روزنامۀ سراسری جوان در روز 6 اردیبهشت 90 در صفحۀ 10 مصاحبه‏‌ای از بنده را به چاپ رسانید. این مصاحبه قبلاً از طریق تماس تلفنی با شمارۀ همراه بنده در خلال حدود 45 دقیقه ضبط و از نوار پیاده و پس از حک و اصلاح و قدری سانسور به چاپ رسید. ضمن ارائۀ تصویر صفحۀ مزبور از روزنامۀ جوان فایل اصلی صوتی مصاحبه را هم که برای خودم تهیه کردم و حاوی تمام مطالب گفته‏‌شده است، در ذیل می‏آورم.

لینک فایل صوتی اصل مصاحبه: اینجا / این مصاحبه اینجا هم آمده

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ترجمۀ مصاحبه به زبان انگلیسی

Art, a tool for expanding Islamic education

Interview with an artist clergyman

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The Ayatollah's son who wear a turban, and is a photograph, artist, Qom calligraphy association's teacher, art collectors, the manager of several weblogs, so active in the art in the world of Internet, author and editor, Qari Qur'an, dominance of bases of traditional music and lines of song, poet and novelist, traditional singer in different lines of song, is part of the Hojatoleslam Reza Sheikh Mohammadi's artistic abilities.

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He started his seminary studies twenty-eight years ago in Qazvin Seminary and he had worn the clothes of the clergymen in 1364. He continued his seminary training courses in Fiq's lessons and the principle courses to the highest level. Maybe any of these features is a good excuse for an interview. What you read is part of the Young conversation with this artist clergyman.

When did you born and how did you get familiar with Seminary( religious school)?

I was born in Khordad 8, 1344. My grandfather_ Molla Ali asqar was the clergyman of Takand village in Qazvin region. I was almost ten or eleven years old that my grandfather passed away. As you found out most of the men in our family were clergymen. I can remember that although my grandfather was too old, on his way to mosque, under the pretext of correction of Al-Fatihah(The Opening) and Al-Tawhid(The Unity) Surah and issues related to cleanliness and unclean, broke the ice with people and communicated with them with affability. My father Ayatollah Sheikh Ali Mohammad Takandi is a clergyman and one of the Qazvin's Scholars. He was a representative of the Assembly of Experts for one period. My father insisted on that his son and his bridegrooms study about theology and educated in this course, fortunately the same things happened. When I was going to the high school, I learned the elementary lessons of seminary unto my father's teaching, without going to the seminary(religious school). After I got my experimental sciences diploma in 1362, I entered to Qazvin seminary(religious school) as a religious science student. Although I was a formal clergyman and was worn turban by Fridays prayer leader_ Ayatollah Barikbin in 1365, Due to the lack of the clergymen at the front, I started to have speeches and help people and answer their related questions in religious issues as a clergyman in 1364. At the same time besides proselytizing at the front, I took photography and wrote calligraphy and diary.

How and When did you get familiar with realm of art? Did you get familiar with Art at the front(at that time)?

No. I got familiar with art when I was too young. My father's handwriting is so beautiful and he learned me the first lessons of calligraphy in my childhood. Maybe tendency to the art field especially some of them in clergymen's family is avoided. But I can easily say that art in its real full meaning is hereditary in our family. All of the art field's were inheritable in our family, even singing. My mother liked the voice of the late Seyed Javad Zabihi and I had the tendency to like good sounds. After I have learned the basic and elementary principles of calligraphy unto my father's teaching at home. In my forth grade of high school, I was introduced with Extracurricular Classes that were held in school besides I got familiar with house of culture classes that were held in Islamic Guidence Office and I enrolled in calligraphy classes. I attended to calligraphy association classes, too. With my attendance to the calligraphy association classes, I entered to a new cycle of learning calligraphy unto my calligraphy teachers as Alireza Nayebi and Ahmad Pilleh Chi. I passed teaching calligraphy courses unto them. When I was nineteen years old, I was introduced to Qolamhossein Amirkhani by my late teachers. I practiced calligraphy unto him in Tehran and I learned great important parts of calligraphy in Tehran calligraphy association classes. Now I am one of the Qom calligraphy association's teachers near fifteen years old.

