Effect of Sasanian Motifs in Carved Decoration of the Aghtamar Holy Cross church

Document Type : Research Paper

Author

Assistant professor, Department of Art, Payame Noor University,I.R . of IRAN

Abstract

Gagik king built the church in 10th century AD in the Aghtamar Island in turkey called holy cross. It was a unique example in the Christian art and one of the unique masterpieces churches in Armenian style. Relief of this church can be considered leader of relief of monuments of Christianity world. Many of the themes and style of the relief church is Sasanian style including motifs of plants, animals, mythical, human masks and kingdom motifs. This research studies relief of Aghtamar church and influence of Sasanian art with the descriptive and comparative way. The question that arises in this context: which Sasanian motifs affected on relief of Aghtamar holy Cross church and what was the reason for this motifs? The aim of this research is a comparative study of the Holy Cross Church Aghtamar motifs and designs and concepts Sassanid era and identifying common motifs in the decoration of the church. Based on these questions the research objectives identified by the Sasanian arts in decorative motifs carved church Aghtamar and understand the reasons for these patterns is in the Holy Cross Church. New wave effect of Sasanian products in 10th century AD emerged not only in Islamic countries but also in the Caucasus Christian kingdom and Constantinople, Sasanian motifs transferred to the Armenian and holy cross church by Islamic art. Including hunting scenes, motifs of animals, birds inside the medallion, senmruv and combined beats.. Some of the motifs in ancient Persia were signs Khvrnh. Some of these roles as represented freedom, but also a greater emphasis on the concept of the monarchy. These motifs are as symbols of the monarchy in relation to relief areas in the view of the church. Motifs of griffin and eagles in the southern facade of the church that represents the image of King Gagik and on the right side of frame, the bird with head of ram has shown .Their role as symbol of royal power and glory illustrates most clearly . Many of the motifs of the Church of Aghtamar originated at the end of Sassanid art. Although stylistic details show that the actual patterns that were working on artwork during the Islamic era. The traditions of  Sassanid art heritage that has lasted for centuries in the art of other lands.

Keywords

References

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Negareh Journal
Volume 11, Issue 40
November 2016
Pages 108-122

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History

  • Receive Date: 19 August 2015
  • Revise Date: 26 December 2015
  • Accept Date: 24 April 2016

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