Representation of Children in Sasanian Rock Reliefs
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The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí. -
Sassanid Archaeological Landscape of Fars Region”
Islamic Republic of Iran Iranian Cultural Heritage, Handicrafts and Tourism Organization ICHHTO “Sassanid Archaeological Landscape of Fars Region” for inscription on the World Heritage List (Additional Information) UNESCO World Heritage Convention 2017 1 In the name of God 2 Evaluation of the nomination of the “Sassanid Archaeological Landscape of Fars Region” (Islamic Republic of Iran) for inscription on the World Heritage List This report is submitted in response to the ICOMOS letter of GB/AS/1568-AddInf-1, dated 28September 2017 on the additional information for the nomination of Sassanid Archaeological Landscape of Fars Region. The Iranian Cultural Heritage, Handicrafts and Tourism Organization is grateful to ICOMOS for its devotion to conservation and preservation of historic monuments and sites. The objective of this detailed report is to clarify the issues raised by ICOMOS in the aforementioned letter. Additional information for clarification on: - Serial approach - Risks and Factors affecting the property - Protection - Management - Monitoring 1- Serial approach Could the State Party kindly provide information on the rationale, methodology and criteria (here not referring to the nomination criteria), which guided the selection of the component sites presented in this nomination? Could the State Party kindly outline the contribution of each site component, to the overall Outstanding Universal Value in the substantial, scientific and discernible way, as outlined in paragraph 137b of the Operational Guidelines? For clarifying, the question will be explained in the parts of (1-a) and (1-b) in details: 1-a: Rationale, methodology and criteria which guided the selection of the component sites presented in this nomination: The rationale which guided the selection of the component sites is based on a methodology which takes into account their historical characteristics and at the same time considers their association with the regional landscape. -
Composition and Continuity in Sasanian Rock Reliefs
0320-07_Iran_Antiq_43_12_Thompson 09-01-2008 15:04 Pagina 299 Iranica Antiqua, vol. XLIII, 2008 doi: 10.2143/IA.43.0.2024052 COMPOSITION AND CONTINUITY IN SASANIAN ROCK RELIEFS BY Emma THOMPSON (University of Sydney, Australia) Abstract: The cliffs of Iran are adorned with rock reliefs from every period of its long history. During the years that the Sasanian dynasty ruled Iran, artists added to this collection considerably. These monuments are individual capsules of infor- mation on the general political, religious, historical and artistic milieu of the time. This paper presents a method for furthering our understanding of the Sasanian period through an analysis of the composition of each Sasanian relief. The analy- sis is based on the hypothesis that composition will serve as an indicator of artis- tic continuity and change and encode an artistic signature of sorts indicating the artists’ background and training. The initial results suggest that the reliefs of the early Sasanian period reflect the work of artists from at least two schools of art. Keywords: Sasanian, rock reliefs, composition. The kings of the Sasanian dynasty ruled Iran for over four hundred years. During the first eighty-five years of the dynasty (AD 224-309) there were seven changes of crown, many military gains and losses and thirty rock carvings were commissioned to commemorate these events. Most of these were carved in Fars, the homeland of the dynasty: eight were carved in the company of the Achaemenid tombs at Naqsh-i Rustam; six line the way to Shapur’s city at Bishapur; four were carved in the open air grotto at Naqsh- i Radjab; two were carved near Ardashir’s first city at Firuzabad and the rest were carved as single reliefs at various locations across the province of Fars: Barm-i Dilak, Sar Mashhad, Sarab-i Bahram, Guyum, Rayy, Darab- gird, and Tang-i Qandil. -
The Reliefs of Naqš-E Rostam and a Reflection on a Forgotten Relief, Iran
