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SASANİ ( ZAZA) RESİM VE YAZITLARINA BİR BAKIŞ ( A Review of Sassanid Images and Inscriptions )

07 Feb 09 12:32:50 GMT

A Review of Sassanid Images and Inscriptions
By: Asghar Mahmoudabadi

Introduction
Stone cutting and engraving and construction of glorious buildings was not so popular in the Sassanid period as in Achaemenid period. Perhaps if one compares these two periods the Sassanian rank was far loftier than the Achaemenid period. Nevertheless like their Achaemenid ancestors (the Sassanians believed to be the true descendents of Achaemenid Dynasty which had been overturned in 330 A.D. by Alexander) were interested to record important events during their reign such as victory over enemies, ascension to the throne, coronation, and displaying the magnificence of their courts on the breast of mountains in Iran and particularly in Pars or Fars province.

The majority of these images are accompanied by inscriptions from Ardeshir I or Shapour I of the Sassanid Dynasty, but some are void of inscriptions.

With the exception of engravings that have survived at Taqe Bostan near Salmas all the Sassanian images were made in Pars (Fars) province because the Sassanians were very much in love with their original birthplace. Most the inscriptions in Pars are religious or symbolic in nature whereas the images and inscriptions in Taq-e Bostan are less religious and mostly refer to private and royal ceremonies and the glory of their courts. But since the Sassanian kings believed that kingship was a divine gift bestowed by Ahura Mazada, such a definition are frequently visible in the majority of their inscriptions particularly in Pars.

In this short article we hope we can introduce to some extent the Sassanian images and inscriptions to interested readers. In conclusions it must be noted that these images and inscriptions are the most important and most valid sources to trace the Iranian history and it would be appropriate to do more and more to preserve them.

Naqsh-e Rajab

Coronation Ceremony
According to Zareh the founder of the Sassanian Dynasty has most probably crowned himself in his headquarters at Anahita (Venus) Temple at Estakhr, Pars province, where Sassan, his ancestor had been a grand mubid (Zoroastrian monk). It was in that temple or at Naqsh-e Rajab valley near Estakhr that four hundred years after Ardeshir, the last Sassanian king crowned himself because Ardeshir and Shapour had engraved their coronation on the stone in that region.

The ceremony of anointing Ardeshir as king of kings by the grand mubid is shown in two places - Naqsh-e Rajab and Naqsh-e Rostam - near the caves where the Achaemenid kings are buried. Therefore according to Zareh the Naqsh-e Rajab engraving was made before Naqsh-e Rajab. The ceremony in Naqsh-e Rajab has not been wholly preserved intact and many of its details have been erased or are obscure due to erosion or disintegration of the rocks.

The grand mubid is holding the royal ring at his right hand and the royal staff by his left hand and is presenting both these royal insignias to the king. The king wears the ring on his right hand and has raised his left hand and forefinger as a token of respect and obedience. The grand mubid is wearing a corrugated golden crown. The king in this image resembles the pictures imprinted on his coins during the beginning of his reign. He is bestowed with a long and square beard and short hair and the grand mubid and the king and the other personalities in the image are down on their feet. Zareh has spotted the face of two children in the space between the God and the king.

This image has been described in the following manner as well:

Ardeshir is standing on the left side with a crown which seems to have been installed overhead and the grand mubid is standing on the right side and extending the crown to Ardeshir. The representatives of the royal dynasty is standing as shown from the marks on his cap and Shapour , Ardeshir's son and prince royal is standing beside the mubid which means that he is the king's successor. Behind them one can behold the image of Ahura Mazda and a famous lady which is either the mother or the chief lady of Ardeshir. The image is 2.5 meters high and 4.5 meters long.

The King And His Courtiers
Here Shapour and his children, his wife and the elders of the court are mounted on horses. The first standing figure belongs to Hormozd, son of Ardeshir, which means he is the crown prince. Behind him Shapour Shahmishan, the other son of the king is standing. The third image belongs to Nersi, another son of Shapour and king of Turestan, Sekestan and India and behind Nersi one can see Bahram, another son of Shapour, the king of Gilan, along with Azar Nahid, Shapour's first lady. In the second raw and at a little lower elevation Bidaksh and Hezarbod, the elders of the court, are standing and behind them the representative of famous families as well as army commanders.

The details of the images are signified by the marks on the caps they wear. The courtiers are standing according to their rank. It can be in fact said that the images in Naqsh-e Rajab exactly represent the list and titles of the elders of the royal family in Shapour's inscription in the Zoroaster's chief temple. From the picture of Shapour Shahmishan one can trace the history of engravings. An engraving made approximately 262 years B.C. shows that Shapour Shahmishan was not alive and Dinak, his wife, ruled his territory. This shows that the images were engraved before 262 A.D.

Maybe appointment of Hormozd Ardeshir as crown prince led to the engraving. On the breast of Shapour's horse there are inscriptions in Parthian, Middle Persian and Greek languages. The Middle Persian text says:

"This is the portrait of the grand mubid, the Mazda worshipper Shapour, the king of kings of Iran and Atiran whose face resembled that of God. He was son of Mazda worshipper Ardeshir, the king of kings of Iran whose face resembles God and was a descendent of Papak Shah."

The history and particulars of reign of Shapour 1 (272-243 A.D.):

In this image only the image of Shapour I and Hormozd Ardeshir are portrayed with all their special features. On the right side of the image one can see the bust and writing by Mubid Kertir.

Coronation of Shapour I
The third image in Naqsh-e Rajab is the coronation of Shapour I. Here the King is shown receiving the royal ring from the grand mubid. This is an imitation of the coronation of Ardeshir in Naqsh-e Rostam. Here also both the king and grand mubid are mounted on horse and they both wear the same dress. The only difference is that in Shapour's inscription the grand mubid is standing on the left side of the king and the man fallen on prostrate on the ground in Ardeshir's image is not shown in Shapour's image.

As mentioned earlier in this image the king is portrayed on the right side on a horseback stretching his hand to receive the royal ring from the grand mubid. A Grecian and Middle Persian text is inscribed on the breast of the king's horse. The Middle Persian text says:

"This is the portrait of Mazda worshiper, Shapour, the king of Iran and Aniran whose face resembles that of God. He is son of Mazda worshipper king Ardeshir, the king of kings and a descendent of Papak Shah."

The parts of the king's crown are not distinguished. Perhaps in this image the king is not portrayed with the crown of Shapour I. Thus there is a contrast between the royal ring and the inscription on the breast of the horse.

From the method of face sketching this image closely resembles the coronation of Bahram I in Bishapour. Such a resemble is not only visible in the combination of different parts such as the king's and grand mubid's dress and the sinews of the horse but even in small details such as the saddle and accouterments and special form of the royal ring and lace.

