نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری پژوهش هنر، گروه هنر، دانشکده عمران معماری و هنر، واحد علوم و تحقیقات، تهران، ایران
2 استادیار گروه پژوهش هنر، دانشکده هنر، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران
3 استادیار گروه پژوهش هنر، گروه پژوهش هنر، دانشکده عمران، معماری و هنر، واحد علوم و تحقیقات، تهران، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The role of Lying Person on the Bed in the iconography of ancient art represents a banquet scene that first declared in Assyrian reliefs and then in the Achaemenid period in the Mediterranean region. It expands the prevalence of this icon in the Parthian period reached the border of present Iran. This icon is depicted as a reclining person holding a bowl or cup in his left hand and his right hand in various positions. The goals of this research is to identify, analyze and explain the positions of the reclining person on the throne and the meanings hidden in it. The two questions of this research include: 1- What themes and concepts did the icon of Lying Person on the Bed and its reclining position contain? 2- What role and place did this icon have in the cultural context of Iran during the Parthian period? Library sources and documents. The research method in this research is descriptive-analytical, library sources and documents with the iconology approach of Erwin Panofsky. Results show, at least three lying person on the bed postures can be observed in bas-reliefs in Parthian Period: First the representation of normal life, second posture where the hand bends back, showcased in the reliefs of Lycean Apollo and sleeping Ariadne, indicating sleep derived from the story of Ariadne and the carefree nature of Dionysus. This posture has not been seen in Parthian art. The third posture shows the reclining figure holding a bowl or vessel in the left hand, found in all ten Parthian bas- reliefs. The right hand varies in posture: sometimes resting on the right thigh (as in the Hercules reliefs at Behistun, Tang-Sarvak IV,Andika and Sang Mahi), sometimes holding a symbol of power or a crown, or reaching for it (as in the reliefs from Shimbar, Tang-Sarvak II, and Jangeh), and occasionally holding a cup or vessel for filling the left hand’s bowl (as seen in the Yakhchal relief and the Meidan-e Mishan).In Parthian reliefs, the installation of the person lying on the bed lacks a table of tripod (like the Kleinian feast) and is arranged as a single throne (in contrast to the Sigma installation, which has three thrones arranged in a C or U shape). In sum, banquet scenes in the ten Parthian rock reliefs depict only the second part, the symposion, with no trace of the dinner phase. Furthermore, the spread of Stoic beliefs in the Eastern Mediterranean during the first three centuries CE facilitated the acceptance of diverse cultural and religious beliefs, providing an appropriate context for the expansion of syncretic religions rooted in Roman beliefs, Mithraism, and Zoroastrianism.In iconographic perspective, the lying person on the bed has ancient roots in Mesopotamia and Asia Minor. The representation of Hercules reclining naked on a throne with a cup in hand appears in Behistun (148 BCE), and from the 1st to the 3rd centuries CE, it is widely used to portray kings and local high officials. During this period, figures are depicted reclining on thrones, clothed and without specific symbols of Hercules. Although the reclining figure icon is an imported element in the Parthian realm, iconologically, reclining conveys a sense of a desire for sleep and rest, with the concept of Hercules reclining at Behistun representing not a victorious Hercules, but one who rests after a great conquest, gazing towards Mesopotamia under the Seleucids for future conquest. He drinks the sacred liquid for immortality. This borrowing transcends mere stylistic and iconographic features, moving towards a complete transfer of Hercules iconography in a Zoroastrian context, a situation facilitated by the expansion of Stoic philosophy, which allowed for the acceptance of various ideas and beliefs, leading to the spread of syncretic religions and Hercules iconography in the first three centuries CE. During this period, it was believed that the spirit of the deceased remained in the air after death, and if the spirit was free of flaws, its particles would ascend towards the moon and ultimately to the sun. This ascent could only occur through purification, offering, and burning. From the 1st century CE onward, local kings and high officials adopted the heroic figure (Hercules), but not naked; rather, they were clothed, resembling Hercules resting after enduring battles, as if preparing the symposion feast to reach a state of relaxation and liberation from suffering and immortality (like Hercules). In other words, the Last Supper of Iran the icon of the reclining figure, representing a king or high-ranking Parthian official preparing in a heroic manner for immortality and ascension to the heavens.
کلیدواژه‌ها [English]
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