Iconology of the Figure of a Lying Person on a Bed in the Bas-reliefs of the Parthian Period

Document Type : Research Paper

Authors

1 Ph.D. Candidate in Art Research, College of Civil Engineering, Architecture and Art, Science and Research Branch, Islamic Azad University, Tehran, Iran,

2 Assistant Professor, Department of Art Research, CT.C, Central Tehran Branch, Islamic Azad University,Tehran, Iran.

3 Assistant Professor Department of Art, Faculty of Art, Architecture and Urbanism, Science and Reseach Branch,Islamic Azad Universit y,Tehran, Iran.

Abstract

Introduction: The motif of the Lying person on the bed in the iconography of ancient art represents a banquet scene that was first depicted in Assyrian reliefs and later appeared during the Achaemenid period in the Mediterranean region. Its prevalence expanded in the Parthian period and reached the borders of present-day Iran. This icon is depicted as a reclining person holding a bowl or cup in his left hand with his right hand placed in various positions.
Purposes & Questions: The goals of this research are to identify, analyze and explain the positions of the reclining person on the bed and its underlying meanings. The two questions of this research include: 1-What themes and concepts did the icon of the lying person on the bed and its reclining position contain? 2- What iconographic role and position did this image have in the cultural context of Iran during the Parthian period?
Methods: The research method is descriptive-analytical, based on library sources and documents, using the iconological approach of Erwin Panofsky.
Findings & Results: The results show that at least three postures of the lying person on the bed can be observed in bas-reliefs in the Parthian Period: First, the representation of normal life, the second posture, where the hand bends back, as seen 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 does not appear 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 depiction of the reclining figure lacks a tripod table (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 evidence of the dining 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. From an 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 at Behistun (the 148 BCE), and from the 1st to the 3rd centuries CE, it was 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 wile he drinks the sacred liquid for immortality. This borrowing transcends mere stylistic and iconographic features, moving towards a complete adaptation 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, similar to 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.

Keywords

References

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Negareh Journal
Volume 21, Issue 77
March 2026
Pages 134-157

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  • Receive Date: 27 April 2025
  • Revise Date: 15 August 2025
  • Accept Date: 24 August 2025

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