Document Type : Research Paper
Author
Assistant Professor, Iranian Center for Archaeological Research (ICAR), Institute of Cultural Heritage and Tourism (RICHT), Tehran, Iran.
Abstract
Abstract
Cooperation of skilled Sassanid painters and metal workers led to the creation of masterpieces in the collections and museums and around the world, especially the silver plates that were decorated by augmentation, hammering, engraving, gilding, and other techniques. On the one hand, noble tastes led to creation of these artifacts, whereas forgers take the opportunity to produce fakes similar to the original artifacts. Therefore, due to the high rate of discoveries from smugglers, the objects must be studied and authenticated more deeply. The present paper studies a silver plate with a ram design that was produced during the Sassanid period and which was discovered by smugglers in Mazandaran province. The plate is registered in the historical list of Sari Collection, however, the author hesitated to confirm the authentication of the same object. Through study, the author recognized the original plate, which led to present paper as the authentication and comparison of both. The present paper points to the authentication methods of the Sassanid silver plate, while introducing motifs that reflect a powerful government with royal requisites and religious rites, however, in the end, while the plate expresses the skillfulness of a master who created the most appropriate composition, the authentication of the plate denied and has been listed as a forgery.
Keywords: Silver Plate, Sassanid, Ram, Composition, Forgery, Collection of Sari.
1. Introduction
The Sassanid kingdom was of the most powerful Iranian dynasties that deeply influenced the artistic and cultural evolution of Iran. Roman Ghirshman explains art of the period as having “a mixed composition, combining influences from east and west, presenting a national Iranian melting pot, aimed at reclaiming ancient Achaemenid honor and credit” (Ghirshman 1350: 134). Metal works are highly regarded among contemporary artists. The objects that reveal skill of the contemporary artists and highly regarded across world (Ehsani 1382: 104), especially silver vessels that were manufactured using several techniques including engraving, augmentation, molding, embossment, and gilding (Ganter & Jet 1383: 360-362).
The cooperation of skillful painters, metal workers, and engravers led to manufacturing unique masterpieces in the collections across the world. Yet the renown of this type of object has led to forgeries, in which fake objects are produced following a contemporary style.
Therefore, it should be noted that the analysis and authentication of objects obtained from looters is a necessity. The present paper involves in study of a silver plate with ram design that was manufactured following Sassanid style and seized from looters in Mazandaran in the year 1389 (2010/11) (Fig. 1). The curator of the Sari Collection registered the plate as an original object, however, the author revisited the plate and doubted its authenticity. Through investigation, the original plate was recognized and is presented in the present paper. There was an opportunity to study the artistic composition of the plate, considering the aesthetic and artistic skill of the Sassanid metalworker. Additionally, the present paper introduces the iconology of motifs, considering orientation of design and type of engraving.
2. Methodology
Bibliographic research and the examination of credible sources, along with digital comparative analysis of similar images, constitute key methodologies for the study and authentication of the plate. Sassanid plates have generally been discovered of mountainous regions of Caucasia, Mazandaran, Susa, Qasr-e Abu Nasr, Tal-e Malyan, and other regions in Iran (Chegini 1367: 17-22). The vessel is sometimes gilded with various designs (Bosili and Scheratto 1383: 85). Contemporaneous artists were always supported by high-ranking nobles (Pope 1338: 57). The artists were inspired by nature and tried to present royal and ritual demands (Harrper 1986: 592). The most significant studied Sassanid silver plates are the gilded vessel with Khosrow II’s figure in the Hermitage (Harper-Meyers 1981: 220) (Fig. 2), the gilded plate from Russian Cherdin (ibid: 228) (Fig. 3), the gilded plate from Russian Preshchina (ibid: 229) (Fig. 4), the silver plate in the Metropolitan Museum of Art (Pope 1945: 229) (Fig. 5), the gilded plate with figure of Piruz or Ghobad I (Harper-Meyers 1981: XII) (Fig. 6), the gilded plate with a royal hunting scene and a king with a horned helmet hunting a boar (ibid: XIV) (fig. 7), the gilded bowl with a scene of vine, birds, and four leg animals (Holmes 1968: 23) (Fig. 8), the gilded plate in Arthur Sackler Gallery with a middle Persian inscription (Grabar 1967: 125) (Fig. 9), a plate with ram design that has a ribbon on the back of its neck (Harper 1978: 127), the gilded plate from Arthur M. Sackler Gallery (Ganther and Jet 1383: 188) (Fig. 11), two gilded plates with a scene of a ram and tulips, in the Metropolitan Art Museum of New York (Brunner 1978: 116-117) (Figs. 12-13).
