Analysis of the Visual and Conceptual Patterns of Azadeh, sDeath in Ancient Persia, Sassanid and Seljuk PeriodsBased on Panofsky`s IconologicalApproach

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Namazalizadeh Soheila; MOUSAVILAR ASHRAFALSADAT

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Journal: NEGAREH Year:2018 | Volume:13 | Issue:48 Page(s): 73-85

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Title

Analysis of the Visual and Conceptual Patterns of Azadeh, sDeath in Ancient Persia, Sassanid and Seljuk PeriodsBased on Panofsky`s IconologicalApproach

Author(s)

Namazalizadeh Soheila | MOUSAVILAR ASHRAFALSADAT | Issue Writer Certificate

Keywords

ArtQ2

Ancient IranQ2

SassanidPeriodQ2

Seljuk PeriodQ2

BahramGurQ2

AzadehQ2

IconologyQ1

Abstract

Bahram V or BahramGur is a well-known just Sassanid king. Bahram same as Vereoray nais the great warrior god of Zoroastrianism, but his figure also contains a wealth of archaic, pre-Zoroastrian elements which clearly point to an Indo-Iranian era. Bahram has all the characteristics of an ancient warrior God, the personification of a force that shatters and overcomes any resistance or defense, an irresistible offensive force which displays its strength in attack. Bahram was revealed with symbolic features in Iranian Art and literature. In Seljuk era, different stories of BahramGur are painted on potteries. The images of Seljuk potteries which are depictedon the surface of the platesare appropriated according to the Islamic atmosphere. Bahram Gur, s hunting and Azadeh is one of the Iranian storieswhich is painted on some Seljuk potteries. Investigations on Seljuk illustrations show that some of the pictures depict Azadeh while playing harp and accompanying BahramGur in hunting. But the rare examples of Seljuk potteries displaytwo scenes about Azadeh`sharp playing and her death underneath camel, s feet with different clothes. This Article attempts to answer this question: What are the hidden semantic meanings of Azadeh’ sharp playing and her death underneath camel, s feet with different cloths, illustrated on Seljuk potteries? The purpose of this research is to study the visual and conceptual patterns of human figures which were illustrated on the Seljuk potteries. In this research, the informationis collected through documentary and library sources. The historical-analytical method is based on the iconography and Iconology with Panofsky’ s approach. Therefore, seven samples which belong to two historical periods (the Sassanid and the Seljuk)including three silver and golden Sassanid plates, a plaster Sassanid frame, a Sassanid seal and three Seljuk clay plates have been selected. The results show that Azadeh, ssymbolic death in BahramGour, s hunting refers to the common literature in the Seljuk Period, which is derived from an ancient Persian narration. Also based of Iranian mythical perspectiveAzadeh, s symbolic death, illustrated with different cloths, centered on the romantic relationship between VereOraghna(Iranian God-Sun) and Venus (Morning Star) who promises the Sun’ s rebirth or new day.

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APA: Copy

Namazalizadeh, Soheila, & MOUSAVILAR, ASHRAFALSADAT. (2018). Analysis of the Visual and Conceptual Patterns of Azadeh, sDeath in Ancient Persia, Sassanid and Seljuk PeriodsBased on Panofsky`s IconologicalApproach. NEGAREH, 13(48 ), 73-85. SID. https://sid.ir/paper/142910/en

Vancouver: Copy

Namazalizadeh Soheila, MOUSAVILAR ASHRAFALSADAT. Analysis of the Visual and Conceptual Patterns of Azadeh, sDeath in Ancient Persia, Sassanid and Seljuk PeriodsBased on Panofsky`s IconologicalApproach. NEGAREH[Internet]. 2018;13(48 ):73-85. Available from: https://sid.ir/paper/142910/en

IEEE: Copy

Soheila Namazalizadeh, and ASHRAFALSADAT MOUSAVILAR, “Analysis of the Visual and Conceptual Patterns of Azadeh, sDeath in Ancient Persia, Sassanid and Seljuk PeriodsBased on Panofsky`s IconologicalApproach,” NEGAREH, vol. 13, no. 48 , pp. 73–85, 2018, [Online]. Available: https://sid.ir/paper/142910/en

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