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Baba Taher Mausoleum

(Aramgah-e Baba Taher; 8am-5.30pm) Of a similar era to the BuAli Sina Mausoleum was built in the north of the town in a small park. Like Avicenna's tomb, it has twelve external pillars, but here the central space is filled by the tower itself. It was reconstructed in 1970.

Very little is known about the life of Baba Taher, a famous Sufi poet and author of metaphysical works who lived between the X and XIII centuries and who gained his reputation for his do-bayti, four-line poems of a simpler metre than the rubai. Persian calligraphy inscribed here on some gently opalescent stone wall-slabs.

Baba Tahir' (var. Baba Taher Oryan Hamadani) was an 11th-century Persian poet who wrote in Luri dialect. According to L. P. Elwell-Sutton he probably wrote in the local dialect, which "Most traditional sources call it loosely Luri, while the name commonly applied from an early date to verses of this kind, Fahlaviyat, presumably implies that they were thought to be in a language related to the Middle Iranian dialect Pahlavi. Roubène Abrahamian however found a close affinity with the dialect spoken at the present time by the Jews of Hamadan." According to The Cambridge History of Iran, Baba Tahir spoke a certain Persian dialect

Baba Tahir is known as one of the most revered and respectable early poets in Iranian literature. Most of his life is clouded in mystery. He was born and lived in Hamadan, the capital city of the Hamedan Province in Iran. He was known by the name of Baba Taher-e Oryan (The Naked), which suggests that he may have been a wandering dervishLegend tells that the poet, an illiterate woodcutter, attended lectures at a religious school, where he was not welcomed by his fellow-students. The dates of his birth and death are unknown. One source indicates that he died in 1019. If this is accurate, it would make Baba Tahir a contemporary of Ferdowsi and Pour Sina (Avicenna) and an immediate precursor of Omar Khayyam. Another source reports that he lived between 1000 and 1055, which is most unlikely. Reliable research notes speculate that Baba Tahir lived for seventy-five years. Rahat al-sodur of Ravandi (completed 603/1206), describes a meeting between Baba Tahir, and the Saljuq conqueror Togrel (pp. 98–99). According to L. P. Elwell-Sutton: He could be described as the first great poet of Sufi love in Persian literature. In the last two decades his do-baytis have often been put to music.

Baba Tahir poems are recited to the present day all over Iran accompanied with setar (in Persian: Seh Tar), three stringed viol or lute. They say Pahlaviat to these kinds of poems and they are very ancient. Baba Tahir songs were originally read in Pahlavi (Middle Persian), as well as Luri and Hamadani dialects, taking their present form in the course of time. The quatrains of Baba Tahir have a more amorous and mystical connotation rather than philosophical. Baba Tahir's poems are of the do-bayti style, a form of Persian quatrains, which some scholars regard as having affinities with Middle Persian verses, Classical Persian Music is based on Persian literature and Baba Tahir's poems are the weight that carries a major portion of this music. Baba Tahir's poetry is the basis for Dastgahe Shoor and in particular Gooshe of Dashtestani, Choopani and Deylaman.

Attributed to him is a work by the name Kalemat-e qesaar, a collection of nearly 400 aphorisms in Arabic, which has been the subject of commentaries, one allegedly by Ayn-al-Qozμat Hamadani. An example of such a saying is one where Baba Tahir ties knowledge with gnosis: Knowledge is the guide to gnosis, and when gnosis has come the vision of knowledge lapses and there remain only the movements of knowledge to gnosis”; “knowledge is the crown of the gnostic, and gnosis is the crown of knowledge”; whoever witnesses what is decreed by God remains motionless and powerless.


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