مطالعۀ باستان شناختی نقوش الهه آناهیتا بر روی گچبری دوره ساسانی

هنر گچ‌بری دورۀ ساسانی در تاریخ هنر ساسانیان از اهمیت بالایی برخوردار است، زیرا این هنر صرفاً به‌منظور تزئین بناها نبوده؛ بلکه ایجاد آن‌ها با اهداف سیاسی و مذهبی نیز همراه بوده است. کاربرد هنر گچ‌بری این دوره را می‌توان در تزئین تاق‌ها، پایه ستون‌ها، ساقه‌ستون‌ها، سرستون‌ها و تزئینات الحاقی مربوط به دیوارها و جرزها ملاحظه نمود. یکی از مهم‌ترین موضوعات هنر گچ‌بری در دورۀ ساسانی، نقوش الهه آناهیتا است که در محوطه‌هایی چون: حاجی‌آباد، بندیان درگز، تیسفون، کیش، شوش، تپه حصار و چال‌ترخان به‌دست آمده‌اند. باوجود این‌که مطالعۀ محققان و باستان‌شناسان مختلف برروی آثار گچ‌بری دورۀ ساسانی از اوایل دهۀ 1930م. انجام‌شده است، اما تاکنون درمورد تعیین‌هویتِ مجسمه‌ها و پلاک‌های گچی الهه آناهیتا و نمادهای مرتبط با آن، پژوهش‌های اندکی صورت‌گرفته است؛ لذا هنوز جنبه‌های مبهمی درمورد اهمیت و نقش الهه آناهیتا در هنر گچ‌بری دورۀ ساسانی وجود دارد. در این مقاله، پرسش‌هایی بدین‌شرح مطرح می‌گردد: 1. اوج نمود الهه آناهیتا به‌شکل نقش زن برروی گچ‌بری‌های دورۀ ساسانی مربوط به چه بازۀ زمانی در این دوره است؟ 2.گونه‌شناسی مربوط به نمود انسانی الهه آناهیتا برروی گچ‌بری‌ها شامل چه مواردی می‌شوند؟ 3. چه ملاک‌هایی برای تعیین هویت مجسمه‌ها و پلاک‌های گچی الهه آناهیتا می‌توان مدنظر قرار داد؟ با مطالعه برروی نقوش گچی الهه آناهیتا از محوطه‌های مذکور، به روش کتابخانه‌ای توصیفیتحلیلی، می‌توان گفت که اوج نمود الهه آناهیتا و نمادهای مربوط به آن در سده‌های چهارم و به‌خصوص پنجم میلادی بوده است. نقوش گچی الهه شامل: مجسمه‌های تمام‌قد، پلاک‌های گچی از نیم‌تنه و نمادهای گیاهی مربوط به آناهیتا است. گیاهان نمادین مربوط به الهه آناهیتا شامل: گل نیلوفر(لوتوس)، زنبق، نیم‌پالمت‌ها و میوۀ انار است. نقوش الهه آناهیتا همراه با روبان‌های برافراشته، تاق با ستون‌نماهای جانبی، کوزۀ آب، هالۀ نور دور سر و حلقۀ قدرت در دست است.

Archaeological Study of the Anahita Goddess Motifs on the Stucco of the Sassanid Period

