Abstract:
کشتی از گذشته‌های دیرین رواج داشته و با ابعاد چندگانۀ فرهنگ ایرانی در پیوند بوده است. در این رابطه کشتی، آیین حرکتی و جسمانی بوده است و امروزه در سطح ملی، بومی و محلی انجام می‌شود. مسئلۀ پژوهش این است که چه اسطوره‌هایی در پس این فعالیت حرکتی ـ آیینی مطرح بوده است؟ هدف پژوهش حاضر این است که با روش تحلیلی اساطیری را که سبب معنادهی، تدوام و ارزش این فعالیت حرکتی به‌منزلۀ آیین در فرهنگ عامۀ ایران طی تاریخ شده است، شرح داده شود. در فرهنگ باستانی، فردی که با نیروی‌های مخرب طبیعت به نبرد تن به تن می‌رفت، به کهن‌الگوی قهرمان تبدیل می‌‌شد که معیشت و امنیت را در جامعه ایجاد می‌کرد و مردم به او احترام می‌گذاشتند. این چالش با آنتاگونیست به عرصۀ دشمنان ایران نیز وارد شد و کشتی‌گرفتن نماد عمل پهلوانانی بود که برای حفظ سرزمینشان و ارزش‌های آن به نبرد تن به تن می‌رفتند، اما آنچه در فرهنگ ایرانی مطرح شد این بود که این پهلوانان که با اعمالشان امنیت و نظم جامعه را برپا می‌کردند، باید در ابتدا درون خود را از آنتاگونیست پاک کنند و به اختیار به نبرد با سایۀ درون بروند. این کار در جامعۀ ایران به یک ارزش و بنیان اخلاقی برای کهن‌الگوی قهرمان تبدیل شد و در ناخودآگاه جمعی جامعۀ ایرانی باقی ماند و در جشنواره‌های فرهنگ عامه که کشتی بخشی از آن مراسم است، همۀ این ارزش‌ها به شخصیت کشتی‌گیر فرافکنی می‌شود و گونه‌ای از هویت و انسجام اجتماعی را شکل می‌دهد که تماشاگران از خلال آن محبت و خودشکوفایی را دریافت می‌کنند.
Wrestling has been popular since ancient times and it has been associated with many aspects of Iranian culture. In this regard, wrestling has been a physical ritual, and today it is performed at the national, indigenous, and local levels. This study focuses on the myths behind this ritual movement. It is aimed to explain the myths that have been the reason for the meaning, continuity, and the value of this movement as a ritual in Iranian folk culture throughout history via the analytical method. In ancient culture, a person who fought with the destructive forces of nature became the heroic archetype who created livelihood and security in a society and was respected by the people. This challenge with the antagonist also entered the arena of the enemies of Iran, and wrestling was a symbol of the action of the heroes who fought a duel to protect his land and its values; but what was suggested in Iranian culture was that these heroes, whose actions establish the security and order of the society, first, must clear their background as an antagonist, and voluntarily go into the battle with shadows. In Iranian society, this became a value and moral foundation for the heroic archetype and remained in the collective subconscious of the Iranian society, and in the festivals of folk culture where wrestling is held, all these values are projected on the wrestler character. This forms the kind of social identity and cohesion through which viewers receive love and self-fulfillment.
Introduction
Research background
A few research projects been done on wrestling in folk culture. However, in these studies, types of wrestling in folk culture have been studied on a case. In the culture of every city and village, a type of native and local wrestling is common, and most studies have focused on one of these types such as Chokheh wrestling or Gilehmardi wrestling. Qasem Mehrabi et al. (2014) have dealt with the interaction of spectators and wrestlers of Chokheh, and Rahmati and Abbaszadeh (2016) have paid attention to the ability of Gilehmardi wrestling in the development of social participation. Since wrestling has a long history in Iranian culture, it is necessary to conduct research on the values and social beliefs that have led to the continuation of this national, indigenous, and local sport.
Aims, questions, and assumptions
The aim of the present research is to describe the mythology that has caused the continuity, meaning, and value of wrestling in Iranian society throughout history. Therefore, three theories could be indicated in this regard: Jung's archetypal, Campbell's mono-myth, and Maslow's hierarchy of needs to describe these myths through a qualitative descriptive-analytical method. The main question of this study is: what myths are behind this ritual movement activity? Wrestling is probably a movement activity that was intertwined with rituals and represented many myths through ritual performances.