3. Introduction to the case study
The vessel is a silver plate with a diameter of 21.6 cm. It is composed of two joined shells formed using a hammering technique, while the decorative elements were created using the toreutic method. The upper shell features a scene depicting a ram facing left, adorned with a ribbon; the background includes a vine and mountainous landscape with vegetation (Fig. 14). The outer shell displays a plain design with a shallow groove.
4. Authentication of the vessel
The plate is an imitation of the Sassanid artistic style, firstly, registered as an original object the collection of Museum of Sari, where the author doubted the authenticity following characteristic criteria including orientation of the design. Most importantly, animal figures on Sassanid plates never face to left. Following written sources, the author recognized the plate of Museum of Boston as the forgery template (Fig. 17), however, they have both general and specific differences.
5. Composition of the original plate
Composition presents both integrity and appropriation through parts of a piece (Rankinpour 1382: 4). A Sassanid artist balanced the visual heaviness of the ribbon on the neck of the ram with a vine within a hypothetical triangle. He/she designed the vine on the chest of the ram to fill the scene and direct the audience look from right of the image to the ribbon, or vice versa. The artist used various symbols designed the highest vine on the tip of the triangle, with two birds at the most appropriate place.
6. Conclusion
The plate of the collection of the Sari Museum is a forgery of Sassanid designs and technology, without observance of primary decorative principles of the period. The designs of Sassanid plates face to the right, while contemporary toreutics, under the Isfahan school, differ from the Sassanid techniques. The original plate contains several symbols of ancient Iran and Zoroastrianism: a ram with curved horns symbolizes God and points to victory, and a raised ribbon relates to monarchy; a vine implies emergence of the spring season and means productivity and farewell; and finally, the bird is a profitable bird for farms. The Sassanid artist was so skilled as to compose triangle with different symbols to create a valuable piece. Consequently, the plate of the Collection of Sari is rejected as authentic, and has been reregistered as a forgery, no. 181-2.
Keywords
Main Subjects
- اشمیت، اریخ، (1391). کاوشهای تپه حصار دامغان. ترجمۀ کوروش روستایی. چاپ اول. تهران: ادارهکل میراثفرهنگی، صنایعدستی و گردشگری سمنان.
- ایازی، سوری؛ و میری، سیما. (بیتا). گچبری در آرایهها و تزئینات معماری دوران اشکانی و ساسانی. چاپ اول، تهران: موزۀ ملی ایران.
- بوسایلی، ماریو؛ و شراتو، امبرتو، (1383). تاریخ هنر ایران (2) هنر پارتی و ساسانی. ترجمۀ یقوب آژند، چاپ اول، تهران: مولی.
- پوپ، آرتور؛ و اکرمن، فیلیس، (۱۳۸۷). سیری در هنر ایران. ج دوم: فلزکاری ساسانی و آغاز دورۀ اسلامی. ترجمۀ نجف دریابندری، تهران: علمی و فرهنگی.
- حافظابرو، عبدالله بن لطفالله، (1380). زبدةالتواریخ. تصحیح: سید کمال حاج سیدجوادى، تهران: سازمان چاپ و انتشارات وزارت فرهنگ و ارشاد اسلامى.