The stucco art in the Sassanid period is of great importance in the history of Sassanid art, because this art was not only to decorated buildings but also to created them for political and religious purposes. The application of stucco art of this period it can be seen in the decoration of arches, pillar bases, column stems, capitals and additional decorations related to corner of walls. One of the most important subjects of this art in the Sassanid period is the motifs of the goddess Anahita and related symbols that have been obtained in sites such as: Hajiabad, BandianDargaz, Ctesiphon, Kish, Shush, TepeHessar and ChalTarkhan. Although the study of various researchers and archaeologists on the stucco of the Sassanid period began in the early 1930s, but so far little research has been done on the identification of gypsum sculptures of the goddess Anahita. Therefore, there are still unknown aspects about the importance and role of the goddess Anahita in the stucco art of the Sassanid period.In this article, the following questions were asked: 1.What time the goddess Anahita appeared in the form of woman on the stucco of the Sassanid period? 2.What are the typologies related to the human incarnation of the goddess Anahita on the stucco of the Sassanid period? 3.What criteria can be used to identify the statues and plaster plaques of the goddess Anahita? By studying the gypsum designs of the goddess Anahita from the mentioned sites, by descriptiveanalytical library method, it can be said that the peak incarnation of the goddess Anahita was in the fourth and especially the fifth centuries AD. Plaster motifs of the goddess Anahita also include: fulllength statues and bust plaques of the goddess Anahita and related plant symbols. Symbolic plants related to the goddess Anahita include: lotus flower, half palmettes and pomegranate fruit. The goddess Anahita is depicted with raised ribbons, an arch with side pillars, a jug of water, a light around her head, and a ring of power.Keywords: Sassanid Period, Stucco Art, Gypsum Motifs, Anahita Goddess, Symbolic Plants.IntroductionAnahita is one of the highranking goddesses in the Zoroastrian religion who is constantly mentioned and praised in Avestan and Pahlavi texts. The history of the presence of this goddess in Iran dates back to preZoroastrian times, which is known as one of the preZoroastrian gods. During the Sassanid period, major changes took place in the Zoroastrian religion, which was in line with the political goals and interests of the priests and kings. The status of the goddess Anahita rises during the reign of Nerse (303293 AD), and the royal Dihim it gives to the Sassanid emperor that the Sassanid kings to receive from Ahura Mazda previously. Lack of archaeological studies on gypsum works has caused them to be mistakenly introduced as Christians or Sassanid princes in cases such as the gypsum plaque of the goddess Anahita in Susa or the halfplated plaques on Hesar and Ctesiphon. Therefore, the lack of studies and the lack of diagnostic criteria for the goddess Anahita, has caused problems in some cases to distinguish the designs of the goddess Anahita from the designs of women or princes of the Sassanid period in the subject of stuccoes. Therefore, there are still vague and unknown aspects about the importance, position and role of the goddess Anahita in the stucco art of the Sassanid period. In this article, by describing, comparing and typology of gypsum sculptures and plaques of the goddess Anahita and related symbols, the criteria for distinguishing such motifs are also discussed. The research in this article is library method in the descriptiveanalytical form. In this research, all the published information about gypsum motifs attributable to the goddess Anahita was studied, which it have been obtained from the Sassanid sites of Hajiabad, Bandian Dargaz, Shush, HongE Norouzi, Tappeh Hissar, Umm AlZaatar, AlMa’aridh IV and Kish. In the next step, a detailed description of gypsum motifs of the goddess Anahita is done and then a comparison of these gypsum motifs with the motifs of the goddess Anahita on other works of art such as: rock reliefs, metal wares and seals are discussed. The criterion of analysis in this article is the accuracy in the details of the motifs of these fullheight gypsum sculptures and busts of the goddess Anahita and the associated symbols, which it was indicated differences between the motifs of the goddess Anahita and related symbols with other motifs of gypsum statues in the Sassanid period. Research FindingsThe research findings are includes the designs of the goddess Anahita and related symbols on the stucco art of the Sassanid period. These motifs are includes: 1. Fulllength plaster sculptures and plaques of the goddess Anahita in the sites of Hajiabad, Bandian Dargaz, Shush, HongE Norouzi, 2. Busts of the goddess Anahita inside square and round frames (plaques and medallions) in the sites of Tappeh Hissar, Umm AlZaatar, AlMa’aridh IV and Kish, 3. Plant and animal motifs As a symbol of the goddess Anahita. In the Hajiabad site, gypsum statues of the goddess Anahita have been found in the form of clothing and naked. A very similar example of the goddess Anahita statue with clothing can be seen in the relief of Nerse in the Naqshe Rostam. The motifs of the goddess Anahita with a pot of water in her hand have also been seen among the stuccoes of Bandian Dargaz site. A very similar example to this plaster sculpture can be seen in the motif of the goddess Anahita with a pot of water in her hand in the great arch of Taqe Bostan. In Shush, a gypsum plaque with the motif of the goddess Anahita with hijab can be seen inside the arch with side columns. Among the Honge Norouzi, a broken statue of a naked woman measuring 80 x 40 cm can be seen. This piece is completely similar to the plaster motifs of the naked Anahita goddess in Hajiabad, Fars. In the Sassanid palace of Tepe Hissar, Umm AlZaatar, AlMa’aridh IV and Kish gypsum plaques have been obtained, which consist of decorative margins of halfpalmet plant motifs and lotus flowers with a busts of female Anahitta Godess in the center. ConclusionArchaeological evidence shows that the human representation of the goddess Anahita on Sassanid art dates back to the time of Nerse and in the Naghshe Rostam rock relief, and later kings created the motif of the goddess Anahita from the fourth century, especially the fifth century AD. Therefore, the peak of gypsum motifs is related to the goddess Anahita in the fourth century and especially in the fifth century AD. The diagnostic criteria of the goddess Anahita were included: a pot of water, ribbons raised from behind the goddess, a circle of light around the head and a ring of power in the hand. Symbolic plants of the goddess Anahita can be mentioned bedding patterns, lotus flowers, iris flowers, halfpalmettes (palm leaves) in the shape of wings and pomegranate fruit. These plant motifs have been used in the stucco art of the Sassanid period separately and in combination with each other. The only animal motif that is attributed to the goddess Anahita on the Sassanid stucco is the gypsum motifs of cows, which are limited to Hajiabad and Kish sites.