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Daskara and Cultural Landscape ﻣﺮﻭﺭﻯ ﺑﺮ ﺷﻜﺎﺭﮔﺎﻩ ﻫﺎﻯ ﺳﺎﺳﺎﻧﻰ ﻏﺮﺏ ﺍﻳﺮﺍﻥ an Overview of the Sassanid Hunting-Parks of Western Iran

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Daskara and Cultural Landscape ﻣﺮﻭﺭﻯ ﺑﺮ ﺷﻜﺎﺭﮔﺎﻩ ﻫﺎﻯ ﺳﺎﺳﺎﻧﻰ ﻏﺮﺏ ﺍﻳﺮﺍﻥ an Overview of the Sassanid Hunting-Parks of Western Iran ﺩﺳﻜﺮﻩ1 ﻭ ﻣﻨﻈﺮﻓﺮﻫﻨﮕﻰ Daskara and Cultural Landscape ﻣﺮﻭﺭﻯ ﺑﺮ ﺷﻜﺎﺭﮔﺎﻩ ﻫﺎﻯ ﺳﺎﺳﺎﻧﻰ ﻏﺮﺏ ﺍﻳﺮﺍﻥ An Overview of the Sassanid Hunting-Parks of Western Iran ﺗﺼﻮﻳـﺮ1 : ﻃـﺎﻕ ﺑﺴــﺘـﺎﻥ. ﻛﺮﻣﺎﻧﺸـﺎﻩ. ﻋﻜـﺲ: ﻣﺤﻤـﺪ ﺁﺗﺸﻴﻦ ﺑﺎﺭ، 1385. ﺷﻤﺎﺭﻩ14، ﺍﺭﺩﻳﺒﻬﺸﺖ ﻭ ﺧﺮﺩﺍﺩ1390 10 ﺗﺼﻮﻳﺮ2-5: ﺷﻜﺎﺭﮔﺎﻩ ﺳﻠﻄﻨﺘﻰ ﺳﺮﺍﺏ ﻃﺎﻕ ﺑﺴﺘﺎﻥ. ﻛﺮﻣﺎﻧﺸﺎﻩ. ﻣﺄﺧﺬ : Flandin,1851. ﺑﻬﺮﺍﻡ ﺁﺟﻮﺭﻟﻮ، ﺩﻛﺘﺮﻯ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳـﻰ، ﻋﻀﻮ ﻫﻴﺌﺖ ﻋﻠﻤﻰ ﺩﺍﻧﺸﮕﺎﻩ ﻫﻨﺮ ﺍﺳﻼﻣﻰ ﺗﺒﺮﻳﺰ Bahram Ajorloo, PhD in Archaeology, Faculty member of Tabriz Islamic Art University [email protected] 11 ﭼﻜﻴﺪﻩ: ﺩﺭ ﻣﺘﻮﻥ ﺗﺎﺭﻳﺨﻲ ﻛﻼﺳﻴﻚ ﺑﻪ ﺷﻮﺍﻫﺪﻯ ﺍﺯ ﻣﻌﻤﺎﺭﻯ ﻣﺤﻴﻂ Abstract: Historical Iranian texts have referred ﻭ ﻣﻨﻈﺮ ﻭ ﺩﺳـﻜﺮﻩ ﺩﺭ ﻧﺎﺣﻴﺔ ﻛﺮﻣﺎﻧﺸـﺎﻫﺎﻥ ﻭ ﺑﻴﺴﺘﻮﻥ ﻋﻬﺪ ﻣﻠﻮﻙ -to Sassanid landscape architecture and hunt ﻋﺠﻢ ﻭ ﺃﻛﺎﺳـﺮﻩ ﺍﺷﺎﺭﻩ ﺷﺪﻩ ﺍﺳﺖ. ﺍﺯ ﻗﺪﻳﻤﻰ ﺗﺮﻳﻦ ﺁﻧﻬﺎ «ﺃﻻﻋﻼﻕ -ing-parks in the Kermānshāhān and Bisotun ter ﺍﻟﻨﻔﺴـﻴﻪ» ﺍﺛﺮ «ﺇﺑﻦ ﺭﺳـﺘﻪ» (290 ﻩ. ﻕ) ﻭ« ﺍﻟﻤﺴﺎﻟﻚ ﺍﻟﻤﻤﺎﻟﻚ» ritories of Western Iran. Some of the oldest of ﻧﻮﺷﺘﺔ «ﺍﺻﻄﺨﺮﻯ» (ﺡ. 320 ﻫـ. ﻕ) ﺑﻪ ﻳﺎﺩﮔﺎﺭ ﻣﺎﻧﺪﻩ ﺍﺳﺖ. ﺷﻮﺍﻫﺪ -these texts include Al- A’lāq Al- Nafsyya by Ibn-i