The Evolution of Sasanian Open Wings to Arabesque (A Case Study of Sasanian Plasterwork Arrays Until Islamic Middle Ages)

Authors

1 Associate Professor, Department of Islamic Art, Faculty of Art, Shahed University, Tehran, Iran.

2 PhD Student in Comparative and Analytical History of Islamic Art, Department of Islamic Art, Faculty of Art, Shahed University, Tehran, Iran. (Corresponding Author).

10.22084/nb.2023.27432.2555

Abstract

Abstract
The recurrence of motifs throughout the prehistoric and historical epochs of various nations underscores their significance within the respective cultures and civilizations. In certain instances, these motifs undergo substantial transformations during historical periods, resulting in forms that may bear little resemblance to their original designs; however, they frequently preserve essential components. To maintain these core elements, motifs—often comprised of symbols and signs—are interwoven and reinterpreted, adopting a new lexicon in subsequent historical contexts. One prevalent motif is the depiction of open wings, which emerges from the amalgamation of three important symbols: goat horns, the tree of life, and bird wings. This motif has been represented in diverse manners across Iranian artistic expressions from prehistoric times through to the conclusion of the Sasanian era. The sequence of the transformation of this motif in the Islamic period has been noted by scholars, yet its developmental trajectory and evolution have not been thoroughly examined. In contrast, Islamic motifs are evident in the arts of the Islamic era, where they are frequently repeated and varied. A multitude of topics has been explored concerning the roots of arabesque in the art of ancient Iran, Arab regions, Anatolia, and even East Asia, as well as its possible inception during the Islamic period. However, there has been insufficient discourse on how arabesque emerged as a pivotal motif within Islamic art. This article will address several critical inquiries concerning the motif of open wings, including its transformation during the Sasanian period, its evolution following the advent of Islam, and the extent to which this progression in Islamic art contributed to the emergence of the arabesque. The primary objective of this research is to explore the development and transformation of the open wings motif from the Sasanian era through the Islamic Middle Ages. Utilizing a descriptive and analytical methodology, this research investigates the application of motifs spanning from the early Sasanian period to the advent of Islam and extending into the mid-Islamic period. The results elucidate the process of arabesque formation, highlighting the evolution of the open wings motif throughout these historical phases.
Keywords: Sasanian Open Wings, Evolution, Arabesque, Islamic Art.
 
Introduction
The depiction of open wings serves as a potent emblem of legitimacy, devotion, and regal magnificence within Sasanian culture, drawing upon influences from earlier artistic traditions. The representation of birds and their wings has been a consistent theme in the artistic expressions of Iranian Plateau since prehistoric eras, symbolizing continuity, recurrence, and progression. The Khvarenah symbol, which emerged during the Achaemenid era, along with its various iterations in Sasanian stucco and intricate arts, underscores the significance of this motif. Throughout history, bird motifs have evolved along two distinct trajectories—naturalistic and abstract—progressively developing over time. Considering the succession of different dimensions of ancient art in post-Islamic art, naturalistic bird motifs also adorn the pottery of the Islamic period, but it seems unlikely that the abstract and summarized role of this ancient and significant symbol disappeared all at once with the beginning of the Islamic period. On the other hand, the Islamic wing motif is considered one of the most important motifs in the Islamic world, and many studies have been conducted on its contexts, meaning, and concept. Scholars such as Pope, Hertzfeld, and Connell have traced the origins of the Arabesque motif to ancient Iranian symbols, including the tree of life; however, they have not identified a specific symbol or motif. In contrast, Burckhardt, Grabar, and others argue that the motif has non-Iranian, Arab, or entirely invented roots within Islamic art. While the Arabesque motif is recognized as having emerged in the decorative arts following the advent of Islam and appears distinct from any preceding motifs. This perspective may overlook the insights provided by Carl Jung regarding archetypes. It suggests that the Arabesque could not have been conceived in isolation or instantaneously after the rise of Islam. Khazai views the open wings as a continuation of their pre-Islamic significance, while Ettinghausen and Wilson have proposed that there are Islamic influences present in the depiction of these wings. Nevertheless, the evolution of the Sasanian open wings during the Islamic era, as well as the Islamic origins and the trajectory of their development, remain largely unexplored. Consequently, the connection between the wing motifs in the two time periods is not well understood.
Conclusion
• The Sasanian open wings motif integrates elements such as goat horns, trees of life, and bird wings, each representing significant aspects of ancient Iranian cultural symbolism.
• Sasanian open wing composition has a heart-shaped structure, which is made in geometry from the symmetry of two golden spirals. Also, in many motifs, the heart is placed in place of the plant of life or combined with it.
• In Sasanian plasterwork, the negative space functions as both a motif and an inverted representation of a motif. Transitioning from the Sasanian period to the early Islamic era, this negative space evolved from mere shadow to intricate patterning, ultimately covering the entire plaster surface, a technique that was further refined in early Islamic art, particularly in Samarra style.
• Over the course of approximately four centuries during the Sasanian period, the design of open wings underwent a gradual simplification, evolving into a stylized form that eventually resembled arabesque patterns.
• The transformation of Sasanian open wings persisted, ensuring the retention of essential elements such as goat horns, trees of life, and bird wings, which remained vital to the motif’s identity.
• The recurrence, arrangement, and development of motifs during the Islamic period lead to the emergence of authentic Islamic designs. Consequently, the tables present a comparative analysis of Sasanian motifs to illustrate their evolutionary trajectory and the transition into pseudo-Islamic motifs before evolving into true Islamic motifs.
• Throughout the transformation and evolution of these motifs, complexity increases, resulting in patterns reminiscent of arabesque designs at the core of the heart concept. However, until approximately the fifth century AH, the fundamental composition of the artworks retains a resemblance to Sasanian plasterwork, despite numerous alterations.
• The Sasanian motif of open wings has undergone significant transformation over the centuries, evolving into the arabesque design; however, the core elements—horn, tree, and wing—remain integral to the arabesque motif and the overall composition of the heart.
• Contrary to the perspectives held by numerous scholars, the arabesque does not primarily represent plant forms; rather, it is deeply rooted in animal symbolism, incorporating elements such as goat horns, bird wings, and various representations of the tree of life that exhibit human or animal characteristics.
• During the transition from the early Islamic period to the Middle Islamic period, Khataei (vegetable motifs) and Islami (faunal-floral and predominantly faunal) designs were not distinctly differentiated. The tables illustrate that Khataei motifs could emerge from an arabesque Khataei branch. However, as time progressed, Khataei designs began to diverge from Islamic motifs. Although they coexist and complement one another, they ultimately exhibit entirely different design characteristics. For instance, from the middle of the Islamic period to the present, it is nearly impossible to confuse a Khataei design with an Islamic one. The Khataei motifs evolved from their own branches, while arabesque designs developed independently. This evolution resulted in a structural framework that was previously absent in traditional design elements such as plasterwork, gilding, tiles, and carpets.

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References

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