HISTORIA I ŚWIAT, nr 6 (2017) ISSN 2299 - 2464 Morteza KHANIPOOR (University of Tehran, Iran) Hosseinali KAVOSH (University of Zabol, Iran) Reza NASERI (University of Zabol, Iran) The reliefs of Naqš-e Rostam and a reflection on a forgotten relief, Iran Keywords: Naqš-e Rostam, Elamite, Sasanian, Relief Introduction Like other cultural materials, reliefs play their own roles in order to investigate ancient times of Iran as they could offer various religious, political, economic, artistic, cultural and trading information. Ancient artist tried to show beliefs of his community by carving religious representations on the rock. Thus, reliefs are known as useful resource to identify ancient religions and cults. As the results of several visits to Naqš-e Rostam by the author, however, a human relief was paid attention as it is never mentioned in Persian archaeological resources. The relief is highly similar to known Elamite reliefs in Fars and Eastern Khuzistan (Izeh). This paper attempts to compare the relief with many Elamite and Sasanian works and, therefore, the previous attributed date is revisited. Fig.1. Map showing archeological sites, including Naqš-e Rostam, on the Marvdasht Plain (after Schmidt, 1939: VIII ) PhD. student in Archaeology; [email protected] Assistant Professor, Faculty of Arts and Architecture; [email protected] Assistant Professor, Department of Archaeology; [email protected] Page | 55 Naqš-e Rostam To the south of Iran and north of Persian Gulf, there was a state known as Pars in ancient times. This state was being occupied by different peoples such as Elamite through time resulted in remaining numerous cultural materials at different areas including Marvdasht plain1 confirming its particular significance. -
Sasanian Bas-Reliefs at Tang-E Chogan Under Invasion of Lichens and Fungi
81 I RAN Sasanian Bas-reliefs at Tang-e Chogan under Invasion of Lichens and Fungi At several places near the town of Bishapur, which was founded by Sasanian King Shapur I (241–272) and was situated on the road between Persis and Elam, the King also had the sides of the Bishapur River gorge decorated with huge historical reliefs commemorating his triple triumph over Rome. The six reliefs at Tang-e Chogan show scenes such as Shapur enslaving the Roman Emperor; the King and his courtiers; or rows of registers with files of soldiers and horses, in a deliberate imitation of the narra- tive scenes on the Trajan column in Rome. The critical situation of these bas-reliefs is described in an arti- cle by CAIS (The Circle of Ancient Iranian Studies): Lichens and vegetation growing in the cavities and cracks of the Sasanian bas-reliefs at Tang-e Chogan, a part of the ruins of the ancient city of Bishapur in southwestern Iran, are gradually Sasanian bas-reliefs at Tang-e Chogan (photo: Pedram Veisi) destroying these irreplaceable antiquities. The lichens and veg- etation are clearly visible on all six bas-reliefs, which are located 19 kilometres north of Kazerun, reported the Persian service of site historical monuments in Fars Province, has made no efforts the Mehr News Agency. One of the bas-reliefs depicts Shapur I, to save the ancient relics from the lichens and vegetation attacks. the Persian King of Kings who consolidated and expanded the The ancient city of Bishapur is also in peril by several other fourth Iranian dynastic empire founded by his father, Ardashir I. -
The Legend of Shirin in Syriac Sources. a Warning Against Caesaropapism?
ORIENTALIA CHRISTIANA CRACOVIENSIA 2 (2010) Jan W. Żelazny Pontifical University of John Paul II in Kraków The legend of Shirin in Syriac sources. A warning against caesaropapism? Why was Syriac Christianity not an imperial Church? Why did it not enter into a relationship with the authorities? This can be explained by pointing to the political situation of that community. I think that one of the reasons was bad experiences from the time of Chosroes II. The Story of Chosroes II The life of Chosroes II Parviz is a story of rise and fall. Although Chosroes II became later a symbol of the power of Persia and its ancient independence, he encountered numerous difficulties from the very moment he ascended the throne. Chosroes II took power in circumstances that today remain obscure – as it was frequently the case at the Persian court – and was raised to the throne by a coup. The rebel was inspired by an attempt of his father, Hormizd IV, to oust one of the generals, Bahram Cobin, which provoked a powerful reaction among the Persian aristocracy. The question concerning Chosroes II’s involvement in the conspiracy still remains unanswered; however, Chosroes II was raised to the throne by the same magnates who had rebelled against his father. Soon after, Hormizd IV died in prison in ambiguous circumstances. The Arabic historian, al-Tabari, claimed that Chosroes was oblivious of the rebellion. However, al-Tabari works were written several centuries later, at a time when the legend of the shah was already deeply rooted in the consciousness of the people. -
The Figurative Wall Painting of the Sasanian Period from Iran, Iraq and Syria1