Such resemblance shows that these two images have been engraved at the same time. Although I cannot take the responsibility to solve the particulars of the king's image, I wish to remind the reader that I don't think the engraving was made in 243 A.D. when Shapour I was crowned.

On the contrary it seems that this image belongs to the end of the reign of Shapour I or the rule of Hormozd Ardeshir. In such a case one might say that the image was engraved after Shapour's death.

In this image the face of the king has been badly damaged and the details cannot be clearly distinguished. The grand mubid is wearing a corrugated crown and his curling hair is visible outside his crown. The woven hair falls on the neck and shoulder and his cloak is tied to his chest by ornamental fastenings under the pearl necklace and the trousers above his leg carries tender plaits.

The neck and breast of the horse is adorned by round images in the form of chains and the above mentioned rectangular disk is shown in front of the horse's legs.

Coronation Ceremony
In this image Ardeshir is shown on the right side with the royal crown which seems to have been installed overhead and the grand mubid is standing on the left side and is stretching the royal ring to Ardeshir. A fire brazier is set between the king and the grand mubid. Behind Ardeshir the representative of his dynasty is standing with a fan which holds over the king's head. Shapour is wearing the mark of crown prince and two elders wearing octagonal caps without any insignia are standing beside Shapour.

The image is related to the reign of Ardeshir from 225 to 243 A.D. and from the outstanding images and faces one can recognize that only Ardeshir and the grand mubid resemble each other.

Scene of Battle (Height: 4.5 meters, Length 23 meters),
In this image which is the largest icon surviving from the Sassanid period three scenes are portrayed:

a. Ardeshir is wearing a heavy metal armor, all in one piece, with a spear in his hand and Ardavan bears the same marks which is shown on his cap in Naqsh-e Rostam.

b. This image has been obliterated and it is difficult to fix its date. Here the king is wearing his fighting helmet. The helmet resembles a small crown surrounded by a dense hair. Part of the pieces of the image and the form of lace and method of dressing and especially the laces worn on the beard resemble the Naqsh-e Rostam image. This scene which depicts the king's battle is much similar to Naqsh-e Rostam from symbolic point of view. Here Ardeshir's victory over Ardalan has been portrayed. Meanwhile the marks worn by Ardavan is the same as in Naqsh-e Rostam. All these marks prove that the scene of battle was engraved at the end of Ardeshir's reign

c. The military commander is wearing a heavy metal armor and helmet. It is difficult to determine the date of this image because the king has not been portrayed with his official crown but with a helmet. This cap resembles those which are printed on coins (a small crown with a lot of hair around it). From the point of view of shape of the lace, method of dressing and especially the lace of the beard, this face resembles the engraving in Naqsh-e Rostam.

The appearance of this image which portrays a scene of battle resembles the engraving in Naqsh-e Rostam. In this scene also the victory of Ardeshir over Ardavan has been depicted. Meanwhile Ardavan's royal marks are shown in both images. From all these factors once can conclude the scene of battle belongs to the end of Ardeshir's reign.

All art experts agree that the image was engraved at the beginning of Sassanian era. One can resort to the History of Tabari to describe the details of the image. In that book it is said that in a person to person battle between Ardeshir and Ardavan the 5th near Hormozdgan the latter was slain and the image has been apparently engraved to show that scene of battle.

Naqsh-e Rostam

The Coronation Scene
Ardeshir, sitting on horseback, is standing on the left side under the crown which seems to have been installed overhead and the grand Mubid, also sitting on the horseback, is standing on the right side and is extending the royal ring to Ardeshir. Ardeshir's beard is adorned with a lace and under the feet of his horse Ardavan the 5th is lying prostrate on the ground. An elliptic cap adorned with pearls at the margin is lying under the horse's leg. The hair of Satan (Ahriman) resembles a curling snake and the bridle of Ardeshir's horse is adorned by pieces which portray a lion. On the breast of the king's horse there are Parthian, Grecian and Middle Persian inscriptions. The Middle Persian says:

"This is the grand mubid, Ardeshir, the king of kings of Iran, whose face resembles that of God and is the son of Papak Shah."

Another inscription in Middle Persian, Parthian and Grecian on the breast of the horse of the grand mubid says "This is grand mubid (which is called Boroy in Grecian language)". The image is 4.20 meters high and 6.65 meters long.

The dress of the grand mubid and the king is according to religious traditions (all the garments and royal marks in Sassanian images are repeated). Since the fourth century A.D. the marks of coronation in the official image of the king has changed.

In those times the symbols and royal insignias were important parts of a king's image and the dress of the grand mubid did not change until the end of Sassanian Dynasty. From the time of Naqsh-e Rostam under the reign of Nersi almost in every coronation scene important personalities are mounted on the horse. Thus Naqsh-e Rostam is in fact an example of coronation of Sassanian kings at the beginning of that dynasty.

In this scene the crown of Ardeshir I is the same which had been printed on coins which appeared after the engraving in Naqsh-e Rostam at the end of fourth century or the beginning of fifth century A.D. One important and official feature of the king's face is the lace enveloping the beard. Such laces are seen in all images from Shapour I onward and they were portrayed for the first time in Naqsh-e Rostam.

The Scene of Victory
Shapour I has engraved the detail of his victory over Valerianus.

A giant image in Naqsh-e Rostam from Shapour I shows that the king has forgiven the conquered Roman emperor. The king arrives at the scene mounted on a horse and the horse has lifted his right leg. The corrugated royal crown and the woven disc on it is so high that it is portrayed in a semi-circular form in the margin of the stone. The end of the king's curling and dense beard is compressed in a circle. His dense curling hair is shown at his back. Behind it the laces which form the royal dress with parallel pleats are visible. The king is wearing a tight jacket and his trousers is pleated on his leg.

A rock relief at Naqsh-e Rostam, depicting the triumph of
Shapur I over the Roman Emperor Valerian, and Philip the Arabian

The king is wearing a necklace and is seated on an ornamented saddle and is holding his sword by his left hand and extends the token of forgiveness to Valerianus who has kneeled before him. The emperor is still wearing his laureled crown and his Roman cloak which shows that he has hastened to the king to beg his forgiveness. He has bent his right leg humbly. This is the best image surviving from Sassanian period. From the point of beauty and attractiveness figures in this scene look as if they are alive.

An Iranian is seen behind the king's horse lifting his hand as a token of respect. Under that man an inscription is made in Pahlavi language which has been destroyed in the course of time. This face seems to have been engraved on the stone at a later date. The same image with slight changes can be seen in the vicinity of Shapour west of Istakhr.

The victory of Iranian king over the Roman emperor has been engraved in Shapour Mountain as well.