Discussion
Archaeological evidence with the motif of wrestling and Persian mythology in the cultural context of ancient Iranian society shows that wrestling is a physical activity in a ritual that represents the heroism of prehistoric times that killed monsters to provide security for human life (Campbell, 2005). The monster is a symbol of some destructive natural forces that destroys the security and livelihood of people. The protagonist's combat with natural destructive forces, such as wild animals, becomes a physical habitus in the Iranian culture and takes on a ritual aspect. This ritual physical activity combines with other aspects of Iranian culture so that it is a show for the legitimacy of the king as a provider of security for the people and the wrestling is performed in the celebration of nature revitalization in the spring (Kaptain, 2013). Thus, the wrestling is a symbol of the battle of two opposing forces, one good, and the other evil. It is the ideology of the culture of ancient Iran that the force of good always triumphs over evil by choosing the right manner for battle (Rezai Rad, 2010). Folk literature also tells the story of wrestlers who wrestle with fair behavior, avoiding any inappropriate behavior. Thus, the wrestler is a symbol of the heroic archetype who removes individual and collective needs and has moral principles. The moral foundation of the Iranian hero archetype is Mithraism, at the top of which is the struggle against the inner shadow. The religion of Mithraism is a form of mysticism that teaches its followers the moral and social principles to make the world a better place (Cumont, 1966). According to these teachings of mysticism, the wrestler is also the protector of the social values.
Conclusion
Wrestling is a physical activity that is intertwined with the dimensions of Iranian culture. Iranian myths and beliefs give meaning to this physical activity and its integration with other cultural aspects. The wrestling is not only reminiscent of the hero archetypal actions of the prehistoric time but with its functions, it satisfies the psychological needs of the wrestler and the people. Hence, people project the character and moral qualities of ancient heroes on the wrestler. The inner shadow is the most important opponent of the wrestling, and by overcoming it, he can show the right manner in his behavior through wrestling.
References
Rahmati, M. M., & Abbaszadeh, M. (2016). Capability of rural sport; local development & social participation: a case study of Gilehmardi wrestling. Journal of Community Development, 7(1), 59-78.
Campbell, J. (2006). The hero of a thousand faces (translated into Farsi Shadi Khosrow Panah). Mashhad: GolAftab.
Cumont, F. (1966). The Mysteries of Mithra. Routledge.
Kaptan, D. (2014). Achaemenid history XII. The Daskyleion Bullae: seal images from the western Achaemenid empire (translated into Farsi Morteza. Saghebfar). Tehran: Toos.
Rezaei Rad, M. (2011). Fundamentals of political thought in Mazdaean wisdom (in Farsi). Tehran: TarheNou.
Machine summary:
اين چالش با آنتاگونيست به عرصۀ دشمنان ايران نيز وارد شد و کشتيگرفتن نماد عمل پهلواناني بود که براي حفظ سرزمينشان و ارزش هاي آن به نبرد تن به تن ميرفتند، اما آنچه در فرهنگ ايراني مطرح شد اين بود که اين پهلوانان که با اعمالشان امنيت و نظم جامعه را برپا ميکردند، بايد در ابتدا درون خود را از آنتاگونيست پاک کنند و به اين مقاله مستخرج از رسالۀ دکتري با عنوان پديدارشناسي ورزش در بين النهرين ، يونان و ايران باستان است .
اين کار در جامعۀ ايران به يک ارزش و بنيان اخلاقي براي کهن الگوي قهرمان تبديل شد و در ناخودآگاه جمعي جامعۀ ايراني باقي ماند و در جشنواره هاي فرهنگ عامه که کشتي بخشي از آن مراسم است ، همۀ اين ارزش ها به شخصيت کشتيگير فرافکني ميشود و گونه اي از هويت و انسجام اجتماعي را شکل ميدهد که تماشاگران از خلال آن محبت و خودشکوفايي را دريافت ميکنند.
داده هاي ايـن پژوهش از منابع اساطيري، ادبي، باستان شناسي گردآوري و با روش تحليـل کيفـي بـر اساس دور هرمنوتيک تبيين شده است ، به طوري که با رجوع به بنيان نظـري پـژوهش ، اساطير، آيين ها و شواهد باستان شناسي و بازگشت به ارزش هـاي اجتمـاعي کشـتي در فرهنگ عامه و ويژگيهاي فعاليت حرکتي کشـتي، اسـاطير و آيـين هـاي کـه در رونـد زندگي جامعۀ ايران در پيوند با کشتي شکل گرفته ، تحليل کيفي شده اند.
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