بررسی نقش زن بر مهرهای ساسانی (با معرفی مُهری از موزه بوعلی سینا همدان)
آرشیو
چکیده
مُهرها و گل مُهرهای ساسانی ازجمله اشیائی هستند که در تمامی سطوح جامعه و سازمان های اداریِ ادوار تاریخی، ازجمله عصر ساسانی کاربرد داشته و از این رو نقش به سزایی در درک ما از جنبه های مختلف تاریخی این دوره ایفا کرده اند. درمیان نقوش کنده کاری شده روی مهرهای ساسانی که حکایت از باورها و اعتقادات صاحبان آن ها دارد، تصویر زنان نیز به عنوان جمعیتی مهم از جامعه ساسانی روی مهرها نقش بسته است. مهرهای منقوش به نقوش زنانه، به نوعی از منابع مهم در واکاوی جایگاه زنان در این دوره به حساب می آیند و بازگوی نگرش جامعه به این قشر از مردم هستند. در این پژوهش سعی بر آن است که به بررسی نقش مایه های زن بر مهرهای ساسانی با معرفی مهری از موزه بوعلی سینای همدان پرداخته شود. نویسندگان بر پایه مطالعات کتابخانه ای و مشاهده مستقیم مهر مذکور، ضمن توصیف نقش مایه های زنانه بر آن، به جنبه های نمادپردازانه و خوانش کتیبه این مهر می پردازند. پرسشی که در اینجا مطرح می شود این است که چه ارتباطی میان نقش روی مهر و دارنده مهر وجود دارد؟ کتیبه روی مهر تا چه اندازه بازگوی مفاهیم زنانه است؟ مالکیت مهرهای منقوش به نقش زنان احتمالاً در اختیار زنان بوده است و این نشان از استقلال فردی و برخورداری از جایگاه اجتماعی زن در آن دوره دارد؛ اگرچه در دوره ساسانی زنان نسبت به مردان کمتر وارد تجارت و سیاست می شدند، اما وجود مهرهای منقوش به نقوش زنانه نشان دهنده پذیرش حضور آن ها و هم چنین جایگاه حقوقی آن ها در امور اداری و اقتصادی این دوره است.A Survey of the Motif of Women on Sassanid Seals (With the Introduction of a Seal from Bu-Ali Sina Museum in Hamadan)
Sassanian seals and sealings were used in all levels of society and administrative organizations during historical periods, including the Sassanid era. They have played a significant role in our understanding of various historical aspects of this period. Among the motifs carved on Sasanian seals that reveal the beliefs of their owners, the image of women as an important population of Sassanian society is also engraved on the seals. Seals inscribed with female motifs are considered important sources for analyzing the position of women in this period and reflect society’s attitude towards this group. This article aims to investigate the motif of women on Sassanian seals by introducing a seal from the Bu-Ali-Sina Museum in Hamadan. Through library studies and direct observation of the seal, the Authors discuss the symbolic aspects and interpretation of the inscription on this seal, describing the female motifs present. The question raised is the relationship between the character on the seal and the owner. To what extent does the inscription reflect feminine concepts? Seals engraved with the motif of women were likely owned by women, indicating their individual independence and social status during that period. While women in the Sassanian period were less involved in business and politics than men, the presence of seals with female motifs demonstrates their acceptance and legal position in the administrative and economic affairs of the time.
Keywords: Seal, Sasanian, woman, inscription, Bu-Ali Sina Museum.
Introduction
Seals are considered one of the most significant discoveries in archaeological excavations, shedding light on the mysteries of the past. Seal motifs provide insight into the cultural and civilizational evolution of different historical periods. On pre-Islamic seals, motifs depicting women engaged in daily activities, as well as symbols related to mythology and religion that reflect the social status of women, hold great importance. Alongside these depictions of women, images of animals like dogs or scorpions are sometimes carved, suggesting the religious and mythological significance of women. Women in pre-Islamic times were often associated with the queen or goddess of water, Anahita. The main objective of this article is to explore the significance of the motif of women on Sassanid seals, using a seal from the collection of the Bu-Ali-Sina Museum in Hamadan as an example. By analyzing the motif and inscription on this seal, the article aims to address the connection between the motif and the seal’s owner, as well as how feminine concepts are reflected in the inscription. However, due to the unknown origin of the seal, establishing its exact chronology poses a challenge.
The Motif of women on Sasanian seals
The image of a woman in Sasanian seals is a symbol of the queen or goddess Anahita. Her role in these seals is in the form of a profile, half-length, standing in awe of a woman with a long and fringed dress as a symbol of the waves of the boundless waters, similar to Anahita’s tunic while raising her hand and holding a lotus branch in her hand. In some seals, the image of the queen is engraved next to a man, either the king or the wife of the woman. The queen and the king face each other in profile and look at each other. Sometimes a tree can be seen among them, which is a symbol of the tree of life. (Brunner, 1979: 47). In the motifs left on Sasanian seals, a woman is depicted as giving thanks and to show her marital status, she is either holding a flower that is a symbol of offering to the gods or she is holding a ring that shows her marriage contract. Sometimes the female figure is shown as a person holding a royal crown in the air and dancing (Brunner, 1978: 61). The role of a woman on Sasanian seals is sometimes seen next to a child in sitting or standing positions or while holding the child in her arms. It has been said that these kinds of seals belonged to the Christians of different parts of Iran, in which the role of the woman was the symbol of Mary and the child was the symbol of Christ (Mesbah Ardakani and Dadvar, 2008: 179; Brunner, 1979: 42; Harper, 1978: 145). In most of the Sassanid seals depicted with a female figure, the name of the owner of the seal appears in the inscription around the female figure. (Mohammadifar & Malekan, 2013: 5).
A Sasanian seal with a female motif at the Bu-Ali-Sina Museum in Hamadan
The seal, with registration number 4635, is made of Soleimani agate and measures 18 mm long and 8 mm wide, weighing 3.3 grams. There is a crack in the right margin of the seal. The image on the seal depicts a standing woman, possibly wearing a cloak, looking to the right. She has long hair and is holding either a flower or a bird in her hand. Below her hand, a ribbon hangs, potentially a belt around her waist. Her dress appears to be shaped like a tank at the bottom, tight on the leg, and flowing to the ground like boundless waters. The motifs of the moon, star, and flower or bird are significant on this seal, along with the motif of women. The seal under study bears an inscription on the margin indicating the owner’s name (Hu-rōy) and family relationship (son of Hu-dēn), suggesting that the seal likely belonged to a woman. Symbols like the star, flower, and dove, associated with the goddess Anahita in Iranian mythology, further support the idea that this seal was owned by a woman in Sassanid society.
Interpreting the seal inscription for research purposes, the text on the right side of the main seal reads from 1 o’clock to about 6 o’clock. The inscription includes the words "Ho Roy" and "Ho Din," which may be a title or name. The suffix "ān" at the end of the second word indicates a relative connection. Based on the Middle Persian script and seal morphology, scholars suggest that this seal likely dates back to the late Sassanid period.
Conclusion
Seals are crucial sources for understanding the history and culture of ancient Iran. The variety of carved patterns on seals from the Sassanid period provides valuable insights into the religious beliefs of that era. The motif of women on these seals, whether alone or paired with other symbols, highlights their significant social status in Sassanid society. Women, particularly court women, who owned seals were actively involved in commercial and official matters. The presence of feminine motifs on seals challenges the perception of women’s limited roles in business and politics during that time. The motif of a woman alongside a child emphasizes family values in Sassanid society. Additionally, attributing certain female motifs on Sasanian seals to the goddess Anahita underscores her importance in religious themes of that period.
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