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Home , Nana (Bactrian goddess), Nana (Greek mythology), Persian studies, Tishtrya

Samuel Jordan Center for Persian Studies and Culture

www.dabirjournal.org Digital Archive of Brief notes & Review ISSN: 2470-4040 Vol.01 No.04.2017

1 xšnaoθrahe ahurahe mazdå Detail from above the entrance of Tehran’s , 1286š/1917–18. Photo by © Shervin Farridnejad The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040 www.dabirjournal.org

Samuel Jordan Center for Persian Studies and Culture University of California, Irvine 1st Floor Humanities Gateway Irvine, CA 92697-3370

Editor-in-Chief Touraj Daryaee (University of California, Irvine)

Editors Parsa Daneshmand (Oxford University) Zeini (Freie Universität Berlin) Shervin Farridnejad (Freie Universität Berlin) Judith A. Lerner (ISAW NYU)

Book Review Editor Shervin Farridnejad (Freie Universität Berlin)

Advisory Board Samra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge University); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkelman (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (Goethe Universität Frankfurt am Main); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (Univer- sity of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (Princeton University); Vesta Sarkhosh Curtis (); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (Univer- sity of Göttingen)

Logo design by Charles Li Layout and typesetting by Kourosh Beighpour Contents

Articles & Notes

1. Matteo Compareti: Nana and Tish in Sogdiana: The Adoption from of a 01 Divine Couple 2. Sajjad Alibaigi: Additional Remarks about the Function of the so-called Temple 08 Monument in Kangavar, Kermanshah: A Clue to Solving an Old Problem 3. Daniel T. Potts: Between Myth and History: Susa and Memnon through the Ages 15 4. Nicholas Sims-Williams: Two Words in the Sogdian Version of the Antirrheticus of Evagrius 36 Ponticus 5. Kiarash Gholami: On the Chronology and Coinage of Two Iranian Lords in the Umayyad 40 Territories 6. Yazdan Safaee: A Local Revolt in during the Reign of Darius III 50 7. Nina Mazhjoo: On Lincoln’s Savior 56 8. Firoze M. Kotwal: A Historical Overview of the Parsi Settlement in Navsari 62 9. Antonio Panaino: The End of the between Philological and Theological Problems 72

Reviews

1. Shervin Farridnejad: Mendoza Forrest, Satnam K. 2011. Witches, Whores, and Sorcerers. 86 The Concept of Evil in Early Iran. Foreword and other contributions by Prod Oktor Skjaervø. Austin: University of Texas Press, 2011. Digital Archive of Brief notes & Iran Review Vol.01 No.04.2017 ISSN: 2470 - 4040 © Samuel Jordan Center for Persian Studies & Culture University of California, Irvine

2017, Vol. 1, No. 4 © Samuel Jordan Center for Persian Studies and Culture, University of California, Irvine ISSN: 2470 - 4040

Nana and Tish in Sogdiana: The Adoption from Mesopotamia of a Divine Couple

Matteo Compareti Renmin University of

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n a reconstruction of an eighth century Sogdian painting from Penjikent XXV/12 (the so-called “Hell Iand Heaven” scene), B. Marshak proposed to identify the male appearing next to Nana on a lion as Tish ( Tishtrya, Middle Persian ), the Zoroastrian god of rain (Maršak, Raspopova, 1991). In Middle , Tir was associated with the planet Mercury and the star Syrius (Malandra, 1983: 143; Panaino, 1995: 47-85; Tavernier, 2005: 358-361). Some details are too fragmentary in that part of the painting although it is possible to observe a god sitting on a throne supported by dragons in a lower position than Nana on her typical lion. He is wearing an elaborated crown, flames come out from his shoulders, and he is holding something in his hands (fig. 1). Initially, Marshak thought that the object in his hands could have been a sword but later he concluded that it should have been an arrow because this is the attribute of Tishtrya/Tish. The same divine couple can be observed also on the Sogdian Khirmantepa ossuary (fig. 2) and, despite the absence of their animals used as thrones, their attributes seem to correspond quite precisely to the ones in the Penjikent “Hell and Heaven” painting. In the present paper, I would like to focus on the throne of Tish supported by dragons since this detail could further support Marshak’s identification with the Avestan rain god. It is very interesting to observe that Tishtrya is one of the very few explicitly identified with his 2017, Vol. 1, No. 4

