پايان؟
- 1. ﻳﺎﺩﺩﺍﺷﺖ
?THE END ﭘﺎﻳﺎﻥ؟
Soheila Beski ﺳﻬﻴﻼ ﺑﺴﻜﻲ
ﺍﻳﻦ ﺷﻤﺎﺭﻩ ﺩﺭﺑﺎﺭﺓ ﺗﻬﺮﺍﻥ ﻳﻚ ﺟﻮﺭ ﺯﻳﺮ ﺧﺎﻛﻰ ﺍﺳﺖ، ﺣﺎﺻﻞ ﻧﻮﻋﻰ ﻛﺎﻭﺵ
This issue about Tehran is a kind of an antique object brought
-out from excavations of Old Tehran, buried under new con ﻭ ﺣﻔﺎﺭﻯ ﺩﺭ ﺗﻬﺮﺍﻥ ﻗﺪﻳﻢ ﻛﻪ ﺩﺭ ﺯﻳﺮ ﺁﻭﺍﺭ ﺳﺎﺧﺖ ﻭ ﺳﺎﺯﻫﺎﻯ ﺭﻭﺯ ﺑﻪ ﺭﻭﺯ ﻭ
structions, new streets traced, and under all the changes that ﺧﻴﺎﺑﺎﻥﻛﺸﻰﻫﺎ ﻭ ﺗﻐﻴﻴﺮﺍﺕ ﺩﺍﻳﻤﻰ ﺟﺰﺋﻰ ﻭ ﻛﻠﻰ ﻣﺪﻓﻮﻥ ﺷﺪﻩ. ﺑﻌﻀﻰ ﻣﻄﺎﻟﺐ
day after day, cover the past. Some of the articles are about
places that exist no more, places whose presence is limited to ﺩﺭﺑﺎﺭﺓ ﻣﻜﺎﻥﻫﺎﻳﻰﺍﻧﺪ ﻛﻪ ﺩﻳﮕﺮ ﻧﻴﺴﺘﻨﺪ ﻭ ﺣﻀﻮﺭﺷﺎﻥ ﺑﻪ ﺍﺷﺎﺭﺍﺗﻰ ﺩﺭ ﻛﺘﺎﺏﻫﺎ
-reminders in books and articles. Some have been miraculous ﻭ ﻣﻘﺎﻻﺕ ﻣﺤﺪﻭﺩ ﺷﺪﻩ. ﺑﻌﻀﻰ ﻣﻌﻠﻮﻡ ﻧﻴﺴﺖ ﭼﻄﻮﺭ ﺩﺭ ﻣﻴﺎﻥ ﺳﻄﺢ ﺍﮔﺰﻣﺎﺯﺩﻩ
,ly saved and restored in the midst of the exematic surface ﺑﺮﺟﺎﻯ ﻣﺎﻧﺪﻩﺍﻧﺪ، ﺗﻚ ﻭ ﺗﻨﻬﺎ ﻭ ﮔﺎﻫﻰ ﺑﻪ ﻃﺮﺯ ﻣﻌﺠﺰﻩﺁﺳﺎﻳﻰ ﻣﺮﻣﺖ ﺷﺪﻩﺍﻧﺪ،
-left alone. Maybe just as exceptions, in order to prove the nor
mality. Others are just little pieces of vaster ruins: a wooden ﺷﺎﻳﺪ ﺑﻪ ﻣﺜﺎﺑﻪ ﺍﺳﺘﺜﻨﺎﻫﺎﻳﻰ ﺑﺮﺍﻯ ﺁﻧﻜﻪ ﻗﺎﻋﺪﻩ ﺭﺍ ﺍﺛﺒﺎﺕ ﻛﻨﻨﺪ. ﺑﻌﻀﻰ ﻫﻢ ﻓﻘﻂ
door, a well-designed ferre-forge’ in front of a window, a ﺗﻜﻪﻫﺎﻯ ﺑﺎﺯﻣﺎﻧﺪﻩ ﺍﺯ ﻭﻳﺮﺍﻧﻰﻫﺎﻯ ﮔﺴﺘﺮﺩﻩﺗﺮﻧﺪ: ﻳﻚ ﺩﺭ ﭼﻮﺑﻰ، ﻓﺮﻓﻮﺭژﻩﻫﺎﻯ
...beautiful balcony with brick work
ﺧﻮﺵ ﻃﺮﺡ ﭘﺸﺖ ﻳﻚ ﭘﻨﺠﺮﻩ، ﻳﻚ ﻫﺮﺓ ﺁﺟﺮﭼﻴﻦ ﺯﻳﺒﺎ...
