Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
نگارههای ایرانیِ باستان و پیکرنگاریِ زرتشتی، وستا سرخوش کرتیس(شماره ۴)
#اشکانی
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
On Kushan coins of the first century ce Orlagno, the equivalent to Iranian Verethragna, has a bird of prey crowning his hat(Fig. 36a, b, c, d), and Pharro, the personification of xvarǝnah of Kingly Glory, also appears on some Kushan coins with wings on his hat(Fig. 36c). Birds of prey feature prominently in the art of first-century bce Commagene and in the Parthian-period art of second to early third-century ce Hatra. On coins of Artavasdes III of Armenia birds decorate the square tiara of the king, and a bird holding a diadem is placed behind his head(Fig. 37a). Tigranes of Armenia(83–69 bce)also wears a square tiara with neckguard and ear flaps, and two birds of prey and a central star decorate his royal hat(Fig. 37b). A fragment of a bird of prey survives at Nimrud Dagh as part of the Dexiosis relief, and birds of prey appear on the tiara of Antiochus I.¹
In 66 ce King Tiridates of Armenia was sent by his brother, the Arsacid king Vologases I(51–78 ce), to Rome in order to put an end to the escalating dispute between Parthia and Rome. According to Cassius Dio,² the Armenian king Tiridates travelled overland in order not to pollute water, one of the seven Zoroastrian holy elements. He seems to have made a great impression on Nero and Rome when he arrived there accompanied by 1,000 white horses and a huge entourage. Tiridates took off his crown to receive it from Nero, ‘his god’. It is suggested that this historical visit, which was remembered by generations in Rome, may have served as the inspiration behind the story of the visit of Magi in the Gospel of Matthew dating to the first century ce.³ Members of the Armenian royal house were most probably followers of Zoroastrianism and the Iranian yazatas. Mithra(Armenian Mihr/ Mher)and Verethragna(Armenian Vahagu)in particular enjoyed great veneration in Armenia until Christianity became the official religion of this region in 30۱–3 ce. It was probably here that Roman soldiers first came into contact with Mithra/Mihr. Through Armenia the veneration of Mithra spread to the west where it became popular as the cult of Roman Mithras.⁴
Arsacid kings were associated with certain Zoroastrian traditions, such as the calendar used at Nisa, and the lighting of a fire at the coronation of each king.⁵ In the Parthian Stations of Isidore of Charax, the Greco-Roman geographer of the first century bce and first century ce, we read that an ever-burning fire was kept at Ashaak,⁶ which was probably somewhere in Khorasan. Worshipping scenes with the sacred fire are found in the art of the Parthian period include a second-century relief on an isolated rock at Bisotun in western Iran where the Arsacid king Vologases IV(147–91)stands next to a fire altar.⁷ From Elymaian Bard-e Neshandeh comes a relief(now in the National Museum of Iran in Tehran), where two different groups of worshippers appear on either side of a burning fire.⁸ To the left stands a royal figure with tiara/kolāh and diadem clad in elaborate belted tunic, trousers and a long-sleeved coat, who is followed by courtiers; to the right there is a figure dressed in the Elymaian flared belted tunic and trousers with a twisted sash over his shoulder. He has his hand raised over the fire and he is accompanied by two male figures.
