Иран құмырсқасы мифологиясы

Iranian mythological bird

The simurgh (/s//ɪ/'/m//ɜːr//g/; سیمرغ, also spelled senmurv, simorgh, simorg, simurg, simoorg, simorq or simourv) is a benevolent bird in Persian mythology and literature. It bears some similarities with mythological birds from different origins, such as the phoenix (link=no quqnūs) and the humā (link=no). The figure can be found in all periods of Iranian art and literature and is also evident in the iconography of Georgia, medieval Armenia, the Eastern Roman Empire, and other regions that were within the realm of Persian cultural influence.

The Persian word sīmurğ ([[wikt:سیمرغ) derives from Middle Persian sēnmurw (and earlier sēnmuruγ), also attested in Pazend texts as sīna mrū. The Middle Persian word comes from Avestan "the bird Saēna", originally a raptor, likely an eagle, falcon, or sparrowhawk, as can be deduced from the etymological cognate Sanskrit śyenaḥ (श्येनः) "raptor, eagle, bird of prey", which also appears as a divine figure. Saēna is also a personal name. The word was lent to Armenian as siramarg ([[wikt:սիրամարգ#Old Armenian) 'peacock'. On the other hand, the phrase sī murğ (سی مرغ) means "thirty birds" in Persian; this has been used by Attar of Nishapur in his symbolic story of The Conference of the Birds, the frame story of which employs a play on the name.

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The Simurgh is depicted in Iranian art as a winged creature in the shape of a bird, gigantic enough to carry off an elephant or a whale. It appears as a peacock with the head of a dog and the claws of a lion – sometimes, however, also with a human face. The Simurgh is inherently benevolent and unambiguously female. Being part mammal, she suckles her young. The Simurgh has teeth. It has an enmity towards snakes, and its natural habitat is a place with plenty of water. Its feathers are said to be the colour of copper, and though it was originally described as being a dog bird, later it was shown with either the head of a man or a dog. "Si ", the first element in the name, has been connected in folk etymology to Modern Persian si ("thirty"). Although this prefix is not historically related to the origin of the name simurgh, "thirty" has nonetheless been the basis for legends incorporating that number – for instance, that the simurgh was as large as thirty birds or had thirty colours (siræng). Other suggested etymologies include Pahlavi sin murgh ("eagle bird") and Avestan saeno merego ("eagle"). Iranian legends consider the bird so old that it had seen the destruction of the world three times over. The simurgh learned so much by living so long that it is thought to possess the knowledge of all the ages. In one legend, the simurgh was said to live 1,700 years before plunging itself into flames (much like the phoenix). The simurgh was considered to purify the land and waters and hence bestow fertility. The creature represented the union between the Earth and the sky, serving as mediator and messenger between the two. The simurgh roosted in Gaokerena, the Hōm (Avestan: Haoma) Tree of Life, which stands in the middle of the world sea (Vourukasha). The plant is potent medicine and is called all healing, and the seeds of all plants are deposited on it. When the simurgh took flight, the leaves of the tree of life shook, making all the seeds of every plant fall out. These seeds floated around the world on the winds of Vayu Vata and the rains of Tishtrya, in cosmology taking root to become every type of plant that ever lived and curing all the illnesses of mankind. The relationship between the simurgh and Hōm is extremely close. Like the simurgh, Hōm is represented as a bird, a messenger, and the essence of purity that can heal any illness or wound. Hōm – appointed as the first priest – is the essence of divinity, a property it shares with the simurgh. The Hōm is in addition the vehicle of farr(ah) (MP: khwarrah, Avestan: khvarenah, kavaēm kharēno) ("divine glory" or "fortune"). Farrah in turn represents the divine mandate that was the foundation of a king's authority. It appears as a bird resting on the head or shoulder of would be kings and clerics, indicating Ormuzd's acceptance of that individual as his divine representative on Earth. For the commoner, Bahram wraps fortune/glory "around the house of the worshipper, for wealth in cattle, like the great bird Saena, and as the watery clouds cover the great mountains" (Yasht 14.41, cf. the rains of Tishtrya above). Like the simurgh, farrah is also associated with the waters of Vourukasha (Yasht 19.51, 56–57). In Yašt 12.17 Simorgh's (Saēna's) tree stands in the middle of the sea Vourukaša, it has good and potent medicine and is called all healing, and the seeds of all plants are deposited on it.