Coronation Ceremony
Nersi has engraved his coronation ceremony in Naqsh-e Rostam in the ancient form. This is a standard and ancient method of coronation. In other words the king is receiving the laced ring which is the royal insignia from the grand mubid. Here the grand mubid is a woman and according to Zareh is Anahita. The king is wearing an ordinary ticket jacket. The crown worn by Nersi in some coins shows a short cap with vertical lines with a big woven disc over it while the dense curling hairs of the king spread over his shoulders.

His pointed beard which is tied with a ring at the edge, the laces dancing behind the head, and the pearl necklace are the standard royal marks from ancient times.

The grand mubid is wearing a wide corrugated crown on his head and a bunch of dense curling hear is exposed outside the crown. This is the special crown worn by the Sassanian royalty. The woven hair falls on the neck and shoulder and his cloak is tied to his chest by ornamental fastenings under the pearl necklace and he wears a belt over his clock.

The King and his Courtiers
Bahram II is portrayed here in full length. On the left side the bust of the king's wife (with a hat bearing a horse's front part) and the crown prince with a cap bearing the front part of a bird are seen surrounded by elders. The date of inscription is 283 A.D. because in this image one can see Bahram Jr., son of Bahram II, who was appointed as crown prince.

The Scene of Battle
Hormozd, wearing a crown and royal dress, has hurled down by spear a military commander (Qaren) from his horse. The commander is wearing coat of mail and a Roman helmet and the cap of the officer bears an insignia. Behind the king one can see a warrior wearing coat of mail and helmet and hoisting a flag (two poles placed vertically one each other like a cross and tassels hanging on both sides).

The image shows the history of reign of King Hormozd (years 302-309 A.D.).
Naqsh-e Bishapour

Coronation Ceremony
At the right side Shapour is seen mounted on a horse and stretching his hand to pick up the royal ring. On the left side a figure is mounted on a horse delivering the royal ring to Shapour. Gordianus, the defeated Roman emperor, is shown under the feet of Shapour's horse and another man is lying under the feet of the grand mubid. Between the king Philip the Arab, the Roman emperor, is kneeling on the ground.

The pieces worn by the figures in the image point to the date of the image which refers the 243 A.D. wars and coronation of the king. The image was engraved on the rock after the Shapour's coronation and during Nowruz, the Iranian new year.

In the past it was thought that the inscription was related to Shapour's war with Roman emperor Philip, the Arab, and his victory over that emperor.

Scene of Victory
Shapour's victory over the Roman emperor has been engraved in two big images at Shapour Mountain (Bishapour, Fars) but it has been damaged in the course of time.

In one image Shapour is seen mounted on a horse and Siriadis is on foot. A man has fallen under the king's horse and the Roman emperor is kneeling in front of the king. The goddess of victory is flying overhead. At the left and right side two rows of Iranian infantrymen are portrayed showing different categories of Iranian soldiers and their weapons.

A far bigger image shows many figures standing in four rows from above to below. In the middle the Iranian king is portrayed mounted on a horse and Valerianus, the Roman emperor, is standing bareheaded in front of the king begging for forgiveness. The king is mounted on a fat horse and tramples upon a man who has fallen under his horse.

Siriadis is standing in front of the king . He has lifted his right hand and swears to remain faithful to the Shapour's heir apparent and the king is caressing his bare head. Opposite the king a man is standing who looks like a Roman. In front of the king 240 Roman officers are standing in a line and behind them four rows of 18 Iranian elders.

A big disc is placed on the king's head which serves as his crown and dancing laces are raised behind the king.

Coronation Scenery
Bahram I, mounted on a horse, is standing on the right side. He stretches his right hand to pick up the royal ring from the grand mubid. The following is inscribed in Middle Persian on Bahram's chest:

"This is Nersi, the Mazda worshipper king of Iran and Aniran, whose face resembles that of God. He is the son of Shapour, Ahura Mazda worshipper, the king of Iran and Aniran who has a divine face and was a descendent of Ardeshir, the king of kings.

Bahram II
The images of Bahram the Second can be easily divided into two parts: an earlier inscription and a later inscription. The scene of victory in Bishapour proves that there are two distinct images there. In one image the victory of Bahram over Hormozd, his nephew has been portrayed. Hormozd had been the governor of Turestan, Sekestan and India and had perhaps been appointed as crown prince.

Hormozd revolted in 283 A.D. but was severely defeated and his title which was Sekestanshah and the regent, was transferred to Bahram Jr., son of Bahram II. From that date the image of Bahram II was engraved in all official Sassanid works and in all these images he is portrayed with his wife and courtiers but without a successor.

Scene of Victory
This image is divided into two parts. In the center and at an upper elevation Bahram is standing in front of the royal throne. He is holding a banner in his right hand and a sword in his left. On his right side the Iranian warriors carry their prisoners and on his left his elders are portrayed.

At the left and at a lower elevation Bahram's special guard and courtiers are portrayed who are leading the king's horse. At the right hand side the Iranian army is shown bringing war prisoners and booty. One of these soldiers is carrying a head whose helmet proves to be Hormozd, the slain king of Sekestan.

The engraving of the king's crown does not appear to have been finished yet. Nevertheless the wings of the crown and the disc mounted on it can be distinguished.

Darabgard

In the middle of the image the crown of Ardeshir I is portrayed. Roman emperor Gordianus III is seen under the huff of the king's horse. Two elders are portrayed in front of the king. On the left side the royal guard and elders and courtiers and on the right side the Roman army are portrayed. Form the royal crown one can deduce that the two images portray the victory of Ardeshir the First over Gordianus and the war between Iran and Rome. The special lace on the king's beard shows that the image was engraved during Ardeshir's reign or at the beginning of the reign of Shapour I or before the latter's coronation in April 243 A.D.

In the past the image was ascribed to the victory of Shapour I.

Baram Dalk

This image is divided into two parts:
The upper part. In this part the chief lady (Shapour Dokhtak) is portrayed with pleated dress stretching her hand to receive a flower from one of the elders who wears an elliptic cap, royal dress and sword.

At the lower part Bahram II is portrayed stretching his hand to receive the royal ring from the same person who is engraved in the upper part.

In the coronation image (upper image) Shapour Dokhtak, the elder wife of Bahram II, is portrayed and the coronation of Bahram is shown in the lower part. In both these images the royal insignia is not presented by the grand mubid Mazda worshipper but by Mubid Kertir, his representative on earth.

The date of the image can be traced in the coins of Bahram II. In these coins Shapour Dokhtak is portrayed without a cap and royal crown and the crown of Bahram II resembles those which are printed in petty coins or coronation coins. These prove that the image was engraved around 276 A.D.