@atorabanorg
#اشکانی
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
On Kushan coins of the first century ce Orlagno, the equivalent to Iranian Verethragna, has a bird of prey crowning his hat(Fig. 36a, b, c, d), and Pharro, the personification of xvarǝnah of Kingly Glory, also appears on some Kushan coins with wings on his hat(Fig. 36c). Birds of prey feature prominently in the art of first-century bce Commagene and in the Parthian-period art of second to early third-century ce Hatra. On coins of Artavasdes III of Armenia birds decorate the square tiara of the king, and a bird holding a diadem is placed behind his head(Fig. 37a). Tigranes of Armenia(83–69 bce)also wears a square tiara with neckguard and ear flaps, and two birds of prey and a central star decorate his royal hat(Fig. 37b). A fragment of a bird of prey survives at Nimrud Dagh as part of the Dexiosis relief, and birds of prey appear on the tiara of Antiochus I.¹
In 66 ce King Tiridates of Armenia was sent by his brother, the Arsacid king Vologases I(51–78 ce), to Rome in order to put an end to the escalating dispute between Parthia and Rome. According to Cassius Dio,² the Armenian king Tiridates travelled overland in order not to pollute water, one of the seven Zoroastrian holy elements. He seems to have made a great impression on Nero and Rome when he arrived there accompanied by 1,000 white horses and a huge entourage. Tiridates took off his crown to receive it from Nero, ‘his god’. It is suggested that this historical visit, which was remembered by generations in Rome, may have served as the inspiration behind the story of the visit of Magi in the Gospel of Matthew dating to the first century ce.³ Members of the Armenian royal house were most probably followers of Zoroastrianism and the Iranian yazatas. Mithra(Armenian Mihr/ Mher)and Verethragna(Armenian Vahagu)in particular enjoyed great veneration in Armenia until Christianity became the official religion of this region in 30۱–3 ce. It was probably here that Roman soldiers first came into contact with Mithra/Mihr. Through Armenia the veneration of Mithra spread to the west where it became popular as the cult of Roman Mithras.⁴
Arsacid kings were associated with certain Zoroastrian traditions, such as the calendar used at Nisa, and the lighting of a fire at the coronation of each king.⁵ In the Parthian Stations of Isidore of Charax, the Greco-Roman geographer of the first century bce and first century ce, we read that an ever-burning fire was kept at Ashaak,⁶ which was probably somewhere in Khorasan. Worshipping scenes with the sacred fire are found in the art of the Parthian period include a second-century relief on an isolated rock at Bisotun in western Iran where the Arsacid king Vologases IV(147–91)stands next to a fire altar.⁷ From Elymaian Bard-e Neshandeh comes a relief(now in the National Museum of Iran in Tehran), where two different groups of worshippers appear on either side of a burning fire.⁸ To the left stands a royal figure with tiara/kolāh and diadem clad in elaborate belted tunic, trousers and a long-sleeved coat, who is followed by courtiers; to the right there is a figure dressed in the Elymaian flared belted tunic and trousers with a twisted sash over his shoulder. He has his hand raised over the fire and he is accompanied by two male figures.
@atorabanorg
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
نگارههای ایرانیِ باستان و پیکرنگاریِ زرتشتی، وستا سرخوش کرتیس(شماره ۶)
#هخامنشی
#اشکانی
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
The art of Christian Europe used ancient Iranian and Zoroastrian motifs for the depiction of scenes of nativity and the Adoration of the Magi, where the Wise Men or Three Kings are usually portrayed in full Persian attire, that is a floppy hat, the Parthian trouser suit and cloak and a diadem.¹ The etymology of the word magi, which is derived from Greek magos(plural magoi)goes back to Old Iranian magu, meaning a priest in general and a Zoroastrian priest in particular. The word magush appears on clay tablets from Persepolis of the time of Darius the Great(522–486 bce)where Persian priests–both Zoroastrian and non-Zoroastrian–received rations for religious ceremonies. It also occurs in the Old Persian version of the Bisotun inscription of Darius dating to c. 519 bce where the Persian king of kings refers to ‘one man, a Magian[magush], Gaumata by name’.² Herodotus³ in the middle of the fifth century writes that the Magians, whom he describes as Medes had to be present in acts of sacrifice, and that according to the customs of the Magians, the Persians did not bury their dead bodies, but exposed them to birds and dogs. Xenophon,⁴ who had direct contact with the Persians in the fifth century bce, describes the magi as authorities for all religious matters.
The Three Wise Men are shown in two different scenes on a magnificent enamelled reliquary casket from Limoges in France, c. 1250, in the British Museum(Fig. 40). In the top register the Magi or Three Kings are on horseback following the first king who is pointing with his right index finger towards a star on his left. The scene below shows them on foot presenting their gifts to the infant Jesus and his mother, the Virgin Mary. In both scenes the Magi wear the elaborate Parthian trouser suit. In the nativity scene, the first one, who is kneeling and showing submission, has both hands covered. This was a sign of piety and respect in the ancient world, including ancient Persia. This gesture is common in the Iranian and Zoroastrian traditions, where exposed hands must not be seen in the presence of a higher being or a king, and to this day it is common for priests to cover their hands in certain religious ceremonies.⁵
@atorabanorg
#هخامنشی
#اشکانی
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
The art of Christian Europe used ancient Iranian and Zoroastrian motifs for the depiction of scenes of nativity and the Adoration of the Magi, where the Wise Men or Three Kings are usually portrayed in full Persian attire, that is a floppy hat, the Parthian trouser suit and cloak and a diadem.¹ The etymology of the word magi, which is derived from Greek magos(plural magoi)goes back to Old Iranian magu, meaning a priest in general and a Zoroastrian priest in particular. The word magush appears on clay tablets from Persepolis of the time of Darius the Great(522–486 bce)where Persian priests–both Zoroastrian and non-Zoroastrian–received rations for religious ceremonies. It also occurs in the Old Persian version of the Bisotun inscription of Darius dating to c. 519 bce where the Persian king of kings refers to ‘one man, a Magian[magush], Gaumata by name’.² Herodotus³ in the middle of the fifth century writes that the Magians, whom he describes as Medes had to be present in acts of sacrifice, and that according to the customs of the Magians, the Persians did not bury their dead bodies, but exposed them to birds and dogs. Xenophon,⁴ who had direct contact with the Persians in the fifth century bce, describes the magi as authorities for all religious matters.
