The Study of symbolic meanings of pouring win on the ground, presenting gulp and flowers in ancient Persian myth, art and culture with emphasis on ritual Haoma and Lotus , the continuation of the Islamic period art

Volume 11, Issue 1
October 2020
Pages 1-22

Document Type : Original Research

Authors

1 Associate Professor Faculty of Art, Shahed University, Tehran, iran

2 Assistant Professor of Graphic Group Department of Art and Architecture, University of Guilan, Rasht, Iran.

3 Professor of Art Research Department, Tarbiat Modarres University

Abstract
Abstract

The concept of life is one of the main concepts of many ancient civilizations arts, especially in Persian art and civilization. In the present article an attempt has been made to study "the concepts of symbolic and pictorial scenes of pouring win on the ground, presenting gulp and flowers in ancient Persian art, and its continuation in the paintings of Islamic period. The aim of this study is a consideration the content and the origins of one of the most popular scenes in the Islamic arts. The scenes that presented a gift such as flowers or wine to make a beautiful picture. At first glance these motifs can be thought of normal everyday life scenes. But with reviews of its Visual and mythic- religious concept changes in ancient Persian art and culture, can be provide the continuation of a symbolic and Visual archetype on the ancient and Islamic art of Persia. In the present article an attempt has been made to study with an emphasis the mythical and cultural information, Explain the concepts of pouring win on the ground, presenting gulp and flowers in ancient Persian art, Show related images, then analysis them on Islamic art, On the basis of the transmission of symbols and archetype of a culture. Based on comparative mythology, this theory can be said that pouring win on the ground, presenting gulp and flowers are common ritual archetype among the Hindu European groups. This is an issue many of the Scientists have confirmed but the interesting thing that is the key result of this article, is the continuity of meaning and symbolic picture of this pattern in the Islamic art and culture.

Keywords

Subjects
- Amiet, Pierre (1979). Memoires de la delegation archeologue en Iran, Glyptique Susienne, vII, Paris.
- Alvarez-mon, Javier (2009). Notes on the Elamite Garment of Cyrus the Great, pp.1-13, the society of Antiquaries of London.
- Black, Jermy, Anthony Green (1992). Demons and symbols of ancient Mesopotamia, British museum Press.k.
- James, E. O. (1966). Tree of life, Studies in the history of religions, E. j. Brill. Leiden.
- Belloni, Gian Guido, Liliana Fedi Dallaen (1969). Iran Art, translated by David Ross, Published in Great Britanican in 1969 by Pall Mall press, London.
- Loukonine, Vladimir et AnatoliIvanov (1995). Parkstone Auroroa, England.
- Dostn, Jarich G. (1985). The war of the god, the social code in indo-european mythology. London: Routledge and Kegan Paul.
- Jordan, Michael (2004). God and Goddess, Second Edition, facts on file, inc.new york.
- Porada, Dedith (Edith) (1965). Ancient Iran, The Art of pre- Islamic times, published by Methuen, London.
- Porter, venetia, (1995), Islamic Tiles, the Trustees of British museum, Published by British museum press.
- Roach, K. J. (2008). The Elamite Cylinder Seal Corpus, c.3500-100Bc, VII, the catalogue, Partii, University of Sydney.
- Sims, Eleanor, Boris I. Marshakand Ernst J. Grube (2002). Peerless Images Persian Painting and its sorces.
- Stirlin, Henri (2006). Splendors of the Ancient Persia, WS publisher.
- Ghirshman, R. (1968). Note Raninnes XVL. Duxstatuettes Elamites de Plateau Iranian, Artibus Asiae, Vol. 30, No2-3, pp. 237-248.