The date and particulars of the reign of Bahram II with Izad Anahita, his wife, are portrayed in the image.

Bahram's Image

The king and his court:
In this image in Sarab Bahram (Mamasani) Bahram is standing in front of his royal throne surrounded by two elders at his two sides. On the left side mubid Kertir (who can be known from his cap) is standing and the two figures to the right seem to be Farmzar and Hoonam.

The image was engraved before 283 A.D. because the image does not show the king's successor.

Koyom, The Image of Bahram II
The image has been engraved at Koyom village, 39 km from Shiraz and near Qasroldasht, but regretfully it is so damaged that the details have been destroyed.

Bahram II is shown in full length lifting his right hand as a sign of prayer and holding a sword in his left.

The crown shown in that image are printed in his coins which prove that the image was related to the beginning of his rule.

Bahram's Hunting Scene

Sarmashhad is a village west of Jarreh and south of Kazeroon and near Abgineh bridge. From that village the road leads to Famour and from there to Balladeh and Jarehta, 30 km from Mashhad. This is a difficult mountainous passage which must be crossed either by horse or foot. The plain at Sarmashhad stretch from south to north and its distance from east to west is about 10 kilometers and is surrounded by high mountains.

There is a Pahlavi script at the western mountain of Sarmashhad at a an elevation of 25 meters on the mountain breast. The image is 5 x 2.5 meters in size and portrays Bahram II. The inscription is one of the four Pahlavi inscriptions from Kertir, the grand mubid, and the subject is the same as in Naqsh-e Rostam. The grand mubid describes his efforts to consolidate the Zoroastrian religion and his success in that direction. He also speaks about punishment of sinners and praise of the virtuous and discovery of things which were revealed to him in a dream.

Herzfeld was the first scholar who discovered this inscription in 1924 and published a short article about that in 1926 in Zimg, a German newspaper. In his subsequent trips to Iran Herzfeld conducted a more careful study of the images and recorded his observations in his book called Iran in the Ancient East which was published in 1941.

Bahram II is cutting a lion into two halves with his sword. Another lion has fallen under the feet of the king. Apparently these lions had attached his wife and child because by his left land Bahram is holding Shapour Dokhtak, his wife. Kertir and his elders are standing behind the king.

The exact date of engraving seems to be in the ninth decade of the third century A.D. (390 A.D.) because here Bahram, his wife and successor are portrayed. Bahram's wife is wearing the same cap but his child is wearing the insignia of Sekestanshah.

Haji Abad Inscription

Haji Abad inscription belongs to Shapour I and is written in 115 letters in Sassanid Pahlavi and Parthian Pahlavi languages, but so far it has not been fully deciphered. Translation of the 15 lines is as follows:

"This image shows throwing an arrow by me, Shapour, the king of kings, the king of Iran, an image of God, son of Ardeshir, the king of kings of Iran and the grand son of Papak Shah. I hurled this bow in front of my elders and army commanders. When I descended into this valley I threw an arrow but there was no place where a target could be set. I ordered that a target should be set up at a farther distance and those who succeeded in hitting the target are considered good archers."

Quoted from :http://www.iranchamber.com/index.php
Alıntıdır :http://www.iranchamber.com/index.php

ZEKATU FAYİZ

01 Feb 09 09:55:50 GMT

ZEKATU FAYİZ

Hem islomini sınıfta isonona corira veşi isononde cerire biyo tehassüngah ( sığınak ).Wacibina zekatu yasak kerdışe fayizya isonone coro isononde cero ser diktatör kerdış nekeno yu kışta xızmıqare cı keno.

KRN ( MEKTUVİ)

EHLAKE İSLOMU HEQİQATYE İMONİ

26 Jan 09 20:47:00 GMT

EHLAKE İSLOMU HEQİQATYE İMONİ

Ekı ma tom biyayışe ehlakte islomu heqiqatonde imoni kerdışondexua biyaysnımı ewyekı dinonde
bino dıma şıne , helvet êro cemaatona İslominı que ( girecekler ).Beqe heve kıt'aye klorıkde
dünyayu dewletyecı ji êro islominı zere que.

KRN

TRT ZAZA.jpg

25 Jan 09 16:57:50 GMT

TRT ZAZA.jpg

5,22 KB 200x103

TRT ZAZA WAZEMI

MASA PİNG-PONGİ ( PİNG-PONG MASASI )

25 Jan 09 16:30:45 GMT

MASA PİNG-PONGİ

Law sıpi law sert u tak tak
Topa klorıkı topa kıjı u tak tak
Masa ping-pongi biyayış u nevyayışi aradı
Ez destyemı bıryaye biyayışu nevyayışi aradı
...... lew panayışire eywalla u tak tak
Piya sinema ... ıê ... u tak tak
Masa ping-pongi biyayış u nevyayışi aradı

Çıme gay yaji boçıka golıki
Kadifekale yaji çheme Sen'i
Ha Sezai ha masa ping-pongi
Ha masa ping-pongi ha tıfıngo veng
Yew işarete desti eywalla u tak tak
Çımyeto çığa rındıye çığa weşye
Çığa rındye çığa germye
Tak tak tak tak tak tak tak

SEZAİ KARAKOÇ ( AÇARNAYOX:ZEYNELABİDİN)

PİNG-PONG MASASI

Beyaz iplik sert iplik ve tak tak
Yuvarlak top küçük top ve tak tak
Ping-pong masası varla yok arası
Ben ellerim kesik varla yok arası
...... Öpüçüğüne eyvallah ve tak tak
Beraber sinemaya ... evet ... ve tak tak
Ping-pong masası varla yok arası

Öküzün gözü veya dananın kuyruğu
Kadifekale veya Sen nehri
Ha Sezai ha ping-pong masası
Ha ping-pong masası ha boş tüfek
Bir el işareti eyvallah ve tak tak
Gözlerin ne kadar güzel ne kadar iyi
Ne kadar güzel ne kadar sıcak
Tak tak tak tak tak tak tak

SEZAİ KARAKOÇ

İmon Çıçi Dono

25 Jan 09 11:38:24 GMT

İmon Çıçi Dono

Ie îmon karakterone rındo dayişa hem dekerışe rahmi hem meyle zırar dayışa xo bılunuşi dono
Tarixçe,pr 232

DERSİME OYNANAN OYUNLAR

24 Jan 09 18:13:40 GMT

türkmüsüm ?
kürtmüsün ?
zazamisin ?

zaza degilsen ya kürt yada türksün .
senin yazilarini okudum sacma nedenmi ?

analatim kardesime bak erzincali zazalar demezler biz erzinca konusiyoruz ne diyerler bilyormusun biz zazaca-kirmanca konusiyoruz.

sivasdaki zazalar demezler biz sivasca konusiyoruz biz sivas halkiz demezler ,sivasli zazayiz diyerler ve zazaca-ginice konusiyoruz.

xinis,varto,kars,adiyaman,siverek,batman,diyarbakir,bingöl bunlar kendine zaza veya dimli diyerler kendine.

bütün zazalar alevisi ve sünnisi olsun zaza halkini inkar etmiyor ve birbirni kabul ediyor.

tek dersim zazalari sorum cikariyor biliyormusun neden tikko,pkk,partizan,tc birakmiyor dersim zazalari birlesin yoksa büyük güc olacaklar diye.

belki biliyorsün bu son aylarda ergenekon ceteleri pkk,tikko,partizan desifre oldular ,senelerce genc kardeslerimizi ölüme göturduler. sen neden zaza kardeslerine düsmanlik yapiyorsun onu bilmek isterim .