The Three Wise Men are shown in two different scenes on a magnificent enamelled reliquary casket from Limoges in France, c. 1250, in the British Museum(Fig. 40). In the top register the Magi or Three Kings are on horseback following the first king who is pointing with his right index finger towards a star on his left. The scene below shows them on foot presenting their gifts to the infant Jesus and his mother, the Virgin Mary. In both scenes the Magi wear the elaborate Parthian trouser suit. In the nativity scene, the first one, who is kneeling and showing submission, has both hands covered. This was a sign of piety and respect in the ancient world, including ancient Persia. This gesture is common in the Iranian and Zoroastrian traditions, where exposed hands must not be seen in the presence of a higher being or a king, and to this day it is common for priests to cover their hands in certain religious ceremonies.⁵
@atorabanorg
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
ادبیاتِ جادویی و دینیِ پسینباستان، میخائیل شنکار
#کتاب_مرجع
#باستانشناسی
#هخامنشی
#سلوکیان
#اشکانی
#ساسانی
#استوره
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
شمارِ برگها: ۴۱۴
چاپِ ۲۰۱۴
@atorabanorg
#کتاب_مرجع
#باستانشناسی
#هخامنشی
#سلوکیان
#اشکانی
#ساسانی
#استوره
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
شمارِ برگها: ۴۱۴
چاپِ ۲۰۱۴
@atorabanorg
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
Magical_and_Religious_Literature_of_Late_Antiquity_Michael_Shenkar.pdf
21.4 MB
ادبیاتِ جادویی و دینیِ پسینباستان، میخائیل شنکار
#کتاب_مرجع
#باستانشناسی
#هخامنشی
#سلوکیان
#اشکانی
#ساسانی
#استوره
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
شمارِ برگها: ۴۱۴
چاپِ ۲۰۱۴
@atorabanorg
#کتاب_مرجع
#باستانشناسی
#هخامنشی
#سلوکیان
#اشکانی
#ساسانی
#استوره
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
شمارِ برگها: ۴۱۴
چاپِ ۲۰۱۴
@atorabanorg
Forwarded from پژوهشگاه ایران شناسی (مرتضی حماسی)
نگارههای ایرانیِ باستان و پیکرنگاریِ زرتشتی، وستا سرخوش کرتیس(شماره ۷/پایانی)
#هخامنشی
#اشکانی
#ساسانی
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
In the Zoroastrian tradition Vishtāspa was the patron of Zarathustra. Lohrāsp and his son also feature prominently in the Shāhnāmeh, or Book of Kings. On first-century ce Kushan coins, which depict and name a series of Iranian/Zoroastrian divine beings(yazatas)on the reverse, there is the image of a bearded rider figure holding a diadem with long ties in his right hand(Fig. 36d). The name in the accompanying Bactrian inscription, ΛΡΟΟΑСΠΟ, has been identified with the Middle Persian name lwhl’sp/Lohrāsp who in the Avestan tradition is the father of Vishtāspa, the patron of Zarathustra. It has been suggested by Boyce¹ that this name appears on these Kushan coins with a ‘Δ’ thus attesting the name as ΔΡΟΟΑСΠΟ, meaning Druvaspa–‘possessing sound horses’. The Bactrian name on the Kushan gold coins clearly begins with ‘Λ’ and not with ‘Δ’, but as according to Professor Almut Hintze² Bactrian ‘regularly corresponds to Avestan ‘dr’, ΛΡΟΟΑСΠΟ could represent the Bactrian dialect form corresponding to Avestan Druvaspā.³ Druvaspā
is a female divine being in the Zoroastrian tradition, but it is not unusual to depict female divine beings with a beard on Parthian coins⁴
and depicting a male divine being, for example the Iranian Tir, as a female goddess on Kushan coins.⁵
Darius, who commemorates at Bisotun his triumph over the rebel Gaumata, also appears in profile wearing a long dress. He holds a bow in his left hand and his right hand is raised towards the winged figure above, who is facing the king. He describes his kingdom in the inscription at Bisitun as follows:⁶
Ahuramazda bestowed the kingdom upon me; Ahuramazda bore me aid until I got possession of this kingdom; by the favour of Ahuramazda I hold this kingdom.
