پژوهش های باستان شناسی ایران

پژوهش های باستان شناسی ایران

رویکرد شمایل‌شناسی به پرندگان اساطیری ساسانی

نوع مقاله : مقاله پژوهشی

نویسندگان
ویانا میرزائی 1
زهرا رهبرنیا 2
1 گروه پژوهش هنر، دانشکدۀ هنر، دانشگاه الزهرا، تهران، ایران (نویسندۀ مسئول).
2 گروه پژوهش هنر، دانشکدۀ هنر، دانشگاه الزهرا، تهران، ایران.
10.22084/nb.2025.30618.2756
چکیده
یکی از نمونه‌های نقشمایه‌های اسطوره‌ای ایران، که پیشینۀ حضور آن در هنر و تمدن ایرانی از دوران باستان تا‌کنون جلوه‌های گوناگونی داشته، پرندۀ سیمرغ است. «اروین پانوفسکی» روش شمایل شناسی را در مطالعات هنری به‌کار گرفته و از توصیف پدیده‌های هنری به تفسیر روشمند آن‌ها می‌پردازد. این تفسیر از سه سطح دلالت‌پردازانۀ نقشمایه، ماهیت و محتوا گذر می‌کند. بر این‌اساس این پژوهش بر آن است تا با روش شمایل‌شناسی به درک معنایی نقش نمادین سیمرغ در آثار هنری ایران در ادوار مختلف تاریخی؛ ساسانی، پیش از اسلام و ایلخانی و صفوی در دوران اسلامی، بپردازد. پرسش اصلی پژوهش در این گزاره خلاصه می‌شود که، نقشمایۀ سیمرغ در متون مختلف هنری و ادبی ایران در ادوار مختلف ایران باستان و پس از اسلام چه دگردیسی‌های شکلی و معنایی داشته و میزان تأثیرپذیری آن از تمدن‌های همجوار چه میزان بوده است؟ پژوهش حاضر نگاهی تاریخی دارد و به شیوۀ توصیفی_تحلیلی انجام شده است. جامعۀ آماری تعدادی از آثار هنری (پارچه، نگاره، فلزکاری، چرم و سفال) ایران، چین باستان، مصر باستان می‌باشد؛ در خوانش تاریخی نیز متون دینی پیش از اسلام و متون اساطیری (شاهنامۀ فردوسی) و عرفانی (عقل سرخ سهروردی)، در ایران دورۀ اسلامی و اساطیر چین و مصر باستان موردنظر بوده‌اند. نتایج پژوهش آشکار می‌‌سازد؛ که تا قبل از ظهور اسلام سیمرغ پرنده‌ای است، دارای قدرت‌های مافوق‌ طبیعی و تصویرش نشان اقتدار نیروهای کیهانی برامور دنیای خاکی است؛ به‌عنوان نمونه، بازنمود آن در لباس شاه ساسانی نشان‌دهندۀ حمایت خدا از او و مشروعیت سیاسی و دینی وی، اعطای فر و به‌نوعی نمایش انتقال نمادین قدرت است. در دوران اسلامی سیمرغ راه‌یافته به آثار هنری و عرفانی فارسی؛ ازنظر بصری و فرمی با تأثیرپذیری از همتای چینی‌اش به سیمرغ چینی نزدیک می‌شود، از نظر اسطوره‌شناسی مانند سیمرغ اوستایی و بنو مصری نمایندۀ خورشید، نور و حقیقت می‌گردد.
کلیدواژه‌ها
شمایل‌شناسی
اسطوره
سیمرغ
چین
مصر
موضوعات

عنوان مقاله English

An Iconological Approach to Mythical Birds of the Sasanian Period: A Case Study of the Simurgh

نویسندگان English

Viana Mirzaie 1
Zahra Rahbarnia 2
1 Department of Art Research, Faculty of Art, Al-Zahra University Tehran, Iran (Corresponding Author).
2 Department of Art Research, Faculty of Art, Al-Zahra University Tehran, Iran.
چکیده English

Simurgh is a prominent mythical figure of Iran that has appeared in diverse visual and literary forms in Iranian art and culture from antiquity to the contemporary era. Erwin Panofsky introduced iconology as an approach to art-historical analysis, systematically progressing from the description of artistic phenomena to the interpretation of their underlying meanings. This method operates through three interconnected levels of meaning, corresponding to motif, theme, and intrinsic meaning. Accordingly, this article examines and interprets the symbolic meanings of Simurgh as a prominent figure in Iranian art through an iconological analysis of different historical periods, with particular attention to transformations in its form, iconographic attributes, and cultural significance, including the Sasanian and broader pre-Islamic eras, as well as the Ilkhanid and Safavid periods of Islamic Iran. The principal research question is as follows: How did the Simurgh motif change formally and semantically within the artistic and literary traditions of pre-Islamic and Islamic Iran, and to what extent was its development influenced by neighbouring civilizations? The corpus comprises selected artworks and material objects, including textiles, paintings, metalwork, leatherwork, and ceramics from Iran, ancient China, and ancient Egypt. Within this historical framework, the analysis considers pre-Islamic religious texts, mythological literature, particularly Ferdowsi’s Shahnameh, and mystical writings, especially Suhrawardi’s the Red Intellect, alongside the mythological traditions of ancient China and Egypt, thereby situating the material evidence within broader comparative religious, literary, and cultural contexts. The results indicate that, before the rise of Islam, Simurgh was conceived as a bird possessing supernatural powers, whose imagery signified the supremacy and dominion of cosmic forces over the terrestrial world. For instance, depictions of Simurgh on the garments of Sasanian rulers functioned as symbols of divine protection, conferred political and religious legitimacy upon the ruler, bestowed farr (royal glory), and, more broadly, embodied and transmitted royal authority.

کلیدواژه‌ها English

Iconology
Mythology
Simurgh
China
Egypt
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پژوهش های باستان شناسی ایران
دوره 16، شماره 49
شماره انگلیسی
1405
صفحه 255-281