Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
8
17
2019
11
22
Influence of Neo-Elamite and Neo-Assyrian Illustrations on the Achaemenid Depictions of Levee A Case Study: Comparison of the Depictions of Levee in Apadana of Persepolis (from Achaemenid Civilization), Kidin Hutran Bronze Cup (from the Neo-Elamite Civilization Period), and Paintings of Til Barsip (from the Neo-Assyrian Civilization Period)
1
21
EN
Ali Asghar
Salahshoor
Ph.D. in Archeology, Faculty of Letters and Humanities, University of Tehran, Tehran, Iran
aa.salahshour@ut.ac.ir
Poorya
Heydarimehr
M.Sc. in Archeology, Faculty of Conservation, Art University of Isfahan, Isfahan, Iran
poorya.heydari@ymail.com
10.22055/pyk.2019.15325
One of the fundamental characteristics of Achaemenid art is its combinatorial nature. Depiction of the levee in this period is a clear manifestation of this important feature. Since the use of visual media in the ancient world was limited, rock relief and wall paintings have been useful and efficient tools for showing the political power of the state. One of these scenes is the levee ceremony, during which the king let his subjects or their representatives come to the court in order to listen to their problems, issues, and political-economic conditions. The levee was also held when the king was given tributes by conquered states or decided to offer gifts. The rock reliefs depicting levee belonging to the Achaemenid Empire, especially in Persepolis, reflect these features very clearly.The authors of this paper believe that the artistic influences of Neo-Assyrians and Neo-Elamites on the Achaemenids are evident, especially in the representation of levee in Achaemenid architecture. This impact is particularly obvious in the hybrid animal motifs, such as Shirdal (Griffin), winged cows with human heads (lamassu), clothes, weapons, utensils, depiction of battle scenes (e.g., the battle of the royal hero with real and hybrid animals), porters, and fortification and treasury tablets. Therefore, the present research intends to compare the Achaemenid art with those of the Neo-Assyria and Neo-Elam. Regarding the temporal and spatial correspondence of Achaemenid with these two empires, the scene of levee depicted in Persepolis was compared with those of Neo-Elamite Kidin Hutran Bronze Cup and Neo-Assyrian paintings of Til Barsip. The aim was to identify the similarities and differences of these three civilizations and determine the extent to which the Neo-Assyrian and Neo-Elamite civilizations influenced the depiction of the levee in Apadana of Persepolis.The present research aims to answer questions, such as what are the similarities and differences of the Achaemenid levee depicted in Persepolis and those depicted in Neo-Elmite Kidin Hutran Bronze Cup as well as Neo-Assyrian paintings of Til Barsip, and whether the royal levee scenes of Persepolis aimed to further political purposes and express the political power of the Achaemenids. In line with this study, Stronach in "Icons of Dominion: Review Scenes at Til Barsip and Persepolis" (Stronach, 2002) compared the scenes represented in Til Barsip and Persepolis. Moreover, he determined the legitimacy and power of the Assyrian and Achaemenid kings based on these scenes.
Apadana of Persepolis,Kidin Hutran Bronze Cup,Levee,Til Barsip
https://paykareh.scu.ac.ir/article_15325.html
https://paykareh.scu.ac.ir/article_15325_43e19b9f123e9f21d2fc5a0783bd66b5.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
8
17
2019
11
22
A Study on the Clothing of Figures in the Wall Paintings of Esfahan’s Kaisariyeh Market
22
39
EN
Fatemeh
Chavoshi Najafabadi
MA in Textile Design, Faculty of Art, Architecture and Urban Planning,yazd Art University, Ardakan, Iran
fchavoshi1810@gmail.com
s. ali
mojabi
Assistant Professor, Art Department, Faculty of Art, Architecture and Urban Planning, Najaf Abad Branch, Islamic Azad University, Najafabad, Isfahan, Iran.
sa-mojabi@iaun.as.ir
10.22055/pyk.2019.15326
The present article aimed to investigate the clothing style of figures depicted on Isfahan's Kaisariyeh market entrance and study the design and color of these images. Various books and articles have been published on the historical and architectural background of Isfahan's Kaisariyeh market; nonetheless, there is a paucity of information on the wall paintings of this market.The exciting information presents the type of these paintings and their implementation. For instance, Shahabinejad et al. (2012), in his article entitled: "The perspective of Naghsh-e Jahan Square in Isfahan: values and Problems," studied this artwork and its visual, functional, and suggestive merits; however, the paintings depicted on the entrance have not been taken into account.Moreover, Ishaqi (2014) in his master's thesis entitled "Designing a Business-Recreational Center in Tehran District 4, Considering Architectural Impact on Increasing Efficiency" has used traditional markets, such as Isfahan's Kaisariyeh market, to design and create commercial venues. Tofangsaz (2014) in his master's thesis entitled "Revival of the dock of the mint complex of Isfahan's Kaisariyeh market" has studies the mint of this market and its revival. To the best of our knowledge, no study has been conducted on the garments of figures depicted on wall paintings of Kaisariyeh market.
