International Journal of Management and Humanity Sciences. Vol.

, 3 (8), 2752-2760, 2014

Available online at http://www.ijmhsjournal.com
ISSN 2322-424X©2014

The Analysis of Sacred Zoomorphic Patterns in Sassanian Art

1 2
Elham Vosouq Babae*, and Reza Mehrafarin

1- PhD student in Archaeology of Iran, University of Mazandran-Iran

2- Associate professor, University of Mazandran

*Corresponding author E-mail: Elham.vosouq@ut.ac.ir

Abstract

One of the most important parts of the ornamental patterns of Sassanid Art is
Zoomorphic patterns and symbols. This paper analyzes the religious concepts and
themes in these patterns and symbols, which are categorizes in two major concepts.
A number of animals have been considered in Zoroastrian texts due to their
importance in rural life and agriculture of Ancient Persia. Moreover, Mazdaism was
responsible to protect them. For instance, cows, roosters, and dogs have been seen
in Sassanid Art. In Sassanid Zoroastrianism some gods and goddesses are
manifested in zoomorphic patterns. The most important one is boar which symbolizes
BAHRÂM, god of victory; Pegasus is another zoomorphic pattern symbolizes god of
Tistrya and Farr- splendor-is symbol of glory and royalty in Persian and Zoroastrian
culture that have zoomorphic patterns such as rams and falcon are frequently seen in
Sassanid Art.

Key words: Sassanid Art, Zoroastrian religion, sacred animals, Symbolism.

Introduction

Zoroaster society depended on cattle and livestock. In Zoroastrian religion, Mazdaism is responsible for
protecting and watching over cattle. Even, Zoroaster request Ahura Mazda that keep herd and flocks in this
land and don't remove them (Yasna, § 3) The duty of Amesha Spenta, Vohu Manah ( Middle Persian =
Wahman) is to support livestock in the world and god of MIHIR (Yasna, § 3) and goddess of Anahita (Abān
YAST, § 1) gives Power to forelegs and cattle.
Animals in this religion are such great that there is a special god in Avesta, called "Drvâspa" – she who
keeps horses in health - (Drvâspa YAST, §§ 1-2)
In ancient Iran, animals are so much appreciated that some people's names are rooted in animals and it is
something popular among people, even the name of the prophet of ancient Persia, Zoroaster, is rooted in the
word" camel" (Pourdāvoud 2007: 230) Moreover, in stories and anecdotes, great men are revised by
animals; for example Fereydun has raised by a cow and Zāl (Persian: Zal‎, "Albino") by a phoenix
(Shᾱhnᾱmeh)
When Zoroastrianism became the official religion in Sassanid dynasty, most of the Mazdaism beliefs
manifested in Sassanid culture and art. This study enumerates and analysis the animals which have
religions and ritual concepts are manifested in Sassanid art.

Sacred animals in Zoroastrianism

 Cow
Indians and Iranians knows cow as the base of rural economy. Cows are useful not only for milk but also
for plowing the lands and carrying loads. Therefore cows are very precise and considered such as a 'totem'.
Zoroaster, in the Gathas, shows his irritations of sacrificing cows (Yasna, § 29). According to Zoroastrians
ideology, the primeval Bull is the first symbol of creation (Bundahiŝn chapter10, § 1). In Bundahiŝn, it is said
that Ahura Mazda, creates cow in two phases due to its greatness. (ibid) in this ideology, the destruction of
the cow is not the end of the creation, in fact the cow's semen was taken to the moon, then it was refined
and out of this semen, different useful ranks of animals were created (Bundahiŝn chapter10). Therefore, the
cow can be known as the manifestation of re- creation and the beginning of genesis myth and creation of
cattle.
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Pattern of cow is seen on the Sassanid handy craft. For instance, the cup (see Figure.1) has unique
painting can be seen that clearly represent the religions and ritual aspects of the cow. In this plate, the god of
the moon was relying on the throne. The throne placed on turntables that at the end of each turntables, two
cows were fasten to its wheels and pulled it.