Maybe this issue could serve only as a documentation for
cases who are innocently waiting in the line of execution by ﺷﺎﻳﺪ ﺍﻳﻦ ﺷﻤﺎﺭﻩ ﻓﻘﻂ ﺑﻪ ﻛﺎﺭ ﻣﺴﺘﻨﺪﺳﺎﺯﻯ ﻣﻮﺍﺭﺩﻯ ﺑﻴﺎﻳﺪ ﻛﻪ ﺩﺭ ﺻﻒ ﻗﻠﻊ
the sacred right of Property, unquestionable as it is; the right ﻭ ﻗﻤﻊ ﺷﺪﻥ ﺑﻪ ﺩﺳﺖ ﺣﻖ ﻣﻘﺪﺱ ﻣﺎﻟﻜﻴﺖ ﺑﻰﭼﻮﻥ ﻭ ﭼﺮﺍ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ؛ ﻫﻤﺎﻥ
,that permits the owners to destroy and build as they please
ﺣﻖ ﻣﺎﻟﻜﻴﺖ ﺑﻰﭼﻮﻥ ﻭ ﭼﺮﺍﻳﻰ ﻛﻪ ﺑﻪ ﺻﺎﺣﺐ ﺯﻣﻴﻦ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﺪ ﻭﻳﺮﺍﻥ ﻛﻨﺪ
as long as they do not touch the regulation that wants the
buildings of Tehran being built on the northern 60% of the ﻭ ﻫﺮ ﻃﻮﺭ ﻣﻰﺧﻮﺍﻫﺪ ﺑﺴﺎﺯﺩ ﻭ ﺗﺰﺋﻴﻦ ﻛﻨﺪ، ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ ﺧﺪﺷﻪﺍﻯ ﺑﻪ ﺍﺻﻞ 06
,land lot; the same right that is the main cause for the ugly ﺩﺭﺻﺪ ﻭﺍﺭﺩ ﻧﻴﺎﻳﺪ؛ ﻫﻤﺎﻥ ﺣﻘﻰ ﻛﻪ ﻋﺎﻣﻞ ﺍﺻﻠﻰ ﺗﻮﺳﻌﻪﻫﺎﻯ ﻗﻨﺎﺱ ﺑﻠﻨﺪ ﻭ ﻛﻮﺗﺎﻩ
;high and short developments in our cities and even villages
and the same right that has given the Higher Administrative ﻭ ﻧﺎﻫﻨﺠﺎﺭ ﺷﻬﺮﻫﺎ ﻭ ﺣﺘﻰ ﺭﻭﺳﺘﺎﻫﺎ ﺷﺪﻩ؛ ﻭ ﻫﻤﺎﻥ ﺣﻘﻰ ﻛﻪ ﺑﻪ ﺩﻳﻮﺍﻥ ﻋﺪﺍﻟﺖ
Court the permission to bring out the heritage buildings from ﺍﺩﺍﺭﻯ ﺣﻖ ﺩﺍﺩﻩ ﺍﺟﺎﺯﺓ ﺗﺨﺮﻳﺐ ﻋﻤﺎﺭﺕﻫﺎﻱ ﺛﺒﺖ ﺷﺪﻩ ﺩﺭ ﻓﻬﺮﺳﺖ ﻣﻴﺮﺍﺙ
the list of the buildings safeguarded by the Organization of ﻓﺮﻫﻨﮕﻰ ﺭﺍ ﺻﺎﺩﺭ ﻛﻨﺪ.
.Cultural Heritage
ﺗﺼﻮﻳﺮ ﺯﻳﺮ ﺍﺯ ﻣﻴﺪﺍﻥ ﺍﻧﻘﻼﺏ ﺩﻫﺔ 06، ﺩﺭ ﻗﻴﺎﺱ ﺑﺎ ﭼﻨﺪ ﺩﻫﺔ ﭘﻴﺸﺘﺮ ﻣﺮﺛﻴﻪ-
ﺩﻣﻰ ﺑﺮ ﻓﺮﺍﺯ ﭘﻞ ﻋﺎﺑﺮ ﭘﻴﺎﺩﻩ ﺩﺭ ﻳﻚ ﺳﻮﻯ ﻣﻴﺪﺍﻥ، ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﭼﻴﺰﻯ ﺍﻯ ﺍﺳﺖ ﺑﺮ ﺍﻳﻦ »ﻭﻳﺮﺍﻧﻰ ﺩﺍﻳﻢ ﺗﺎﺯﻩﺷﻮﻧﺪﻩ«.