Isfahan,Safavid,Kaisariyeh Market,Wall Painting,Clothing
https://paykareh.scu.ac.ir/article_15326.html
https://paykareh.scu.ac.ir/article_15326_ffd201017ae2e98add502a54869aad88.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
8
17
2019
11
22
Human Figure Iconology is Two Pieces of Textile from Sassanid Era (With Images of the King’s Battle and the Tree of Life)
40
61
EN
nastaran
saberi
Master’s Student in Textile and Fashion Design at Pars University, Tehran, Iran
nastaran.saberi.pars@gmail.com
Ameneh
Mafitabar
0000-0001-9084-9873
Assistant Professor of Textile and Fashiom Design, College of Applied Arts, Art , University of Tehran, Tehran, Iran
a.mafitabar@art.ac.ir
10.22055/pyk.2019.15359
Throughout centuries, artistic creations have represented the culture and beliefs of every ethnic group, becoming inseparable from their art history. What remains from the Sasanian era is of special significance because of the political, religious and economic events of the day, and interpreting them helps discover more of the secrets buried in the period. Motifs are the most prominent feature of Sasanian art. The fabrics remaining from the Sassanid period are an important source to study the motifs of this period. These fabrics include elements with broad structural, religious, and mythological concepts. Studies show that there are many basic approaches to literary and artistic studies, including the iconology approach which has a relatively special place. Studying art, especially textiles, and reading the motifs of fabrics through iconology can remove many ambiguities in this regard, because this method uses description and analysis to examine the motifs and elements of fabrics and identify their implicit meanings and the reasons for their coincidence. With this in mind, this article aims to delve deeper into the symbols and signs of the fabrics of the Sassanid period and analyze their semantic layers. Aiming to fulfil this objective, the present study seeks to answer this question: “What are the hidden and semantic layers ofthe human figures on the two pieces of textile from Sassanid Era with images of king’s battle and tree of life, based on the iconological approach?” The hypothesis is that by exploring the superficial forms of the motifs of these two pieces of fabric and determining and interpreting the symbols, it is possible to come to their iconographic interpretation and identify at least some of the most meaningful symbolic meanings as a decorative element and a feature of Iranian art. Many studies have dealt with the motifs and symbols of the Sassanid period and the iconology approach. For example, Neda Akhavanaqdam (2017) studied the metal utensils of this period from an iconographic point of view, introducing symbols and discussing the motifs of hunting, ritual and court ceremonies in this period based on the metal art of the Sassanid era. <em>An Introduction to Iconology</em> by Nahid Abdi (2012) has described this approach and clarified the path of this theoretical study to the reader. This book can be a useful guide to the study of Sassanid motifs with this approach.
Sassanid,iconology,Textile,Human Figures
https://paykareh.scu.ac.ir/article_15359.html
https://paykareh.scu.ac.ir/article_15359_5f5047c63dbf76d2ce3002ff9da1690a.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
8
17
2019
11
22
The study of Kufic inscriptional elements (Surah Yasin) in Shoushtar Congregational Mosque
62
74
EN
Sahar
Salehi
Master of Graphics, Faculty of Art, Tarbiat Modares University, Tehran, Iran
salehisahar@modares.ac.ir
* Seyyed Abootorab
Ahmad Panah
Assistant Professor in Graphics, Tarbiat Modarres University, Tehran, Iran
ahmadp_a@modares.ac.ir
10.22055/pyk.2019.15422
Shoushtar Congregational Mosque is one of the oldest mosques in Iran. Al-Motazebollah, the 13th Abbasid caliph, order the construction of this monument in 254 AH, and it was completed during the reign of 23<sup>rd</sup> Caliph, al-Mostarshedobellah (512-529 AH). The mosque was later renovated. This mosque has several inscriptions written in Kufic script. One of these inscriptions is mounted on the wall of the mosque. The inscription is 32 meters in length, with some of the verses of Surah Yasin being rendered in Kufic script. The current study aimed to investigate the elements of this inscription and its rules of calligraphy and visual quality. The current study aimed to find out the details of this valuable inscription, thereby revealing the specific feature of these inscriptional elements and their quantitative diversity. Concerning this issue, "Abdollah Quchani and Mahnaz Rahimiifar" (2003) have addressed some of the existing inscriptions in a book entitled "Inscriptions of Mosques in Shooshtar Congregational Mosque and Imamzadeh Abdullah”.Seyyed Vahid Mousavi Jazayeri" (2016) in a book entitled "Kufic Stone Inscriptions <sup>1</sup>” studied Kufic scripts of Shushtar Congregational Mosque. In 2015, the same author explored the conceptual meaning of the inscription and the reason behind the type of script in another book, "The Kufic Inscriptions of Shushtar Congregational Mosque <sup>2</sup>. In addition, Ibrahim Delavaran (2016) investigated these inscriptions from the third century to the late Qajar Period in his thesis "The Aesthetic Study of Shushtar Islamic Inscriptions" Sara Omidbakhsh (2018) did an article entitled “A comparative study of mosques with an emphasis on Shushtar Congregational Mosque as Islamic-Iranian architecture”. The difference between the mentioned study and the literature lies in the investigation of Kufic script elements of Surah Yassin in Shooshtar Congregational Mosque.