Figure1. plate with the pattern of cow

(Hermitage museum, http://raeeka.wordpress.com/2011/11/26)

There are several views about the identity of the person sitting on the chariot. The throne ornamented with
the clock that at the day time, the god of the sun and at the night, the god of the moon appeared within it.
Here, the god of moon has relied on the throne and the young man with a bow and arrows in his hand is the
god of the sun who is behind the horizon( Azmodeh 1997, 169) but Orbeli believes that the young man under
the throne with a bow and arrow is Tistrya who knows that at one stage will appear as a young man (Orbeli
1977: 736) about relation of the god of the moon and the cows which are pulling the chariot, it is needed to
consider the creation of the primeval Bull in the Bundahiŝn. It was said that when the cow came to a bad
demon, Ahura Mazda gave a planet named Mang (bang) to the cow to eat, in order to make it suffer less and
release from the devil. But the cow became sick and died because of this planet when the cow died,
Amərətāt (MP=Amurdād ) Amesha Spenta, took the power which is in the cow's semen and brought it to the
moon and gave it to the god of the moon. He refined it and a lot of faces were created from it. Variety of
forelegs and animals and birds are created (Bundahiŝn : chapter 4 and 10 ) therefore the god of the moon is
the protection of the foreleg and has the origin of the animals. On the other hand, in Avesta, Mâh YAST
alluded to the importance of the moon and the link between moon and the cow. In Mâh YAST, it is stated
that: "We sacrifice unto the Moon that keeps in it the seed of the Bull, the holy and master of holiness"(Mâh
YAST, § 3). Cow and moon not only are related in the creation, but also in the creation of horn of the cow, it
is the representation of the moon crescent.
In Sassanid art, the relation of moon and the cow is manifestly seen, for instance, on a handicraft from the
Qasr-i-A bu Nasr in Fars, the moon crescent is seen at the top of the cow (see Figure 2)

Figure 2. Pattern of cow with moon crescent

(Seals from Qasr-i-A bu Nasr in Fars, MANSORI 2002:57)

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 Cocks
In Avesta, the name of the cock (in Persian: khrrus) means crow, it is named because of the crow of the
roasters (Pourdāvoud 2007 :316) In Avesta, this animal called: Parôdars mean "pre- viewer" since cocks see
the dawn sooner than other and crow to call people and call people to worship god.
In Avesta holy Sraosha (god), the protector of night, he never sleep and protect Mazda creation (Yasna, §
16) Sraosha in Avesta call people at the down and the cock help him.
In chapter 5 vendidad state that: "fire- the son of Ahura Mazda- calls the holy Sraosha for help, and then,
the holy Sraosha wakes up the bird named Parôdars and the bird lifts up his voice against the mighty dawn
and call on the morning" (The Vendidad, chapter 5, Fargard XVIII, §23). In other words, cocks make awake
the spirit of people.
In Sassanid art, the pattern of this holy bird is seen on the works of art. On a vase which is in Boston
Museum (see Figure 3) there is a cock with a halo around the bird.

Figure 3. pattern of cock

(Boston Museum, www.mfa.org/2011/10/20)

Several patterns of the cock are seen on the patterns of the Textile. For instance a piece of textile in
Vatican museum(see Figure 4) has a circular design that includes two circle with the same center and the
space between two circle is ornamented with different colorful patterns such as heart. Circular frame
includes the pattern of a cock that is shown on a golden background and decorated beautifully. In the space
between sections, a combination of bergamot and petals represent a beautiful mixture of red and green.
According to Ackerman this cloth with cock pattern is one of the most beautiful silk cloth of this period;
although it is not very professional, the art work of the cloths is very strong and shown the magnificent of this
bird (Ackerman 1977: 702)

Figure 4. Pattern of cock (GHIRSHMAN 1962: figure 280)

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Figure 5. Pattern of cock (www.iranatlas.info/sassanid 2011/11/26)

On Another textile (see Figure 5) with the red background. The pattern of the cock is shown with a special
glory. Among the circles, around the roaster's necks muffler can be seen that is the feature of Sassanid art.
The same muffler can be seen around the king's necks in this period; it is the symbol of monarchy. As a
result, it is shown that cock in Sassanid art is not a common bird.

