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Showing 3 results for Stucco
Volume 11, Issue 2 (3-2020)
Abstract
In ancient times, symbolic figures and badges in addition to decorative aspects represented important issues regarding culture, art and even social structures of a state and country. In the Sassanid period, symbolic figures (patterns) also boomed with respect to the interfusion of religion and politics, so that some examples of these symbolic figures can be seen in most of the artworks remained of the Sassanid period. The stucco art during the Sassanid era was one of the most developed arts which have reached the peak of its maturity in this period compared to the preceding periods and witnessed its widespread use in various symbolic forms in Sassanid buildings and palaces. The study of symbolic plant figures of the Sassanid period is a necessity that has unfortunately not been studied independently and extensively so far. With respect to the object of study, the present research is of a fundamental type and with respect to its nature and methodology, it is a historical study. The result of this research indicates that most of the symbolic motifs (patterns) found in the Sassanid stuccos religious origin; although these figures have been depicted in form of numerous and diverse plant figures, each of them is considered as a symbol of religious beliefs. Grapes and the tree of life are among the symbols symbolize fertility, blessing, and immortality in Iran and have always been seen in the stucco works during this period; also, the lotus figures represent one of the deities in Mazdisna religion.
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.
Iran Houshang Rostami, Iran Amir Reza Vasegh Abbasi,
Volume 30, Issue 4 (10-2023)
Abstract
Anahita, a prominent Zoroastrian goddess, has always had importance status and widely revered during the Sassanian period. In the present research, relying on the studies of Sassanian bas-reliefs and stuccos, an attempt has been made to study the role of this goddess in Sassanian art. The results of this research clearly indicate that Anahita, among the other Zoroastrian deities, has always had a valuable place in those eras because she was thought to offer wisdom to those who revered her. Personification and depiction of the goddess Anahita in human icons in Sassanian bas-reliefs and stuccos were an attempt by the Sassanian emperors to legitimize their rule.