ﭼﺸﻢ ﻣﻰﮔﺮﺩﺍﻧﻴﺪ: ﻧﺌﻮﻥ ﺧﺎﻣﻮﺵ ﻓﺮﺍﺯ ﺳﺎﺧﺘﻤﺎﻥ ﺭﻭﺑﻪﺭﻭ: ﭼﺎﻯ ﺟﻬﺎﻥ ﻭ ﺩﺭ ﺍﻳﻦ
ﺳﻮ ﺗﺎﺑﻠﻮﻯ ﺳﻔﻴﺪ ﺩﻭﺩﺯﺩﺓ ﺁﺯﻣﺎﻳﺸﮕﺎﻩ ﭘﺎﺳﻜﺎﻝ ﻭ ﺩﺭ ﺁﻥﺳﻮ ﺧﻴﺎﻁ ﺭﻳﭽﻤﻮﻧﺪ... ﻭ ﺻﺒﺢ ﺯﻭﺩ ﻣﻴﺪﺍﻥ ﺍﻧﻘﻼﺏ ﺑﻪ ﺳﻮﺭﺍﺧﻰ ﻣﻰﻣﺎﻧﺪ ﻛﻪ ﻣﻮﺭﭼﮕﺎﻥ ﺳﺮﺍﺳﻴﻤﻪ ﺍﺯ
ﺑﺲ. ﭼﻴﺰﻯ ﻧﻤﻰﺗﻮﺍﻥ ﻳﺎﻓﺖ ﻛﻪ ﺩﻝ ﺭﺍ ﺑﺎ ﺍﺣﺴﺎﺳﻰ ﺧﺎﺹ، ﺁﻣﻴﺰﺓ ﺍﻧﺪﻭﻩ ﻭ ﻟﺬﺕ ﺁﻥ ﺑﻴﺮﻭﻥ ﻣﻰﺭﻳﺰﻧﺪ. ﻣﺴﻴﺮ ﺣﺮﻛﺖ ﺟﻤﻌﻴﺘﻰ ﻛﻪ ﺍﺯ ﺯﻣﻴﻦ ﻣﻰﺟﻮﺷﺪ، ﻣﺸﺨﺺ
ﺑﺎﺯﻳﺎﺑﻰ ﮔﺬﺷﺘﻪ ﺑﻠﺮﺯﺍﻧﺪ؛ ﻟﺬﺕ ﺑﺎﺯﻳﺎﺑﻰ ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﺴﺤﻮﺭ ﺭﻧﮓ ﻗﺮﻣﺰ ﺩﺭﺧﺸﺎﻥ ﻧﻴﺴﺖ، ﺍﻣﺎ ﺑﻪ ﻃﺮﺯﻯ ﻋﺠﻴﺐ ﺭﺍﻩ ﻣﻰﺟﻮﻳﻨﺪ، ﻣﻰﻳﺎﺑﻨﺪ ﻭ ﭘﻴﺶ ﻣﻰﺭﻭﻧﺪ، ﭼﻮﻥ
ﺍﺗﻮﺑﻮﺱﻫﺎﻯ ﺩﻭ ﻃﺒﻘﺔ ﻣﻴﺪﺍﻥ، ﺍﺯ ﭘﻠﻪﻫﺎﻯ ﺁﻫﻨﻰ ﺁﻥﻫﺎ ﻛﻪ ﺯﻳﺮ ﭘﺎ ﺻﺪﺍﻳﻰ ﻋﺠﻴﺐ ﻣﻮﺭﭼﮕﺎﻧﻰ ﻛﻪ ﺩﺭ ﻛﻮﺩﻛﻰ ﺑﺎﻻﻯ ﻻﻧﻪﺷﺎﻥ ﻣﻰﺍﻳﺴﺘﺎﺩﻳﻢ ﻭ ﺑﺎ ﺷﮕﻔﺘﻰ ﺑﻪ ﺣﺮﻛﺖ
ﻣﻰﺩﺍﺩﻧﺪ ﻭ ﺑﻮﻳﻰ ﻏﺮﻳﺐ ﺩﺍﺷﺘﻨﺪ ﺑﺎﻻ ﻣﻰﺭﻓﺘﻴﺪ ﺗﺎ ﺩﺭ ﺻﻨﺪﻟﻰ ﻧﺨﺴﺖ ﺟﺎﻯ ﺷﺘﺎﺑﺎﻥ ﺁﻥﻫﺎ ﻛﻪ ﺑﻰﺗﺼﺎﺩﻡ ﺍﺯ ﻛﻨﺎﺭ ﻫﻢ ﻣﻰﮔﺬﺷﺘﻨﺪ ﻭ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﻭ ﺁﻥ ﺳﻮ
ﺑﮕﻴﺮﻳﺪ ﻭ ﺍﺯ ﺁﻧﺠﺎ، ﺍﺯ ﭘﻨﺠﺮﻩﻫﺎﻯ ﺑﺎﺯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﺑﻪ ﺩﺍﺧﻞ ﺍﺗﺎﻕﻫﺎ ﺑﻨﮕﺮﻳﺪ ﻭ ﻟﺬﺕ ﻣﻰﺩﻭﻳﺪﻧﺪ، ﻣﻰﻧﮕﺮﻳﺴﺘﻴﻢ.