How did you get familiar with music?

In my initial years of proselytizing, I was so interested in having speech and address. I was so interested in reading the Holy Qur'an therefore, I was participated in meetings that were held by Mohammad Kazem Naddaf in Molaverdykhan mosque. In this meetings, I was introduced with various forms of reading the Holy Qur'an and using of base and alto sounds. And I really experienced the enjoyable moments there. For a while, I was just seeking to produce and make good phones by reading Holy Qur'an. But then according to my own favorite to Persian poems and singing the songs that were song by the late Zabihi and also singers such as Seraj after Islamic Revolution, initially encouraged me to collect these works and next tried to prototyping them.

Who were your teachers in traditional classic music?

I learned all the musical ranks and lines of songs unto professor Ahmad Ahmadi and Haj Davood Chavooshi in ten years. Although classes were held once a week, I did practice a lot and many hours at home to learn real famous music better by being in service of reading Holy Qur'an and Nuhh. One of the important and necessary factors for Singing the song is having presupposition and background information with rich literature especially poems. Fortunately my parents are familiar with literature. My father believe that we must use of literature and even he himself using of this especially poems in his pulpit. I mostly used to sing the beautiful and meaningful poems by Hafez, Sa'di and Rumi to present them into work of the art.

Where do your poem's works publish?

My poems publish in one of the Qazvin weekly newspapers and some times in some magazines and were read in radio programs. I made different weblogs due to present various kinds of my art works. And now, all of the information present in two sites.

Do you photographs exist in the weblog, too?

Yes, the collection of my art photos and also the photos that I took at the front exist in the weblog. Some of these photos were taken some rates and grades in art competitions.

It seems that you have activity in writing the story and fiction, too?

Yes, I entered to this field of art, too. And I have written some short stories and novels that they were published.

 What books have you written?

So far I've written nearly twenty books. the first one was ((The musk of tears)). It is included the diaries that I wrote when I
Spent time at the front with experience in proselytizing and even poems written by myself about the revolution and war. The second volume of these memoirs and literary writings were released by martyr Avini's Institute as ((Sip the night)) . My other book (( Spiritual letter)) is described Imam 'Ali's instructions to Malik al-Ashtar (letter 148 of Najol-balagha) that is published in three volumes. The theme and the gist of this book_ (( Spiritual letter)) is the oral speeches of my father_ Ayatollah Takandi. Rewriting Memories of Seyyed Qalbi Hossein Razavi Kashmiri, Mo'men, Masu'di Khomeini, Seyed Mohammad Naqi Shahrokhi Khoram Abadi, and also Memories of Haj Hossein Soleimani one of Imam Khomeini's bodyguards that were published by the Islamic Revolution Documents Center is a servant of the other works. The Books of memories and anecdotes of ((Spiritual)), ((Attention of Innocents)) that is about the servants of Hazrat Ma'soumeh's Holy Shrine, ((Idioms and Sayings' book)) that contains hundreds of proverbs in Persian, Arabic, Turkish and English language. ((Calligraphy of pray)) is teaching nasta'liq (style) calligraphy, ((The way of Raja is not close!)) is about the Ninety memories of martyr Rajai, ((Rubaiyat(Quatrains) of Omar Khayam)) and ((The couplet of Babataher)) in my own calligraphy nasta'liq, to follow Leila, Khwaja Shams al-Din Mohammad Hafez Shirazi's poems with monitor my calligraphy were printed in Computer line. These are other published works of mine.

Did a clergyman's arrival is met with opposition to the realm of art?

Integration between art and religion science in the sixties was a rare and wonderful question that happened.

