La chute du roi et la fuite de la jeune fille
Quelques aspects de la légende et du culte de la Grande Mère de Phrygie
1. La légende
2. Les cérémonials de la Grande Mère
1. La légende
2. Les cérémonials de la Grande Mère
1. La légende
2. Les cérémonials de la Grande Mère Le mystère d’Attis que les Romains adoptèrent en l’an 204 av. J.C. était, comme le mystère de Mithra, un culte nouveau. Bien qu’on puisse trouver dans les documents du deuxième millénaire avant J.-C. la trace de la Grande Mère asiatique, Cybèle la Phrygienne ou Magna Mater deum Idaea, ceci sous les traits d’une déesse hittite, la Dame Kubaba, il n’y a néanmoins aucune allusion à elle en tant qu’une mère d’un dieu mortel. De même, la vénérable Cybèle, la Mère des pour qui Pindare avait consacré un sanctuaire privé aux portes de sa maison, et les jeunes filles de Thèbes, pendant les ombres de la nuit, unissaient le culte de Cybèle à celui du dieu, près de la porte que Pindare habitait, n’avait pourtant pas encore pris l’aspect de la Mère en deuil, dea lugens. |
 
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The Lady of Palmyra and her alter ego
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The Tychae of Palmyra and Dura
دورا-اروپوس
آرتميس و آپولون، ننا و اَدَد
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Aratxerxes and three Ladies
Plutarch in the Life of Artaxerexes refers to three Perso-Aryan goddesses:
One, a warlike goddess that Plutarch conjectures to be Athena. Special rites for the consecration of Artaxerxes (Artaxšaçā) are fulfilled in the sanctuary of this goddess in Pasargadae. He only gives a few information of an elaborate ritual that took place more probably in the New Year.
One, a healing goddess that Plutarch conjectures to be Hera. When Atossa (Hutaoθā), the beloved daughter (wife) of Artaxerxes was taken ill and her body was covered with leprosy, Artaxerxes offered prayers to this goddess the sanctuary of whom was sixteen stadia far from his royal palace.
And finally, a “virgin” goddess. Artaxerxes “appointed her (Aspasia) a priestess of the Artemis of Ecbatana (Hagmatāna), who bears the name of Anaïtis, in order that she might remain chaste for the rest of her life.”
The author interprets the three Greek divinities as referring to three distinct Perso-Aryan goddesses:
Athena: Arštāt/ Aršti.
Hera: Spǝṇtā Armaiti/ Nanā.
Artemis: (Arǝdvī Surā) Anāhitā
Plutarch in the Life of Artaxerexes refers to three Perso-Aryan goddesses:
One, a warlike goddess that Plutarch conjectures to be Athena. Special rites for the consecration of Artaxerxes (Artaxšaçā) are fulfilled in the sanctuary of this goddess in Pasargadae. He only gives a few information of an elaborate ritual that took place more probably in the New Year.
One, a healing goddess that Plutarch conjectures to be Hera. When Atossa (Hutaoθā), the beloved daughter (wife) of Artaxerxes was taken ill and her body was covered with leprosy, Artaxerxes offered prayers to this goddess the sanctuary of whom was sixteen stadia far from his royal palace.
And finally, a “virgin” goddess. Artaxerxes “appointed her (Aspasia) a priestess of the Artemis of Ecbatana (Hagmatāna), who bears the name of Anaïtis, in order that she might remain chaste for the rest of her life.”
The author interprets the three Greek divinities as referring to three distinct Perso-Aryan goddesses:
Athena: Arštāt/ Aršti.
Hera: Spǝṇtā Armaiti/ Nanā.
Artemis: (Arǝdvī Surā) Anāhitā
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اردشير و سه بانو
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An Aramaic inscription from Cappadocia
(Arebsun B1)
The Arebsun inscriptions in Royal Aramaic,engraved on two black stones (A-B), belong to the late Achaemenian period or the early Parthian period. The inscriptions commemorate the marriage of BYL (Bêl) with his sister in its two aspects: one, the marriage of the king with his sister, like that of Vīštāspa with Hutaosā; the other, the symbolic marriage of the solar twin, Sun (Ahura Mazdā) and Dawn (Daēnā Māzdayasniš), reflected in the junction of Kingdom and Religion.
(Arebsun B1)
The Arebsun inscriptions in Royal Aramaic,engraved on two black stones (A-B), belong to the late Achaemenian period or the early Parthian period. The inscriptions commemorate the marriage of BYL (Bêl) with his sister in its two aspects: one, the marriage of the king with his sister, like that of Vīštāspa with Hutaosā; the other, the symbolic marriage of the solar twin, Sun (Ahura Mazdā) and Dawn (Daēnā Māzdayasniš), reflected in the junction of Kingdom and Religion.
| an_aramaic_inscription_from_cappadocia.pdf |
Darius et sa fille
Si l’idée de la chute du royaume entraînant la retraite forcée de la religion serait bien à l’origine des légendes de “la fille en fuite se réfugiant dans la montagne”, il convient dès lors de supposer que :
1° La campagne d’Alexandre et l’assassinat de Darius III, provoquant l’effondrement de l’empire perse et la fin tragique des deux filles du Grand Roi engendrent la légende perse de “la mort du dernier Dārāy (= Darius III) et la fuite de sa fille des mains du vilain guerrier”.
