سهيلا بسكي

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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