Greek equivalent in pre-Islamic Iranian sources: his name appears on the Parthian version of a bilingual inscription carved on the groin of a bronze statuette of excavated at Seleucia. The statuette is precisely dated to 151 CE and its provenance from a temple of in Mesene is also mentioned. The statuette itself is identified as Warhagn in the Parthian inscription and as Heracles in the Greek version while, in the same way, the name of Tir is associated with Apollo (Shenkar, 2014: 11, 149). This is not the only precise identification of Tishtrya/Tir since this same god is also associated with Egyp- tian Thoth and Syro-Mesopotamian Nabu who was also called Nebu in the Bible (Panaino, 1995: 47-85). Tir was also known in Armenia, a non-Iranian land that always had very tight relations with Zoro- astrianism and Persian culture. During the fifth century CE, the Armenian author Agat’ called Tir “the dream interpreter and secretary of Ohrmizd” (Agathangelos. History of the Armenians, 1978: 317; Tavernier, 2005: 364-367). In fact, according to a more ancient tradition rooted in Mesopotamian culture, Nabu was considered the scribe of the gods and the son of Marduk, the supreme deity in Baby- lon (Millard, 1999). It is worth observing that, in Christian and Islamic medieval astronomical–astrolog- ical illustrated treaties, Mercury was often represented as a scribe and even at his desk while preparing some documents (Seznec, 1953: 158-159; Caiozzo, 1999: 24; Caiozzo, 2003: 171-173). It has been observed as just the iconography of the planet Mercury in late Armenian manuscripts was probably based on earlier Islamic book illustrations (Carboni, 2015: 61). According to Agat’angelos, the temple of Tir stood in Erazamoyon (Ayrarat region), between Artashat and Valarshapat (or Ejmyacin). Armenia was not the only eastern Anatolian kingdom with important ties to the Hellenistic and the 2 Iranian world. Some first century BCE images of a male deity accompanied by the inscription “Apollo– Mithras––” can still be seen in the historical region of Commagene. The god labelled as Apollo–Mithras–Helios–Hermes has no beard, exactly as Apollo and Hermes were represented in Greco–Roman art although, some time later, also was usually considered to be a beardless god (Sanders, 1996: 437-440). In this specific case, the figure of this complex deity could be considered an attempt to assimilate Helios with Hermes in the Hellenistic sphere and Mithras with Tir in the Iranian one. Commagene has always been an ancient region of eastern Anatolia with strong Iranian cultural connections (Facella, 2009). In Iranian Central , there is an early representation of an archer god accompanied by the Bactrian inscription Teiro on some Kushan coins of (150-190 CE) (fig. 3). Although this is definitely a male deity, some iconographical traits seem to be borrowed by Hellenistic holding a bow while taking an arrow from the quiver on the back (Shenkar, 2014: 149-150). In the seventh-eighth century, Nana was definitely the most represented and worshiped goddess of Sogdiana despite her Mesopotamian origins that have been detected by scholars especially in mural paintings from Penjikent (Grenet, Marshak, 1998). Every element seems to suggest that Tishtrya formed a couple with Nana and he was represented as a male figure wearing armor and holding an arrow with one or two of his hands. According to an interesting hypothesis, the arrow was an object that could be easily confused with a stylus, the main attribute of Nebu as a scribe. This same attribute could be connected to the process of identification graeca of Mesopotamian divinities since Nebu could have been associated to Hermes/Mercury or Apollo. The latter is represented very often on Hellenistic (and espe- cially Seleucid) coins as a young man holding an arrow in his left hand. According to Classical authors, the statues of Nebu had armor and a woman with a crenelated crown () at his feet (Drijvers, 1980: 62-71). On the seventh-eighth century Khirmantepa Sogdian ossuary, a male deity with four arms wear- Samuel Jordan Center for Persian Studies and Culture