Iranica Antiqua, vol. XXXIX, 2004 THE FIGURATIVE WALL PAINTING OF THE SASANIAN PERIOD FROM IRAN, IRAQ AND SYRIA1 BY An DE WAELE (Ghent University) “… nec enim apud eos pingitur vel fingitur aliud, praetor varias caedes et bella.” Ammianus Marcellinus XXIV 6,32 1. Introduction The aim of this article is to provide a full view on our current knowledge of the figurative wall paintings of the Sasanian period from Iran, Iraq and Syria. All possible information has been collected, examined and finally resumed to this study. The themes that will be looked at are: the exact location of the paintings and function of this place; iconography (subject- composition-style); plastering, colour use and painting techniques; dating; and lastly the function of the murals (decorative-ideological/symbolical). As conclusion, they will be compared both with each other and with Sasanian art in general. Likewise, attention will be given to the profession of the painters. I just want to emphasize that only published data, drawings and pho- tographs were used (I have not been able to study the paintings themselves) so no new information will be given. Moreover, it concerns a summary but bibliographic references to more extensive descriptions and analyses will be provided. 1 This article is a summary of a part of my MA-thesis which I finished -under the supervision of Prof. Dr. Ernie Haerinck- in May 2002 at Ghent University and in which I studied the art of wall painting from both the Parthian and Sasanian empires. I owe much gratitude to Professor Haerinck, not only for offering me the opportunity and support to write this paper, but also for adjusting where necessary and for helping achieving my first article. -
Archaeoseismicity of the Mounds and Monuments Along the Kazerun Fault (Western Zagros, Sw Iranian Plateau) Since the Chalcolithic Period
Iranica Antiqua, vol. XLIX, 2014 doi: 10.2143/IA.49.0.3009238 ARCHAEOSEISMICITY OF THE MOUNDS AND MONUMENTS ALONG THE KAZERUN FAULT (WESTERN ZAGROS, SW IRANIAN PLATEAU) SINCE THE CHALCOLITHIC PERIOD BY Manuel BERBERIANa , Cameron A. PETRIEb, D.T. POTTSc, Alireza ASGARI CHAVERDId, Amanda DUSTINGe, Alireza SARDARI ZARCHIf, Lloyd WEEKSg, Parsa GHASSEMIh & Reza NORUZIi (a Ocean County College, USA; b University of Cambridge, UK; c ISAW, NYU, USA; d Shiraz University, Iran; e University of Sydney, Australia; f Iranian Center for Archaeological Research, Iran; g University of Nottingham, UK; h Kohan Diar-e Mehr Archaeological Inst., Shiraz, Iran) Abstract: Our multidisciplinary investigation represents off-fault archaeoseismic indicators recorded in the archaeological remains at mounds and structural ele- ments of monuments situated along the Kazerun fault in the western Zagros Mountains since the Chalcolithic period. The study revealed two large magnitude earthquakes (~Mw >7.0, possibly ~7.3) ca. 3850-3680 BC and ca. 3030 BC with return periods of ~735 +? years at Tol-e Spid. Detecting only two earthquakes during the 4,000 year life span of archaeological mound is incompatible with the 3.6-3.9 slip rate along the Kazerun fault. After a long gap in data, a strong earth- quake indicator is recorded ca. 400-200 BC in Qal’eh Kali; all located to the north of the Kazerun fault bend. On the contrary, in addition to the vandalism episodes during the invasions of the Moslem Arabs (16/637), the Mongol hordes (1219- 1250), and Timur (1370-1405), the structural elements of the royal Sasanid city of Bishapur, located to the south of the fault bend, indicated archaeoseismic indicators of four possible earthquakes within a period of 800 years. -
The Journal of the Asian Arts Society of Australia Ancient Iran
VOLUME 19 NO. 3 SEPTEMBER 2010 the journal of the asian arts society of australia TAASA Review ancient iran C o n t E n t s Volume 19 No. 3 September 2010 3 Editorial taasa rEVIEW Tobin Hartnell and Josefa Green THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. ABN 64093697537 • Vol. 19 No. 3, September 2010 ISSN 1037.6674 4 ChEshmEh ali WarE: a PaintEd CEramiC tradition in thE iranian CEntral PlatEau Registered by Australia Post. Publication No. NBQ 4134 Edna Wong EditorIAL • email: [email protected] 7 ElamitE art General editor, Josefa Green Javier Álvarez-Món PubliCations Committee 10 the KazaKly-yatKan Wall Paintings: New PErspectivEs on the Art of the AnCiEnt Iranian World Josefa Green (convenor) • Tina Burge Melanie Eastburn • Sandra Forbes • Ann MacArthur Fiona Kidd Jim Masselos • Ann Proctor • Susan Scollay Sabrina Snow • Christina Sumner 12 PErsepolis in the WEstErn imagination dEsign/layout Tobin Hartnell Ingo Voss, VossDesign Printing 15 love Thy Neighbour: The Intimate Art of DiPlomaCy in PErsepolis Processional SculPturEs John Fisher Printing Stephanie Reed Published by The Asian Arts Society of Australia inc. 18 sasanian roCK rEliEf PanEls PO Box 996 Potts Point NSw 2011 www.taasa.org.au Ali Asadi Enquiries: [email protected] 21 in the PubliC domain: A Persian ShAhnama FoliO from ThE NGV TAASA Review is published quarterly and is distributed to members Susan Scollay of The Asian Arts Society of Australia inc. TAASA Review welcomes submissions of articles, notes and reviews on Asian visual and performing arts. All articles are refereed. Additional copies and 22 silKs of sasanian PErsia subscription to TAASA Review are available on request. -
