Blue room


Title: Blue Room

Author: Sohrab Sepehri

Publisher: Wali

Subject: Persian poetry

Age category: All ages

Number of pages: 96

Language: Farsi

Categories: ,


Introducing the book Blue Room by Sohrab Sepehri
The bottom of our garden was a barn. There was a room on the stall, it was blue, it was called a blue room (we called it a blue room). The head was lower than the floor. The corridor leading to the blue room has a few steps. The blue room was far from the intimacy of the soil truth. We lived in this room. One day my mother enters the blue room. The mother sees a twisted snake in the niche. scared. That’s how much. We move out of the blue room that day. We go to a room north of the house. White window room. We will stay in this room until the end. And the blue room remains empty until the end ….

Who’s the blue room effect? The Blue Room is one of the most beautiful books written in Persian and published in 1990. But one of the most frequently asked questions at this time is, Whose book is the Blue Room? What is it written about? And what points does it refer to?

If you have read parts of the Blue Room book in cyberspace, the Internet or even in books and magazines, you know that this book is written in prose. But do you know who the author of the Blue Room book is? You may be interested to know, Sohrab Sepehri; The Iranian poet and painter wrote this book.
You probably did not think that the book The Blue Room was written by Sohrab Sepehri. But the book Blue Room is the name of the last work of Sohrab Sepehri, who wrote it before his death, which, unlike eight books, was written in prose. The book Blue Room contains Sohrab Sepehri’s philosophical memories and perceptions from his childhood to the end of his life. He died in 1980 and Pirooz Sayar was able to edit this book and publish it in 1990.

Blue Room Book
In the previous section, you answered the question of who wrote the book Blue Room. Sohrab Sepehri, the great new poet of Kashani, wrote this book in the last years of his life and about the philosophical perceptions he had at different times in his life. The Blue Room book has three separate sections and each of them is related to a specific period of Sohrab’s life. These sections are “Blue Room”, “Our Painting Teacher” and “Conversation with the Master”, which are related to his childhood, adolescence and middle age, respectively.

Blue Room Book Writing
The three sections of the Blue Room book are not the same in terms of writing style. In fact, the author did not have the opportunity to harmonize their language, which was apparently written over several periods of the author’s life. Pirooz Siar also tried to edit this book with the least change.

About the Blue Room book
“Blue Room” is in fact the last book of Sohrab Sepehri, in his lifetime, who did not get the opportunity to finish it, but Pirooz Sayar was able to collect this book successfully and even finish the incomplete parts of it. Publish it with the least amount of editing. The book is a description of a blue room at the end of a garden house, and Sohrab accurately describes the room as a symbolic place, also influenced by Buddhist and Hindu mythology, which is a very small example of the world in which he lives. And has many similarities to our world.

Most of the symbolic elements written in the book Blue Room are easily seen in the works of poetry and poetry of Sohrab and have a special place. These elements include the use of colors such as blue, yellow and red for their allegorical meaning, the presence of the snake as a mythical animal and the expression of the relationship between the snake and water and fertility, etc., which make this book one of the most beautiful books in the world. Has turned.

Different sections of the Blue Room book
Part One; Blue room

“Blue Room” is one of the important parts of the book, which is known to have been written on November 26, 1976. This section describes a blue room written at the end of the garden of the house where Sohrab lived. A room that, while accurately describing, Sohrab considers it a symbolic place influenced by Buddhist and Hindu mythology, a small example of the universe, and enjoys understanding such similarities.

Most of the symbolic elements in this part of the book have colorful roles in other works of Sohrab Sepehri. Including the use of colors such as blue, yellow, white or other colors that have an allegorical meaning. Or the presence of a snake, which is known as a mythical animal, and expressing points such as the relationship between snake and water leads to fertility.
In part of the Blue Room section, we also see the influence of the Daura religion. In the part where Sohrab Sepehri, under the influence of Hindu Buddhism, considers the snake as “Mand Ella”. The architecture of the blue room is also described as follows: “The floor of the room is square in shape and its multiplicative arch is circular”, which is reminiscent of the “calendar house”. According to the author, the square symbolizes the earth and the circle symbolizes the sky, and in fact the blue room is a sacred space that explains the connection of the earth to the sky.

In part of the Blue Room section we read:
The bottom of our garden was a long head. There was a room on the stall, it was blue.

It was called the Blue Room (we used to call it the Blue Room), the long head was below the floor. So much so that the heads and necks of the mullahs could be seen through the hatch above the mangers. The corridor that led to the blue room was a few steps

She eats . The blue room was not far from the intimacy of the soil truth, we lived in this room. One day my mother enters the blue room. He sees a torpedo snake in the niche, he is scared, how much. The same day we move from the blue room, go to a room in the north of the house, the white window room, stay in this room until the end, and the blue room falls empty to the end.

