مطالعة تطبیقی نماد «iyi» در ایران و بین‌النهرین با نقاشی‌های تصلیب حضرت عیسی (ع) در اروپا تا اوایل سده شانزدهم میلادی

نماد‌ها همواره از راه‌های بیان اندیشه‌ها و عقاید آیینی، دینی و مذهبی در آثار هنری بوده‌ است. اگرچه صلیب، مسیحِ (ع) و دین مسیحیت را به ذهن متبادر می‌کند، امّا نقش صلیب، نشانۀ بسیاری از مفاهیمی است که سابقه آن به بین‌النهرین باستان می‌رسد. هدف از این مطالعه، شناخت وجوه تشابه و تمایز گونه‌ای از نماد مرتبط با صلیب به شکل «iyi» در بین‌النهرین، ایران و نقاشی‌های تصلیب حضرت عیسی (ع) در اروپاست. این پژوهش به روش توصیفیِ تحلیلی، با رویکرد تطبیقی و با استفاده از مطالعات کتابخانه‌ای و مشاهدة آثار انجام‌شده است. نتایج این پژوهش نشان می‌دهد که کاربرد نماد صلیب با نگاهی دینی، آیینی و تزیینی، وجه مشترک تمدن‌های مورد مطالعه بوده است. همچنین سوابق تاریخی نماد صلیب و نماد «iyi» در فرهنگ شرقی بیشتر از اروپاست. ریشه‌های این نماد را می‌توان در نقش برجسته‌ها و مهر‌های استوانه‌ای در بین‌النهرین و ایران مشاهده نمود. نمونه‌های کاربرد نماد «iyi» در ایران به مفرغ‌های لرستان و مهرهای دوره هخامنشی و نقوش صخره‌ای مربوط می‌شود. تعدد آثار موجود نشان می‌دهد که نماد صلیب در فرهنگ مسیحیت نمود بیشتری داشته است و هنرمندان مسیحی موفق شده‌اند که نماد «iyi» را با تغییراتی در ترکیب‌بندی نقاشی‌های تصلیب به ‌کار گیرند و آن را به نماد دین مسیحی تبدیل کنند.

a comparative study of the iyi symbol in iran, mesopotamia, and european paintings of jesus’ (pbuh) crucifixion until the beginning of the 16th century

symbolic concepts and symbols have always been essential for expressing ritualistic and religious thoughts in artworks. chalipa, or the persian/aryan cross, is a symbol rooted in ancient mythology. this symbol is strongly connected to mithraism and attributed to the aryan people and the territory of iran. although the cross often brings to mind christ (pbuh) and the christian religion, its pattern embodies numerous religious and ancient concepts that date back to mesopotamia and iran. the cross in christianity symbolizes the sacrifice of jesus christ (pbuh) and his crucifixion for humanity’s salvation. even the act of drawing the sign of the cross represents the holy trinity, and in religious ceremonies, it is regarded as a prayer by the priest. christian tradition has greatly enriched the symbolism of the cross, embedding it within the history of salvation and the savior’s sufferings. thus, in european paintings, the crucifixion of christ (pbuh) has become a significant and enduring motif in western art.the cross is one of the archetypal symbols appearing in various forms across human civilizations. in fact, it has taken on different forms in cultural and religious contexts. the y cross, also known as the forked cross, is another christian symbol. this cross gained popularity in western european paintings starting in the 13th century and eventually spread to other parts of the world. moreover, the discovery of the iyi cross symbol in the rock art of the khomein region—and its widespread occurrence in many locations across iran—demonstrates a continuity of cultural roots shared globally. these symbols are more abundant and often older in iran compared to other regions. the iyi symbol, also known as homaye saadat in iranian tradition, is a universal motif found in the petroglyphs of the timreh region. dating back to 2300 bce, this symbol was used in iranian civilization as homaye saadat. in the west, it is similarly interpreted as a divine reference. because of its symmetry, the symbol may be linked to a prayerful theme, suggesting: may god grant me happiness in this world and the afterlife. this symbol predominantly appears in cave and mountain paintings in iran. additionally, traces of the iyi symbol have been observed in various parts of the world, including southern england, italy, bulgaria, the czech republic, romania, central asia, and the caucasus. it is a revered symbol among christians and jews in europe.the similarity of these symbolic signs is evident in bulgaria’s mud inscriptions, flags, kolah ghabr khan-e kubart (a bulgarian emperor’s relic), varnai stone inscriptions, pliska inscriptions, ivanovo church wall paintings, and artifacts like the doors of the great pope’s church, roman catholic church art, and coins discovered in southern england. similarly, this symbol has been found in iran’s tomb of sheikh safiuddin ardabili (in islamic-period architecture), on the tombstones of qashqai nomads, and in the mountains surrounding khomein, golpayegan, marlik, and shahrekord cemeteries. furthermore, two montages featuring this symbol are located in niavaran palace.the purpose of this research is to explore the origins of the iyi cross symbol in mesopotamia and iran and uncover the relationships and influence between iranian and christian art. this study employs a comparative approach within the framework of jung’s theories. the research method is descriptive and analytical, relying on data collected from document reviews, field studies, and observations of related artworks from mesopotamia, iran, and european paintings. the collected data have been analyzed qualitatively.findings from this study reveal that the cross predates christianity, with origins tracing back to early human civilizations. according to researchers, the cross is a universal symbol representing spirituality and the ideal human form. therefore, the chalipa is not exclusive to aryan or christian traditions but has appeared as a universal symbol in the cultures of mesopotamia, sumer, china, india, the celts, and greece. the y cross and the iyi symbol in mesopotamian art are often depicted in non-abstract forms and can be recognized within human and animal figures. for instance, a bas-relief of the goddess ishtar from the early babylonian civilization (18th–19th centuries bce) portrays a winged female figure with outstretched arms, flanked symmetrically by owls at her feet. although her posture does not fully form a y shape, similar patterns appear in representations of gilgamesh and the animal gods of mesopotamia and iran, forming the iyi template.archaeologists suggest that lorestan bronze idols resemble gilgamesh, the legendary mesopotamian hero, often depicted holding two lion cubs or similar animals. ghirshman theorizes that these idols represent the god soroush, symbolizing justice and serving as a reminder of the animal gods. the primary form of these idols closely aligns with the iyi symbol, featuring a y-shaped figure with symmetrical animals. decorative variations in the idols emphasize curves in animal bodies, while nazri bronze plates and cylindrical seals reveal correspondences with the iyi motif. achaemenid-period cylinder seals also display the evolution of ishtar’s figure into the iyi symbol. for instance, an achaemenid king is depicted as an animal god in designs aligning with this template.the results of this research highlight the cross’s widespread use as a religious, ritualistic, and decorative symbol across studied civilizations. historical records show that the cross and the iyi symbol are more prevalent in eastern cultures than in europe. traces of these symbols appear in mesopotamian and iranian reliefs, cylindrical seals, and other artifacts. examples from iran include lorestan bronzes, achaemenid seals, and rock art, illustrating how these symbols transitioned into christian art. christian artists incorporated the iyi symbol into compositions of christ’s crucifixion, transforming it into a distinct christian religious symbol.