پژوهشی بر فرهنگ نمادین گِل مهرهای ساسانی گنجینه موزه ملی ایران
آرشیو
چکیده
گِل مهرهای دوره ساسانی گویای ساختار اداری، بازرگانی و دیگر مفاهیم فرهنگی اند که در نگارگری و اندازه گل مهر و شمار نشان مهر بر آن ها با یک دیگر متفاوتند. این نمونه ها در بسیاری موارد مانند دیگر داده های فرهنگی این دوره با آرایه های نمادین همراه اند. برای بررسی اهمیت و توصیف این داده ها و نیز پاسخ گویی به برخی پرسش ها در باره چرایی نمادگرایی در گل مهرها یا نماد کالاها که تاکنون کمتر به آن ها پرداخته شده است، گل مهرهای ساسانی منقوش و مکتوب مستندنشده در «گنجینه موزه ملی» برگزیده شدند. در این رابطه، معناشناسیِ پرتکرارترین آرایه ها، همگونی یا نا همگونی میان این نمادها با دیگر نمادهای نقش بسته بر آثار این دوره، گاهنگاری نسبی و خاستگاه احتمالی آن ها با توجه به نمادها و نگاشته های آن ها مورد بررسی قرار گرفته اند و با گل مهرهای گردآوری شده در دیگر مجموعه های این دوره مقایسه گردیدند. بیشتر نگارهای مهر شده بر گل مهرهای این مجموعه شامل آرایه های انسانی، جانوری و گونه های هندسی (منوگرام) است که هر دسته از گوناگونی در فرم و افزونه هایی مانند نشان انگشت دانه ها برخوردارند. برخی از 50 گل مهر مورد مطالعه ما به دلیل سایش و خوردگی و یا شکستگی ارزش خود را در خوانش نبشته ها و آرایه هایشان از دست داده اند و نیز از چگونگی به دست آمدن آن ها اطلاعی در دست نیست و تنها بر پایه نگاشته ها و نقوش به دوره ساسانی منسوب شده اند که پاسخ گویی به این مهم افزون بر دیگر موارد یکی از اهداف این پژوهش بوده است. بررسی این پژوهش برپایه مطالعات کتابخانه ای و مستند نگاری گل مهرهای گنجینه موزه ملی همراه با روش های مرسوم، یعنی عکاسی و طراحی گل مهرها است.Research on the Symbolic Culture of Sassanid Bullae of the National Museum of Iran
Sassanid bullae are indicative of the administrative structure, commerce and other cultural concepts, which usually differ from each other in the sealed figures, size and the number of times they have been stamped. In many cases, these samples are accompanied by symbolic arrays like other cultural data of this period. In order to study of their importance and description and to answer questions about the symbolism mixed with the worldview of Mazdaznan religion and other concepts such as the knowledge of that time, we selected undocumented bullae in the archives of the National Museum. In this regard, semantics, the most frequent arrays, compatibility between these symbols with other symbols this period, relative chronology and their possible origins were investigated. Most of the images stamped on the bullae of this collection include human, animal, and geometric arrays (monograms). Some of the fifty studied bullae studied have lost their value in due to wear and corrosion or breakage. Also, there is no information about how they were discovered. These bullae are assigned to the Sassanid period only based on the writings and arrays. Our research is based on library studies and documentation of bullae of the National Museum archive and conventional methods such as photography and design of flower seals.
Keywords: Bullae, Sassanid, Symbol, Iconography, Mazdaznan.
Introduction
Our purpose of writing this article is the iconography of bullae attributed to the Sassanid period from the archives of the National Museum. By studying these bullae, their administrative, commercial and ritual use can be understood. In order to better understand these features, symbols and writings (here symbols) have been studied. The Iconography of the archeological data of this period (especially seals and bullae) reveals points such as cultural interaction in the Sassanid Empire, similar to the concepts of the Mazdaist religion or other religions, Animal symbols in the seals of the Moghadam Museum with signs of the Mitra ritual (Dehpahlevan and Ghanavati, 2014, 47-67); or examples with Christian and Jewish symbols from Sassanid empire rituals (Lerner, 1976, 183-187 and Lerner 2009, 653-664). All in all, the symbolic nature (or not) of the arrays on the bullae can be interpreted as follows; Signs (monograms) are single or multi-purpose, human portraits are demonstrative or commanding and sometimes mythological, some of them like hearth are divine and other are mythological representations of quadrupeds or birds (Brunner, 1978, 11). However, each of which has a variety in form and details but it can be safely said that monograms are the most special type among them because it combines other symbols together (figure 1). Bullae in the archives of the National Museum are classified into human, plant, animal, astronomical and geometric types in a symbolic or natural framework. Meanwhile, their animal species is probably from the northern half of Iran in the 6th century AD. The purpose of this research is to deal with the symbolic and ritual concepts of the bullae of the National Museum and their use, classification and relative chronology of them. Their relative chronology is due to their similarity to the most well-known finds of this period, such as the documented flower seals of Takht Sulaiman and Abu Nasr Palace. The questions and assumptions of our research include What are the meanings of the Sasanian bullae symbols? What are the most repeated arrays in this collection and what are their similarities? What is the relationship between our research collection and other archaeological and documented findings? It is believed that the iconography on the seals, despite their mainly commercial or administrative use, shows the prominence of symbols and rituals in all aspects of Sasanian culture. Also, the iconography and inscriptions of some of the seals of the National Museum archive confirm their ownership to administrative and ritual positions. In this regard, we have a historical and analytical approach according to the documentation methods, typology and the review of archaeological reports.
