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    Wyświetlanie 1-5 z 5
    Tytuł:
    Sassanian stucco decorations from the Ramavand (Barz Qawaleh) excavations in the Lorestan Province of Iran
    Autorzy:
    KARAMIAN, Gholamreza
    FARROKH, Kaveh
    Powiązania:
    https://bibliotekanauki.pl/articles/517635.pdf
    Data publikacji:
    2017-08-08
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Stucco
    Sassanian art
    Barz Qawaleh
    Lorestan
    Bard Qawela
    Barz-Q town
    ancient Iranian art
    Opis:
    Barz Qawaleh (also known as Bard Qawela or “Barz-Q” town) is an ancient site located in the vicinity of the village of Ramavand in Iran, in the Kounani region of the Seymareh river basin. The ancient site should be considered as one of the largest and most important Sassanian settlements in Lorestan, Iran. The present paper and accompanying photographs introduce some elements of the stucco decorations discovered at Barz Qawaleh, which constitute remarkable evidence of Sassanian art. Apart from introducing the findings from archeological, this paper offers some interpretations of the motifs and designs represented by the stuccos, some of which may be found also in materials from other Sassanian sites in Iran and Mesopotamia.
    Źródło:
    Historia i Świat; 2017, 6; 69-88
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sasanian horse armor
    Autorzy:
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/517641.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Archaeology
    History
    Iran
    Late Antiquity
    Relief army
    Sassanian Persia
    Opis:
    The goal of the paper is to define general types and the evolution of horse armor employed by elite warriors of Sasanian Iran, basing on literary sources and iconographical evidence with minor reference to archaeological finds in wider Eurasian perspective. The horse armor was an important part of cavalry equipment already in the chariot warfare however its re-emergence in mounted combat occurred when heavy cavalry was developed. The article divides Sasanian horse armor into several groups: 1. One-piece body protection, which overall cover mounts body the way modern horse blankets do. Within the group one may find following subgroups: 1.a Caparisons – known from numerous works of art (rock reliefs illustrating scenes of mounted combat at Firusbad and Nakš e Rostam as well as the on so-called Shapur cameo currently held in Louvre) having long Near Eastern and Eurasian tradition. 1.b Scale barding – which in fact is a sort of caparison covered with metallic scales sewn onto textile horse blanket, testified by literary sources, known from archaeological evidence from Dura Europos (despite the fact that these examples belonged to Roman cavalry, it is clear that they were fashioned in Iranian manner). Scale bardings of the type are known also from the works of art like graffito from Dura Europos, Trajan’s column, sculpture of Khalchayan and late Parthian Tang e Sarvak frieze. 1.c Chain mail horse armor – lacking strong and direct evidence from Sasanian period, iconography which may depict horses protected with chain-mail is rather crude however despite hypothetical nature, this sort of horse armor is very likely employed in Sasanian warfare. 2. Bardings composed of multiple elements and fragmentary bardings covering a part of the mount. Again these this group can be divided into two sub-groups: 2.a Full lamellar/laminar barding – can be identified on the sculpture of Khalchayan and late Parthian frieze Tang e Sarvak as well as on the seals of Late Sasanian spahbedan. They find numerous Central Asian (Old Turkic) and Far Eastern refernces. 2.b Fragmentary barding, best known from Taq e Bostan sculpture of an equestrian figure but with Central Asian, Chinese and Byzantine references. Following phases of barding development in ancient and early mediaeval Iran can be determined: 1. Late Achaemenid when armored cavalry required some protection for horses after employing shock tactics and subsequent close combat. 2. Mid Parthian, influenced by invasions of the steppe dwellers initiated by Xiong Nu expansion. Developed locally later. 3. Late Sasanian – resulting from contacts with Turkic warriors who transmitted some Eastern military technologies to Iran and through Avar influence to Europe.
    Źródło:
    Historia i Świat; 2014, 3; 35-59
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Preliminary reports of the late Parthian or early Sassanian relief at Panj-e Ali, the Parthian relief at Andika and examinations of late Parthian swords and daggers
    Autorzy:
    FARROKH, Kaveh
    KARAMIAN, Gholamreza
    DELFAN, Meysam
    ASTARAKI, Farzad
    Powiązania:
    https://bibliotekanauki.pl/articles/517624.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    rock reliefs
    Parthian
    Sassanian
    Panj-e Ali
    Andika
    sword
    dagger
    Opis:
    This article examines recent archaeological excavations with respect to two Parthian reliefs and an examination of Parthian blade weapons (swords, daggers). The first archaeological site examined is the late Parthian or early Sassanian cavalry motif in the town of Koohdasht in western Iran’s Lorestan province. The Koohdasht motif is comparable to late Parthian and early Sassanian cavalry reliefs such as the Parthian relief of Gōdarz II in Bīstūn and Sassanian reliefs such as those of Ardašīr I in Fīrūzābād and the Sassanian cavalry relief panels in Naqš-e Rostam. The second site pertains to the recent discovery of the Parthian relief at Andika in Khuzestan depicting a Parthian nobleman lying sideways, leaning on his left elbow, as he holds a branch with his left hand. The theme of the Andika relief has parallels with Tang-e Sarvak (Block II) and the Tina mountain relief in Khuzestan. The third domain, which pertains to Parthian militaria is an examination of late Parthian swords and daggers housed in the Iran Bastan Museum in Tehran.
