بررسی انسان‌‌شناسی نمادین مناسک و آئین‌های شمنی در بین اقوام ترکمن براساس دیدگاه کلیفورد گیرتز

یکی از بنیادی ترین مباحث در مطالعات دینی، مبحث ادیان ابتدایی است. پژوهش دربارۀ ادیان ابتدایی از سدۀ نوزدهم میلادی آغاز شد. رشته ای که مطالعه در این زمینه را عهده دار شد انسان شناسی& و سپس انسان شناسی دین& نام گرفت. این رشته به تدریج از مسالۀ خاستگاه& فراتر رفت و برای شناخت دین و ریشه های آن به مطالعۀ فرهنگ جوامع روی آورد و از آنجاکه نمادها مهم ترین اجزاء فرهنگ هر جامعه را تشکیل می دهند، شناخت نمادهای هر فرهنگی لازمۀ شناخت فرهنگ و دین آن جامعه است. این مقاله می کوشد انسان شناسی نمادین تصورات و باورهای کهن اقوام ترکمن را که در باورها و آئین های شمنی این اقوام می گنجد، مورد پژوهش قرار دهد. باورهای شمنی از اعتقادات و باورهای کهن و پیشین اقوام ترکمن است. در بین ترکمن ها آئین شمنیسم شیوۀ درمانی است که مبتنی بر باورهای کهن قومی همچنان روح پنداری مرسومی است که به تدریج با باورهای دینی آمیخته شده اند و نمادهایی از آئین های شمنی با آمیختگی های دینی تا به امروز به حیات خویش ادامه داده اند. هدف اصلی این پژوهش بررسی مفاهیم بنیادین نمادهایی است که از باورها، آئین ها و مناسک شمنی اقوام ترکمن که از ادیان ابتدایی آن ها نشات یافته است. پرسش های اساسی پژوهش عبارتنداز: شمن ها به عنوان بخشی از درمان گران بومی جامعه از نظام اعتقادی کهن مردم ترکمن، چه تصویری را بازتاب می دهند؟ عناصر نمادین شفابخش در آئین شمنیسم اقوام ترکمن کدام اند؟ نظام اعتقادی مردم ترکمن و خاستگاه های فرهنگیبومی آن ها در ارتباط با باورهای شمنی چگونه تببین می شوند؟ اطلاعات و یافته ها با روش میدانی و مشاهدۀ مستقیم مردم شناسانۀ مبتنی بر رویکرد قوم باستان شناسی به همراه استفاده از منابع موثق کتابخانه ای، گردآوری شده اند. یافته های اصلی پژوهش به پایۀ نمادها و نشانه های شمنیسم، به عنوان باورها و آئین های کهن اقوام ترکمن استوار است. پری خوان ها (پر خوان) در بین اقوام ترکمن به عنوان اصلی ترین و آخرین بازماندۀ شمن ها به شمار می روند. هریک از پری خوان ها لشکری از اجنه را در اختیار و فرمان خود دارند. در این پژوهش سعی خواهد شد به پرسش های اساسی مانند عناصر کلیدی نمادین در آئین شمنیسم، جایگاه شمن باوری در نظام اعتقادی ترکمن ها و خاستگاه های تاریخیفرهنگی آئین شمنیسم در فرهنگ اقوام ترکمن پاسخ دهد.