Less concern about entering into the realm of art about students and Clergymen, of course, was drop behind of them of their lessons. Art requires continuous practice and you should spend much time on it. Same time many young students were able and so interested to enter the field of study in art issues, but they created his mercy because it brought problems. But my ears would not listen to these words and I never pay attention to them. And Finally, whatever the justification behind any innovation is associated with unhappy looking and disagreements, I continued my own way. The situation completely changed now, and we can see the presence of significant numbers of students and clergymen in artistic categories. Even the festival is held in the name of ((Heavenly Arts)), particularly for students and clergymen artists, and fortunately, in the third year of this festival, I dedicated to myself the first rank of calligraphy (nasta'liq style) in the country.

Did you do your artwork with wearing the clothes of clergymen?

Early often it was with especial clothe of clergymen. When I went at the front as a photographer, I was with that especial clothe of clergymen. Foreign journalists were surprised to see me. I've even taken the photo that one foreign photographer, few days after, Valfajr 8 operation, during visiting Operational areas, was surprised to me that I focus on his face with my telephoto zoom lenses and he looks at me.

In the arts such as calligraphy, poetry and fiction entry of a clergyman is not as strange as entry of a clergyman to the music field, Do you agree?

Yes, So. Let me answer your question with an example that if a Qari ( a person who read the Holy Qur'an's book with a good voice and skillfully) Qur'an want to read the Holy Qur'an very technical and skillfully, without attention to Arabic musical ranks reaches a dead end and somehow is impossible. It is also possible that sometimes a Qari does not know the name of a device or specific technique that may change the musical rank, but he runs it in practice. Currently reading the Holy Qur'an skills sessions spread and they are discussing about music matters, too. So that, that especial verse should be read in the same musical rank, because it has a desolate state. But one of the concerns of the clergymen is spreading religious Islamic thoughts. Many of the mystical poems and sonnets are based on religious motif. The poetry produced on the basis of rhythms and rhymes and its intercourse with a good voice, emphasis on the musical effects and highlight the poet's art and ode mixing that will accompany the singers, again the poetry is to intensify the same sophistication. If all knowledge and wisdom is employed in this motif, is very excellent. And of course, we don't need to stipulate some beliefs from some people. Once my father over the pulpit and read some good poems that are mixed with good rhythms and rhymes, it is enough that his audience shed tears by these poems, and it prove many things. Although clergymen's thinking is often vital, we don't need that they verbally confess that they confirm the music with the same rhetoric and literal. Even those Clergymen who openly used of the lines of song in the pulpit like the late Mostabser Qazvini is unlikely would need to stipulate that music does not have the legal and religious problems. They action is best witness to their beliefs.
Translated by: Fatemeh Sa'adatpour

هوالعلیم

مشخصات مترجم:
نام و نام خانوادگی: فاطمه سعادت پور
تاریخ تولد: 25 اسفند 1368
تحصیلات: دانش آموخته کارشناسی مترجمی زبان انگلیسی
محل تحصیل: دانشگاه پیام نور قزوین
سال ورود به دانشگاه: 30 بهمن 1386
سال فارغ‌التحصیلی: 30 بهمن 1390
سابقه کار:
دارای مدرک تافل

TOEFL از سال 1388
تدریس در آموزشگاههای زبان انگلیسی به مدت 4 سال ( از سال 1385 تا 1388)
دبیر زبان دانش آموزان مقطع راهنمایی در سال های 1387، 1388 و1389
شرکت در کلاسها و دوره های TTC ( ویژه مدرسان زبان انگلیسی آموزشگاههای زبان انگلیسی) در سال 1388

فعالیت‌های علمی:

شرکت در جلسات دفاع از پایان‌نامه دانشجویان ارشد گروه زبان انگلیسی و زبان شناسی از سال 1387 در دانشکده‌های ادبیات فارسی و زبانهای خارجی دانشگاه علامه طباطبائی تهران و ادبیات فارسی و زبانهای خارجی دانشگاه تهران .
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