    Źródło:
    Historia i Świat; 2016, 5; 31-55
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The representation of legitimacy in Sassanian coins (Kavad I and Zamasp eras)
    Autorzy:
    Rahbar, Ilnaz
    Tavoosi, Mahmoud
    Afhami, Reza
    Powiązania:
    https://bibliotekanauki.pl/articles/678097.pdf
    Data publikacji:
    2015
    Wydawca:
    Polska Akademia Nauk. Instytut Slawistyki PAN
    Tematy:
    Sassanids
    legitimacy of power
    coins
    symbols
    Opis:
    The representation of legitimacy in Sassanian coins (Kavad I and Zamasp eras)In each era, social, cultural and political aspects, and their changes have a prominent role on the creation of the Governmental artworks that tries to act as a public media to show their power and legitimacy trends. This study wishes to survey the symbols of Sassanian coins and the role of this visual media from the power and legitimacy point of view during Kavad I (r. 488-531 AD) and Zamasp (r. 496-499 AD) eras, as a challenging period of the Sassanid dynasty. We try to show how Sassanid kings used artworks, especially coins, because of their spreads to transfer their legitimacy messages, thus they used it as the most principal media to show the power and its changes to publics. The result shows the changes during the first reign of Kavad I and after his deposing by clergies due to supporting the Mazdakites doctrine, raise of Zamasp to the throne and the second reign of Kavad I that they used various icons and symbols rooted in Zoroastrian beliefs to show their power and legitimacy according to condition changes. The emphasis of Kavad I on astrologic signs as the symbol of charisma and, in contrast, the representation of Zamasp, the successor of Kavad I after deposing, in the form of receiving diadem as a sign of his superiority and power, and the reuse of traditional symbols of legitimacy by Kavad I in the combination of diadem as the representation of his legitimacy after his second reign are some documents of visual changes of this challenging period. Wizerunkowa legitymizacja władzy na monetach Sasanidów (za Kavada i za I Zamaspa)W każdej epoce zmienne czynniki społeczne, kulturowe i polityczne mają istotne znaczenie dla tworzenia dzieł sztuki, które w sferze publicznej mają się stać nośnikiem legitymizowania przez sprawujących rządy ich władzy politycznej. Celem niniejszego studium jest zbadanie symboli przedstawionych na monetach bitych przez władców z dynastii Sasanidów i ich roli jako medium wizualnego w legitymizowaniu władzy w trudnym dla Sasanidów okresie za panowania Kawada I (488-531) i Zamaspa (496-499). Chcemy pokazać, w jaki sposób obaj królowie sasanidzcy w przekazie społecznym wykorzystywali dzieła sztuki, przede wszystkim monety, jako podstawowe medium dla ugruntowania legitymizowanych zmian na tronie. W rezultacie podjętych badań ustalono, że wobec zmiany sytuacji w pierwszym okresie panowania Kawada I i po jego obaleniu przez kapłanów z powodu wspierania przez króla nauk Mazdaka, po osadzeniu na tronie Zamaspa i w czasie drugiego panowania Kawada I wykorzystywane były różne wizerunki i symbole, zakorzenione w zaratusztranizmie, po to by umocnić władców i legitymizować ich władzę, adekwatnie do zachodzących zmian. Podkreślenie przez Kawada I roli znaków astrologicznych jako symbolu charyzmy, z drugiej zaś strony przedstawienie wizerunku Zamaspa – następcy usuniętego z tronu Kawada – jako tego, który otrzymuje diadem na znak jego zwierzchności i władzy, jak też ponowne wykorzystanie przez Kawada I tradycyjnych symboli legitymizacji w powiązaniu z diademem wyobrażającym go jako prawowitego władcę w drugim okresie jego panowania – to niektóre ze świadectw dokumentujących przemiany wizerunkowe w okresie trudnych wyzwań.
    Źródło:
    Sprawy Narodowościowe; 2015, 47
    2392-2427
    Pojawia się w:
    Sprawy Narodowościowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przedstawienie irańskich końskich pancerzy w azerbejdżańskim romansie Varqa i Gulshah z początku 13 wieku. O sasanidzkiej? genezie elementu końskiego oporządzenia w okresie seldżuckim
    Depiction of Iranian horse barding in the early 13th century Azerbaijanian epic, Romance of Varqa and Gulshah. On Sasanian origin of horse protection in the Seljuk period.
    Autorzy:
    Kubik, Adam
    Powiązania:
    https://bibliotekanauki.pl/articles/517644.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Sassanian Persia
    Iran
    History
    Archaeology
    Late Antiquity
    Relief
    Opis:
    The richly illustrated 13th century Seljuk manuscript Varqa and Gulshah from Azerbaijan provides a number of lavish miniatures, some depicting armored warriors riding horses covered with richly decorated caparisons. The illustrations show that the long caparisons were multi-layered, an indication that they were designed to provide offer some protection for the mounts. Despite the scholars’ opposing opinions, the author maintains that caparisons were well established in Islamic armies as attested by literary sources and iconography. Moreover, the existence of rich terminology concerning different types of horse armor clearly evidences the relative popularity of horse protection. Although the bardings had been were known in by various cultures for in the millennia before the Seljuks, however, the direct inspiration for the appearance of caparisons at that time should must be associated with the Sasanian tradition. Furthermore, the article discusses protective properties qualities of caparisons in which these were provided in a variety of fashions. Firstly, protection was provided could be afforded simply by padding consisting of using a number of textile layers. For instance, metallic armor such as maille or leather armor such as lamellar could have been were stitched into the padded or fabric barding. The – the former is attested in the Islamic world but can be traced back to earlier Iranian traditions.; The evidence for the latter type comes is evidenced from Firuzabad reliefs. However, scattered metal plates attached to the caparisons in random patterns, do not seem to have had any protective function; value they and were merely a the part of decoration. Post-Sasanian origin of Seljuk protective caparisons should be found well evidenced and most probable.
    Źródło:
    Historia i Świat; 2014, 3; 61-71
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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