The simurgh made its most famous appearance in Ferdowsi's epic Shahnameh (Book of Kings), where its involvement with Prince Zal is described. According to the Shahnameh, Zal, the son of Saam, was born albino. When Saam saw his albino son, he assumed that the child was the spawn of devils, and abandoned the infant on the mountain Alborz. The child's cries were heard by the tender hearted simurgh, who lived atop this peak, and she retrieved the child and raised him as her own. Zal was taught much wisdom from the loving simurgh, who has all knowledge, but the time came when he grew into a man and yearned to rejoin the world of men. Though the simurgh was terribly saddened, she gave him three golden feathers which he was to burn if he ever needed her assistance. Upon returning to his kingdom, Zal fell in love and married the beautiful Rudaba. When it came time for their son to be born, the labor was prolonged and terrible; Zal was certain that his wife would die in labour. Rudaba was near death when Zal decided to summon the simurgh. The simurgh appeared and instructed him upon how to perform a cesarean section thus saving Rudaba and the child, who became one of the greatest Persian heroes, Rostam. Simurgh also shows up in the story of the Seven Trials of Esfandiyar in the latter's 5th labor. After killing the wicked enchantress, Esfandiyar fights a simurgh, and despite the simurgh's many powers, Esfandiyar strikes it in the neck, decapitating it. The simurgh's offspring then rise to fight Esfandiyar, but they, too, are slain.

In classical and modern Persian literature the simorḡ is frequently mentioned, particularly as a metaphor for God in Sufi mysticism. The phrase also appears three times in Rumi's Masnavi, e. g. in Book VI, Story IX: "The nest of the sī murğ is beyond Mount Qaf" (as translated by E. H. Whinfield). Through cultural assimilation the simurgh was introduced to the Arabic speaking world, where the concept was conflated with other Arabic mythical birds such as the ghoghnus, a bird having some mythical relation with the date palm, and further developed as the rukh (the origin of the English word "roc"). Representations of simurgh were adopted in early Umayyad art and coinage.

Simurgh is shortened to "sīmir" in the Kurdish language. The title of Salman Rushdie's first novel, Grimus (1975), is an anagram of Simurg. Simurgh is the name of a proxy tool introduced in 2009 that helps residents of Iran avoid government censorship of websites. The Crystal Simorgh is an award given by Fajr International Film Festival. The Simorgh is one of the creatures encountered by the protagonists in the 2006 movie Azur & Asmar: The Princes' Quest. The Simurgh is the name of one of the Endbringers in the 2011 Worm (web serial). In the Yugioh card game, Simorgh is the boss monster of its own archetype. A Simurgh card from a fictional collectible card game serves as a major plot device in the sci fi novel Entanglement, by Gibson Monk. A simurgh appeared in chapter 49 of the manga Delicious in Dungeon as Laois contemplates various bird like monsters. It is shown large enough to hold an elephant in its talons. The Simurgh is featured in Prince of Persia: The Lost Crown, a 2024 video game in which it indirectly grants the player character various time manipulation powers used to progress in the game. In her poem "Garden Simurgh", Kathleen Raine describes how 'I hung out nuts for the blue tits but the sparrows came, / All thirty of them / With a flurry of wings, / One mind in thirty vociferous selves ' eventually concluding that no 'wonder bird' should be deemed 'more miraculous' than these 'two a farthing sparrows / Each feather bearing the carelessly worn signature / Of the universe'.