ﻭﺻﻒﻧﺎﭘﺬﻳﺮ ﺣﺮﻛﺖ ﺑﺮ ﻓﺮﺍﺯ ﻣﻴﺪﺍﻥ ﺭﺍ ﺑﭽﺸﻴﺪ؛ ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﻴﺪﺍﻥ ﺑﺪﻭﻥ ﺣﺼﺎﺭ، ﺍﺯ ﺩﺭ ﻣﻴﺎﻥ ﻣﻴﺪﺍﻥ، ﺑﻨﺎﻯ ﻋﺠﻴﺒﻰ ﺟﺎﻳﮕﺰﻳﻦ ﭘﻴﻜﺮﺓ ﺍﺳﺐ ﺳﻮﺍﺭﻯ ﺷﺪﻩ ﻛﻪ ﺑﺮ
ﺁﻓﻴﺶﻫﺎﻯ ﺳﺮ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎ، ﺷﻴﺮﻳﻨﻰﻫﺎﻯ ﺧﺎﻣﻪﺍﻯ ﺑﺰﺭگ ﻗﻨﺎﺩﻯ ﮔﻮﺷﺔ ﻣﻴﺪﺍﻥ، ﻓﺮﺍﺯ ﺷﻬﺮ ﻣﻰﺗﺎﺧﺖ: ﺳﺘﻮﻥ ﺍﺳﺘﻮﺍﻧﺔ ﻛﻮﺗﺎﻩ ﻭ ﺣﺠﻴﻤﻰ ﭼﻮﻥ ﺳﻨﮓ ﺁﺳﻴﺎﺏ ﻛﻪ
ﺍﺯﺩﺣﺎﻡ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺩﺧﺘﺮ ﻭ ﭘﺴﺮ ﻛﺘﺎﺏ ﺑﻪ ﺩﺳﺖ ﺩﺭ ﺻﻒ ﺍﺗﻮﺑﻮﺱﻫﺎ ﻭ ﺟﺎﺫﺑﺔ ﻧﻘﺶ ﻣﺮﺩﺍﻧﻰ ﺟﻮﺍﻥ ﺭﺍ ﺑﺎ ﺳﺮﺑﻨﺪ ﺑﺮ ﺁﻥ ﻛﻨﺪﻩﺍﻧﺪ ﻭ ﭘﻨﺠﺔ ﺁﻫﻨﻰ ﻛﻮﭼﻚ ﻣﺮﺍﺳﻢ
ﻣﻘﺎﻭﻣﺖﻧﺎﭘﺬﻳﺮ ﺩﺍﻧﺸﮕﺎﻩ ﻭ ﻛﺘﺎﺑﻔﺮﻭﺷﻰﻫﺎ، ﭘﺮﺭﻧﮓ ﻭ ﺑﻮ ﺑﻮﺩ... ﻋﺰﺍﺩﺍﺭﻯ ﺑﺎﻻﻯ ﺁﻥ ﺑﻪ ﻃﺮﺯ ﺣﻴﺮﺕﺍﻧﮕﻴﺰﻯ ﺑﺎ ﺳﺘﻮﻥﺑﺰﺭگ ﻧﺎﻣﺘﻨﺎﺳﺐ ﺍﺳﺖ.