Rasta (290 AH) and Al- Masālik va Al- Mamālik by ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺧﺘﻰ ﻣﻮﺟﻮﺩ، ﺻﺤﺖ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﻫﺎﻯ ﺗﺎﺭﻳﺨﻰ ﺭﺍ ﺗﺄﻳﻴﺪ Estakhrī (c. 320 AH). These historical accounts ﻭ ﺗﺄﻛﻴﺪ ﻣﻰ ﻛﻨﺪ ﻛﻪ ﺳـﻪ ﺷﻜﺎﺭﮔﺎﻩ ﺳﻠﻄﻨﺘﻰ ﺑﻴﺴﺘﻮﻥ، ﻃﺎﻕ ﺑﺴﺘﺎﻥ are backed by archaeological evidence. The ﻭ ﻛﻨـﮕﺎﻭﺭ ﺗﻨﻬﺎ ﻧﻤﻮﻧﻪ ﻫﺎﻯ ﻧﺎﺩﺭ ﻭ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺯ ﻣﻌﻤﺎﺭﻯ ﻣﺤﻴﻂ three royal hunting grounds, Tarāš-e Farhād of ﻭ ﻣﻨﻈﺮ ﻭ ﺳـﺎﺧﺖ ﻛﻮﺷﻚ ﻭ ﺩﺳﻜﺮﻩ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﻫﺴﺘﻨﺪ ﻛﻪ Bisotun, Tāq-e Bostān in Kermānshāh and the ﺗﺎﻛﻨﻮﻥ ﻛﺸﻒ ﻭ ﮔﺰﺍﺭﺵ ﺷﺪﻩ ﺍﻧﺪ. Anaitis temple of Kangāvar are the only and ﺩﺭ ﻋﻬﺪ ﺳﺎﺳـﺎﻧﻲ، ﺻﻔﺤﺔ ﺣﺠﺎﺭﻱﺷـﺪﺓ ﻧﺎﺗﻤﺎﻡ ﻓﺮﻫـﺎﺩ ﺗﺮﺍﺵ ﺩﺭ most outstanding examples of ancient Iranian ﺳـﻴﻨﺔ ﻛﻮﻩ ﺑﻴﺴـﺘﻮﻥ ﺩﺭ ﭘﻴﻮﻧﺪ ﺑﺎ ﺁﺛﺎﺭ ﻣﻌﻤﺎﺭﻯ ﻣﻜﺸﻮﻑ ﺍﺯ ﻧﺎﺣﻴﺔ landscape architecture discovered yet. Tarāš-e ﻣﻮﺳـﻮﻡ ﺑﻪ ﺩﻫﻜﺪﺓ ﺑﻴﺴﺘﻮﻥ، ﻣﺠﻤﻮﻋﺔ ﻳﻚ ﺩﺳـﻜﺮﻩ ﻭ ﺷﻜﺎﺭﮔﺎﻩ ,Farhād, a chiseled rock face on the Bisotun cliff was part of a royal hunting-ground discovered ﺳـﻠﻄﻨﺘﻰ ﺭﺍ ﺷﻜﻞ ﻣﻲ ﺩﺍﺩ ﻛﻪ ﺍﺯ ﺍﻟﮕﻮﻯ ﺑﺎﻍ ﺍﻳﺮﺍﻧﻲ ﺗﺒﻌﻴﺖ ﻣﻰ ﻛﺮﺩ. among other Sassanid remains in the village ﺩﺭ ﺷﻬﺮ ﻛﺮﻣﺎﻧﺸﺎﻩ ﻧﻴﺰ، ﺣﻀﻮﺭ ﻫﻤﺎﻫﻨﮓ ﻋﻨﺎﺻﺮ ﻃﺒﻴﻌﻰ ﺁﺏ، ﻛﻮﻩ ﻭ of Bisotun. This hunting-park was designed on ﺑﻴﺸﻪ ﻭ ﻧﻴﺰ ﺻﺤﻨﻪﻫﺎﻱ ﺣﺠﺎﺭﻯﺷﺪﺓ ﻧﺨﺠﻴﺮ ﺳﻠﻄﻨﺘﻰ، ﻫﻤﮕﻰ ﺩﺭ ,the basis of Iranian gardens. In Kermānshāh ﺍﺷﺘﺮﺍﻙ ﺑﺎ ﻳﻜﺪﻳﮕﺮ، ﺳﺮﺍﺏ ﻃﺎﻕ ﺑﺴﺘﺎﻥ ﺭﺍ ﻳﻚ ﺩﺳﻜﺮﻩ ﻭ ﺷﻜﺎﺭﮔﺎﻩ ,the harmonic natural elements