Showing 4 results for Rock Reliefs
Volume 9, Issue 2 (6-2017)
Abstract
Two fundamental features of the Sasanian monumental art, i.e. the realism and positional tradition, have been represented in rock reliefs of that time in the best manner, so that they have created a semiotic cryptic system together. Concept mining of this semiotic system will be achieved by appealing to a context-oriented approach and benefiting from the contextual continuum (comparative picturology). What underlay this research was the optical illusion resulted from implementing the perspective in the rock relief of Bahram II in Naqsh-i Rustam, Fars. This issue, which has misled the researchers in characterology of some figures, is highly controversial. Why the Sasanian artist has sometimes intentionally implemented an unnecessary perspective? Results of the studies indicate that artistic tricks such as perspective have also played the role of a sign in these artworks; as this trick in Bahram II rock relief in Nadsh-i Rustam, without any perspective, is merely accompanied by a political implication based upon the right of crown prince. The objectified perspective in the rock relief of Shapur I in Naqsh-i Rajab, Fars province, is also the evidence indicating the priority in the right of crown prince position.
Seyyed Rasool Mousavi Haji, Reza Mehafarin,
Volume 16, Issue 2 (5-2009)
Abstract
Among the various of Sasanian kings, Narseh (293-302 A.D.) is the one whose important and striking rock relief remained at Naqsh-i Rustam in Iran’s Fars province. This relief records investiture ceremony from Anahita ( known as Goddess of fertility and protector of water).
Until now, various views and interprations have been put forwarded about the real identity and historical theme of this relief. But the attribution of a lady to Shapurdokhtak II (Narseh`s wife) is the latest and most controversial view given by Alireza Shapur Shahbazi, who has conducted excavations and archaeological studies at Takht-i Jamshid for several years.
In fact, this attribution has also provoked the authors of the present article hence; he has tried to highlight the depiction through opinions of various researches. The present study supports the accuracy and validity of the attributed lady to water goddess Anahita and refuses other theories.
Negin Miri,
Volume 24, Issue 3 (9-2017)
Abstract
Archaeology of children and childhood is rather a new field of study within archaeology and anthropology. However, it is very difficult to trace the presence of children in archaeological material. Their manifestation is mainly limited to mortuary, artefacts or objects considered to be toys or built environment that too may have been either in connection with specific items used by or were in relation to children or iconographic evidence from past. The present study tries to examine depictions of children in Sasanian rock reliefs which have long been the subject of extensive research, nevertheless it seems such depiction on art objects was not a matter of attraction by itself. On the other hand, lack of coherent literary evidence about social status, roles and realm of children and childhood in the Sasanian society leave many questions unanswered. Hence, despite a large number of researches in the field of Sasanian history and archaeology, one cannot postulate a coherent research background specific to the aforementioned subject. Children are displayed in a number of Sasanian rock reliefs which are introduced and presented in chronological order. Identity of these children and purpose of their depiction is discussed based on available works. Although, the historical identity of these children may never be certainly established, but those shown in investiture and parade reliefs of Ardashir I, Shapur I and Narseh at Firuzabad, Naqsh-e Rajab and Naqsh-e Rustam are certainly the children of high status or having royal lineage. In two of Shapur I reliefs, a putto is depicted and a probably captive child –enemy’s son- are seen in Bahram II/Shapur II relief in Tang-e Chowgan.
Seyed Rasoul Mousavi Haji, Seyed Mehdi Mousavi, Houshang Rostami, Shahin Aryamanesh,
Volume 26, Issue 3 (9-2019)
Abstract
Symbolic figures, in addition to decorative aspects, are indicator of culture, religion, art and political and social structures of a government and country in ancient times. During the Sassanid era, symbolic figures flourished further with the mixture of religion and polity and their examples can be seen in most of the remaining artworks from the same era that could found during archaeological excavations. Investigation of symbolic figures in the Sassanian rock reliefs and stucco is a necessity but unfortunately, has not been independently and elaborately addressed to this date. It is necessary to investigate this significant aspect using archaeological and historical evidence. This study, which is considered as a kind of fundamental research based on its objective and a historical one with respect to its nature and methodology, obviously indicate that the dominant symbolic figures in Sassanian rock reliefs and stucco have had religious origins.
