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A Study of the Interior Furniture and Decorative Motifs of Acheamenid and Sassanid

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A Study of the Interior Furniture and Decorative Motifs of Acheamenid and Sassanid American Journal of Art and Design 2019; 4(4): 48-57 http://www.sciencepublishinggroup.com/j/ajad doi: 10.11648/j.ajad.20190404.12 ISSN: 2578-7799 (Print); ISSN: 2578-7802 (Online) A Study of the Interior Furniture and Decorative Motifs of Acheamenid and Sassanid Ladan Abouali 1, *, Jianlin Ni 1, Jake Kaner 2 1College of Fine Arts, Nanjing Normal University, Nanjing, China 2School of Art and Design, Nottingham Trent University, Nottingham, UK Email address: *Corresponding author To cite this article: Ladan Abouali, Jianlin Ni, Jake Kaner. A Study of the Interior Furniture and Decorative Motifs of Acheamenid and Sassanid. American Journal of Art and Design. Vol. 4, No. 4, 2019, pp. 48-57. doi: 10.11648/j.ajad.20190404.12 Received : October 13, 2019; Accepted : November 1, 2019; Published : November 14, 2019 Abstract: This study reviews two types of Persian interior furniture; court furniture such as chairs and beds, also known as thrones and Persian rugs, through an examination of taxonomy; their general types, structure, and decorative patterns, which were used in two important Pre-Islamic era in Iran; Achaemenid (530-330 B. C.) and Sassanid (224 to 651 A. D.). This topic is investigated to increase the understanding of the maturity of the Iranian interior furniture industry. Its symbolic system is also explored, which was based on animal and plant motifs, to consider the function of elements and symbolism on Iranian interior furniture. Extant evidence of high-level furniture and rugs in these periods have only remained in the form of artworks, wall carvings, and the traditional stories. Both rugs and high-level furniture were used extensively as luxurious items by the ruling classes and as such are the only sources that are considered here in this study. This surviving evidence shows how the ruling classes influenced the historical development of Iran's interior furnishing designs in both wood and carpet forms. Keywords: Furniture, Interior Design, Motif, Acheamenid, Sassanid of their furniture. 1. Introduction The evolution of rugs and high status furniture begins at The early history of furniture in Iran evolved from basic different starting points. The rug develops through the flooring seating using animal skins, which progressed to the influence of cultural, whilst its position in Iran is rooted in use of woven carpets. However, this does not mean that there the art of Persia. In contrast, the high status furniture has are no other types of furniture evident. The first known influence from imported and imitated western culture. There finding of developed furniture was revealed from the second are many publications that represent national art (such as: millennium B. C. through the documents of archaeological Persian Carpet, (2016), E. Najafi & M. Beheshty - Aesthetics discoveries (Cheshmeh Ali archeological expedition in Iran Handmade Carpet [28], N. Daryai), and a limited 1934~36), that indicate furniture became an important and number that focus on high status furniture [3], Due to the long lasting possession for the Persian’s citizen, not only as a lack of original and surviving works of the pre-Islamic era in functional object, but more importantly as a signifier of Achaemenes and Sassanid time, these periods have been social status and power [3]. The type of furniture placed in an considered as a difficult era to study both high status interior setting was viewed as an indicator of social status. furniture and the rug in any depth. The extent of the area as well as the diversity of cultures and Before the entrance of Islam, the attention for woven rugs ethnic groups in Persia according to furniture usage is of ancient Iran goes to two carpets; Pazyryk carpet attributed beyond the scope of this article. This paper has attempted to to the Achaemenes which is known as the starting point [17] review the most important key aspects of the two afore in the history of woven rugs in Iran (550-330 B. C.) and mentioned influential Kingdoms, Acheamenid and Sassanid, Baharestan rugs from the Sassanid time that only a by examining their style, cultural design and the social status description of its beauty and material value is mentioned in books like Tabari history [18], which provides the history American Journal of Art and Design 2019; 4(4): 48-57 49 from the time of Qur'anic Creation to 915. However, in design of the Sassanid such as Baharestan royal carpet woven addition to these carpets, high status furniture can be seen of silk and jewelries. The beauty of Sassanid rugs weaving illustrated on carvings and artwork decorations, such as was so universal that it was even mentioned in an old Sassanid metal works. This form of visual reference is the Chinese calendar (510-617) which identified the existence of only surviving source available to scholars and this study. carpets among Iranians during Sassanid times [3]. Later in the book of Tabari history [18], a luxurious carpet called the Baharestan carpet (also known as Bahar Khosrowis) was described and noted as the Sassanid royal carpet. This carpet uses gold as its most striking color, as Persian art recognizes gold as its most important color. This Sassanid elite art had a strong influence in the later Islamic era of Iran [7]. With our perception of modern furniture, it is difficult to recognize these early forms as wooden furniture, since the surviving evidence represented on the Achaemenian wall carvings and Sassanid metal works presents them as quite different to contemporary types (see figures 2~7). The study of these depictions of modern furniture provides evidence of the social status of the user. The forms, structure and Figure 1. Pazyryk, Attributed to Achaemenid. Source: decorative elements represented support the notion that high- https://fa.wikipedia.org/wiki. level (modern) furniture was common among society elites 1.1. History of Domestic Furniture in Iran and high-ranked authorities. Although interest in oriental rugs has been evident for many years, it is not clear how exactly high-level furniture found its way into Iranian life, as little extant objects survive. A basic assumption that may be considered is that it could be through the relation with outsiders, which brought their culture and beliefs into Iran through trading. Whereas, in contrast with the renowned Persian carpet which is a folk and ethnic art that employs visual bilingualism (symbolism from painting and ornaments) which satisfied the cultural interests of people with shapes, forms, and colors [7]. In the historical debate of furniture in Iran, its main Figure 2. Sasanian Metalworking with the peacock design, Source: difference with other countries is the multi-dimensional https://iranatlas.info/sassanid/sassanid-art.htm. definition of the word “furniture”. In Iran, furniture, before its contemporary and global meaning, which mostly points to functional structural types (seating, working, storage; chairs, tables, cabinets), defined itself broadly as cushions and rugs (as illustrated in remaining art works), and probably with only a few pieces of simple higher level wooden furniture, such as stool and chair in the homes of ordinary and court Figure 3. The image of the Sasanian king among the dishes, made in the people, since the majority of evidence shows the existence of seventh century A. D., Source: www.raeeka.wordpress.com. those types in palaces. The very first evidence of carpet weaving attributed to Persia, according to the speculations of archaeologists, is the carpet Pazyryk with the elements of Persepolis, such as winged griffins, horses with riders [12]. In Sassanid time, which is known for its extensive colorful silk fabrics that opened the business doors between Iran, China and the West, where the importance of rugs was not neglected as much [20]. The result of business relations between the Sassanid government and the Byzantine Empire, as well as the religious influence of the government [5] brought Sassanid motifs into Byzantine art with a dramatic effect; Symmetrical composition, and use of Sassanid plant motifs in Byzantine Figure 4. Image of the Shah and the Sasanian princess at the Art of Walters art, especially during the era of symbolism. Museum, Period: Sassanids from the 6th and 7th centuries AD, The presence of the horn of the ram on the king’s throne, Source: Pakbaz [15] provides a description of magnificent rug en.wikipedia.org/wiki/Sasanian_art. 50 Ladan Abouali et al. : A Study of the Interior Furniture and Decorative Motifs of Acheamenid and Sassanid Figure 8. Lady spinning and her maid, Elamite time, Shush area, Iran. Figure 5. Khosrow I sits on the throne, Walter Museum of Baltimore, Source: fa.wekipedia.org. Source: www.architecturenew.blogfa.com. Figure 6. Plate with musician figures. Source: www.fa.wikipedia.org/wiki. Figure 9. Babylonian stele, Shown an Elamite king sitting on stool form furniture, 1184 to 1155 BC, Source: Louvre museum. Figure 10. Two Cylinders from Sush, Sukkalmah dynsty, Source: Louvre museum. Figure 7. The throne of the Sasanian shrine is protected by legendary creatures. Source: www.architecturenew.blogfa.com. 1.1.1. In-door Furniture Before and After Islam The history of ancient Iran may be divided into three periods; Pre-Historic (circa. forty thousand to eighteen thousand years ago) found in south-east of Iran [3], around the cities of Kermanshah, Khorramabad, Marvdasht and Kashan currently known as historic cities; pre-Islamic era during powerful kingdoms like Median, Achaemenian, Figure 11. Two Cylinders from Sush, Sukkalmah dynsty, Source: Louvre Seleucids, Parthian, and Sassanians (known for its beauty, museum. variety, time of real graphic, real creativity and creation); and The presence of wooden furniture in Iran before and after finally, Islamic time started from Safavid kingdom [14]. Islam, like any other countries, depended on the demographic The presence of different forms of seats from a simple, of the individual.
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