- حسینىقزوینى، شرفالدین فضلالله، (1383). المعجم فی آثار ملوک العجم. تصحیح: احمد فتوحىنسب، تهران: انجمن آثار و مفاخر فرهنگى.
- دریایی، تورج، (1383). شاهنشاهی ساسانی. ترجمۀ مرتضی ثاقبفر، تهران: ققنوس.
- دیماند، س، م.، (1335). راهنمای صنایع اسلامی. ترجمۀ عبدالله فریار، تهران: بنگاه ترجمۀ و نشر کتاب.
- رانکینپور، هنری، (۱۳۸۲). ترکیببندی در نقاشی. ترجمۀ فرهاد گشایش، چاپ دوم، تهران: لوتوس.
- رجبی، پرویز، (1383). هزارههای گمشده. ج 5، تهران: توس.
- زمانی، عباس، (1355). تأثیر هنر ساسانی در هنر اسلامی. تهران: ادارهکل نگارش وزارت فرهنگ و هنر.
- زارعابرقویی، احمد، (1393). «نوارهای سلطنتی در ایران از آغاز شکلگیری (در دوران مادها تا پایان دورۀ ساسانی)». دو فصلنامۀ جستارهای تاریخی، 5 (1): 107-91.
- سایکس، سرپرسی، (1373). تاریخ ایران. ج اول، ترجمۀ محمدتقی فخرداعی گیلانی، چاپ سوم، تهران: دنیای کتاب.
- سرلو، خوان ادوارد، (1388). فرهنگ نمادها. ترجمۀ مهرانگیز اوحدی، تهران: دستان.
- سرخوش، وستا کرتیس، (1396). نمادنگاری مذهبی در سکههای ایران باستان، (باستان پژوه). تهران: آریارمنا.
- سفر، فؤاد؛ و مصطفی، محمدعلی، (1376). هترا (حضرا) شهر خورشید. ترجمۀ نادر کریمان سردشتی، تهران: سازمان میراثفرهنگی.
- سودآور، ابوالعلاء، (1383). فره ایزدی در آئین پادشاهی ایران باستان. میرک، هوستون آمریکا.
- علیپور، ماندانا، (1387). «نشانهشناسی سکههای ایران باستان». فصلنامه تخصصی هنرهای تجسمی نقشمایه، 1 (1): 32- 25.
- غیبی، مهرآسا، (1385). هشت هزار سال تاریخ پوشاک اقوام ایرانی. تهران: هیرمند.
- فرهنگنامۀ حیات وحش ایران. جمعی از نویسندگان. (1388). مهرهداران ایران. تهران: طلایی.
- کروگر، ینس، (1396). تزئینات گچبری ساسانی. ترجمۀ فرامرز نجد سمیعی، چاپ اول، تهران: سمت.
- گانتر، سی و جت، پل، (1383). فلزکاری در ایران در دوران هخامنشی، اشکانی، ساسانی. ترجمۀ شهرام حیدرآبادیان، تهران: گنجینه هنر.
- گیرشمن، رومن، (۱۳۵۰). هنر ایران در دوران پارتی و ساسانی. ترجمۀ بهرام فرهوشی، تهران: بنگاه ترجمۀ و نشر کتاب.
- گیرشمن، رومن، (1378). بیشاپور. ج دوم. موزاییکهای ساسانی. ترجمۀ اصغر کریمی، چاپ اول، تهران: سازمان میراثفرهنگی (پژوهشگاه).
- لکپور، سیمین، (1375). سفیدروی. چاپ اول، تهران: سازمان میراثفرهنگی کشور.
- موسویحاجی، رسول؛ و سرفراز، علیاکبر، (1396). نقش برجستههای ساسانی. چاپ اول، تهران: سازمان مطالعه و تدوین کتب علوم انسانی دانشگاهها (سمت).