A Modern Archaeology of the Sasanian Period: Former Limitations and New Perspectives
Newsletter di Archeologia CISA, Volume 7, 2016, pp. 35-88 A MODERN ARCHAEOLOGY OF THE SASANIAN PERIOD: FORMER LIMITATIONS AND NEW PERSPECTIVES Bruno Genito, Università degli Studi di Napoli “L’Orientale” Introduction* It is never easy to handle theoretical and methodological issues arising from a particular scientific topic in a kind of review of studies, which is, in its way, what is being presented here. Studies of the archaeology of the Sasanian period have been the subject of numerous acute and critical comments by distinguished scholars in the past, including Huff (1986, 302-308) and more recently as well (1998-2011). Those issues which have been handled, too, have clearly always somewhat suffered from a complex of inferiority to other periods of the history of ancient Iran which are considered by far, the most formative and important: the Achaemenid and the Islamic eras. And this in spite of the fact that the majority of scholars have looked upon the period in question as a real golden age of Persian culture and art, and that it was quite often mentioned in later Islamic sources (including the Shah-nameh by Firdousi), as in many ways an apogee of the fabulous, formidable and legendary Persian Empires. For many scholars the archaeology of the Sasanian period and also that of the early Islamic period, as Whitcomb rightly has pointed out (2010, 5), has always been considered a part of history, and especially of the history of art. This classification, set in stone, has had a long and respectable tradition so far, but at last it has begun to be seen from a different perspective by a growing number of scholars. -
Lionel Bier Drawings of Monuments and Sites in Iran
Lionel Bier Collection Ryan Murray 2021 Freer Gallery of Art and Arthur M. Sackler Gallery Archives Washington, D.C. 20013 [email protected] https://www.freersackler.si.edu/research/archives/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Local Numbers................................................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series : Drawings, 1976, undated............................................................................ 3 Series : Site Files, 1975-1992.................................................................................. 5 Lionel Bier Collection FSA.A2004.05 Collection Overview Repository: Freer Gallery of Art and Arthur M. Sackler -
4 the Kushano-Sasanian Kingdom
ISBN 978-92-3-103211-0 State organization and administration 4 THE KUSHANO-SASANIAN KINGDOM* A. H. Dani and B. A. Litvinsky Contents State organization and administration .......................... 107 Economy, society and trade ............................... 112 Religious life ...................................... 113 Cities, architecture, art and crafts ............................ 115 Languages and scripts .................................. 121 In the early centuries of the Christian era the names of two great empires stand out boldly in the history of Central Asia. The first was Kushanshahr, named after the Great Kushan emperors, who held sway from the Amu Darya (Oxus) valley to the Indus and at times as far as the Ganges. Here flourished the traditions of the Kushans, who had brought together the political, economic, social and religious currents of the time from the countries with which they had dealings (see Chapter 7). The second great empire (which rose to challenge Kushan power) was Eranshahr, which expanded both westward and eastward under the new Sasanian dynasty. Its eastern advance shook Kushan power to its foundation. State organization and administration According to Cassius Dio (LXXX, 4) and Herodian (VI, 2.2), Ardashir I (226– 241), who waged many wars, intended to reconquer those lands which had originally belonged to the Persians. He defeated the Parthian kings and conquered Mesopotamia – an event which led to his wars with the Romans. It is more difficult to judge his conquests in the east. According to the inscription of Shapur I (241–271) at Naqsh-i Rustam, ‘under the rule of * See Map 2. 107 ISBN 978-92-3-103211-0 State organization and administration shahanshah [king of kings] Ardashir’ were Satarop, king of Abrenak (i.e.