Discussion and Analysis
Symbolism is an integral part of Iranian culture. Undoubtedly, since bullae were representative of the administrative and commercial system throughout the Sassanid Empire. the reflection of well-known and ancient symbols on bullae is also an effort to culturalization and reminding with them. According to the Authors, the common message of the symbols of each category clearly expresses systematic beliefs that are evident in all cultural and political aspects of this era. Just like the deification of all creations, which has been mentioned many times in Sasanian literature and art especially in the fourth century at the same time as Khosrow II Sassanid (Yarshater, 2016, 176-190). Iconography was of interest throughout this period and only the appearance and quantity of some of them, such as the animal examples of the time of Kartir and Bahram II or the symbols of the goddess Anahita during the time of Mobad-e-Mobadan Atorpat Mehraspandan (beginning of the 4th century AD) caused that some researchers consider them as new symbols. Sometimes iconography is a way to know the origin of bullae such as the arrays of camels and winged horses that are the symbol of the fire temple of Azargoshnasp that can show that part of this collection was made there or in the workshops of the northern half of Iran. In this regard the mineralogy of flower beads will also be our answer in belonging to the specific place of preparation of materials, the production and baking of flower beads. In addition, the names of Mad, Pars, Bishapur and Farah (Khora) of Ardashir (Firouzabad) are also mentioned on these seals. However, some names such as Azargashnesab were also used to name places and people (Yamauchi, 1993: 7-46). It is also possible that the flower seals and their iconography are more visible throughout this period, especially during political and social upheavals such as the period of Qabad I (488-496 AD) or Khosrow Anushirvan (531-579 AD). In this regard, the archives of Takht Suleiman’s bullae and the reflection of the well-known early patterns of this period, such as the depiction of the king riding a horse on the bullae, clearly indicate their use and symbols for a long time, especially in the second half of this period.
Conclusion
The celestial and religious or scientific attitude to phenomena can be seen in Sassanid art and culture and before them in Iran. From a conceptual point of view, showing tangible species such as goats and rams, boars, etc. is also a good way to better believe the detailed definitions in a symbolic format. For example, in Iranian mythology, the gods had an iconic form of human, animal, etc., such as Anahita, the goddess of flowing waters, seal (Mitra) of the sun’s ray. All of them are represented in symbols, signs and inscriptions that are rooted in ancient beliefs.
The symbolism of bullae of the National Museum Archive helps us to understand ancient symbols and concepts such as animism and godliness and ideas mixed with the knowledge of the times. The role of symbols on the bullae for which administrative and commercial uses is presumed clearly indicates the value of product or message, the position of the seal holders and sometimes a sign of administrative and ritual base. Therefore, the symbol of the Sasanian seal and bullae, which was used as a medium to keep ancient ideas alive based on the materials and strategies of its time, can be a useful for the sociology of the Sasanian period. Seals and bullae have been most available to the elites in the judiciary, property, shrines, etc., and diverse human profile and different names on the archive of seals is a confirmation of this statement. Other points that can be seen from the symbolism of the bullae in addition to the recreation of symbols with concepts in the style of the millennia BC, the unreasonable interaction of cultures (symbols), especially based on the trade and shrewd attitude and policy of the Sassanid empire in coexistence with neighboring lands. Fleshy artistic style of arrays (especially human and animal species) is also a rare phenomenon in the history of Iranian art, although the geometric style of the Sassanid seals of Devin and Ajmiadzin of Armenia, or Qasrabun Nasr in the museum The New York Metropolitan, can be the result of the influence of individuals, the mass production of seals, the artistic style of seals and sometimes their inseparability from Parthian or pre-Party specimens.
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