مطالعۀ آئین پیشاتاریخی سوگ سیاوش با کمک اسناد باستان‌شناختی منطقۀ سغدیانا با رویکرد آیکونولوژی

Abstract
The region of Sogdiana is recognized as a vital historical and cultural center within the ancient Iranian geographical landscape. This area has garnered the interest of scholars from diverse archaeological viewpoints. The relationship between the religious-narrative culture of Sogdiana and its artistic traditions is particularly noteworthy. Central to this discourse is the narrative of Siavash and mourning for him, which is one of the key religious-ritual stories, showcasing remnants of various ancient mourning practices. Beyond the realm of religious and literary sources, aspects of our historical visual tradition also reflect this narrative, enabling an analysis of the semantic and religious origins of this ritual through these artistic depictions. This article examines the Panjkent wall painting associated with Siavash’s mourning, aiming to analyze this ritual as a significant historical and cultural representation. To achieve this, the study employs Irwin Panofsky’s iconological approach, which proves beneficial in the fields of archaeology, art history, and visual studies. This methodology facilitates the “description,” “analysis,” and “interpretation” of the wall painting, allowing for a comparative exploration with other visual artifacts that contribute to a fresh understanding of the mourning concept. The objective of the present research is to address the central inquiry: “How has the concept of mourning manifested and persisted throughout the history and culture of the Iranian people?” This inquiry aims to explore the historical and cultural significance of mourning while tracing the evolution of this concept through associated imagery. By concentrating on the meanings and historical roots of mourning as depicted in visual representations, this study facilitates an examination of the motifs and gestures of various figures, thereby enabling a broader analysis. The research adopts a descriptive-analytical approach, aligned with its fundamental aims, and employs a methodological framework that incorporates both visual and textual sources obtained through library research and archaeological findings.
Keywords: Archaeology of Central Asia, Sogdiana, Iconology, Mourning for Siavash, Panjkent Wall Paintings, Continuity.
 
Introduction
The structured rituals associated with mourning and death represent a longstanding and expansive area of inquiry, generating considerable discussion among scholars. The narrative of Siavash, along with the mourning practices linked to him, has been transmitted from ancient times through both religious and epic literature. It appears that, despite the passage of time, the essence of mourning has persisted in various representations and ideas, thereby shaping the entirety of this ritualistic practice. Consequently, the mourning rituals and symbols in ancient Iran have maintained their foundational frameworks throughout history. This article employs Panofsky’s iconology approach to explore the underlying meanings of mourning and its associated symbolic concepts.
The examination of existing visual artifacts and textual records indicates that in ancient Iran, various forms of mourning for the deceased and heroes were prevalent. The practices associated with mourning, such as hair pulling, cutting, scratching, weeping, and the donning of black attire, were integral to these rituals performed by mourners. This research aims to explore the concept of mourning, particularly in relation to the mourning of Siavash. This review seeks to investigate the phenomenon of mourning and to analyze the cultural framework that supports such expressions of grief. To achieve this, it will delve into the themes of repetition and continuity as depicted in mourning imagery, with a specific focus on the mural from Panjkent. The portrayal of mourning in Panjkent is not simply a visual representation; it embodies a deeper cultural significance. This article aims to address the question: “In what ways has the concept of mourning persisted and evolved throughout the history and culture of the Iranian people?” Our intention is to uncover the continuity of an ancient religious tradition by analyzing mourning imagery. This investigation seeks to understand both the historical and cultural implications of mourning and to trace the ongoing representation of Siavash’s mourning within the framework of Iran’s archaeology. To facilitate this analysis and respond to the research question, we have utilized Panofsky’s method of iconology.
Article Text
The depiction of mourning for the hero in Panjkent features a variety of figures alongside a chamber or structure. Positioned on the right side of the image, and flanking Amari, are fourteen individuals who are engaged in the act of mourning while carrying a chamber or coffin To the left, three larger figures are also present, all of whom are depicted in a state of grief, inflicting injuries upon their heads and faces. It is important to note that the mourning of Siavash has its roots in Iranian-Central Asian traditions, with influences from Mesopotamia, as well as Eastern and Greek cultures. This article emphasizes the Central Asian origins of this mourning practice. A notable aspect of the rituals surrounding the death of the martyred god is the emergence of secretive learning ceremonies that develop around his persona posthumously. This establishment of enigmatic rituals is a distinctive feature of mourning for Siavash, characterized by expressions of lamentation, weeping, and bodily harm, which have persisted over the centuries. This practice represents the initial gesture or thematic element encountered in the Panjkent. The public’s conviction in empathy and engagement during mourning is pivotal to the mourning scene, fostering a connection with the hero depicted and ensuring the endurance and recurrence of this ritual through the actions of ritual practitioners across generations. Additionally, the mourning iconography is enhanced and sustained by various gestures and symbolic elements. A significant aspect to consider in the representation of mourning is the use of black; this is evident in the attire of the ritualists and the presence of a black horse within the scene. The choice of black clothing by the ritualists can be interpreted as an effort to forge a sense of unity that resonates with the hero’s narrative. In this context, the rituals and their practices serve as a means to facilitate this connection. By engaging in these rituals and partaking in the specific mourning rites for the Shah-Martyr, individuals participate in a continuum that transcends time, re-enacting a sacred event within an eternal framework. The persistence of the icon, reflected in the postures of the figures, their meanings, and the imagery, illustrates the self-reinforcement and preservation of the ritual within cultural and historical contexts.
Conclusion
Following the demise of Siavash, his commemoration as a hero-god was sustained through a confluence of cultural, historical, and ritual-religious factors that ensured the persistence of his image. This continuity manifested across various regions of Iran, extending into Central Asia. The depiction found in the Panjkent wall painting, while ostensibly illustrating the death of Siavash, the god-martyr, serves as a representation of an enduring archetype, accompanied by corresponding ceremonial practices. The application of Panofsky’s iconological approach facilitates a deeper understanding of this imagery and the associated mourning gestures. Through this analytical lens, we can discern the recurring themes present in these images and texts that have traversed time and geography, highlighting the resurgence of ancient myths and rituals in different eras. Furthermore, many actions performed by mourners, such as weeping, donning black attire, and the ritualistic cutting of hair and faces, can be interpreted as expressions of solidarity with the hero. This desire for unity with the hero is a profound aspect of human experience, manifesting in diverse forms throughout.