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.