نوع مقاله : ویژه نامه تاریخ اجتماعی زن د رهنر و جامعه ایران و جهان باستان پیرامون آن(سردبیر مهمان ویژه نامه: دکتر اسماعیل سنگاری)

نویسندگان

• اسماعیل سنگاری ¹
• سارا یوسفی ²
• فرزاد رفیعی فر ³
• محمودرضا کوهکن ⁴

¹ دانشیار گروه تاریخ، دانشگاه اصفهان، اصفهان، ایران

² دانش آموخته کارشناسی ارشد تاریخ، دانشگاه اصفهان، اصفهان، ایران

³ دانشجوی دکتری تاریخ، دانشگاه اصفهان، اصفهان، ایران

⁴ استادیار گروه تاریخ دانشگاه پیام نور، اصفهان، ایران

چکیده

نقوش و تصاویر بانوان در طیف گسترده­ای از آثار هنری عصر ساسانی، به ویژه ظروف سیمین این دوره به نمایش درآمده­است. این نقوش مادینه، بازتاب نگرش و دیدگاه­های ایرانیان در اواخر دوران باستان به بانوان و مسائل ویژة زنان در جامعة ایران ساسانی است که به واسطة مهارت صنعتگران و هنرمندان بر رویة آثار هنری نقر شده است. بنابراین، لزوم تحلیل و تفسیر نقش­مایه­های مادینة منقوش بر روی ظروف سیمین ساسانی غیرقابل انکار است. در این پژوهش، نقوش و تصاویر زوج­های سلطنتی بر روی سه نمونه از ظروف نقره­ای ساسانی، از طریق شیوة سه مرحله­ای اروین پانوفسکی از پژوهشگران پیشگام حوزة تاریخ هنر مورد مطالعه قرار گرفته است. در روش مذکور، در مرحلة نخست جزئیات هر نقش­مایه، توصیف شده و سپس به تحلیل آیکونوگرافیک آن پرداخته می­شود. در واپسین مرحله نیز هر نقش­مایه با استفاده از اطلاعات به دست آمده در مراحل پیشین، در معرض تفسیر آیکونولوژیک قرار می­گیرد. مطالعة حاضر نمایانگر آن است که سنت همنشینی و معاشرت با زنان و بانوان در مجالس بزم که در متون ادبی و تاریخی نیز نمود یافته، ریشه در فرهنگ کهن ایران باستان داشته و از دیرباز به عنوان یکی از مؤلفه­های برجسته و دیرپای این فرهنگ، مطرح بوده است.

کلیدواژه‌ها

• آیکونوگرافی
• آیکونولوژی
• ساسانیان
• ظروف سیمین
• زوج‌های سلطنتی
• اروین پانوفسکی

موضوعات

• ویژه نامه تاریخ اجتماعی زن د رهنر و جامعه ایران و جهان باستان پیرامون آن

Female Icons and images of women have been displayed in a wide range of artworks in Sassanian period, especially on the silverwares. These feminine icons are reflection of the beliefs and ideas of Iranians toward women in Iranian society which owe their existence to the craftsmen and artists. Therefore, the significance of the study of the female icons carved on Sasanian silver vessels, is undeniable. In this study, images of royal couples on three Sassanian silverwares, have been studied according to Erwin Panofsky method, the pioneer in the field of art history. In this method, the details of each icon, have been described, firstly. Then, the iconographical descriptions have been provided. Finally, the iconological analysis of each image has been presented according to the previous findings. The present study, suggests that the tradition of associating with women in banquets, which has been also mentioned in literary and historical texts, is rooted in the ancient culture of ancient Iran and has always been one of the most important and prominent components of this culture.

Introduction: Sassanian silver vessels, including plates, ewers, vases and other silverware made by artists and craftsmen of this period, shows the evolutions and changes of Iran's artistic traditions in the late antiquity era. These vessels are a very important source for extracting historical data, comparing with the contents of texts and written sources. In fact, by analyzing and studying the motifs and images of these artworks, we can find important information about the historical events and artistic traditions, social customs and religious beliefs in Sassanian period.

Material and Methods: This research has been based on a descriptive-analytical method, according to Erwin Panofsky's theory in analyzing and examining artistic motifs and images.

Results and conclusions: In this research, the icons and images of three Sassanian silverwares with special scenes of the presence of women in the celebrations of this period have been described, analyzed and interpreted. The motif of a king or a royal figure sitting next to a queen or a high-ranking lady existed in Iranian art from the beginning of the Sassanian period, and it can be seen in the reliefs of Ardashir I and different artworks with the image of Bahram II. Also, there is a history of depicting these scenes in previous historical periods, such as the Arsacid dynasty.  Even the continuation of the tradition of the presence of women next to men in celebrations, can be found in the literary texts and poems of great Persian poets. Therefore, it should be pointed that the motifs and images of the three Sassanian vessels that were the main subjects of this research, and even other works such as Parthian royal couple plate, which was analyzed as an auxiliary subject in this research, are special and prominent displays of scenes, full of cultural characteristics of Iranians during the history of ancient Iran. By all means, it should be said that the meaning of these explanations does not indicate that seeing an artwork from Sassanian period or one of these three silver plates was a source of inspiration for a poet like Rudaki or Khayyam to include such topics in his poetry. Instead, the main purpose is to say that the scenes and the pattern of the images of these artworks, like the concepts that entered the poems of the mentioned poets, both have a common origin. These artworks and poems show hidden cultural characteristics that perhaps even the artist and poet did not think about during their artistic activity.  In fact, the Persian poet of the Islamic period and the silversmiths of the Sassanid period were both influenced by special culture and cultural characteristics.  The motif of the accompaniment of women and music in bazams in Persian literature and Iranian art shows that this accompaniment in ceremonies and celebrations has been one of the long-lasting components of Iranian culture. This point shows the symbolic values ​​and structure of the ancient Iranian society, which entered the Islamic era and was mixed with the thoughts of poets such as Rudaki and Khayyam. In fact, a Persian poet or an Iranian artist in the Sassanian period and in the centuries after the fall of this empire, cannot imagine celebration and happiness without the presence of women and considers happiness dependent on the presence of women in a royal celebration.