- نوروززادهچگینی، ناصر، (1367). «مازندران در دوران ساسانی 3». مجله باستانشناسی و تاریخ، 2 (2): 17-22.
- هرمان، جورجینا، (1373). تجدید حیات هنر و تمدن در ایران باستان. ترجمۀ مهرداد وحدتی، چاپ اول، تهران: مرکز نشر دانشگاهی.
- یارشاطر، احسان، (1377). تاریخ ایران از سلوکیان تا فروپاشی دولت ساسانیان. ج 3، بخش 2، تهران: امیرکبیر.
- یونگ، کارل گوستاو، (1386). انسان و سمبولهایش. ترجمۀ محمود سلطانیه، تهران: جامی.
- Ayazi, S. & Miri, S., Plastering in the arrays and architectural decorations of the Parthian and Sasanian eras. First Edition. Tehran, National Museum of Iran. [In Persian]
- Bosaili, M. & Sherato, A., (2004). Iranian art history (2) Parthian and Sasanian art. Translated by Yaqub Ajhand. First Edition. Tehran, Mola. [In Persian]
- Brunner, C. J., (1978). Sasanian Stamp Seals in the Metropolitan Museum of Art. New York, Metropolitan Museum of Art.
- Chrissanthos, S. G., (2008). Warfare in the Ancient World. USA, Praeger Publishers.
- Chirvani, & Melikian, (1992). “The Iranian bazm in early Persian sources”. Banquets d'Orient. ed. R. Gyselen, Res., Orientales, IV, Bures-Sur-Yvette: 95-120.
- Caubet, A. & Pouyssegu, (1996). The Ancient Near East. Paris: Terrail.
- Daryaee, T., (2004). Sassanid Empire. Translated by Morteza thagheb Far, Tehran: Ghoghhnus. [In Persian]
- Dalton, O. M., (1964). The Treasure of the oxus with other Examples of Early Oriental Metalwork. 3rd edition, London: British Museum.
- Demand, S. M., (1956). Guide to Islamic Industries. Translated by Abdullah Faryar. Tehran, book translation and publishing company. [In Persian]
- Dictionary of Iranian wildlife. A group of writers, (2018). Vertebrates of Iran. Tehran: Talaee. [In Persian]
- Ehsani, M. T., (2003). Seven thousand years of metalworking art in Iran. Tehran: Scientific and cultural. [In Persian]
- Gheybi, M., (2006). Eight thousand years of history of clothing of Iranian peoples. Tehran, Hirmand. [In Persian]
- Gunter, C. & Jett, P., (2004). Metalworking in Iran during the Achaemenid, Parthian, and Sasanian periods. translated by Shahram Hyderabadian, Tehran: Ganjineh Honar. [In Persian]
- Girshman, R., (1971). Iranian art during the Parthian and Sasanian eras. Translated by Bahram Farahvashi, Tehran: book translation and publishing company. [In Persian]
- Girshman, R., (1999). Bishapur. Sasanian mosaics. volume two, Translated by Asghar Karimi, First Edition, Tehran: Cultural Heritage Organization. [In Persian]
- Hafez Abro, A. A. L., (2001). Zobdat al-Tavarikh. Edited by Seyed Kamal Haj Seyed Javadi. Tehran: Printing and Publishing Organization of the Ministry of Culture and Islamic Guidance. [In Persian]
- Harper, P. O., (1986). “Art in Iran: Sasanian”. Encyclopedia Iranica. ed., E. Yarshater, vol. II. New York, Routledge & K. Paul.
- Harper, P. O. & Pieter, M., (1981). Silver vessels of the Sasanian period. vol. I, Royal imagery. New York, Metropolitan Museum of Art and Princeton University Press.
- Harper, P. O., (1978). The Royal Hunter Art of the Sasanian Empire. New York, Asia Society.
