Takht-e Suleyman

The lake

(News from Jona in Iran, relayed via Chicago:)

Takht-e Suleyman is an ancient Iranian fire sanctuary, close to a small salt lake. In its present form, the ruins are Sassanian with Mongol additions, but the sanctuary itself is much older. In the Middle Ages, it was believed to have been the birthplace of Zarathustra, the site where the three Magi for the first time worshipped a sacred fire, the palace where Solomon received the Queen of Sheba, or the fortress where Cyrus the Great stored the treasure of Croesus. Today, it is listed as world heritage on the UNESCO list.

It was about 150 kilometers from our hotel in Zanjan to Takht-e Suleyman, but the road, through an almost uninhabited country, turned out to be full of curves and the trip can easily take three hours — especially when it’s been snowing. On three places, the street was covered by avalanches, and we had to wait until Caterpillars had shoveled the snow away. We saw two wolves, which were looking at us, probably wondering how Dutchmen would taste.

The site itself was covered with a white blanket, and we saw several small twisters of snow, which made the ancient ruin look like a palace from a northern saga. The atmosphere became even more enchanting when the loudspeakers were used to broadcast several poems by Hafez. Often, we had to wade knee-deep through the snow, and we frequently slipped away on the muddy paths. Still, the lake, which was not covered with ice, was impressive and I got an idea that under different circumstances, the ruin should be quite spectacular. Other ruins are more interesting, but Takht-e Suleyman today offered more fun.

2001. A Space Odyssey, and Zoroastrianism

It is probably one of the best-known and most impressive images from movie history: the spectacular rise of the sun and the earth over a moonscape, in Stanley Kubrick’s 2001. A Space Odyssey. Kubrick seems to have liked the image, because he repeated it several times, with minor variations like the sun rising over a strange monolith or the sun rising over a crescent-shaped earth (video).

Of course, it is not just the image that makes this scene unforgettable. It is the splendid music that really matters and makes the experience, in a word, sublime. This is what makes cinema great, and this is why I went back to see 2001 at least five times.

Nabonidus; stele from Harran (this monolith is in the British Museum)

Kubrick’s movies are usually full of little, intellectual jokes. To offer an example from his wicked Doctor Strangelove: if in one scene a group of soldiers is ordered to bomb the “Laputa Missile Complex”, it comes as no surprise that in another scene a Soviet leader is visiting a brothel. And yes, la puta is not only Spanish for “prostitute”, but also a reference to Gulliver’s Travels. I said Kubrick was a bit of an intellectual, didn’t I?

Perhaps, the intellectual joker in Kubrick also accompanied the artist when he created the sunrise in 2001. The impressive music is from Richard Strauss’s Also sprach Zarathustra (“Thus spoke Zarathustra”), and belongs to a part of that symphonic poem that represents a sunrise. Well-chosen, but there is more to be said.

Strauss’ tone poem was in turn based on Friedrich Nietzsche’s book with the same title. The philosopher was not particularly interested in the Iranian prophet Zarathustra, but merely needed a hero that was older than Judaism and Greek philosophy, and lived at the dawn of history.

Nabonidus; stele from Harran (this monolith is in the Archaeological Museum of Sanli Urfa)

It seems that Kubrick did some research into Zoroastrianism, the religion founded by the real Zarathustra. The alignment of a lunar crescent and the sun is a common theme in eastern art. It can be seen, for example, on every Achaemenid royal tomb, and I would not be surprised if Kubrick knew it. An even closer parallel can be found on two monoliths from Harran, which can be seen in any book on ancient eastern art: the Babylonian king Nabonidus venerating the moon crescent, a planet, and the sun.

Perhaps some of you will object that Babylonian art has little to do with Zoroastrianism, or remark that it is debatable whether the Achaemenids adhered to the teachings of Zarathustra. Of course that’s fair criticism, but as I said: Kubrick was an intellectual and an artist – he was not an Iranologist.