In his inscription at Naqsh-e Rostam⁷ Darius writes:
Trained am I both with hands and with feet. As a horseman I am a good horseman. As a bowman I am a good bowman both afoot and on horseback. As a spearman I am a good spearman both afoot and on horseback.
the right side of the set of tiles in the British Museum there is a male figure in full frontal pose and facing the viewer. This is the image used for Zarathustra. His head is covered with a white cap and two diadem ties are clearly visible. A red halo appears at the back of his head. His outfit consists of a belted kneelength tunic, baggy trousers, a shoulder cloak and a cover over his shoulder and chest. A wide red kamarband with long ends is tied around his waist. He holds the bull-headed mace of Feridun(Avestan Thraetaona)in his left hand and has his other arm bent and the left hand raised towards the winged figure above his head. Zarathustra’s pose and outfit are clearly borrowed from the Sasanian relief of Shāpur II at Tāq-e Bostān near Kermanshah in western Iran. Particularly striking is the similarity between the imaginary Zarathustra and the yazata Mithra at Tāq-e Bostān(Fig. 47), but the radiate crown of Mithra, clearly visible on the relief at Tāq-e Bostān, was understandably omitted when this image of Zarathustra was created in the nineteenth century[cf. Fig. 42b]. Other examples of the nineteenth-century image of ‘Spitaman Zarathustra’, on the other hand, do include one of Mithra’s symbols, namely the lotus flower below his feet.⁸ It is fair to say that all three figures on the Sasanian fourthcentury relief seem to have evoked the imagination of Zoroastrians in the nineteenth century who were keen to create an artistic genre for their religion.
@atorabanorg
#هخامنشی
#اشکانی
#ساسانی
#ایرانشناسی
#پژوهشگاه_ایرانشناسی
In the Zoroastrian tradition Vishtāspa was the patron of Zarathustra. Lohrāsp and his son also feature prominently in the Shāhnāmeh, or Book of Kings. On first-century ce Kushan coins, which depict and name a series of Iranian/Zoroastrian divine beings(yazatas)on the reverse, there is the image of a bearded rider figure holding a diadem with long ties in his right hand(Fig. 36d). The name in the accompanying Bactrian inscription, ΛΡΟΟΑСΠΟ, has been identified with the Middle Persian name lwhl’sp/Lohrāsp who in the Avestan tradition is the father of Vishtāspa, the patron of Zarathustra. It has been suggested by Boyce¹ that this name appears on these Kushan coins with a ‘Δ’ thus attesting the name as ΔΡΟΟΑСΠΟ, meaning Druvaspa–‘possessing sound horses’. The Bactrian name on the Kushan gold coins clearly begins with ‘Λ’ and not with ‘Δ’, but as according to Professor Almut Hintze² Bactrian ‘regularly corresponds to Avestan ‘dr’, ΛΡΟΟΑСΠΟ could represent the Bactrian dialect form corresponding to Avestan Druvaspā.³ Druvaspā
is a female divine being in the Zoroastrian tradition, but it is not unusual to depict female divine beings with a beard on Parthian coins⁴
and depicting a male divine being, for example the Iranian Tir, as a female goddess on Kushan coins.⁵
Darius, who commemorates at Bisotun his triumph over the rebel Gaumata, also appears in profile wearing a long dress. He holds a bow in his left hand and his right hand is raised towards the winged figure above, who is facing the king. He describes his kingdom in the inscription at Bisitun as follows:⁶
Ahuramazda bestowed the kingdom upon me; Ahuramazda bore me aid until I got possession of this kingdom; by the favour of Ahuramazda I hold this kingdom.
In his inscription at Naqsh-e Rostam⁷ Darius writes:
Trained am I both with hands and with feet. As a horseman I am a good horseman. As a bowman I am a good bowman both afoot and on horseback. As a spearman I am a good spearman both afoot and on horseback.
