How Oriental is the ‘Orient’ in Amirandarejaniani?

• Darejan Gardavadze ^[1] ; Tea Shurgaia ^[1]
  1. [1] Tbilisi State University

     Tbilisi State University

     Georgia

     
• Localización: Actas del X congreso de la Sociedad Española de Iranología (SEI): celebrado en Tbilisi los días 20 y 21 de octubre de 2022 / Tea Vardosanidze (ed. lit.), Gerardo Matallana Medina (ed. lit.), 2024, ISBN 978-9941-36-204-0, págs. 77-87
• Idioma: español
• Enlaces
  • Texto Completo Libro (pdf)
• Resumen

  • Amirandarejaniani or The Story of Amiran, Son of Darejan is a literary monument of the classical epoch, dated back to the 12th c. From the end of the 19th century, Amirondarejaniani has been analyzed by scholars in Georgian and Iranian studies. Contradictory opinions have been expressed, and the most important issues have not been solved so far. The text is still subject to diverse interpretations and assumptions. The paper aims to define the scope of ‘oriental nature’ of the book. The author focus on certain details that have been neglected by previous researchers or interpreted in a different way. The paper also stresses the similarity between the characteristic features of knights (Georgian „chabuki”) in Amirondarejaniani and the principles of training of young men in Sasanian Iran. The rituals of battles and feasting described in Amirandarejaniani are analyzed with regard to the Persian data (cf. „bazm o razm o meygosari” in Shāhnāma). In this context, attention is paid to the role and function of musicians called mgosani- (from Middle Persian gūsān). The text of Amirandarejaniani provides noteworthy information regarding the art of mgosani, which „formed an inalienable part of the musical-theatrical cultures of old and medieval Iran, Georgia and Armenia” (K. Kutsia). The paper stresses the necessity of further comparative analysis of the text of Amirandarejaniani and oriental, particularly, Persian popular dastāns.