historical sociology of qajar royal wall paintings

abstractamong the turkmen, shamanism is the ape tic method based on ancient ethnic beliefs, which is still a common notion that has gradually been merged with religious beliefs and symbols of shamanism with religious fusion have continued to this day. the main purpose of this study is to investigate the basic concepts of symbols that originated from the beliefs, rituals and rituals of the turkmen tribes of their primitive religions. information the findings were collected by field method and direct observation using the main library resources. the main findings of the research are based on the symbols and signs of shamanism, as the ancient beliefs and rituals of the turkmen tribes. fairy readers are considered to be the main and last survivors of shamans among the turkmen tribes each of the fairy readers has an army of goblins at their disposal and command this study tries to answer basic questions such as key elements in shamanism, the place of shamanism in the turkmen belief system and the historical – cultural origins of shamanism in turkmen culture.keywords: symbolic anthropology, anthropology of religion, shamanism, turkmen.introductionundoubtedly, among contemporary thinkers in the field of symbolic anthropology, clifford greets is one of the most famous anthropologists in the field, due to his particular approach to culture and his new approach to the humanities and social sciences. geertz’s position beyond anthropological boundaries as an interdisciplinary figure in the social sciences. his theoretical approach to anthropology is broadly symbolic and combines philosophical, anthropological, and even linguistic theories.analysis of religious behaviors and practices is one of the central issues in the field of anthropology of religion. how behaviors and actions can be studied objectively and realistically and as a phenomenon is one of the serious issues in the anthropology of religion. this issue led to extensive developments in the theorizing of the humanities and social sciences in relation to cultural and religious phenomena in the second half of the twentieth century ad.in general, in the 60s and 70s of the twentieth century, symbolic and interpretive anthropology with its own approach to culture, was confronted with material tendencies, such as materialism or cultural positivism.in this view, cultural phenomena move from the belief that culture is a set of meanings that are understood and received trough symbols and signs, and to understand it, one must first go to the analysis of these symbols.it is clifford geertz who has emphasized such as model as a method in anthropology. he has been able to bring about extensive changes in the definition of culture with an interpretive methodological approach.based on observation and return to the field of social sciences, he created a new model of interpretation and semiotics in the anthropology of religion. (fakoh. 1386: 108).shamans treatment method shaman and shamanism are among the most important topics in the anthropology of religion. shamanism is not a new subject, but every research on religion is devoted to it. what distinguishes the shaman from other wizards is that the shamans are not magicians but physicians and sages, but the main feature that distinguishes them from other wizards and priests is the serious attention of the shamans to the semantic space. so all shamans are healing wizards, but not every witch is a shaman. in fact, a semantic space has caused the school of shamanism to enter the field mysticism. the very important point is that the last feature that allows a person to be a shaman is to enter the world of semantic space. until the shamans reach the strict rituals and succeed in these stages, and after entering the world of semantic space.otherwise they will not find the entrance to the world of shamans the importance of semantic space in shamanism lies in the fact that all functions of the shaman are related to semantic space in one sense. in this way the shaman can communicate with the helpers and guardian spirits of the gods for diseases, wander the soul, stealing the soul or conquering it and ask them for help in pact, shamans are also witches, sages and sorcerers.like all doctors, he is able to heal ad, like all wizards, he can do extraordinary things. (eliade, 1382: 129).field findings of the researchuntil about a hundred years ago, before the gathering of the turkmen tribes, a ceremony fairy readers was held inside the pergola, the mobile residence of the turkmen tribes. the fire was always lit in the middle of it, and the fairy readers melted his sword or spatulas in it, struck the patient’s feet or body to drive the evil forces or infidel demons out of the patient’s body and soul.in general, in the ritual of fairy reading sick sword is a symbol of removing or purifying the sick from the forces of evil and impurity. the semantic space and the connection with the spirits can be seen as two continuous stages, just like shamanism in the fairy reading ceremony.using musical instruments, performing rhythmic movements and spinning are the most important ways for fairy reading to enter the world of semantic space.the fairy reading ceremony begins with apart (signer and musician) of turkmen music playing the strings and singing some pieces of music that is specific to the fairy reading ritual. perry first begins to shake her shoulders with rhythm and song. then the rhythm of his movements becomes faster and turns into fast movements of the head and body and jumping.this instrument immerses the rhythmic movements of the fairy singer in the semantic state of the space, and when this state reaches its speak, sometimes with a rope. which hangs from the ceiling of the booth or room begins to rotate.in this case, the somatic space reaches its peak and the fairy redder communicates with the world of al and ghosts, in other words, he flies. hunting or traveling in the form of an animal south is another feature of the ritual of fairy reading.in the ritual f reading the fairy, the ram animal is a symbol in which the fairy singer travels to the world of ghosts and fairies, in other words, mixes with the spirit of the ram animal and goes hunting. here the ram symbolizes the spirit of the protective spirit of the fairy.in another stage of the fairy – reading ceremony, the fairy – singer, who is like a ram, pulls her horn and ties the patient’s hand and attacks him like a ram. at this point, perry juam attacks the room with his head like a ram. he attacks goblins like a ram. according to him, goblins or black goblins attack in the form of ram movements.although the fairy does not make himself a ram, he travels and hunts in the form of an animal spirit. in most of the surviving lithographs of shamanism, although images of some animals can be seen, but images of many rams have been found that indicate its importance to shamans.in turkmen shamanism beliefs, spirits are divided into two categories, male and female. female spirits are very powerful and dangerous and cause many ailments and diseases. according to the turkmens, al is a female soul, very beautiful and strong, tall and with long hair. apparently, the male type is considered a benevolent spirit.in addition to jinn and fairies, fairy readers also communicate with al. in terms of fairy readers, the genie is a liar. al does not lie; he tells the truth. the jinn have no sign of themselves but al has a sign.this sign is usually placed on the body of a fairy or patient (nadimi, 1378: 63).conclusionfrom peri juan’s point of view, music has two important and special functions for him.the main function of music, from the fairy reader’s point of view, is to control the forces that harass him. after the shaman stage begins, these pressures continue under normal circumstances and in everyday life to control these forces, the pari khan go to the bakhshies and ask the bakhshies to sing turkmen music in a friendly a private meeting to relax.in ancient times, were sung and khan agars narrated his to rical events. turkish shamans always treated the sick along with the khanyagars and shamanic ceremonies have probably been accompanied by music performances since ancient times.in the ritual of fairy reading as a remnant of shamanism, performing music is an important step in entering the world of semantic space fairy reading music brings inner peace to the pairy, the patient and the audience.thus, fairy reading music has two main functions; first, the background of the semantic space and prepares the inner world of the pairy reader, second, it stimulates the inner feelings of the patient and those present to perform the ceremony, and in general, prepares the space for the performance of the ceremony.