- Herman, J., (1994). The revival of art and civilization in ancient Iran. Translated by Mehrdad Vahdati, First Edition, Tehran: Academic Publishing Center. [In Persian]
- Holmes Elsie., (1968). “A Sasanian Silver Bowl”. Bulletin of The Detroit Institute of Arts. 47 (2).
- Hosseyni Qazvini, Sh., (2013). Al-mujam fi Athar Muluk Al-Ajam. Edited by: Ahmad Fotuhi Nasab, Tehran: Cultural Artifacts Association. [In Persian]
- Jung, K. G., (2007). Man and his symbols. Translated by: Mahmoud Soltanieh. Tehran, Jami. [In Persian]
- Kruger, Y., (2016). Sasanian plaster decorations. Translated by Faramarz Najd Samiee, First edition, Tehran: Samt. [In Persian]
- Lakpur, S., (1996). Sefidrouy. First Edition, Tehran: Iran's Cultural Heritage Organization.
- Mousavi Haji, R. & Sarfaraz, A., (2016). Sassanian reliefs. First Edition. Tehran: Organization for studying and compiling humanities books of universities (Samt). [In Persian]
- Nowruz zadeh Chegini, N., (1988). “Mazandaran in the Sasanian era 3”. Journal of Archeology and History: 17-22. [In Persian]
- Panofsky, E., (1955). Meaning in the Visual Arts. New York, Doubleday Anchor Books.
- Pope, A. U. & Ackerman, F., (2008). Survey of Iranian art. The second volume. Sassanian metalwork and the beginning of the Islamic period. Translated by Najaf Daryabandari. Tehran, scientific and cultural. [In Persian]
- Pope, A. U., (1945). Masterpieces of Persian Art. New York, Dryden Press.
- Sarkhosh, V. K., (2016). Religious iconography in ancient Iranian coins. (Ancient scholar). Tehran: Aryarmena. [In Persian]
- Rajabi, P., (2004). The Lost Millennials. Vol. 5, Tehran: Tous. [In Persian]
- Rankinpour, H., (2003). Composition in painting. Translated by Farhad Goshayesh, second edition, Tehran: Lotus. [In Persian]
- Safar, F. & Mustafa, M. A., (1997). Hatra (Hazra) city of Khurshid. Translated by Nader Kariman Sardashti, Tehran: Cultural Heritage Organization. [In Persian]
- Schmidt, A. F., (2012). Excavations of Hesar Damghan hill. Translated by Kourosh Roostaei. First Edition, Tehran: Semnan General Directorate of Cultural Heritage, Handicrafts and Tourism. [In Persian]
- Serlo, Kh. A., (2018). The Culture of Symbols. Translated by: Mehrangiz Ohadi, Tehran: Dastan. [In Persian]
- Soudavar, A., (2004). Farah Yazidi in the ancient Iranian monarchy. Houston: America, Mirak. [In Persian]
- Sykes, S., (1994). History of Iran. first volume. Translated by Mohammad Taqi Fakhrdaei Gilani, Third edition, Tehran: Donyaye ketab. [In Persian]
- Tanabe, K., (1993). Silk Road Coins. The Hirayama Collection Kamakura, A Loan Exhibition at the British Museum Gallery 69 A.
- Werness, H. B., (2004). The Continuum Encyclopedia of Animal Symbolism in Art. London: New York, Continuum.
- Yarshater, E., (1998). The history of Iran from the Seleucids to the collapse of the Sassanid government. Volume 3, Section 2, Tehran: Amirkabir. [In Persian]
- Zamani, A., (1976). The influence of Sassanid art in Islamic art. Tehran: General Department of Writing, Ministry of Culture and Arts .[In Persian]
- Zare Abargouee, A., (2013). Royal ribbons in Iran from the beginning of formation (during the Medes until the end of the Sassanid period). Tehran: Research Institute of Humanities and Cultural Studies: 91-107. [In Persian]
- https://timelineauctions.com