ing armor and holding an arrow appears together with Nana who holds the sun and the moon with two of her four hands (Shenkar, 2014: fig. 112). Moreover, a ritual associated with the wedding of Nana and Nebu was still celebrated in Mesopotamia during the Seleucid period although it does not seem that any iconographic description of those deities appeared in the texts where it is mentioned (Potts, 2001: 25). In Mesopotamian written sources sometimes Nebu’s wife is Nana and sometimes she is Tashmetu (Millard, 1999). The persistence of an “icon” formed by the divine couple Nana–Tish/Tir in Sogdiana demonstrates that in this Central Asian land there was a precise memory of this deity and her char- acteristics. It is worth observing that the presence of two musicians smaller in size in the lower part of the divine couple in the scene on the Khirmantepa ossuary could be explained by the information from those Classical authors who referred to the Tyche at the feet of Nebu. Unfortunately, on the ossuary there are no representations of the symbolic animals of that divine couple although by comparison with the Penjikent paintings and especially those from room XXV, sector 12 it seems obvious that the lion corresponded to Nana while the arrow in the hands of the male deity suggested to Marshak an association to Tish. Something more should be said about the dragon as the animal of Tishtrya/Tir/Tish. Some scholars proposed the horse as a symbolic animal for Tishtrya although someone else proposed the dog. According to B. Marshak (as suggested to him by F. Grenet), in one sixth century panel of the so-called Miho Museum “Sino–Sogdian” funerary monument, there is also a person kneeling in front of a horse standing by a pond with fish in it: this could be a symbolic representation of the animal of the Mazdean god Tishtrya (Marshak, 2001: 238). Grenet proposed something similar for the enthroned deity by a pond with fish in it among the fourth-fifth century Ghulbyan paintings, in central Afghani- 3 stan, although another scholar preferred an association between that same deity and the personifica- tion of river Oxus (Shenkar, 2014: 129). The horse presents also a parallel with Apollo as a solar god but it is clear that no common opinion exists on this point. Once more, Grenet proposed to identify one person accompanied by a dog in an eighth–ninth century astrological illustrated scroll from Turfan (in the Tarim Basin) as a representation of Tishtrya (Grenet, Pinault, 1997). Because of the association with the arrow and the dog, also one unique seventh-eighth century painting from Kakrak (the so-called “hunter king”) could have some association with Tishtrya (Compareti, 2008. 142-143). The dog and Tish- trya could be associated in an Iranian astronomical–astrological sphere as has been argued by Panaino (1995). However, the position of Kakrak in , not far from the Indian world, could also suggest implications with the Subcontinent where, in fact, the planet Mercury (Budha) was described (and represented) as an archer and possibly with a dog (Pingree, 1965). Since the Sogdians maintained very strong ties with the Indian world, it is obvious to imagine only this Central Asian people as the inter- mediary between Afghanistan and the Tarim Basin although there are not enough elements to explain the presence of the dragon in the Penjikent paintings. The solution could be actually much easier since, in Mesopotamian art, Nebu had as a symbolic animal only a dragon (Pomponio, 1978: 215-217; Black, Green, 1992: 134) (fig. 4). Also Nebu’s Hellenis- tic counterpart can be represented on the back of a monster, specifically a griffin: this is the so-called image of Apollo Hyperboreus and it can be found fairly often on Greek red and black painted vases from the Black Sea region (Onajko, 1977). Since the dragon is the animal that supports the god seated together with Nana in the XXV/12 Penjikent painting, it could be considered that some artists still had clearly in mind the original iconography of Mesopotamian deities in seventh-eighth century Sogdiana. They could have based the images of Nana and Tish on the icon of Nana and Nebu in Mesopotamian 2017, Vol. 1, No. 4

culture because that god corresponded exactly to Tishtrya/Tish in the Iranian sphere after adding also Indian elements such as the representation of multiple arms. This was a specific Indian trait particu- larly in fashion in seventh-eighth century Sogdian art. Particularly evident Hellenistic elements cannot be detected either in the painting or in the ossuary.

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Fig. 1 . Detail of the so-called “Hell and Heaven scene”, Penjikent XXV/12. After: Maršak, Raspopova, 1991: fig. 3.

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Fig. 2 . Khirmantepa ossuary, Sogdiana. After: Shenkar, 2014: fig. 112. 2017, Vol. 1, No. 4

Fig. 3 . Teiro on a Kushan coin of Huvishka. After: Shenkar, 2014: col. pl. 25.

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Fig. 4 . Nebu on his dragon on a Neo-Assyrian amulet. After: Black, Green, 1992: fig. 110. Samuel Jordan Center for Persian Studies and Culture

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