نوع مقاله : مقاله پژوهشی
عنوان مقاله English
نویسندگان English
Introduction: The constellation Gemini (Khordad, Jowzā) is the third sign of the zodiac and has been symbolically represented in numerous historical sources, particularly in Iranian texts. Iconographic transformation is a process that examines the evolution and changes of symbols and images over time under the influence of cultural, social, and historical factors. Examining this process in the representation of the Gemini constellation in Iranian texts provides an opportunity for a deeper understanding of the impact of this cosmic symbol on Iranian culture and thought, highlighting the significance of this research. Since the representation of this constellation in different texts and its evolution over time remain unclear, and because its inherent binary symbolism reflects distinctive cultural, intellectual, and philosophical traditions, this study investigates the iconographic transformation of Gemini in Iranian texts based on Erwin Panofsky’s theories.
Purposes & Questions: This study aims to investigate the iconographic transformation of the representation of the Gemini constellation in various Iranian texts according to Erwin Panofsky's theories and to answer the following question: How can the representation of the Gemini constellation be analyzed and interpreted through the approach of iconographic transformation in Iranian texts?
Methods: This research employs a descriptive-analytical method with an iconographic transformation approach based on Erwin Panofsky's theories. Data were collected through documentary sources and visual analysis. The research corpus includes Iranian texts and objects with astronomical themes, including illustrated manuscripts, pottery, and metalworks. The visual patterns and iconographic transformations of the constellation were identified, tabulated, and comparatively analyzed. The method of data analysis was qualitative and comparative.
Findings & Results: The examination of the transformation of Gemini's representation underscores the enduring importance of this iconographic form across different historical periods and textual traditions, in which its depiction persisted with only minor modifications. In Babylonian texts, Lugal-irra and Meslamta-ea were two mythological figures associated with this constellation and were regarded as guardians of the gates of the underworld. Their role was primarily protective, defending against hostile and malevolent forces. Similar forms of binary symbolism also appear in ancient Greek, Roman, and other cultural traditions. Similarly, in ancient Iran, the dualistic struggle between Ahura Mazda and Ahriman, representing the cosmic conflict between good and evil, became conceptually associated with the Gemini constellation. Historically, three principal methods of depicting Gemini emerged, each rooted in specific beliefs, traditions, and cultural contexts: (1) two completely separate figures, a form found predominantly in scientific and educational manuscripts, where Gemini is represented primarily as an astronomical symbol, emphasizing its celestial identity rather than its mythological or philosophical implications. (2) a single figure with two heads, symbolizing the coexistence of opposing forces within a single body and representing dual personality, gender duality, and other opposing forces inherent in human perception. (3) two separate figures joined at the lower body, a representation that, together with the second type, appears most frequently in astrological texts, divinatory manuscripts, and mythological narratives, conveying the notion of unity within opposition and the inseparability of contrasting forces within the cosmic order. The binary opposition embedded in the iconography of Gemini is evident both in its visual structure and in its symbolic meanings. The constellation expresses concepts such as light and darkness, life and death, masculinity and femininity, and other complementary oppositions. It also symbolizes the dual dimensions of human existence, namely body and soul. These meanings are deeply rooted in Iranian dualistic traditions of thought, in which one twin may represent positive forces while the other signifies negative influences. Such symbolism reflects the perpetual cosmic struggle between good and evil and emphasizes the idea of an eternal conflict within the metaphysical structure of the universe. The iconographic transformation of the Gemini constellation encompasses both minor and major visual changes. Minor transformations include changes in clothing, accessories, and associated attributes, while major transformations involve shifts in the mode of representation, whether as separate figures, joined figures, or a single two-headed figure. In addition, the inclusion of the quasi‑planet Jowzahr, depicted as a staff held by the twins, contributed to further changes in symbolic interpretation. These transformations demonstrate the dynamic nature of celestial iconography and reveal how artistic and philosophical interpretations evolved over time while preserving the essential dualistic character of the constellation.
کلیدواژهها English