including water ﺳـﻠﻄﻨﺘﻰ ﻣﻌﺮﻓﻰ ﻣﻰ ﻛﻨﺪ. ﻭﻳﺮﺍﻧﻪ ﻫﺎﻯ ﺳـﻨﮕﻰ ﻣﻌـﺮﻭﻑ ﺑﻪ ﻣﻌﺒﺪ mountain and forest as well as the remaining ﺍﻧﺎﻫﻴﺘﺎ ﺩﺭ ﺷـﻬﺮ ﻛﻨﮕﺎﻭﺭ ﺍﺳﺘﺎﻥ ﻛﺮﻣﺎﻧﺸﺎﻩ ﻧﻴﺰ ﻫﺮﭼﻨﺪ ﻛﻪ ﺍﺛﺮﻯ ﺍﺯ bas-reliefs introduce Tāq-e Bostān as a daskara ﻋﻬﺪ ﺍﺷﻜﺎﻧﻴﺎﻥ ﻣﻌﺮﻓﻰ ﻣﻰ ﺷﻮﺩ، ﺍﻣﺎ ﺩﺭ ﺍﺻﻞ ﻧﻪ ﻳﻚ ﻣﻌﺒﺪ ﭘﺎﺭﺗﻲ ﻭ or royal hunting-field. The stone remains known as the Parthian temple of Anaitis in the city of ﭘﺮﺳﺘﺸﮕﺎﻩ ﺍﻟﻬﺔ ﺍﻧﺎﻫﻴﺘﺎ، ﺑﻠﻜﻪ ﺩﺳﻜﺮﻩ ﻭ ﺍﻗﺎﻣﺘﮕﺎﻩ ﻳﻴﻼﻗﻲ ﺳﻼﻃﻴﻦ Kangāvar is actually a country pavilion and a ﺳﺎﺳﺎﻧﻰ ﺑﻮﺩﻩ ﺍﺳﺖ. .royal hunting-ground of a Sassanid court Hypothesis: The historic remains in the west- ﻭﺍژﮔﺎﻥ ﻛﻠﻴـﺪﻱ: ﻋﻬﺪ ﺳﺎﺳـﺎﻧﻲ، ﻓﺮﻫـﺎﺩ ﺗﺮﺍﺵ ﺑﻴﺴـﺘﻮﻥ، ﻣﻌﺒﺪ ern city of Kangavar are not part of the Parthian ﺁﻧﺎﻫﻴﺘﺎﻯ ﻛﻨﮕﺎﻭﺭ، ﻃﺎﻕ ﺑﺴﺘﺎﻥ، ﺩﺳﻜﺮﻩ. Temple of Anaitis but the remains of a daskira or hunting-ground belonging to Sassanid kings. Keywords: Sassanid era, Tarāš-e Farhād of Bisotun, Anaitis temple in Kangāvar, Tāq-e Bostān in Kermānshāh, Daskara (Persian for hunting-park & pavilion. ﺗﺼﻮﻳﺮ2-1: ﺑﺸـﻘﺎﺏ ﺳﻴﻤﻴﻦ ﺗﺼﻮﻳﺮ3-1: ﺑﺸـﻘﺎﺏ ﺳﻴﻤﻴﻦ ﺯﺭﺍﻧﺪﺩﻭﺩ ﺑﺎ ﻧﻘﺶ ﺷﻜﺎﺭﺷـﻴﺮ ﺯﺭﺍﻧـﺪﺩﻭﺩ ﺑـﺎ ﻧﻘـﺶ ﻗﻠﻢ ﺯﻧﻲ ﺗﻮﺳـﻂ ﭘﺎﺩﺷﺎﻩ ﺷـﺎﭘﻮﺭ ﺩﻭﻡ ﺷﺪﻩ: ﺑﻬﺮﺍﻡ ﭘﻨﺠﻢ ﻭ ﺩﺧﺘﺮﺵ ﺗﺼﻮﻳـﺮ1-1: ﺑﺸـﻘﺎﺏ ﺯﺭﻳﻦ ﻭ ﺳﺎﺳـﺎﻧﻲ. ﻣﺤـﻞ ﻧﮕﻬـﺪﺍﺭﻱ: ﺁﺯﺍﺩﻩ ﺳﻮﺍﺭ ﺑﺮ ﺷـﺘﺮ ﺩﺭ ﺣﺎﻝ ﺳـﻴﻤﻴﻦ ﻣﻨﻘﻮﺵ ﺑـﻪ ﺗﺼﻮﻳﺮ ﻣﻮﺯﻩ ﺍﺭﻣﻴﺘﺎژ، ﺭﻭﺳﻴﻪ. ﻣﺄﺧﺬ: ﺷـﻜﺎﺭ ﺁﻫﻮ. ﻣﺤﻞ ﻧﮕﻬﺪﺍﺭﻱ: ﺷﺎﻫﻨﺸﺎﻩ ﺳﺎﺳﺎﻧﻰ ﺷﻴﺮﺍﻓﻜﻦ. ﻣﺤﻤﺪﭘﻨﺎﻩ، 195:1385. ﻣﻮﺯﻩ ﺍﺭﻣﻴﺘﺎژ، ﺭﻭﺳﻴﻪ. ﻣﺄﺧﺬ: ﻣﻮﺯﺓ ﺗﺒﺮﻳﺰ. ﻣﺄﺧﺬ : ﻧﮕﺎﺭﻧﺪﻩ. ﻣﺤﻤﺪﭘﻨﺎﻩ، 191:1385. ﺷﻤﺎﺭﻩ14، ﺍﺭﺩﻳﺒﻬﺸﺖ ﻭ ﺧﺮﺩﺍﺩ1390 