Shoushtar Congregational Mosque,Kufic Inscription,Surah Yasin
https://paykareh.scu.ac.ir/article_15422.html
https://paykareh.scu.ac.ir/article_15422_664e791f64893944d4d51320d0571da6.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
8
17
2019
11
22
Common Motifs in No Knot Handwoven Products of Sistan, Iran
78
92
EN
Abolghasem
Nemat Shahrabaki
Faculty of Carpet, Faculty of Art and Architecture, Sistan and Baluchestan University, Iran.
shahrbabaki@arts.usb.ac.ir
somayeh
mirnezhad
Faculty of Carpet, Faculty of Art and Architecture, Sistan and Baluchestan University, Iran.
mirnezhad.sm@arts.usb.ac.ir
10.22055/pyk.2019.15426
Handwoven products of Sistan, with their specific motifs and uses, are divided into two categories: "with loom" and "without loom". With loom products are the ones that their weaving requires a loom and a specific location. However, without loom products are woven without such equipment, such as woolen and hairy twine, and mat which are woven by nomadic women. These various handicrafts have some similar motifs that are used in various no knot products. Therefore, the present study aimed to investigate the common motifs used in different no knot products of Sistan. Regarding the unique no knot handwoven products of Sistan, Hall et al. (1998) stated that "This art began by means of the simplest methods of weaving using plant and animal fibers and has progressed from providing the everyday necessary equipment to such delicate and deluxe products. Today, various kinds of weaving products are often used as ornaments or manifestations of the collective identity.” Ali Hassouri (1993) also deals with these handwoven products and their weavers in his book Sistan Carpet.
Common motifs and designs,No knot handwoven products,Sistan
https://paykareh.scu.ac.ir/article_15426.html
https://paykareh.scu.ac.ir/article_15426_99cb323ca931a49efd38c939ed81d248.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
8
17
2019
11
22
Comparative Study of the Sculpture of Lamassu in Assyrian and Achaemenid Art
93
112
EN
Madonna
Lia
M.Sc. in Art Research, Faculty of Art, Al-Zahra University, Tehran, Iran
mady.l1989@gmail.com
Abolghasem
Dadvar
Professor of Art Research Department, Faculty of Art, Alzahra University, Tehran, Iran
a.dadvar@alzahra.ac.ir
10.22055/pyk.2019.15437
There were numerous myths about animals in the ancient world and mythology, many of which were considered sacred creatures. The gods were sometimes portrayed as hybrid and strange animals to make the ancient human beings have a better understanding of their grandeur and holiness. Among the most important elements in the ancient world and mythology were the imaginary and mythical creatures that were created from the combination of two or more important creatures and were considered to be extraordinarily powerful. These imaginary beings reflected the beliefs of the artists that created them. Moreover, most of the Mesopotamia gods had an animalistic form so that they had a human’s face and an animal’s body or vice versa. Lamassu was one of the hybrid gods in the Assyrian civilization which was often considered to provide protection from evil and guard the palace. <br />The tradition of using this huge hybrid creature influenced the Achaemenid as well. The present study hypothesized that the traditions, rituals, worship of gods, and cultural and religious themes have a profound effect on the development of art in various civilizations. Therefore, the art of different civilizations cannot be considered the same due to their influences on each other. The present study aimed to compare two Assyrian and Achaemenid lamassu sculptures to show the development and perfection of the visual elements in the sculpture belonging to the Achaemenid art to raise awareness about the intellectual and cultural system of civilizations. In this regard, Abolghasem Dadvar and Roya Roozbehani (2016) in their study thoroughly introduced and described the hybrid animals and their classification and also compared the Achaemenid and Assyrian relief.Fariba Foruzanfar (2013) in her article titled "Investigation on the Sculptures of Lamassu in Persepolis and Khorsabad Palace" mentions the similarities and differences of the meaning of the mythical sculptures of lamassu in Persepolis and Khorsabad palace. However, the aforementioned article lacks adequate figures and comparison tables. The distinctive feature of the present study was its emphasis on the differences and similarities of the sculptures of lamassu in all of the cases that could be found in "Nineveh", "Khorsabad", and "Nimrud". Furthermore, this study presented the subject differently way by focusing on the sculpture and comparing its significance in the myths of two civilizations by drawing a comparison table.
Achaemenid art,Assyrian art,Comparative Study,Human-headed winged bull,Lamassu sculpture
https://paykareh.scu.ac.ir/article_15437.html
https://paykareh.scu.ac.ir/article_15437_c1fae27a26cabb9f855f7701e5d584ac.pdf