Dr.zülfi selcan oku kendini aydinlat ezbere konusma kardesim

saygilar

DERSİM FORUMDAN ALINTIDIR

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21 Jan 09 15:00:20 GMT

GULA WEŞI

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Tevrat ta zazalar

21 Jan 09 13:53:25 GMT

Tevrat ta zazalar

Aşağıdaki analizde Tevrat ve İncil’in Kitabı Mukaddes (Eski ve Yeni Ahit) başlıklı Türkçe çevirilerini (İstanbul, 1976) esas aldım, ama birkaç İngilizce çeviriyle karşılaştırarak değerlendirdim. İlkin Tevrat’ın ünlü Uluslar Şeceresi ve bu şecerenin anlamı üzerine kısa bir açıklama yapmalıyım. Bilim adamları Tevrat’ın şecere tablosundaki kişi adlarının aşiretleri ve ulusları temsil ettiğini, bunun bir uluslar şeceresi ve tasnifi olduğunu düşünüyorlar. Kimisi bu şecerede dünyanın en erken etnik tablosunu görüyor. Kimmerler’e, Magog’un adı ise İskitler’e referanstır. Kimisi, Asur yazısının bir özelliği olan son hecenin iki kez söylenişinden hareketle Magog adını Medler’in ana bölümü olan Magiler’e (kimine göre Magi adı etnik bir ad olmayıp Medler’in din adamları sınıfını tarif eder) referans olarak yorumladı. Ama sonraları Magog denenlerin İskitler olduğu fikri egemen oldu. Ukraine-A Concıse Encyclopaedia (Cilt I, 1963) adlı kaynakta M.Ö. 950 yılından kalma bir Fenike dünya haritasında Ukranya topraklarına Magog ve adları Gomer verildiği yazılmaktadır. Buna göre Gog ve Magog denenlerin Kimmerler ve İskitler olması mümkündür. Yafet’in oğlu Maday’ın Medler’i, Meşek’in Moschi’leri, Tiras’ın büyük ihtimal Turushalar (Tyrseniler) veya ilk/ilkel Kimmerler’i, Tubal’ın Tibareniler’i, Yavan (Javan)’ın İyonlar (Yunanlılar)’ı temsil ettikleri, yani M.Ö. 8. yüzyılda bu yedi ulusun Anadolu’da oturdukları öne sürülmektedir. W. F. Albright, bir keresinde Tevrat’taki Tubal-cain ile Moschian dağlarındaki Chalybe’ler arasında bağlantı kurdu. Chalybe adı Haldi olarak anlaşılmalıdır. Gomer’in oğlu Togarma’nın adı, yazıtlarda sık geçen ve Gürün’ün eski adı olduğuna inanılan sözcüğün aynısıdır. Bir kaynağa göre, Hititler zamanında Dersim’deki Munzur’a Muzri-Togarma denirdi (akt. Bilal Aksoy, a.g.e). Bu kombinasyon, Munzur ve Tağar ırmaklarının adlarını hatırlatıyor ve olasıdır ki, bu iki ırmak arasındaki toprakları (eyaleti) tanımlıyor olsun. Gomer’in diğer oğlu ve Togarma’nın kardeşi Aşkenaz ise, İskitler’e referans olarak görülüyor. Asur-Babil kaynakları İskitler’e Asguzai (Ash-gu-za-a-a, Ashkuz, İskuzai, Ish-ku-za) derler. Tevrat’ta Ermenistan adı geçmez. Ama Tevrat’taki Togarmah, Ararat (Ararat, Tevrat’ta Minni/Minyas ve Aşkenaz’ın yanısıra adı anılan bir krallıktır da) ve Maday (Media, Media Atropatene) sözcükleri Ermenistan’a veya en azından Ermenistan’ın bir bölümüne referans olarak yorumlanıyorlar. Tevrat’ta geçen Hori’ler (Seir’de oturdukları söylenir) Hurriler’e, Het’umiler (veya Het-oğulları, Hitti’ler, Etham) Hititler’e referanstır. Hititler, şecere tablosunda Kenan’ın oğlu Hetin’in şahsında temsil edilir. Burada sadece bazı örneklere değinmekle yetiniyorum. Zazalar’a gelince... Tevrat’ta kayda geçmiş olan efsaneye göre, İsrail (Yakup)’in 12 oğlu 12 aşirete dönüşmüştür. Tevrat’taki şecere tablosunda, İsrail (Yakup)’in 12 oğlundan Yahuda’nın soyağacında Zaza ve Palu adları da geçmektedir: İsrail (Yakup)-Yahuda-Peretsi/Peres (İncil, Peretsi’nin Zara/Zerah adında bir kardeşini anar, ama soyunu yürütmez. İncil’de İbrani soyundan Zara adlı bir aşiretten de sözedilir)-Hetsron (İncil’de Hesron)-Yerahmeel (Jerahmeel)-Onam-Yada-Yonatan-Zaza (ve Zaza’nın kardeşi Pelet). James Hastings’in edite ettiği 1900 yılında yayınlanmış A Dictionary Of The Bible adlı sözlüğe göre Zaza’nın kardeşi olarak geçen burdaki Pelet adının doğrusu büyük ihtimalle Pallu olmalıdır ve Pallu da gerçekte Rubenitler’dendir, yani Ruben’in soyundandır. İki Pelet var. Biri Peleth diye yazılır. Bunlardan Pelet, bir Benjamit reisi olup, Jahdai’nin oğludur. Ziklag’da Davut’a katılmıştır. Zaza’nın soyağacı kendisinde bırakılır, ileriye doğru götürülmez. O’nun kardeşi olarak anılan Pallu (Pelet)’nun ise On ve Nu adlarında iki oğlunun adları verilir. Brugsch Bey, Tevrat’ta Annu adının On olarak geçtiğine işaret eder ve Annu’nun Mısır’da Piramidler demek olduğunu, aynı zamanda bir Mısır kentine de ad olarak verildiğini yazar. Annu/On adını taşıyan bu kent, Yunanca’da güneş kenti demek olan Heliopolis olarak adlandırılmıştır. Tevrat’taki şecerede Pallu, Yahuda’nın kardeşi Ruben’in dört oğlundan biri olarak geçer: Hetsron, Karmi, Hanok ve Pallu. Ruben, İsrail (Yakup)’in en büyük, yani ilk oğludur. İncil (New Testament)’de Hetsron’dan sonraki adlar