12 ﺗﺼﻮﻳـﺮ 3: ﭘـﻼﻥ ﻛﻮﺷـﻚ 1387؛ Erdmann, 1943). ﺍﻣﺎ «ﻭﺍﻟﺘﺮ ﺳﺎﻟﺰﻣﺎﻥ» ﻧﻮﺷﺘﻪ ﺍﺳﺖ ﻛﻪ ﻣﻌﻤﺎﺭﺍﻥ ﺳﺎﺳﺎﻧﻲ ﻗﺼﺪ ﺳﺎﺳـﺎﻧﻰ. ﺑﻴﺴـﺘﻮﻥ. ﺗﺮﺳﻴﻢ ﺩﺍﺷــﺘﻪﺍﻧﺪ ﻛﻪ ﺩﺭﻭﻥ ﺍﻳﻦ ﺻﻔﺤﺔ 200 33 ﻣﺘﺮﻯ، ﺍﻳﻮﺍﻧﻰ ﺑﺘﺮﺍﺷﻨﺪ ﻛﻪ ﻣﺸﺎﺑﻪ ﺍﻳﻮﺍﻥ ﻣﺪﺍﺋﻦ ﺍﺯ ﻭﻟﻔـﺮﺍﻡ ﻛﻼﻳـﺲ. ﻣﺄﺧـﺬ : × ﻣﻨﺼﻮﺭﻯ ﻭ ﺁﺟﻮﺭﻟﻮ، 1387. ﺩﺭ ﺗﻴﺴــﻔﻮﻥ ﻭ ﺑﺰﺭﮔﺘﺮ ﺍﺯ ﺍﻳﻮﺍﻥﻫﺎﻯ ﺳــﺮﺍﺏ ﻃﺎﻕ ﺑﺴــﺘﺎﻥ ﺩﺭ ﻛﺮﻣﺎﻧﺸــﺎﻩ ﺑﺎﺷﺪ؛ ﻫﻤﭽﻨﻴﻦ ﻣﻰﺧﻮﺍﺳﺘﻪ ﺍﻧﺪ ﻛﻪ ﺩﺭ ﻃﺮﻓﻴﻦ ﺍﻳﻮﺍﻥ ﺑﺰﺭگ، ﻣﺠﺎﻟﺴﻲ ﻧﻴﺰ ﺣﺠﺎﺭﻱ ﻛﻨﻨﺪ (Salzmann, 1976). «ﻭﻟﻔﺮﺍﻡ ﻛﻼﻳﺲ» ﻧﻴﺰ، ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻨﻜﻪ ﺩﺭ ﺁﻧﺠﺎ ﻫﻴﭻ ﻗﻮﺱ ﻭ ﺳﺘﻮﻧﻰ ﻧﻴﺎﻓﺖ، ﺁﻥ ﺭﺍ ﻣﺤﻮﻃﻪﺍﻱ ﺳﺎﺳــﺎﻧﻲ ﺍﻣﺎ ﻧﺎﺗﻤﺎﻡ ﺩﺍﻧﺴﺘﻪ ﻛﻪ ﺷــﺎﻳﺪ ﺑﻪ ﺭﻭﺯﮔﺎﺭ ﺳﺎﺳــﺎﻧﻴﺎﻥ، ﻧﺨﺠﻴﺮﮔﺎﻩ ﮔﺮﺍﺯ ﺑﻮﺩﻩ ﺍﺳﺖ .(Kleiss, 1970) ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﻣﺘﻮﻥ ﺗﺎﺭﻳﺨﻲ ﻛﻼﺳﻴﻚ ﺑﻪ ﺷﻮﺍﻫﺪﻯ ﺍﺯ ﻣﻌﻤﺎﺭﻯ ﻣﺤﻴﻂ ﻭ ﻣﻨﻈﺮ ﻭ ﺩﺳﻜﺮﻩ ﺩﺭ ﻧﺎﺣﻴﺔ ﻛﺮﻣﺎﻧﺸــﺎﻫﺎﻥ ﻭ ﺑﻴﺴــﺘﻮﻥ ﺍﺷﺎﺭﻩ ﺷﺪﻩ ﻭ ﺍﺯ ﻧﻬﺮ ﺳﻨﮕﻰ، ﺟﻮﻯ ﺁﺏ، ﺑﺎﻍ، ﺳﻨﮕﺎﺏ ﻭ ﺃﺑﻨﻴﺔ ﻣﻠﻮﻙ ﻋﺠﻢ ﻭ ﺃﻛﺎﺳﺮﻩ (ﻛﺴﺮﻯﻫﺎ) ﻭ ﻧﻘﺶ ﺧﺴﺮﻭ ﻭ ﺍﺳﺐ ﻣﻌﺮﻭﻑ ﺷﺒﺪﻳﺰ ﺳﺨﻦ ﺭﻓﺘﻪ ﺍﺳﺖ؛ ﺑﺮﺍﻯ ﻣﺜﺎﻝ، ﺃﻻﻋﻼﻕ ﺍﻟﻨﻔﺴﻴﺔ ﺍﺛﺮ ﺇﺑﻦ ﺭﺳﺘﻪ (290 ﻩ. ﻕ) ﺍﻟﻤﺴﺎﻟﻚ ﺍﻟﻤﻤﺎﻟﻚ ﻧﻮﺷﺘﺔ ﺍﺻﻄﺨﺮﻯ (ﺗﺄﻟﻴﻒ 322-318 ﻫـ. ﻕ) ﺳﻔﺮﻧﺎﻣﺔ ﺃﺑﻮﺩﻟﻒ (341 ﻫـ. ﻕ) ﺻﻮﺭﺓ ﺃﻻﺭﺽ ﺗﺄﻟﻴﻒ ﻣﻘﺪﻣﻪ ﺇﺑﻦ ﺣﻮﻗﻞ ( 367 ﻫـ. ﻕ) ﻭ ﻳﺎ ﺃﺣﺴﻦ ﺍﻟﺘﻘﺎﺳﻴﻢ ﻓﻲ ﻣﻌﺮﻓﺔ ﺍﻻﻗﺎﻟﻴﻢ ﺑﻪ ﻗﻠﻢ ﻣﻘﺪﺳﻰ. ﺷﻜﺎﺭ، ﺷﻜﺎﺭﮔﺮﻱ ﻭ ﻧﺨﺠﻴﺮ ﻳﻜﻲ ﺍﺯ ﺳﻨﺖﻫﺎﻱ ﻛﻬﻦ ﺩﺭﺑﺎﺭﻳﺎﻥ ﻭ ﻃﺒﻘﺔ ﺍﺷﺮﺍﻑ ﺍﻳﺮﺍﻧﻰ ﺑﻮﺩ؛ ﺍﺯ ﻛﺎﻭﺵﻫﺎﻯ ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺧﺘﻰ ﺩﻫﻜﺪﺓ ﺑﻴﺴﺘﻮﻥ، ﺷﻮﺍﻫﺪ ﻣﻌﻤﺎﺭﻯ ﻭ ﭘﻼﻥ ﺗﺄﺳﻴﺴﺎﺗﻲ ﺑﻪ ﻛﻪ ﺑﻨﺎﺑﺮ ﺍﺳــﻨﺎﺩ ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺧﺘﻰ، ﭘﻴﺸﻴﻨﺔ ﺁﻥ ﺑﻪ ﻋﻬﺪ ﻫﺨﺎﻣﻨﺸﻲ ﻣﻰﺭﺳﺪ. ﺑﺮﺍﻯ ﻣﺜﺎﻝ، ﺑﺮ ﺍﺑﻌﺎﺩ x 85 80 ﻣﺘﺮ ﺧﺎﻙﺑﺮﺩﺍﺭﻯ ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﻟﻮﺷﺎﻯ ﻭ ﻛﻼﻳﺲ ﻗﺪﻣﺖ ﺳﺎﺳﺎﻧﻰ ﺭﻭﻯ ﻳﻚ ﻣﻬﺮ ﻫﺨﺎﻣﻨﺸﻲ، ﺗﺼﻮﻳﺮ ﺷﺎﻫﻨﺸــﺎﻩ ﺷﻴﺮﺍﻓﻜﻦ، ﺳﻮﺍﺭ ﺑﺮ ﮔﺮﺩﻭﻧﺔ ﺳﻠﻄﻨﺘﻰ، ﻧﻘﺶ ﺩﺍﺭﺩ (ﻣﻨﺼﻮﺭﻯ ﻭ ﺁﺟﻮﺭﻟﻮ، 1387)؛ (ﺗﺼﻮﻳﺮ 3). ﻫﻴﺌﺖ ﻣﺆﺳﺴــﺔ ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺳــﻲ ﺁﻟﻤﺎﻥ، ﺑﺴﺘﻪ ﺍﺳﺖ؛ ﻭ ﻳﺎ ﺑﺮ ﺭﻭﻯ ﻏﻼﻑ ﺁﻛﻴﻨﺎﻛﺲ ﻣﺠﻤﻮﻋﺔ ﮔﻨﺠﻴﻨﺔ ﺟﻴﺤﻮﻥ، ﻛﻪ ﺩﺭ ﻣﻮﺯﺓ ﺑﺮﻳﺘﺎﻧﻴﺎ ﻣﺪﺧﻞ ﺿﻠﻊ ﺷــﺮﻗﻲ ﺑﻨﺎ ﺭﺍ ﻳﻚ ﺩﺭﻭﺍﺯﻩ ﭘﻨﺪﺍﺷــﺘﻪ ﻭ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ ﺍﺳﺖ؛ ﺣﺎﻝ ﺁﻧﻜﻪ ﻣﺠﺮﺍﻯ ﺩﺭ ﻟﻨﺪﻥ ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﺷــﻮﺩ، ﻣﺠﺎﻟﺴــﻰ ﺍﺯ ﻣﺮﺍﺳﻢ ﺷﻜﺎﺭ ﻧﻘﺮ ﺷــﺪﻩ ﻛﻪ ﺍﻟﺒﺘﻪ ﻧﻤﺎﻳﺶ ﺍﻳﻦ ﻭﺭﻭﺩﻯ ﺁﺏ ﻣﻰﺑﺎﺷﺪ؛ ﺯﻳﺮﺍ ﺍﺯ ﺟﺒﻬﺔ ﺷﺮﻗﻲ ﺑﻨﺎ، ﻧﻬﺮ ﺁﺑﻲ ﻣﻮﺳﻮﻡ ﺑﻪ ﺟﻮﺏ ﺑﻴﺴﺘﻮﻥ ﻣﻰﮔﺬﺭﺩ ﺻﺤﻨﻪﻫﺎ ﻫﻤﮕﻰ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻫﻨﺮ ﺁﺷﻮﺭ ﻧﻮ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺳﺮﺍﺏ ﺑﻴﺴﺘﻮﻥ ﺳﺮﭼﺸﻤﻪ ﻣﻲﮔﻴﺮﺩ؛ ﻫﻤﭽﻨﻴﻦ ﻭﺟﻮﺩ ﻣﺠﺎﺭﻱ ﮔﺬﺭ ﺁﺏ ﺩﺭ ﺑﺪﻧﺔ ﺩﻳﻮﺍﺭ (Frye, 1963; Curtis, 2000). ﻫﻤﭽﻨﻴﻦ ﺑﺮ ﻟﻮﻟﺔ ﻣﻔﺮﻏﻲ ﻳﻚ ﻇﺮﻑ ﻣﺮﺻﻊ ﺍﺯ ﺩﻭﺭﺍﻥ ﻏﺮﺑﻲ ﺍﻳﻦ ﺗﺄﺳﻴﺴﺎﺕ، ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺭﺍ ﻣﻄﺮﺡ ﻣﻲﻛﻨﺪ ﻛﻪ ﺷﺎﻳﺪ ﺗﺄﺳﻴﺴﺎﺕ ﺩﻳﻮﺍﺭ ﺣﺎﻳﻞ ﺳﻨﮕﻲ ﺳﻠﺴﻠﺔ ﭼﻴﻨﻰ ﻫﺎﻥ ﻏﺮﺑﻰ، ﺗﺼﻮﻳﺮ ﻳﻚ ﺳﻮﺍﺭﻛﺎﺭ ﺑﺒﺮﺍﻓﻜﻦ ﭘﺎﺭﺗﻰ ﺭﺍ ﺗﺮﺳﻴﻢ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺍﻟﺒﺘﻪ، ﻓﺮﻫﺎﺩﺗﺮﺍﺵ، ﻛﻪ ﻫﻨﻮﺯ ﻛﺎﻭﺵ ﻧﺸﺪﻩ ﺍﺳﺖ، ﺑﺎﻳﺪ ﺗﺄﺳﻴﺴﺎﺕ ﺁﺑﺮﺳﺎﻧﻲ ﺑﺎﺷﺪ؛ ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﻓﺮﺿﻴﻪ ﺩﺭ ﮔﭽﺒﺮﻱﻫﺎﻱ ﻗﻠﻌﺔ ﻳﺰﺩﮔﺮﺩ ﻭ ﻓﺮﺳﻚﻫﺎﻯ ﺩﻭﺭﺍ ﺍﻭﺭﻭﭘﻮﺱ ﻧﻴﺰ ﺻﺤﻨﻪﻫﺎﻳﻰ ﺍﺯ ﺷﻜﺎﺭ ﺷﻴﺮ ﻭ ﺑﺎﻳﺪ ﺑﻪ ﻭﺍﺳﻄﺔ ﻛﺎﻭﺵﻫﺎﻯ ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺧﺘﻰ، ﺑﺮﺭﺳﻲ ﻭ ﺍﺭﺯﻳﺎﺑﻲ ﺷﻮﺩ (ﻫﻤﺎﻥ). ﮔﺮﺍﺯ ﻭ ﺑﺰ ﻛﻮﻫﻰ ﻣﺸﺎﻫﺪﻩ ﻣﻰﺷﻮﺩ (Frye, 1963; Herrmann, 1977). ﺩﺭ ﺳﺮﺍﺏ ﻃﺎﻕ ﺑﺴﺘﺎﻥ ﻛﺮﻣﺎﻧﺸﺎﻩ، ﺷﺶ ﺳﺮﺳﺘﻮﻥ ﺳﻨﮕﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺍﺯ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ ﻧﻤﺎﻳﺶ ﺻﺤﻨﻪﻫﺎﻱ ﺷــﻜﺎﺭ ﻭ ﻧﺨﺠﻴﺮ ﺩﺭ ﻫﻨﺮ ﺳﺎﺳــﺎﻧﻲ ﻧﻤﻮﺩ ﺑﻴﺸﺘﺮﻯ ﻳﺎﻓﺘﻪ ﻭ ﺑﻪ ﻟﺤﺎﻅ ﺑﺪﺍﻧﺠــﺎ ﺁﻭﺭﺩﻩﺍﻧﺪ؛ ﻭ ﺑﺮ ﺭﻭﻱ ﺁﻧﻬﺎ، ﺻﻮﺭﺕﻫﺎﻯ ﺧﺴــﺮﻭ ﭘﺮﻭﻳﺰ، ﺍﻧﺎﻫﻴﺘﺎ، ﺍﻟﻬﺔ ﺁﺏ، ﺻﺤﻨﻪﻫﺎﻯ ﻛﻤﻲ ﻭ ﻛﻴﻔﻲ ﺩﺭ ﻣﻘﺎﻳﺴــﻪ ﺑﺎ ﺩﻳﮕﺮ ﺍﺩﻭﺍﺭ ﻫﻨﺮ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ، ﭘﻴﺸﺮﻓﺘﻰ ﻗﺎﺑﻞ ﻣﻼﺣﻈﻪ ﺩﺍﺭﺩ. ﺷﻜﺎﺭ ﻭ ﻧﻘﻮﺵ ﮔﻞ ﻭ ﮔﻴﺎﻩ ﺣﺠﺎﺭﻯ ﺷﺪﻩ ﺍﺳﺖ. ﺍﻳﻦ ﺁﺛﺎﺭ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ ﻧﻴﺰ ﺑﺮ ﺭﻭﻱ ﺑﺸــﻘﺎﺏ ﻭ ﺳﻴﻨﻲ ﻫﺎﻱ ﻧﻘﺮﻩ، ﻃﻼ ﻭ ﻧﻴﻤﻪ ﻣﻄﻼﻱ ﺳﺎﺳﺎﻧﻲ، ﻛﻪ ﺩﺭ ﻣﻮﺯﺓ ﺁﺫﺭﺑﺎﻳﺠﺎﻥ ﻫﻤﺎﻧﻨﺪ ﻃﺎﻕ ﺑﺴــﺘﺎﻥ ﺑﺎﻳﺪ ﺍﺯ ﻋﻬﺪ ﺧﺴﺮﻭ ﺩﻭﻡ ﺑﺎﺷﺪ؛ ﻫﻤﭽﻨﻴﻦ ﻭﺟﻮﺩ ﻧﻘﺶ ﺍﻧﺎﻫﻴﺘﺎ، ﺩﻻﻟﺖ (ﺗﺒﺮﻳﺰ) ﻭ ﺍﺭﻣﻴﺘﺎژ (ﺳــﻦﭘﻴﺘﺮﺯﺑﻮﺭگ) ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﺷﻮﻧﺪ، ﺷﺎﻫﺎﻥ ﺳﺎﺳﺎﻧﻲ ﺭﺍ ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﻣﻲﻛﻨﺪ ﻛﻪ ﺗﺄﺳﻴﺴﺎﺕ ﺁﺏﺭﺳﺎﻧﻲ ﻭ ﺁﺏﻧﻤﺎﺳﺎﺯﻱ ﺩﺭ ﻣﺤﻮﻃﺔ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺁﻳﻴﻦ ﺳــﻮﺍﺭﻩ ﻳﺎ ﭘﻴﺎﺩﻩ ﺩﺭ ﺣﺎﻝ ﺷﻜﺎﺭ ﺷﻴﺮ، ﺧﺮﺱ، ﮔﺮﺍﺯ، ﺑﺰﻛﻮﻫﻰ ﻭ ﻣﺮﻏﺎﺑﻰﺍﻧﺪ. ﺍﻳﻦ ﻇﺮﻭﻑ ﺭﺍ ﺑﻪ ﻧﻴﺎﻳﺶ ﻭ ﺳﻨﺖ ﺗﻘﺪﺱ ﺁﺏ ﺩﺭ ﻛﻴﺶ ﻣﺰﺩﺍﭘﺮﺳﺘﻲ ﺍﻳﺮﺍﻥ ﺑﺎﺳﺘﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﻭ ﺑﺪﻳﻦ ﻟﺤﺎﻅ، ﺷﺎﭘﻮﺭ ﺍﻭﻝ، ﺷﺎﭘﻮﺭ ﺩﻭﻡ ﻭ ﭘﻴﺮﻭﺯ ﻧﺴﺒﺖ ﺩﺍﺩﻩﺍﻧﺪ (ﻣﻨﺼﻮﺭﻯ ﻭ ﺁﺟﻮﺭﻟﻮ، 1387)؛ (ﺗﺼﻮﻳﺮ 1). ﺩﺭ ﻣﻰ ﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺑﺎ ﻣﻌﺒﺪ ﺍﻧﺎﻫﻴﺘﺎﻱ ﺑﻴﺸــﺎﺑﻮﺭ ﺩﺭ ﻛﺎﺯﺭﻭﻥ ﻭ ﺳــﺮﺍﺏ ﻃﺎﻕ ﺑﺴﺘﺎﻥ ﺩﺭ ﻛﺮﻣﺎﻧﺸﺎﻩ ﻛﺘﻴﺒﻪﻫﺎﻯ ﻣﻨﺴﻮﺏ ﺑﻪ ﺷﺎﭘﻮﺭ ﺍﻭﻝ ﺳﺎﺳﺎﻧﻰ ﺩﺭ ﺣﺎﺟﻰﺁﺑﺎﺩ ﻭ ﺗﻨﮓ ﺑﺮﺍﻕ ﻧﻴﺰ ﺑﺎ ﺩﺍﺳﺘﺎﻥ ﺷﻜﺎﺭ ﻣﻘﺎﻳﺴــﻪ ﻭ ﻫﻤﺴﺎﻥﺳﺎﺯﻱ ﻛﺮﺩ (ﻫﻤﺎﻥ). ﺷــﺎﻳﺪ ﺣﺠﺎﺭﺍﻥ ﻭ ﻣﻌﻤﺎﺭﺍﻥ ﺳﺎﺳﺎﻧﻲ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﮔﻮﺭ ﺍﺳــﺐ ﻭ ﻣﻬﺎﺭﺕ ﺷﺎﻫﻨﺸﺎﻩ ﺩﺭ ﺷــﻜﺎﺭ ﻭ ﻛﻤﺎﻥﻛﺸﻰ ﺁﺷﻨﺎ ﻣﻰﺷﻮﻳﻢ (ﺁﻣﻮﺯﮔﺎﺭ، ﺗﻔﻀﻠﻰ، ﻛﻪ ﺩﺭ ﻗﺎﺏﻧﻤﺎﻱ ﺣﺠﺎﺭﻱﺷﺪﻩ ﺍﻣﺎ ﻧﺎﺗﻤﺎﻡ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ، ﺍﻳﻮﺍﻥ ﻭ ﻣﺠﺎﻟﺴﻲ ﻣﺸﺎﺑﻪ ﺳﺮﺍﺏ ﻃﺎﻕ 1375). ﺍﻣﺎ ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﺁﺛﺎﺭ ﻫﻨﺮﻯ ﻣﺮﺗﺒﻂ ﺑﺎ ﺳﻨﺖ ﻧﺨﺠﻴﺮ ﻭ ﺷﻜﺎﺭﮔﺮﻯ ﻣﻨﺴﻮﺏ ﺑﻪ ﻋﻬﺪ ﺑﺴﺘﺎﻥ ﭘﺪﻳﺪ ﺁﻭﺭﻧﺪ ﺗﺎ ﻫﻤﺎﻧﻨﺪ ﺁﻥ، ﺗﺼﺎﻭﻳﺮ ﻭ ﻣﺠﺎﻟﺲ ﺩﺭ ﺁﺏ ﻧﻤﻮﺩ ﻭ ﺑﺎﺯﺗﺎﺏ ﻳﺎﺑﺪ! ﺳﺎﺳــﺎﻧﻰ، ﺷﻮﺍﻫﺪ ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺧﺘﻰ ﻳﺎﻓﺘﻪ ﺍﺯ ﻧﺎﺣﻴﺔ ﻛﺮﻣﺎﻧﺸــﺎﻫﺎﻥ ﺑﺮ ﻭﺟﻮﺩ ﻧﺨﺠﻴﺮﮔﺎﻩﻫﺎﻯ ﺳﻠﻄﻨﺘﻰ ﻭ ﻣﻌﻤﺎﺭﻯ ﻣﺤﻴﻂ ﻭ ﻣﻨﻈﺮ ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﺳﻨﺖ ﻭ ﻓﺮﻫﻨﮓ ﺷﻜﺎﺭ ﺩﺭ ﺑﺎﺭﮔﺎﻩ ﺳﺎﺳﺎﻧﻴﺎﻥ ﻛﺮﻣﺎﻧﺸﺎﻩ، ﺳﺮﺍﺏ ﻃﺎﻕ ﺑﺴﺘﺎﻥ ﺗﺄﻛﻴﺪ ﻣﻰﻛﻨﺪ؛ ﻛﻪ ﺩﺭ ﺍﻳﻨﺠﺎ، ﺳﻪ ﺷﻜﺎﺭﮔﺎﻩ ﺳﻠﻄﻨﺘﻰ ﺑﻴﺴﺘﻮﻥ، ﻃﺎﻕ ﺑﺴﺘﺎﻥ ﻭ ﻛﻨﮕﺎﻭﺭ ﻣﻌﺮﻓﻰ ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ، ﺷﺎﺧﺺﺗﺮﻳﻦ ﻭ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻣﺠﺎﻟﺲ ﻧﺨﺠﻴﺮ ﻭ ﺳﻨﺖ ﺷﻜﺎﺭ ﺩﺭ ﻓﺮﻫﻨﮓ ﻣﻰﺷﻮﺩ. ﻭ ﻫﻨﺮ ﺩﺭﺑﺎﺭ ﺳﺎﺳــﺎﻧﻲ، ﻧﻘﻮﺵ ﺣﺠﺎﺭﻱﺷﺪﺓ ﺍﻳﻮﺍﻥ ﻃﺎﻕ ﺑﺴﺘﺎﻥ ﺩﺭ ﻛﺮﻣﺎﻧﺸﺎﻩ ﺍﺳﺖ؛ ﺩﺭ ﺍﻳﻦ ﻧﻘﻮﺵ، ﺧﺴــﺮﻭ ﭘﺮﻭﻳﺰ ﺳﺎﺳﺎﻧﻲ ﺭﺍ ﻣﺸــﺎﻫﺪﻩ ﻣﻲﻛﻨﻴﻢ ﻛﻪ ﻫﻤﺮﺍﻩ ﺑﺎ ﺟﻤﻌﻲ ﺍﺯ ﺧﻨﻴﺎﮔﺮﺍﻥ ﻭ ﻓﺮﺿﻴﻪ ﺩﺭﺑﺎﺭﻳﺎﻥ، ﺳﻮﺍﺭ ﺑﺮ ﻗﺎﻳﻖ، ﺩﺭ ﻣﻴﺎﻥ ﻧﻴﺰﺍﺭﻱ ﺍﻧﺒﻮﻩ، ﺑﻪ ﺷﻜﺎﺭ ﮔﻠﻪﻫﺎﻯ ﮔﺮﺍﺯ ﺭﻓﺘﻪ ﺍﺳﺖ؛ ﺩﺭ ﺣﺎﻟﻰ ﻣﻌﺒﺪ ﺍﻧﺎﻫﻴﺘﺎﻯ ﻛﻨﮕﺎﻭﺭ ﻛﻪ ﺑﻪ ﻏﻠﻂ ﺑﻪ ﺍﻳﻦ ﻋﻨﻮﺍﻥ ﻣﺸــﻬﻮﺭ ﺷــﺪﻩ، ﻧﻤﻮﻧﻪﺍﻯ ﺳﺎﺳﺎﻧﻰ ﺍﺯ ﻛﻪ ﺷﺨﺼﻴﺘﻰ ﻣﻘﺪﺱ، ﻛﻪ ﻫﺎﻟﻪ ﺍﻯ ﺍﺯ ﻧﻮﺭ ﺑﺮ ﺳﺮ ﺩﺍﺭﺩ (ﺍﻟﻬﺔ ﺍﻧﺎﻫﻴﺘﺎ؟) ﺳﻮﺍﺭ ﺑﺮ ﻗﺎﻳﻘﻰ ﺩﻳﮕﺮ، ﺩﺳﻜﺮﻩﻫﺎﻯ ﺷﻜﺎﺭﮔﺎﻩﻫﺎﻯ ﺍﻳﻦ ﺩﻭﺭﻩ ﺩﺭ ﻏﺮﺏ ﺍﻳﺮﺍﻥ ﺍﺳﺖ. ﺷﺎﻫﻨﺸﺎﻩ ﺭﺍ ﻫﻤﺮﺍﻫﻰ ﻣﻰﻛﻨﺪ (ﺗﺼﻮﻳﺮ 4). ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﺻﺤﻨﻪﺍﻯ ﺩﻳﮕﺮ، ﺧﺴﺮﻭ ﻭ ﺩﺭﺑﺎﺭﻳﺎﻥ ﺭﺍ ﺳﻮﺍﺭ ﺑﺮ ﺍﺳﺐ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﺩﺭ ﺗﻌﻘﻴﺐ ﮔﻠﻪﻫﺎﻯ ﮔﺮﺍﺯ ﻭ ﺑﺰ ﻛﻮﻫﻲﺍﻧﺪ ﻭ ﺧﻨﻴﺎﮔﺮﺍﻥ ﻭ ﻛﻮﻛﺒﺔ ﺑﻴﺴﺘﻮﻥ، ﺷﻜﺎﺭﮔﺎﻩ ﺳﻠﻄﻨﺘﻰ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ ﺷــﺎﻫﻲ، ﺳــﻮﺍﺭ ﺑﺮ ﻓﻴﻞ ﻭ ﺍﺳﺐ ﻭ ﺷﺘﺮ، ﺍﻳﺸﺎﻥ ﺭﺍ ﻣﺸﺎﻳﻌﺖ ﻭ ﻳﺎ ﺑﺮﺍﻯ ﺷﺎﻩ ﻭ ﺩﺭﺑﺎﺭﻳﺎﻥ، ﻛﺒﺎﺏ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ، ﻗﺎﺑﻰ ﺗﺮﺍﺷــﻴﺪﻩ ﺍﻣﺎ ﻧﺎﺗﻤﺎﻡ، ﺑﺮﺍﻯ ﻧﻘﺶ ﺑﺮﺟﺴﺘﻪﺍﻯ ﺑﺰﺭگ ﺑﻮﺩﻩ ﻛﻪ ﺭﻭﺯﮔﺎﺭﻯ ﮔﺮﺍﺯ ﺣﺎﺿﺮ ﻣﻰﻛﻨﻨﺪ! ﺩﺭ ﭘﺎﻯ ﺁﻥ، ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﻳﻚ ﺁﺏﻧﻤﺎ، ﺑﺎﻍ ﻭ ﻛﺎﺥ ﺳﺎﺳﺎﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ (ﺗﺼﻮﻳﺮ 2). ﻫﻤﺎﻧﻨﺪ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ ﺑﻴﺴــﺘﻮﻥ، ﺳــﺮﺍﺏ ﻃﺎﻕ ﺑﺴــﺘﺎﻥ ﻧﻴﺰ ﺩﺭ ﺍﺻﻞ ﻳــﻚ ﺑﻨﺎﻱ ﻳﺎﺩﺑﻮﺩ ﻭ ﺻﻔﺤﺔ ﺣﺠﺎﺭﻱ ﺷــﺪﺓ ﻧﺎﺗﻤﺎﻡ ﻓﺮﻫﺎﺩﺗﺮﺍﺵ ﺩﺭ ﺳــﻴﻨﺔ ﻛﻮﻩ ﺑﻴﺴﺘﻮﻥ، ﺩﺭ ﭘﻴﻮﻧﺪ ﺑﺎ ﺗﺄﺳﻴﺴﺎﺕ ﺩﺳﻜﺮﻩﺍﻯ ﺑﻪ ﺷﻜﻞ ﺩﻭ ﺍﻳﻮﺍﻥ ﺣﺠﺎﺭﻱ ﺷﺪﻩ ﺩﺭ ﺩﻝ ﻛﻮﻩ ﺍﺳﺖ ﻛﻪ ﺁﻥ ﺭﺍ ﻓﺮﺍﭘﻴﺶ ﻳﻚ ﭼﺸﻤﻪ ﻭ ﭘﻼﻥ ﺑﻨﺎﻱ ﻣﻜﺸــﻮﻑ ﺍﺯ ﻧﺎﺣﻴﺔ ﻣﻮﺳــﻮﻡ ﺑﻪ ﺩﻫﻜﺪﺓ ﺑﻴﺴﺘﻮﻥ، ﻛﻪ ﺩﺭ ﻣﻘﺎﺑﻞ ﺁﻥ ﻗﺮﺍﺭ ﺩﺍﺭﺩ، ﻭ ﭼﺸﻢ ﺍﻧﺪﺍﺯﻯ ﺳﺮﺳﺒﺰ ﺳﺎﺧﺘﻪﺍﻧﺪ ﻛﻪ ﺑﺮ ﺁﻧﻬﺎ، ﺑﻪ ﻟﺤﺎﻅ ﺍﺭﺗﻔﺎﻉ، ﺍﺷﺮﺍﻑ ﻛﺎﻣﻞ ﺩﺍﺭﺩ (ﺗﺼﻮﻳﺮ ﻣﺠﻤﻮﻋﺔ ﻳﻚ ﺩﺳــﻜﺮﻩ ﻭ ﺷﻜﺎﺭﮔﺎﻩ ﺳــﻠﻄﻨﺘﻰ ﺭﺍ ﺩﺭ ﻋﻬﺪ ﺳﺎﺳﺎﻧﻲ ﺷﻜﻞ ﻣﻲﺩﺍﺩ ﻛﻪ ﺍﻟﮕﻮﻯ 5).
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