the right side of the set of tiles in the British Museum there is a male figure in full frontal pose and facing the viewer. This is the image used for Zarathustra. His head is covered with a white cap and two diadem ties are clearly visible. A red halo appears at the back of his head. His outfit consists of a belted kneelength tunic, baggy trousers, a shoulder cloak and a cover over his shoulder and chest. A wide red kamarband with long ends is tied around his waist. He holds the bull-headed mace of Feridun(Avestan Thraetaona)in his left hand and has his other arm bent and the left hand raised towards the winged figure above his head. Zarathustra’s pose and outfit are clearly borrowed from the Sasanian relief of Shāpur II at Tāq-e Bostān near Kermanshah in western Iran. Particularly striking is the similarity between the imaginary Zarathustra and the yazata Mithra at Tāq-e Bostān(Fig. 47), but the radiate crown of Mithra, clearly visible on the relief at Tāq-e Bostān, was understandably omitted when this image of Zarathustra was created in the nineteenth century[cf. Fig. 42b]. Other examples of the nineteenth-century image of ‘Spitaman Zarathustra’, on the other hand, do include one of Mithra’s symbols, namely the lotus flower below his feet.⁸ It is fair to say that all three figures on the Sasanian fourthcentury relief seem to have evoked the imagination of Zoroastrians in the nineteenth century who were keen to create an artistic genre for their religion.
@atorabanorg
Forwarded from پژوهشگاه ایران شناسی
گزارشی از اشکانیان در پارتیکای آریانوس
#اشکانی
#ایرانشناسی
پارتیکای آریانوس، بازمانده در گلچین فوتیوس، گزارش زیر را ارائه می دهد:
پارتیان از تبار سکاها بودند، که همراه پارسیان، پس از آنکه از پیشتر تحت قیادت سلطه بیگانه قرار گرفته بودند، مغلوب اسکندر مقدونی شدند. آنها بعدا از مقدونیان جدا شدند که دلیل این جدا سری چنین بود: دو برادر با نام های ارشک و تیرداد، پسران ارشک، تکه پریاپت(phriapites) از خاندان اشکانیان در میان آنها بودند.پریکلس، شهرب منصوبی از سوی آنتیوخوس دوم، ملقب تئوس( ۲۶۱_۲۴۷ ق.م) وسوسه شده بود به یکی از این دو برادر دست درازی کند.به دنبال این، دو برادر با پنج تن از یاران یکی شدند و شهرب را به قتل رساندند.ان دو مقدونیان را بیرون رانده و پادشاهی خود را برپا داشتند.(ص.۱۱)
بن مایه:آلتهایم.فرانس_ نوشته هایی در باب تاریخ و فرهنگ اشکانیان(مقاله سرآغاز تاریخ پارتیان _ نوشته:فرانس آلتهایم _ روت اشتیل)_ترجمه:هوشنگ صادقی _پژوهشگاه سازمان میراث فرهنگی _ سال ۱۳۸۸
@atorabanorg
#اشکانی
#ایرانشناسی
پارتیکای آریانوس، بازمانده در گلچین فوتیوس، گزارش زیر را ارائه می دهد:
پارتیان از تبار سکاها بودند، که همراه پارسیان، پس از آنکه از پیشتر تحت قیادت سلطه بیگانه قرار گرفته بودند، مغلوب اسکندر مقدونی شدند. آنها بعدا از مقدونیان جدا شدند که دلیل این جدا سری چنین بود: دو برادر با نام های ارشک و تیرداد، پسران ارشک، تکه پریاپت(phriapites) از خاندان اشکانیان در میان آنها بودند.پریکلس، شهرب منصوبی از سوی آنتیوخوس دوم، ملقب تئوس( ۲۶۱_۲۴۷ ق.م) وسوسه شده بود به یکی از این دو برادر دست درازی کند.به دنبال این، دو برادر با پنج تن از یاران یکی شدند و شهرب را به قتل رساندند.ان دو مقدونیان را بیرون رانده و پادشاهی خود را برپا داشتند.(ص.۱۱)
بن مایه:آلتهایم.فرانس_ نوشته هایی در باب تاریخ و فرهنگ اشکانیان(مقاله سرآغاز تاریخ پارتیان _ نوشته:فرانس آلتهایم _ روت اشتیل)_ترجمه:هوشنگ صادقی _پژوهشگاه سازمان میراث فرهنگی _ سال ۱۳۸۸
@atorabanorg
Forwarded from پژوهشگاه ایران شناسی (آریوبرزن)
نگاره ی بانوی ایرانیِ پارتی در دورا اُروپوس
#اشکانی
#باستانشناسی
بن مایه:
Dura-Europos:Crossroads of Antiquity _ed. Lisa R .Brody .Gail L.Hoffman_Boston college Yale university Art Gallery_P.333
@atorabano
#اشکانی
#باستانشناسی
بن مایه:
Dura-Europos:Crossroads of Antiquity _ed. Lisa R .Brody .Gail L.Hoffman_Boston college Yale university Art Gallery_P.333
@atorabano