 Dogs
In Zoroastrianism, dogs are very important. In Avesta that is available at this time, only at a part called
Vendidad speaks about dogs. Moreover, herding dogs are superior to other ones. In vendidad, Ahura Mazda
states that: "If those two dogs of mine, the shepherd's dog and the house dog, pass by the house of any of
my faithful people, let them never be kept away from it. For no house could subsist on the earth made by
Ahura, but for those two dogs of mine (the shepherd's dog and the house dog)" (vendidad, fargard XIII, §
49). This quotation present that how much Iranians in past need this animal to guard and how much they
honor such on animal that help them.
Although in Mazdaism, dogs are very important, in Sassanid Art they are presented rarely. On a piece of
textile which is kept at Sans Church (Figure 6) there are two dogs beside the tree of the Life. Persians
believed that there is a magnificent tree named Gaokerena (Haoma plant). This plant is immortal and
whoever eats from it became immortal too. Satan tried to destroy it so that Ahura Mazda assigned a number
of animals to watch over it (Bundahiŝn, chapter 27, §4). In this textile, two dogs, lions, and fox are seen
protecting this tree and follow their religious and mythological task.

Figure 6. Lion, dog and fox protected life tree

(GHIRSHMAN 1962: figure 283)

Animals which are symbols gods and religious concept

 Boar
In Zoroastrianism Sassanid time, there is a wonderful enthusiasm to personification of Abstract and
religious and mental concepts. One of these samples is the symbols Ancient Aryan gods. For example
BAHRÂM (Verethraghna in Avesta) is the god of war and dubbed "Indra" god of the ritual verdict that has top

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position in Mazdaism (bahᾱr 1999:78) the fourteenth YAST in Avesta called BAHRÂM YAST, it is about
manifestation of BAHRÂM in ten different figures (BAHRÂM YAST §§ 1-28) at the fifth time BAHRÂM
manifests in figure of the boar that accompanies the god of the MIHIR (MIHIR YAST § 70).
This form of BAHRÂM was very popular during Sassanid period since it was an appropriate symbol to
show strongest and leadership. This term not only is seen in the name of Sassanid like "Varaz Bandak" and
"city of varaz"(varaz= boar) (Pourdāvoud 1968:459)but also is reflected in Sassanid art (see Figure 7) the
characteristics of the boar image in Sassanid art reflects the fact that they are not just used as ornament, for
example in the crenate edge of the crown, the rough hair on the forehead which is like a up-side crown,
strong teeth, and eyes with small holes in their pupils created influential look, all the simple concepts which
convince the other that this animal has a supernatural power (Porada 1969 : 236) the pattern of boar that is
frequency used in cloths has the same visual features. Also, it was believes that this image had transferred
its strangeness and leadership to the person who put it on.

Figure 7. Head of Boar on stucco

(PORADA 1969: figure 116)

