The Ashiq art in Iran has an ancient history, with the Ashiqi tradition in Iranian Turkic culture rooted in the shamanistic beliefs of the Turks during ancient times. In ancient times, the Ashiqs were also known as "Bakhshi", "Dede" {Dada} (spiritual leaders) and "Ozaan." One of their duties was to orally transmit culture and promote cultural values and traditions. According to the epic "Dede Qorqut" the origins of the Ashiqs date back to the 7th century AD. This art gradually evolved during the migration of people and the adoption of Islam by the Turks was one of the components of this evolution. The Turks used this art to spread their religion among their fellow speakers and the art of Ashiqi developed and refined alongside mystical literature.
Mr. Gulab ali Davoodbeigi, was born in 1941 in Arhan village, Khorramdarreh town, Zanjan Province and began practicing the art of Ashiqi at the age of 17. Master Gulab ali Davoodbeigi is skilled in making and playing the Qopuz, a traditional Ashiqi instrument and as a member of the Iran Music House. He has created over 150 musical works. He narrates 32 ancient and historical stories and is one of the prominent masters of the Ashiqi art in Iran. He has over 60 years of continuous activity in the art of Ashiqi and remains dedicated to preserving, expanding and teaching this intangible cultural heritage to enthusiasts and those concerned with it. He has been awarded the title of "Dede"{Dada} and the Golden Qopuz statue by the Azerbaijan Artists’ Association in 2007 due to his valuable contributions to the art of Ashiqi.
The art of Ashiqi involves opening up and expressing meaningful and instructive words. It narrates social, political, mystical and religious matters through poetry and music, conveying these themes to the listeners. Ashiqi music, with its beauty, permeates the minds and hearts of enthusiasts and captivates them. This art reflects various aspects of people’s lives and emphasizes both worldly and spiritual concepts. The foundation of Ashiqi art is the education and upbringing of individuals, as well as their acquaintance with the truths of life. Ashiqi art is based on storytelling and legends. The legends of Ashiqi often revolve around themes such as earthly love, epic battles or a combination of both and are narrated with a unique eloquence by the Ashiqs.
Mr. Sattar Khodaei was born in 1960 in Zanjan, Iran and began practicing the art of Ashiqi at the age of 12. He narrates 28 ancient and historical stories and is one of the prominent masters of Ashiqi art in Iran. Master Sattar Khodaei is skilled in composing Turkish poetry and playing the Qopuz. As a member of the Iranian Ashiqs Association and he has created over a hundred musical works. With over 35 years of continuous activity in the art of Ashiqi, he remains dedicated to preserving, expanding and teaching this intangible cultural heritage to enthusiasts and those concerned. Ashiq Sattar Khodaei resides in Zanjan and has showcased his Ashiqi art in countries such as Bosnia and Herzegovina, Turkey, Azerbaijan, Armenia and China.
Ashiqs, as folk artists, possess a unique skill in telling stories, playing musical instruments and expressing the emotions and nature of the story’s characters. They participate in people’s celebrations and weddings, placing the instrument on their chest as they play. They believe that the chest of the Ashiq and the Ashiq’s instrument are in unity with each other. The Ashiq’s instrument is called the "Qopuz" or "Chogur." The Qopuz is a bowl-shaped instrument with a wooden, pear-like bowl made from mulberry wood and its neck is made from walnut wood. Ashiqs play the Qopuz with a plectrum and it is decorated with ivory or shells. The Qopuz has 20 frets and 9 strings. This instrument has seven main frets and five half-frets and it is played alongside the Balaban and Qaval at ceremonies.
The "Qopuz" is a stringed instrument played by Ashiqs. The "Balaban" {Baalaabaan} is a cylindrical wind instrument, and the "Qaval" {Qaavaal} or "Daayereh" is a percussion instrument that accompanies the Ashiq’s performance.
Ashiq poetry is composed in odd numbers, typically in 3 or 5 or 7 stanzas or lines. Ashiqs believe that the odd number of these stanzas or lines emphasizes the oneness of God. Ashiqs compose poems and engage in a form of poetic exchange and competition with each other called "Diyeshme". This involves a question-and-answer style battle and whoever is defeated at the end of this contest or poetic exchange must surrender their instrument to the other. Ashiq art encompasses storytelling, composing poems and songs, singing, playing instruments, improvisation and leading gatherings. Today, most enthusiasts of this art focus primarily on learning Ashiq music and pay less attention to other aspects, particularly storytelling and legends. However, storytelling and legends are the foundation of this art. Achieving mastery in this art is very difficult. To reach this level, Ashiqs must have complete knowledge of Ashiq music, which comprises 72 melodies known as "Haavaa". To attain the level of mastery, Ashiqs must be skilled musicians, poets and songwriters. They must engage in poetic exchanges and be knowledgeable in storytelling, legends, "Miraj-nameh" (accounts of the Prophet’s night journey of Islam), "Ustaad-nameh" (master’s tales) and "Garaayli" (traditional songs). They need to perform these with exceptional expertise and a deep passion for sharing their art with people.
Mr. Gulab ali Davoodbeigi and Mr. Sattar Khodaei renowned Ashiq masters in Iran with over 50 and 30 years of experience and dedication to the art of Ashiq, have preserved this precious and esteemed art as an intangible cultural heritage. They have spared no effort in promoting and introducing it.
The names of these Ashiq masters were included in the list of Iran’s intangible cultural heritage in 2018. They are living treasures of humanity in the contemporary era and here is Zanjan, the passage of history unfolds…
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This article was contributed by Mr. Akbar Karimi, the international reporter for Arirang Culture Connect and the Founder and Managing Director of the Samte Ganjineye Ghoghnoos Cultural-Artistic Institute in Iran. His leadership in preserving and promoting Iranian intangible cultural heritage, along with his extensive experience in cultural-artistic research and his active participation in international forums such as UNESCO and ICCN, enriches his contributions to the global cultural dialogue.
In 2016, Mr. Akbar Karimi, through his research and compilation of the book on the Ashiq Stories, Quotes and Legends in Zanjan and by submitting reports to the ICCN Secretariat, succeeded in bringing the city of Zanjan and the Samte Ganjineye Ghoghnoos Cultural-Artistic Institute into the ICCN membership. He also registered the names of Ashiq Gulab ali Davoodbegi and Ashiq Sattar Khodaei and three other Ashiq masters from Zanjan in the list of Iranian intangible cultural heritage figures.
Mr. Akbar Karimi registered the Ashiq Stories, Quotes and Legends in Zanjan in 2015 under number 82 in the Iranian intangible cultural heritage list and it is currently on the waiting list for UNESCO’s multinational registration.
Translated by Mrs. Farnaz Seydi, the director of international relations of Samte Ganjineh Ghoghnoos Institute.
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