Kaveh Farrokh
Abstract
The Sasanian spāh (army) is well known for its application of war doctrines and tactics, military architecture and logistics; however, there have been no academic analyses as to the role of geography, climate and the weaponization of the elements in warfare. This article examines (1) the spāh’s ...
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The Sasanian spāh (army) is well known for its application of war doctrines and tactics, military architecture and logistics; however, there have been no academic analyses as to the role of geography, climate and the weaponization of the elements in warfare. This article examines (1) the spāh’s utilization of geographical elements in the planning of battles (2) consideration of climactic factors for battle planning, and (3) weaponization of water against enemy forces. The article concludes with the observation of the seminal role of environmental elements in impacting Sasanian military performance in set-piece battles and siege operations.
Manya Saadi-nejad
Abstract
The myth of an archetypal hero, either divine or human, slaying a dragon-serpent who is most often blocking access to a body of water is very ancient. Various water-related rituals and their attendant myths arose out of the vital dependence of the prehistoric Indo-European peoples on rivers to maintain ...
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The myth of an archetypal hero, either divine or human, slaying a dragon-serpent who is most often blocking access to a body of water is very ancient. Various water-related rituals and their attendant myths arose out of the vital dependence of the prehistoric Indo-European peoples on rivers to maintain their way of life. “Killing a dragon” was a symbolic way of "freeing of the waters" and also exercising control over the potentially chaotic vicissitudes of flowing water. In performing this task, the dragon-slaying hero ensured fertility and thus the continued survival of his community. In light of the mythological connection between dragons and water, this paper considers whether dragon-slaying myths can be further connected to the Iranian water goddess, Arəduuī Sūrā Anāhitā and the Avestan saošiiant.
Helen Giunashvili; Ketevan Ramishvili
Abstract
In addition to the many realms of fine arts, the issues of Georgian-Iranian cultural interactions of pre-Islamic periods that merit our particular interest were adequately expressed in such a minor form of arts as glyptic, beginning from the Achaemenian days up to the Sasanian period. Glyptic artifacts, ...
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In addition to the many realms of fine arts, the issues of Georgian-Iranian cultural interactions of pre-Islamic periods that merit our particular interest were adequately expressed in such a minor form of arts as glyptic, beginning from the Achaemenian days up to the Sasanian period. Glyptic artifacts, which demonstrate part of Iranian culture, were discovered during various archaeological excavations in Georgia. While some of these items were imported, others were produced locally under the influence of Iran. The discovery of metal shield rings in Georgia, particularly in the eastern region that was once part of ancient Iberia, has posed a significant challenge for historians. These artifacts are believed to be locally produced and some may reflect artistic patterns associated with the Achaemenid kingdom. The majority of the Sasanian artifacts discovered in Georgia are excellent seals. They began to arrive in East Georgia mainly from the 4th century AD. Due to the beginning of intensive trade with Sasanian Iran and the gradual strengthening of Iran's political positions in the South Caucasus, which was followed by the dissolution of the Kartli kingdom in 532, the widespread use of Sasanian seals started in the second half of the 5th century and continued during the 6th and 7th centuries. Nearly all of the common themes and subjects found in Sasanian glyptics can be observed in the glyptic artifacts in Georgia. These include depictions of nobility, deities, animal-versus-hero fights, fantastical creatures, humans, birds, and plants, as well as monograms. While some of these artifacts were imported, others were crafted under the influence of Sasanian art and became distinguished examples of local productions.
Mohammad Amin Mirghaderi
Abstract
The Mesopotamian cities in the Early Bronze Age were centers of technological innovation and had lasting influence on the history of mankind. A decisive factor in the urban culture of Mesopotamia was the trade network for the imports of metals and stones. The outstanding importance of the Central Zagros ...
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The Mesopotamian cities in the Early Bronze Age were centers of technological innovation and had lasting influence on the history of mankind. A decisive factor in the urban culture of Mesopotamia was the trade network for the imports of metals and stones. The outstanding importance of the Central Zagros as a passway between the Central Asia and the Mesopotamian lowlands through which the regional leading east-west route, the Great Khorasan Road, proceeds west across the Zagros Mountains into the Qasr-e Shirin Plain and Iraq is widely acknowledged. The Mesopotamian archaeological finds (metals, stones) and the rich textual evidence in cuneiform bear testimony to this. Despite its significance, particularly with respect of its archaeology and historical geography, it has been the subject of relatively little study. In view of the position of the area in the Near Eastern archaeology in virtue of its strategic location between two major cultural realms, namely Central Asia and Mesopotamia, the present paper draws on written and glyptic evidence to provide a more comprehensive understanding of the region in the period contemporary with the Akkadian Mesopotamia. The astonishing upsurge in the Mesopotamian texts in this period, which underpin our study, has furnished important information on the status of the area in question. Results of the present study suggest that a number of Akkadian glyptic designs probably represent the eastern mountain of Mesopotamia.
Delphine Poinsot
Abstract
This article presents a comparative study of bestiaries in Achaemenid and Sasanian glyptics, based on seal impressions from archival corpora. A systematic comparison of animal representations is carried out within the framework of zoo-iconography. This method makes it possible to formally determine the ...
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This article presents a comparative study of bestiaries in Achaemenid and Sasanian glyptics, based on seal impressions from archival corpora. A systematic comparison of animal representations is carried out within the framework of zoo-iconography. This method makes it possible to formally determine the species represented in each of the bestiaries, and leads to the study of the evolution of their representation between Classical Antiquity and Late Antiquity in Iran. The practice of zoo-iconography leads to an environmental approach that questions the evolution of the animal kingdom as depicted in the two bestiaries by comparing them with archaeozoological data.
Farzin Ghafouri; Mitra Reihani
Abstract
Khosrow Anushirvan is a renowned Iranian king, widely admired among Iranians, particularly for his tax reforms. His legacy is not just apparent in historical sources but also reflected in Persian literature. Persian tales related to Khosrow Anushirvan can be divided into two categories: 1) stories with ...
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Khosrow Anushirvan is a renowned Iranian king, widely admired among Iranians, particularly for his tax reforms. His legacy is not just apparent in historical sources but also reflected in Persian literature. Persian tales related to Khosrow Anushirvan can be divided into two categories: 1) stories with historical origins; 2) fictional narratives. The former group may be useful for understanding historical events once the fictional components are removed. The latter group mainly serves as part of the folklore. Among the Persian literary stories featuring Khosrow and an elderly woman, there are two main stories each with a side story. Animal rights are discussed in the side stories. This paper argues that the first main story, its side story, and the second main story are grounded in historical records, while the second side story appears to have emerged from folklore and lacks historical basis.