 Pegasus
Pegasus is one of the animals which its form is derived from religions concepts and its root must be
searches in Avesta. Tistrya (Tistrya in Avesta) and the eight YAST of Avesta is about his. in this YAST,
Tistrya comes into three forms that is one of them, he manifested into a Pegasus (a winged horse) " He goes
to its lake in the shape of a horse, in a holy shape; and down there he makes the waters boil over, and the
winds flow above powerfully all around"(TÎR YAST, § 8 )… and when he has arrived down there, he stands,
beautiful, spreading ease and joy on the fertile countries (thinking in himself): "How shall the countries of the
Aryas grow fertile? " (§ 9)
Drought and heat of the summer has been the biggest problem in Iran. Traditionally, Iranians believes that
Tistrya brought with himself beneficial rain in summer while Daêva Apaosha prisoned the water, Tistrya
released them.
TÎR YAST is the story of the war between Tistrya and Daêva Apaosha- Evil of the drought- appears in the
third ten nights and god of TÎR changes into Pegasus" in the third ten nights the bright and glorious Tistrya
mingles his shape with light, moving in the shape of a white, beautiful horse, with golden ears and a golden
caparison. (TÎR YAST § 18) and Daêva Apaosha changes to a horse, but black and tailless (§ 20)
In Sassanid art, the painting of Pegasus can be seen on the plates and seals (see Figure 8) for instance:
Orbeli believes that the imaginary animal on the plate in Hermitage museum (see Figure 9) is Tistrya that is
changes to this form. The pattern of the rider is the god of foreleg (Drvâspa) that is shown in form of a
woman plying a pipe, they are passing beside a river that is thought it is the river of the Ram ( good pasture)
( Orbeli 1977 : 736).

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Figure 8. Pattern of Pegasus on seal

(www.metmuseum.org/ 2011/10/20)

Figure 9. Pegasus with woman who playing pipe (Hermitage Museum,

(http://raeeka.wordpress.com/2011/11/26(

 Animal representation of farr

The farr (splendor) is an Avesta language word for a Zoroastrian concept literally denoting "glory" or
"splendor" but understood as a divine mystical force or power projected upon and aiding the appointed. farr
is (xvarnah in Avesta and xwarrah in MP) sometimes hvar (shine) is related. It is also rooted in xvar means
catch or get. It means shining and wealth. Moreover, it is a sign of good things, prosperity and luck. Some
believe that Farr is the cause of prosperity and the sign of blessings from sky ( Amoozegar 1995 :33 )
Farr sometimes has animal representation. In Avesta, it is mention to a hunting bird named Vâraghna. In
BAHRÂM YAST which is about worshiping the BAHRÂM god (god of victory), BAHRÂM present himself into
ten forms to Zoroaster. One of these forms is the body of Vâraghna (a bird) " Verethraghna, made by Ahura,
came to him the seventh time, running in the shape of a Vâraghna that . . . below and . . . . above, and that
is the swiftest of all birds, the lightest of the flying creatures" ( BAHRÂM YAST, § 19) according to the term in
Avesta and Persian, Pourdāvoud believes that " Vâraghna " means moving wings. That Vâraghna is another
name of the bird named "Saēna" which is a falcon (Pourdāvoud 2007: 305)
In the story of Yima, farr is features as a Vâraghna " In whose reign there was neither cold wind nor hot
wind, neither old age nor death, nor envy made by the Daêvas, in the times before his lie, but when he
began to find delight in words of falsehood and untruth the Glory was seen to flee away from his in the shape
of a Vâraghna bird (ZAMYÂD YAST §33- 40). According to these paragraphs of Avesta, it is clearly shown
that Vâraghna(=falcon) is one of the representation of power and superiority of divine gods in comparison to
king and rulers. In ancient times, it was believed that farr was a divine blessing which was manifested in the
body of this strong and bird and to whoever it filed, prosperity and salvation came upon him. On the
opposite, of whoever the bird passed, disgrace and unfortunate came.
In Sassanid period, the pattern of this bird is seen on the crowns of Sassanid kings (particularly after the
king of BAHRÂM 2) which its wings are like the wings of a falcon. On the relief of BAHRÂM 2 in Sar

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Mashhad, the crown which is like the wings of a falcon is obviously shown. Moreover, in a statue made of
lapis lazuli, BAHRÂM 4 (?) is shown with a crown shaped like the wings of a falcon (see Figure 10). All the
symbol of Sassanid kings with wings is related to the concept of farr of kingship. (Soud Avar 2009: 425)

Figure 10. Bahram 4(?) statue with falcon crown

(GHIRSHMAN 1962: figure 267)

Another representation of divine farr (splendor) is like a ram. This animal is not only one of the god
BAHRÂM's body, but also it is the symbol of farr (splendor) and royal power (BAHRÂM YAST § 23).
According to the text of kᾱrnᾱmag , when Ardeshir-e Babakan was escaping to Persian, a ram was
following him. It was asked about it and it is answered that is royal splendor (kᾱrnᾱmag § 10 and 24)
therefore, ram is both the symbol of BAHRÂM and the symbol of royal splendor for a religious Zoroaster,
both symbol are holy and mortal and the cause of prosperity and fortune.
The pattern of rams is frequently seen in Sassanid art, including a plate at Arthur M. Sackler Gallery (see
Figure 11). In the inner center of this dish, a scene of couple who are sitting on a bed was engraved and
carved. At the bottom of the bed, a head of a ram shown from the right side can be seen.

Figure 11. King with his wife and head of ram

(http://www.asia.si.edu/ 2012 /9/20)

The pattern of ram is also seen mostly in the cloths. On the textile from an Egyptian cemetery ( Figure12)
a Ram with two long and curved horns is displayed, around the neck of this ram is a pearl necklace and a
crimped ribbon which is fasten to the necklace at the back of its neck. This ram is represented in a frame
with rows of small circles around it. In another sample (Figure13) there is a pattern of ram on a piece of
textile , but this ram is not shown in a frame of pearl, instead the circles are in several rows and in the
opposite sides. In addition, there are mufflers around the necks of these animals which convey the same
concept.

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Figure 12. pattern of ram on textile

(GHIRSHMAN 1962: figure 273)

Figure 13. Pattern of ram textile

(GHIRSHMAN 1962: figure 277)

Conclusion

In Sassanid art culture like the other art culture, symbol of each animal represented a particular concept
and rooted in people's common beliefs. The pattern of animal in Sassanid art works are sacred because it
two reasons that this holiness is shown both in religions text and physical features of these animals
First, some of these animals are sacred and beneficial in ancient Persian beliefs such as cows and dogs.
As written an Avesta, these are the companions of gods and goddesses. In Avesta, it's mentioned that
Sraosha needs the cock to protect the night. This blessed bird can be seen in Sassanid art work.
Considering the physical features such as royal necklaces and halo around the neck of the cock which
present royal and scared concepts, the cock is a holy bird in Sassanid art work.
Some of the animals are even manifestation of gods and goddesses. For instance, BAHRÂM (the god of
victory) is a superior whose symbols are displayed on Sassanid art work, has animal manifestations such as
boar, ram and camel. Among them, Boar symbol is the most popular one since it is very strong, powerful and
abundant. Other god with animal manifestation is Tistrya; this god appears in the body of a cow and a
Pegasus in Avesta. Lacking a holy sigh, it is hard task to distinguish the patterns of cows on seal are referred
to Tistrya or the primeval Bull. However, symbol of Pegasus seen on some seals and plates are referred to
Tistrya according to Bundahiŝn.
Other animals which are holy are the symbols of Farr. In Zoroastrianism, divine and royal splendor is the
sign of glory, prosperity, Royal legitimacy and sacredness. Both in Avesta and Sassanid text, Farah's
representation are zoomorphic symbol such as falcon and ram. The importance of symbol of a falcon is
shown in Sassanid art work. For instance, the crowns of Sassanid kings were shaped like a falcon's wing
which presents the royal glory. The pattern of ram is frequently displayed on plates, seals and clothes. Other
symbol of splendor is a necklace around the neck of the ram which emphasized on holiness of this animal.

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Acknowledgments
I would like to express my most profound gratitude to Fatemeh Esmaili (PhD student of English literature)
for editing this article.

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