Blue Room Book

Part II; Our painting teacher
In the second part of the book Blue Room, the shortcomings and shortcomings of the educational system are explained. In this section, Sohrab reviews the classroom and the teacher and the textbooks in a simple and humorous language by reviewing the memories of his school days. Classrooms that have a cold and dry atmosphere and are alien to nature outside. Such a cold and depressing atmosphere makes children sad, and that is why most children hate school.

The dryness of the classroom also affects children’s learning. When you are bored, tired or even sad in class, it is very unlikely that you will be able to learn a point well. Teachers’ personalities also have a big impact on this coldness. People without feelings and unfamiliar with the world of children who also made the dry space of the classroom drier with wood and carousel.

In the classroom then and now, the teacher and the student live in two completely different worlds and do not agree on anything. Textbooks are also disturbing albums full of concepts that are no longer applicable in our daily lives and can not help us in personal growth.
Sohrab, like other children, hates teachers and lessons and considers painting as his best refuge, but the school of that time has no place for imagination, initiative and art. That is why Sohrab tries to find the cause of punishment in education in ancient Rome and Greece and to express the views of Plutarch and Aristotle. On the other hand, it seeks the reasons for it in Islamic mysticism and Hindu Buddhist schools.

Part of our painting teacher:
Primary school is over. The line went away. We did not practice anymore. And we did not hear the pen. The compound was dried. And the hot reed pen broke its market. The virtue of the script remained in the books. Calligraphy replaced calligraphy. Instead of a straw pen, the French pen came. It was replaced by an autograph. Then a disaster struck: an automatic epidemic swept the world. The autograph was not so foreign. In its invention, Abu al-‘Ala Sa’idin Hassan ibn Sa’id was a pioneer: “One of his inventions was a medium iron pen that he filled with pencil and used for a month without drying the pen.” And this was in the fifth century AH. And Saed was a poet.

third part; Conversation with the master
In the third part of the book, which refers to Sohrab’s middle age, the views of the author of the book Blue Room (Sohrab Sepehri) about the schools of painting, the history of painting in Iran and the characteristics of Eastern and Western art and their differences are expressed. The conversation with the professor is in fact a follow-up to Sohrab Sepehri’s thoughts in a collection of eight books, and the influence of many Eastern religions and beliefs and Indian schools is obvious.

In this section, which remained unfinished, Sohrab Sepehri describes the art of the East and its differences with the art of the West with questions from his French master and points out some features of the art of the East:

Symmetry and repetition can be seen in the architectural roles of houses, Persian gardens, mosques, woodcarvings, engravings, paintings and even poems.
Illustrator’s monotony in the Oriental painting
In Western art, on the other hand, there is a question of measurement and authority for the porter, and the spectator’s eyes are directed in a certain direction. As a result, other parts of it are overlooked.

The third part of Sohrab Sepehri’s book Blue Room is the unfinished part that Pirooz Siar was only able to complete to some extent. Sohrab Sepehri was diagnosed with leukemia in 1979 and died on May 1, 1980 in Pars Hospital in Tehran. Because of this, he could not finish the third part of his book

Biography of Sohrab Sepehri
Sohrab Sepehri was born on October 6, 1307 in Kashan. His grandfather was Mirza Nasrullah Khan Sepehri, who was the first head of the Kashan Telegraph House. His parents were Assadollah and Mah Jabin, who were both artists and poets. Assadollah Sepehri was an employee of the Kashan Post and Telegraph Office and fell ill with paralysis and died in 1341. His mother died in June 1994.

Sohrab Sepehri had an older brother named Manouchehr and three sisters named Homayoun Dokht, Peri Dokht, Parvaneh, who have been his playmates since childhood. Sohrab Sepehri spent his primary education in Khayyam Primary School and his secondary and high school education in Pahlavi High School in Kashan.

In September 1327, he participated in the sixth literary exams and after graduating, he came to Tehran in high school and studied at the Faculty of Fine Arts, University of Tehran, and at the same time was employed by the Tehran Oil Company. Moon resigned.
In 1330, Sepehri published the first book in his collection of eight books called Death of Color. As you know, Sohrab Sepehri is one of those who writes his poems in the style of Nimai poems or in other words new poems. Eight of his books have been written in this style. He graduated from the Faculty of Fine Arts in 1943 and began writing, composing poetry and drawing.