Tevrat’ta verilenden tamamen farklıdır ve Zaza adı anılmamaktadır. İncil’de İsa’nın soyağacı olarak verilen şecere tablosunda İsrail’in oğlu Yahuda’nın Perets (Peres) ve Zara/Zerah adında iki oğlunun adları verilir ki, bu iki ad ile Tevrat’taki şecerede geçen Yonatan’ın iki oğlu Pelet (Pallu) ve Zaza arasındaki paralellik dikkat çekmekte ve bir karışıklık olabileceği izlenimi yaratmaktadır. Yerahmeel (Jerahmeel), The World’s History yazarlarına göre, gerçekte Judah (Yahudi) bir aşiret değildi, ama Judah kralı Davut’un fetihleri sonucunda bağımlı kılınan bu aşiret, bu nedenle giderek bir Judah aşireti gibi görüldü. Bu noktada Dersim’de Rutan ve diğer bazı aşiretlerde rastlanan ‘Ya Davut Peygamber’ (özellikle yağmur yağdığında söylenir) ifadesi bir anlam kazanabilir. Tevrat’ın şecere tablosunda Zaza’nın babası olarak gösterilen Yonatan’ın ise, yine The World’s History’nin aktardığına göre, gerçekte Saul’un soyundan olduğu söylenmektedir. Saul ise, Benjamin aşiretinin reisiydi. Zaten Tevrat’ta da (Birinci Samuel’de) Saul’dan ‘Benyamin Diyarından’ biri olarak sözedilir. Yonatan, Tevrat’ın Birinci Samuel adlı kitabındaki bilgilere göre, Saul’un oğludur. Aynı yerde Yonatan’ın İşvi, İş-Boşeti ve Malkişa adındaki kardeşlerinin, Merab ile Mikal adlarında iki bacısının adları verilmektedir. Kısacası, Tevrat’ta geçen Zaza adının Zazalar’a referans olduğu kesindir. Palu adı ve Palu ile Zaza arasında kurulan akrabalık da kanıtlar bunu. Tevrat’ın en eski bölümlerini oluşturan ilk beş kitabın M.Ö. 6. Yüzyıl öncesinde ve Babil sürgünü peryodunda yazıldığı sanılıyor. Geri kalan kitaplar ise bu tarihten sonrasına aittirler. Tevrat yazarlarının Babil kayıtlarından yararlandıkları kesin olduğuna göre, Zaza ve Palu (Balan) etnik adları bu kayıtlarda ve o tarihlerde varlardı. Zazalar’ın şecere tablosunda daha gerilerde değil de ilerilerde gösterilmesi Tevrat yazarlarının keyfiliğine yorumlanabilir. Çünkü İbraniler’in geldikleri söylenen topraklar ve onların Peleg ve Seruk gibi erken reislerinin adları beni farklı düşünmeye zorluyor. Zazalar, Tevrat’ın verdiği şecere tablosuna bakılırsa Semitik (Sem’in soyundan) bir halktırlar, İbranidirler. Başka deyişle İsrail-oğullarındandırlar.Seruk, Palu ve Hetsron da aynı çizgiye dahil ediliyor. Bu durum Zazalar’ın ve Balanlar (Palulular)’ın bir kesiminin o tarihlerde Semitlerle karıştıklarına ve bir ölçüde Samileştiklerine yorumlanabilir. Tevrat’a göre Pallu’dan ‘Palluiler Aşireti’, Karmi’den ‘Karmiler Aşireti’, Perets’den Peretsiler, ve O’nun oğlu Hetsron’dan da Hetsroniler aşireti çıkmıştır. Hetsroniler aşireti Yahuda aşiretleri arasında sayılıyor. Tevrat’ın Palluiler dediği aşiret benim görüşüme göre bugün Palu yer adı ve Balan (Belikan, Balaban) aşiret adlarında temsil edilmektedir. A Journey In Dersim adlı seyahat notlarında M. Seel Pülümür’den Palumor, Ovacık’tan Pellur olarak sözetmektedir. Bu adların orijini Bal (Palu) adı olabilir. M. Nuri Dersimi, Kürdistan Tarihinde Dersim (Halep, 1952, s. 6, 48) adlı kitabında Ovacık’ın güney kesiminin Belkiş adıyla bilindiğini kaydeder ve Bılgeş dağlarından sözeder. M. Seel ise Tağar Suyu civarındaki Bilgeç Dağı’nın adını verir. Bu adlar da Bal (Bel) etnik adıyla ilişkili görünmektedirler. Bal adına zaman zaman Bel ve Bıl şekilleri altında rastlarız. Tevrat’taki Hetsron adı ile Dersim’in Hitsor aşiretinin adı ve bu ikisiyle Het (Hitit) adı arasındaki benzerlik dikkat çekmektedir. İbrahim’in kardeşi Nahor’un oğullarından birinin adı ‘Hazo’ olarak verilir ki, bu da tanıdık bir addır.

alintidir..

ATALAR DİNİ ve IRK DİNİ

20 Jan 09 15:02:54 GMT

ATALAR DİNİ ve IRK DİNİ

Her insan belli bir soydan belli bir baba ve anneden gelmiştir.İlk insan Hz.Adem ve Hz.Havva bütün insanlığın atasıdır.Bu noktadan bütün insanların atasının dini Hz.Ademin dini olan islamiyettir. İnsanın anasının başörtülü olarak aldığı sevap kızının başını açarak aldığı veya alacağı günahlara hiç bir zaman karışmayacaktır.Birinin hatasıyla başkası suçlanamaz.Birisi de başkasının aldığı sevabı alamaz.İnsanoğlu, kendi yaptıklarından sorumludur.

Tarihi süreçte Hz.Adem'in dini islam olmakla beraber sonra gelenler bu dini bozmuşlar terketmişler ve yeni dinlere (putperest vb.) inanmaya başlamışlardır.Ne yazık ki bu zamana kadar atamız Hz.Adem in gerçekte yaptığı gibi yapmayı akıllarına getirmeyenler bu noktadan sonra kendi uydurdukları sahte dini bir atalar dini haline getirmişlerdir.Halbuki herşey mantıken de tarihen de ortadadır ki bu sözde din sonradan ortaya çıkmıştır.Fakat atalarımızın dinine inanacağız diyerek sonraki nesilleri saptırmaya devam etmişlerdir.