2° Après l’invasion de l’Islam, cette légende fut réécrite pour y substituer le dernier roi achéménide, Dārāy, par le dernier roi sassanide, Yazdegird III.
Full text
1° La campagne d’Alexandre et l’assassinat de Darius III, provoquant l’effondrement de l’empire perse et la fin tragique des deux filles du Grand Roi engendrent la légende perse de “la mort du dernier Dārāy (= Darius III) et la fuite de sa fille des mains du vilain guerrier”.
2° Après l’invasion de l’Islam, cette légende fut réécrite pour y substituer le dernier roi achéménide, Dārāy, par le dernier roi sassanide, Yazdegird III.
Full text
| borandoxt1.pdf |
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شهربانوی گوران
گريوهء بان زرده ("قلعهء يزدگرد")، مردمان ِ گوران را رازی گويد ابَر: شکستِ يزدگرد افدم شاه ِ ساسانی، بردگی ِ دو دختر ِ او به دست ِ عربان، و پناه بردن ِ بانو به گوران. The Lady of Gōrān
The area of the Zarda basin on the extreme westerly edge of the Zagros Mountains reveals the ruins of a Parthian-Persian fortified town with a network of defences and the defensive Long Wall. A hill-fort on one of its pinnacles is called the “Fortress of Yazdgird” (قلعهء يزدگرد). We find the local legend of the death of the last Persian king, Yazdgird, and the suffering of his daughters.
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بابا يادگار
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بی بی غار (م. قهرمانی) ا
Edward Strack in the Sixth chapter of his travel book came across the legend of the death of Šāh Karan and the flight of three Maidens
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آتشکدهء کاريان
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The Solar Twins : Sinǝlum and Šahrbānū
There is a temple which stands on the peak of a precipitous elevation 18 kilometres north-east of Simnān called Peyγambarān, and is said to contain the earthly remains of a king-prophet called Sinǝlum. A legend is yet alive about the death of this hero by enemies (in the popular legend, Arab-Muslim enemies), and the flight of his sister, Šahrbānū. Cheragh-Ali Azami gives a detailed account of the legends surrounding Sinǝlum, Šahrbānū’s disappearance in the mountains, and the shrine of Sinǝlum: Payghambarān Mountain Temple
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For the commentary, see:
شهربانو و سينلوم
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بانوی آيينه به دست ابر پشت شير
The goddess on lion with the mirror in her hand
We know a number of artefacts showing a lady with the mirror which belong to the Perso-Aryan world : A terracotta figure of Margian type, the lady in the front position, holding a long-handled round mirror in her right hand ; the image of a lady holding a round mirror in her right hand and flanked by four (two men, a woman, a child)which is discovered in the temple of Dil’berdžin; etc.
In the Kiršāsp-nāma (the Book of Kǝrǝsāspa) it is said about the golden image of the goddess on a silvern lion with mirror in a temple visited by Kǝrǝsāspa : If one wants to look at oneself in the mirror but does not see one’s face he or she
will die soon ; and if the mirror reflects one’s face, he or she will remain alive. This reminds the story of the image of the Lady at the gate of Ṣâ recounted in the Summary of Wonders.
As for her place in the pantheon, she corresponds to Avesta Anāhitā and Hittite Kubaba. Berōnī describes the image of the planet Venus
(Pers. Anāhīd) thus : « Woman on a camel holding a lute which she is playing. Another picture : Woman seated her hair unloosened the locks in
her left hand, in the right a mirror in which she keeps looking, dressed in yellowish green, with a necklace, bells, bracelets and anklets. »
We know a number of artefacts showing a lady with the mirror which belong to the Perso-Aryan world : A terracotta figure of Margian type, the lady in the front position, holding a long-handled round mirror in her right hand ; the image of a lady holding a round mirror in her right hand and flanked by four (two men, a woman, a child)which is discovered in the temple of Dil’berdžin; etc.
In the Kiršāsp-nāma (the Book of Kǝrǝsāspa) it is said about the golden image of the goddess on a silvern lion with mirror in a temple visited by Kǝrǝsāspa : If one wants to look at oneself in the mirror but does not see one’s face he or she
will die soon ; and if the mirror reflects one’s face, he or she will remain alive. This reminds the story of the image of the Lady at the gate of Ṣâ recounted in the Summary of Wonders.
As for her place in the pantheon, she corresponds to Avesta Anāhitā and Hittite Kubaba. Berōnī describes the image of the planet Venus
(Pers. Anāhīd) thus : « Woman on a camel holding a lute which she is playing. Another picture : Woman seated her hair unloosened the locks in
her left hand, in the right a mirror in which she keeps looking, dressed in yellowish green, with a necklace, bells, bracelets and anklets. »
| the_goddess_with_the_mirror.pdf |
The Story of Me‘īn of Šiggar
از: آزند ِ معين
از: آزند ِ معين
| muin_1.pdf |
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An Artemis Anāhitā votive inscription from Maeonia (Meyne)
A white marble relief, found with other stelae, comes from a sanctuary of Anaitis in ancient Maeonia (2nd century). A certain Charite daughter of Apollonius, after having been stuck by some « accident » made the « vow » of presenting to Artemis Anaitis the relief ; she was « freed from enchantment » by the incantation of the priestess of the sanctuary, and did so accordingly. يک نوشتهء پدستی برای اناهيد
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| from_the_discourse_of_meliton_the_philospher_15.pdf |
| harran_1.pdf |
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