ﻭ ﺑﻪ ﻳﺎﺩ ﻣﻰﺁﻭﺭﻳﺪ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ، ﻫﻤﻪ ﭼﻴﺰ، ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ ﻣﻬﺮ ﭘﺎﻳﺎﻥ ﺑﺮ ﺧﻮﺩ ﮔﺮﺩﺍﮔﺮﺩ ﻣﻴﺪﺍﻥ، ﺑﺮ ﺑﺪﻧﺔ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻭ ﺑﻠﻨﺪ، ﺍﻧﺒﻮﻫﻰ ﺗﺎﺑﻠﻮ
ﺩﺍﺭﺩ. ﭼﻴﺰﻯ ﻣﺎﻧﺪﮔﺎﺭ ﻧﻴﺴﺖ ﻭ ﺧﺎﻃﺮﻩﻫﺎ ﺩﺭ ﺫﻫﻦ ﻣﺪﻓﻮﻥ ﻣﻰﺷﻮﻧﺪ ﻭ ﺫﻫﻦﻫﺎ ﻧﺼﺐﺷﺪﻩ. ﭘﻴﺎﺩﻩﺭﻭﻫﺎ ﺑﺎ ﺣﺼﺎﺭ ﺁﻫﻨﻴﻦ ﺳﺒﺰ ﻣﺤﺼﻮﺭ ﺷﺪﻩﺍﻧﺪ ﻭ ﺟﻤﻌﻴﺖ ﺟﻮﺷﺎﻥ
ﺑﻰﺍﺗﻜﺎ ﺑﻪ ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺑﻴﺮﻭﻥ ﻣﺎﻧﺪﮔﺎﺭ ﺑﺎﺷﺪ ﺳﻴﺎﻝﺍﻧﺪ ﻭ ﻣﻰﻟﻐﺰﻧﺪ. ﭼﻴﺰﻯ ﺭﺍ ﺩﺭ ﭘﺲ ﺍﻳﻦ ﺣﺼﺎﺭ ﺩﻭﺭ ﻣﻴﺪﺍﻥ ﻣﻰﮔﺮﺩﺩ ﻭ ﻣﻰﭼﺮﺧﺪ ﻭ ﺑﻰﺍﻋﺘﻨﺎ ﺍﺯ ﻛﻨﺎﺭ ﺳﻴﻨﻤﺎﻫﺎ
ﺛﺎﺑﺖ ﻧﻤﻰﻳﺎﺑﻨﺪ ﻭ ﺧﻮﺩ ﺑﺮ ﭼﻴﺰﻯ ﺛﺎﺑﺖ ﻧﻤﻰﻣﺎﻧﻨﺪ، ﻭ ﻓﻘﻂ ﺗﻼﺷﻰ ﻭ ﻭﻳﺮﺍﻧﻰ ﺩﺍﺋﻢ ﻣﻰﮔﺬﺭﺩ، ﻛﻪ ﺭﻧﮓ ﺑﺎﺧﺘﻪ ﻭ ﺧﻤﻮﺩﻩ، ﭼﻮﻥ ﺩﺭﮔﺎﻩ ﺩﺧﻤﻪﺍﻯ، ﺧﺎﻣﻮﺵ ﺑﻪ ﺳﻴﻞ
ﺗﺎﺯﻩﺷﻮﻧﺪﻩ ﺍﺳﺖ ﻛﻪ ﭘﺎﻳﺎﻧﻰ ﻧﺪﺍﺭﺩ. ﺟﻤﻌﻴﺖ ﻣﻰﻧﮕﺮﻧﺪ. ﺩﺭ ﺩﻭ ﺳﻮﻯ ﻫﺮ ﺗﻘﺎﻃﻊ ﭘﺎﺳﺒﺎﻧﻜﻰ ﺧﻴﻠﻰ ﺟﻮﺍﻥ، ﻣﺎﻧﻊ ﺳﺮﺭﻳﺰ
ﺟﻤﻌﻴﺖ ﺑﻪ ﻣﻴﺪﺍﻥ ﻣﻰﺷﻮﺩ ﻭ ﺑﺎ ﺳﻮﺕ، ﺣﺮﻛﺖ ﻋﺎﺑﺮﺍﻥ ﺭﺍ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺗﻐﻴﻴﺮ
ﺭﻧﮓ ﭼﺮﺍﻍ ﺭﺍﻫﻨﻤﺎﻳﻰ ﺗﻨﻈﻴﻢ ﻣﻰﻛﻨﺪ. ﺑﺎ ﺳﺒﺰ ﺷﺪﻥ ﭼﺮﺍﻍ، ﺻﻒ ﺟﻤﻌﻴﺖ ﭼﻮﻥ
ﺧﻂ ﺳﻴﺎﻫﻰ ﺩﻭ ﭘﻴﺎﺩﻩﺭﻭ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﭘﻴﻮﻧﺪﺩ ﻭ ﺳﭙﺲ ﻳﻜﺒﺎﺭﻩ ﺣﺮﻛﺖ ﻗﻄﻊ
ﻣﻰﺷﻮﺩ ﻭ ﺍﺗﻮﻣﺒﻴﻞﻫﺎ ﻛﻪ ﭘﺸﺖ ﺧﻂ ﻋﺒﻮﺭ ﭘﻴﺎﺩﻩ ﺑﻪ ﺍﻧﺘﻈﺎﺭ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ، ﺑﻪ ﺣﺮﻛﺖ
ﺩﺭﻣﻰﺁﻳﻨﺪ.
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