Hz.peygamber devrinden bir süre sonra mezhepler ortaya çıkmıştır.Bazı insanlar bir mezhebi bazıları da diğer bir mezhebi benimsemişlerdir.Hatta bu benimsemede zorla şiileştirme gibi uygulamalar da ortaya çıkmıştır.Ne var ki bu olaylar sırasında zorla veya kendi isteğiyle mezhep değiştirenlerin bir kısmı sonraki nesillere aynı atalar dini hastalığını aktarmışlardır.Bunların neslinden gelenler asla atalarının babalarının dinini terketmeyeceklerini söylemeye başlamışlardır.

Atalar Dini hastalığının yanısıra diğer bir hastalıkta bir ırka bir din izafe edilmesidir.

Diyorlar ki Türklerin dini islamdır.Evet iman ediyorum tek hak din islamdır.Ancak hristiyan gagauz türklerini nereye koyacaksınız.

Diyorlar ki musevilik yahudilerin dinidir.Peki müslüman olmuş yahudileri nereye koyacaksınız.

Diyorlar ki Hristiyanlık Avrupa'nın dinidir.Öyle ise müslüman olmuş hatta budist olmuş avrupalıları nereye koyacaksınız. Diyorlar ki İslam ,Arapların dinidir.Evet Peygamberimiz Hazreti Muhammed Mustafa (Sav) arap ırkındandır.Fakat, ona da Mekke Kabilelerinden bazıları karşı çıkmışlardı.Neden dersiniz acaba?Bizim kabilemizden değil cümlesiyle ve atalarımızın dinini terk etmemizi istiyor bahanesiyle karşı çıkmışlardı.Eski cahiliye ile yeni cahiliye ne kadar da birbirine benziyor değil mi ?.Türk ırkçısı diyor ki bizim dinimiz şamanizmdir.Biz Arapların dinini kabul etmeyiz.Kürt ırkçısı da diyor ki :İslam ,Arapların dinidir.Bizim dinimiz Zerdüştlüktür.Zaza dilini yaşatmayı ırkçılık faşistlik şeklinde anlayan da aynı şeyi söylüyor.O da diyor ki İslam, Arapların dinidir ;bizim dinimiz Zerdüştlüktür / bazısı da kendi Aleviliği din düşmanlığı şeklinde anlama anlayışını bütün alevi zazalara yayarak bizim dinimiz İslam değil,Aleviliktir ,diyor.Sanki Alevilik de İslam düşmanlığı imiş gibi.Araplar ve İslam konusunda bu gerçekler yanında hristiyan Arapları ,ateist Arapları nereye koyacaklar acaba bu ahmaklığın ,aklı bozulmuşluğun ve vicdanı çürümüşlüğün temsilcileri merak ediyorum,doğrusu.

Ah atalar dini vay ırk taraftarlığı sen nelere kadirmişsin. Ne yalanları ne yanlışları insanlara en onurlu savunma ve direniş gibi kabul ettirmişsin ve ettirmektesin.

Muhalif ten alınarak düzeltilmiştir.

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19 Jan 09 18:47:16 GMT

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Zazaca Anadolu'da konuşulan bir dildir.

18 Jan 09 11:54:23 GMT

Zazaca Anadolu'da konuşulan bir dildir.

BEN KÜRTÇE VE TÜRKÇEYE BAKTIÐIMDA VE ZAZACAYI DA İNCELEDİÐİMDE(KÜRTÇEYİ DE BİLİYORUM) ZAZACA-KÜRTÇE, ZAZACA-TÜRKÇE ORTAK KELİMELERİN SAYISI HEMEN HEMEN AYNI, EE O ZAMAN HEM KÜRDÜM HEM TÜRKÜM DEMELİSİNİZ.MADEM BU OLMAYACAK BİÞEY O ZAMAN ZAZAYIM NEDEN HALA DİYEMİYOR BAZILARIMIZ.NEDEN EMANETİMİZİ KÜRDÜZ DİYİP ONLARA HAVALE EDİYORUZ.KENDİMİZİ KANDIRIYORUZ.SİZE BİZATİHİ MUHATAP OLDUÐUM Bİ MÜNAKAÞAMI ANLATAYIM Bİ KÜRT ARKADAÞIM İLLA KÜRTLERİN Bİ KOLUSUNUZ DEDİ BENDE ONA SEN SORANİCE VE KIRMANÇİ ANLIYORMUSUN DEDİM BANA BEN KIRMANÇIM SORANİCE Yİ DE DİKKATLİ DİNLEDİÐİM DE ÇOK İYİ ANLIYORUM DEDİ O ZAMAN BU DA ZAZACA BUYRUN DEDİM VE TANE TANE KONUÞTUM BANA YAV BİR KAÇ KELİME ANCA ANLADIM HANGİLERİ DEDİM BAKTIM BU ANLADIÐI KELİMELERİN YARISI ZATEN TÜRKÇEDEN GİRMİÞ OLANLARI DİÐERLERİ DE EZ,TI VE ÇI.EE BU KELİMELERİ İRANLILAR TACİKLER AFGANLAR PAKİSTANLILAR OSETLER DE KULLANIYOR DEDİM.O ZAMAN ONLAR DAMI KÜRT OLDULAR DEDİM.YAV İÞTE HEPİMİZİN DİLİ AYNI KÖKENDEN GELİYOR YANİ DEDİ.PEKİ ONU DA AÇIKLIYAYIM DEDİM.HİNT İRANİ DİLLER GÜNEY ASYANIN HER YERİNDE KONUÞULUR.ZAZA,KÜRT,İRANLI,AFGAN,TACİK,OSET,HİNDU BUNLARIN HEPSİ AYNI DİL AİLESİNDENDİR.MESELA MACARCA,FİNCE,MOÐOLCA,JAPONCA URAL ALTAY DİL AİLESİNDE BULUNURLAR FAKAT BİR MACARIN BİZ TÜRKÜZ BİR TÜRKÜN DE JAPONUZ DEDİÐİNE TANIK OLDUN MU DEDİM HAYIR DEDİ.

SONUÇ=(ZIWANO EN WŞÞO O,KAM VANO NİYO,WA WERZO ŞIRO,NAMEY CI Zİ WEÞO,KISEY CI Zİ WEŞO )

VENGURENG FORUMDAN AKTARILMIŞTIR.