Sohrab Sepehri had a very special interest in Eastern culture and traveled to India, Pakistan, Afghanistan, Japan and China. He lived in Japan for a while and even learned the art of “wood carving” in Japan. He was also very interested in ancient Japanese and Chinese poetry and translated a number of them.

Sohrab Sepehri was diagnosed with leukemia in 1979. He also traveled to England for treatment, but to no avail, and his illness had progressed greatly. After returning to Tehran, after failing his treatment in England, he finally died on the evening of Monday, May 1, 1980, at Pars Hospital in Tehran. His tomb is next to the Imamzadeh of Sultan Ali ibn Mohammad Baqir in the village of Mashhad Adhal located around Kashan. Popular and well-known works of Sohrab Sepehri Bozorg are:

Next to the grass or the tomb of love
Color death
The life of dreams
The song of the sun
East of Sorrow
The volume of sorrow
Eight books
Blue Room (Pirooz Mobile Editor)
Still in my journey (unpublished poems and notes by Sohrab Sepehri)
Friend’s footsteps (letters of Sohrab Sepehri’s friends to the efforts of Peri Dokht Sepehri)

Part of the Blue Room book texts
In Megun, I remember, we were on the mountain, we were going to the back of the mountain. At one point I was warned, I went upstairs and told the children that we would reach the snake at the head of the bend, the one who was going forward shouted: Snake. And once again, in the morning sun, I was sitting on a rock by Lake Tar. I was looking at the top of the mountain, I was unaware of the ground, I was given a pause to watch.

I looked at my feet: Marie was crawling and walking. I did not do anything, I was not a Tamoul man to join hands. Let me recite a mantra from Atar and Oda. Or to say: Nalla Pambou.

I ran to the room at the pool house on the other side of the garden, called my little uncle, picked up his shotgun and ran with me to the long head, we saw snakes, my uncle aimed, my uncle did not know the meaning of two intertwined snakes, He did not know about myths, nor did he read the history of religions, the word Ahimsa or its equivalent was not spoken on the walls of our house, What does it mean for the South Hindu to mingle, to see himself pull aside, join hands, kneel, and say a prayer? Indians cherish the interbreeding of two animals.

In the same way that parasitic coexistence counts marriage of some plants, in Atardauda. Ashota becomes a Semitic parasite to give birth to a male child. My uncle did not know this because he had killed Ghazal in pairs.
The Blue Room is the name of a book by Sohrab Sepehri. Unlike the eight books in Sohrab Sepehri’s collection of poems, The Blue Room is written in prose and contains material about his childhood memories and philosophical impressions.

The book Blue Room by Sohrab Sepehri was published for the first time after Sohrab’s death in 1990. In some editions of the book, including the source used in this article, the book The Blue Room has been published along with two other writings (Our Painting Teacher and Conversation with the Master).

Sohrab Sepehri was born on October 6, 1961 in Kashan.
His grandfather Mirza Nasrullah Khan Sepehri was the first head of the Kashan Telegraph House. His father was Asadullah and his mother was Mahjabin, both of whom were artists and poets.

In August 1336, he traveled to European countries by land and went to Paris and London. He also enrolled in the School of Fine Arts in Paris in the field of lithography.

During his time in Paris with Hossein Zandaroudi, his scholarship was cut off, and he was forced to work to earn more money and stay in France to continue painting, sometimes hanging from twenty-story buildings to clear apartment glass.

At first, his blue room was composed in the style of Nimai, but later he recognized his practice.
In this new method, Sohrab Sepehri achieved a new method based on the humanistic view and what he had learned from Zen philosophy, which is considered as the “green volume” of the evolved method of his style.

He used to create his works of art away from society and had chosen “Chenar village” and Kashan deserts to achieve his solitude.

His poetry is intimate, full of pristine and fresh images that he illustrates with a soft, gentle, clean and coherent language.

Among his most famous poems, we can mention: address, the sound of the foot of water and the traveler, which is one of the longest poems in the new Persian language. Karim Emami, who was a close friend of his, translated some of Sohrab’s poems into English during his lifetime.

In 1375, the English translation of two collections of the sound of water foot and green volume, translated by Ismail Salami and Abbas Zahedi, was published by Zabankadeh Publications.

Other translators later translated his poems into English, French, Spanish, and Italian.

In 1992, selected poems from two books, Green Volume and East of Sorrow, entitled “We Are Nothing, We Look” were translated into Spanish by Clara Khanis.

In 1996, a selection of Sohrab Sepehri’s poems was translated into Istanbul Turkish by the Iranian artist Javid Moghaddas Sadeghiani and published by YKY Publications in Turkey.

Related books

1- Introducing the book  on YouTube

2- Introducing the book  in Aparat

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