in New York in 1981. 

She is Senior Vice-President of the International Union of Anthropological and Ethnological Sciences(IUAES), and was on the editorial board of World Social Science Report of ISSC of Unesco(2010). In 2010 she started Commission on Anthropology of the Middle East within the IUAES. She is author of The Four Seasons of the Sun, an ethnography of  women of Oyun, a sedentarized village of the Mamassani pastoral nomads of Iran (1987), A Pictorial history of Iranian headdresses (1995), Meymand, we were one people one territory, an ethnographic study of a grotto-village (2005),  guest editor of Nomadic Peoples, Nomads and Nomadism in Post-revolutionary   Iran (Vol 7, No.2, 2003) and editor of Body as medium of meaning (2004) and  of Cities of Pilgrimage (2009), author of many articles in English and Persian. She has recently finished two books, ready for publication, Clothing of Persia During the Qajar Reign 1779-1925  (in English and Persian), and Anthropological Theories regarding Ethnic Groups (in Persian).

نمایشگاه " سهیلا شهشهانی " با عنوان " نمادهای عروسی " بهمن 1391 گالری هفت ثمر

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