Qainat [ Kainat ]

01 Jan 09 16:12:53 GMT

Qainat

şuay /şua çıharını / 76

Ne rındinye na qainatıdı wini yu rındira yenê kı,na qainata heçnevındena avıryena u bena teze ,çimyokı tede esto ey pêrıqona zwenonde lilıkbiyayışa ,cemale ê rındi sıfatonecı vona u tarif kena.

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Kainat

şualar / dördüncü şua / 76

bu kainatta görünen bütün güzellikler öyle bir güzelden geliyorki,bu mütemadiyen değişen ve tazelenen kainat,bütün mevcudatiyle ayinedarlık dilleriyle ,o güzelin cemalini tavsif ve tarif eder

Kudüs

30 Dec 08 20:49:22 GMT

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Kudüs

Ez bermaw hetonu kedyay hesryemı
Mı nımaz ke hetonu şi hewna çılay
Hetonu bezar biyo mı rüku ke
Mıhammed mı pers ke todı biyovini
Ey Kudüs,ey şaaro nebi cıra vejyaye

Ey Kudüs, ey fenere şeriato
Ey gıştyecı veşaye loreqo rınd
Derd esto çımondetodı ,ey şaaro iffetın
Ey bexço lınga Resul'i qoyawa pa
Kaldırımondetodı derd esto
Mınarondetodı derd esto
Ey Kudüs, ey şaaro siyayo xoradaye
Qomo bıceno çanone kilisada kıyomı
Sıvayonde pazaridı
Qomo bıqıresşo lorqore oyuncaxo
Şewonde serdaserıdı

Ey Kudüs, ey şaare derdo
Ey çımondecıra hesrye gırdi şiyaye
Qomo vındarno düşmeno
Nışte tosero,ey inciye dino
Qomo paq qıro gunyo desondetora
İncil’i qomo bıxelesno
Qomo bıxelesno Qur'on'i
Qomo bıxelesno Mesih'i katilondexora
Qomo isoninı bıxelesno

Ey Kudüs, ey şaaremı
Ey Kudüs, ey yaremı
Sıva,sıva leymuna vılıko aqıro,
Kef bıqıro sunbulye yaşılu zeytuni
Çımye bıwıye
Peyser bêre bewronye maciri
Halingdexue pırpaqi
peyser şêre loreqi qaykerdışi
Bırese yewbini piyu laji
Ey melmeketemı
Ey şaare hureu berki

Açarnayox: Zeynelabidin

Nizar Kabbani

Kerbela.flv

Kudüs
Ağladım tükeninceye kadar gözyaşlarım
Namaz kıldım sönünceye dek kandiller
Usanıncaya kadar rüku ettim
Muhammed'i sordum sende kaybolan
Ey Kudüs, ey nebilerin çıktığı şehir

Ey Kudüs, ey şeriatler feneri
Ey parmakları yanan güzel çocuk
Hüzün var gözlerinde, ey iffet şehri
Ey Resulün uğradığı bahçe
Kaldırımlarında hüzün var
Minarelerinde hüzün var
Ey Kudüs, ey karalara bürünen şehir
Kim çalacak çanlarını Kıyamet kilisesinin
Pazar sabahları
Kim taşıyacak çocuklara oyuncakları
Yılbaşı gecesinde

Ey Kudüs, ey hüzünler şehri
Ey gözlerinden kocaman yaşlar akan
Kim durduracak düşmanları
Üzerine çullanan, ey dinlerin incisi
Kim silecek kanları duvarlarından
İncil’i kim kurtaracak
Kim kurtaracak Kur'an’ı
Kim kurtaracak Mesih’i kendisini öldürenlerden
İnsanlığı kim kurtaracak

Ey Kudüs, ey şehrim
Ey Kudüs, ey sevgilim
Yarın, yarın çiçek açacak limon
Sevinecek yeşil sümbüller ve zeytin
Gözler gülecek
Geri dönecek göçmen güvercinler
Tertemiz yuvasına
Ve geri dönecek çocuklar oynamaya
Buluşacak babalarla oğullar
Ey memleketim
Ey barış ve bereket şehri

Çeviren: İlyas Altuner

Nizar Kabbani

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İslominı ( İslamiyet )

30 Dec 08 20:02:34 GMT

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İslominı

İslominı îlma vejyena ; êsasecı akılo.

İslom .mp4

İslamiyet

islamiyetin menşei, ilim; esası, akıldır.

YA MUHAMMED ZAZACA GÖKHAN ÇALI .mp3 YA MUHAMMED ZAZACA GÖKHAN ÇALI .mp3

SERA NEWİ

29 Dec 08 19:52:03 GMT

SERA NEWİYA HİJRİYA 1430 'I ÂLEMDE İSLOM U ZAZAYONRE MIMVAREK VO

TRT ayrı bir zazaca TV açmalıdır

28 Dec 08 20:29:53 GMT

TRT kürtçe kanalı 1 ocak 'ta düzenli yayına başlayacak. TRT devletin vatandaşına hizmet sunduğu bir kurum olarak Zazaca Tv de açmalıdır. TRT bu şekilde hareket etmezse devlete karşı eylemleri olmayanlara televizyon açılmayacağı mantığı ve gerçeği ortaya çıkar ki bu son derece tehlikeli ve yanlış bir mantıktır.Muhakkak ki çok kötü neticeleri de ortaya çıkacaktır. Örneğin Terör örgütünün eylemlerini arttırması şeklinde.Zira diyeceklerdir ki bakınız biz şöyle şöyle şiddet eylemleri yaptık.Bize yönelik Tv açıldı.Demek ki ne kadar çok şiddet eylemi yaparsak o kadar hak elde ederiz.Nitekim, o iğrenç yolun yoldaşları bunu halk içinde daha önce AB v.b. etkenlerle verilen haklar için bu şekle yorumlayarak söylemektedirler. TRT nin bu kanalında bizim için olabilecek tek olumluluk Zazacanın bu kanalda yer almayarak lehçe tuzağından kurtulmuş olmamızdır( tabii sonradan bu hataya düşüp Kürt Faşistlerine hizmet tuzağına düşmezlerse ). TRT ayrı bir zazaca TV açmalıdır. Zeynelabidin

QEYE ZWENDEMA.jpg

26 Dec 08 14:41:24 GMT

QEYE ZWENDEMA.jpg

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QEYE ZWENDEMA

Sadeka ( Sadaka )

24 Dec 08 21:34:03 GMT

Sadeka

Sadeka seni malya bena. İlma bena. Kâlya ,kerdışya , nesihatya ji bena.

Kali | kalo vistu pojın | 335

Sadaka nasıl mal ile olur. ilim ile dahi olur. kavl ile, fiil ile, nasihat ile de oluyor.

Sözler | yirmi beşinci söz | 335