مُهر دو رویۀ هخامنشی تخت‌جمشید

مهم ترین راه شناخت بشر در ادوار گذشته، مطالعه و پژوهش برروی آثار به یادگار ماندۀ آن هاست و ازجمله آثاری که سهم بارزی در شناسایی فرهنگ و تمدن و بسیاری از مسائل گوناگون ادوار کهن ایران زمین داشته، نقوش مُهرها و آثارمُهری است. مطالعات این گونه داده ها، سال ها و بارها موردتوجه پژوهشگران باستان شناس و مورخ قرار گرفته و مقالات و کتب بسیاری درمورد این مقولۀ بی پایان منتشر شده است؛ چراکه مُهر و نقش آن پاسخ گوی برخی از پرسش ها، عامل جهت گیری صحیح تعدادی از پرسش ها و مطرح شدن پرسش های جدیدی در رابطه با مسائل اجتماعی، اقتصادی و ادراکات مردمان گذشته است. در برخی نقوش، هنرمند جهانِ خود را توصیف می کند و این گونه توصیف درحقیقت استفادۀ بهینه از نمادهاست. در موزۀ تخت جمشید مُهری سیاه رنگ وجود دارد که تفاوت اساسی با دیگر مهرهای منسوب به دورۀ هخامنشی دارد. این مُهر مسطح دو سو نقشی است که کمتر در هنر مُهرسازی مشاهده شده و در مُهرسازی هخامنشی نیز تاکنون منحصربه فرد است. این مُهر برای نخستین بار با در نظر گرفتن معیارهای مختلف مانند سبک هنری و نیز تفسیر نمادها، منتشر و مورد بازخوانی و ارزیابی قرار می گیرد. هدف اصلی در این مقاله، مستندسازی و معرفی نمادهای این مُهر است. همچنین نگارنده بر این است که با روش توصیفی-تحلیلی و با استفاده از منابع معتبر کتابخانه ای بعد از توصیف کامل این مُهر به چند پرسش دربارۀ این مُهر پاسخ دهد. نخست اینکه نقوش حک شده برروی مُهر با چه مفاهیمی به کار رفته است؟ چگونگی منشا شناسی این نمادها و اینکه این اشکال، زاییدۀ افکار و باورهای هخامنشیان بوده و یا نه، میراثی از یک فرهنگ بسیار قدیمی است؟

Bilateral Seal Achaemenid of Persepolis

AbstractThe most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are seals. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the seal and sealing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black seal that differ substantially from other Achaemenid seals. This bilateral seal is a lesserknown role in the art of molding and is unique in Achaemenid molding. This seal is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this seal; the author will also answer a few questions about this seal by using descriptiveanalytic methods and by using authentic library resources after fully describing this seal. First, what are some of the concepts used on the engraving on the seal? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?Keywords: Seal, Achaemenid, Persepolis, Symbol.IntroductionOn the occasion of the plan of organizing the repositories of the Persepolis museum in the summer of 2015, I had a black seal on a meeting in august of that year. This seal had differences A doublesided stamp seal that is unique in the Achaemenid period. On the other hand, the seals have a special place among the represent the customs, habit and believes of a people and also showcase history, religion, philosophy and art alongside administrative. Social management for centuries, these motives are rooted in ancient Iranian civilization and sometimes influenced by neighboring nations. This portable data has also spread art and culture to other lands due to its use in commercial exchanges, office letters and political relationships. The main purpose of this article is to document this seal and to interpret the emblems that have reached the Achaemenid from the distant past. Recorded in the Persepolis museum of bilateral seal No. 1267. It has a diameter of 15 mm and a thickness of 9 mm. It is made of stone and its location is Persepolis. There are three distinct roles on the seal. First the man sitting and holding a bowl in his hand and a flower in his other hand. The second is the cedar tree behind the man, and the third is censer in front of the man. The man is Probably a king with a short crown, the hemisphere is like the Achaemenid image.Identified TracesThree separate images can be seen on the seal, first is the man sitting and holding the wine cup in one hand and the flower in the other the second is the cedar tree behind the man and the third the udsuz in front of the man.The man is probably a king with a short crown with several congresses, it is depicted from the half face like the other Achaemenid image, the crown is similar to the Ahura Mazda round Cap. On the king’s seal has the original image and the role of cendar and is quite marginal.Beneath the crown of hair, curly like all the motifs of persepolis the forehead and back, the king’s face wide and his eyebrows reached the ears, the nose is delicate, long and straight, lips are up and drinking and beard shorter than persepolis motifs but curly, the king’s eyes look great. The king’s neck was proportioned to the body, part of which was nuder the dress, the king’s hands are long and stretched and he looks thin. The king has a lotus flower in his left hand with a bud in his right hand corner, like Darius in the Naghshe Baram. The branch of the flower is tall and its end protrudes from the king’s hands. The king has a large wine cup in his right hand that lifts it up or closes it. The king’s waist is slender and its curvature is quite evident, and the belt is wrapped in two rows around the king’s waist. The king’s feet are on the ground and parallel to the base of the chair. The king’s Boot is a long boot with twisted straps that are not simple in the designs attributed to king Boots, but a simple shoe. Behind the king is a small triangular cedar, there are ten rows of branches on the left and eleven branches on the right of the cedar tree. The branches have all gone upwards and look like praying hands.It is noteworthy that most tree motifs are on the palm tre seal and less than the cedar tree. Lion painted on a young and very angry seal seems to be a characteristic of most of the lions imprinted in the Achaemenid period. The body of lion is soft and agile, his head turned back. The hands and feet are in a relaxed gait so that the lion triumphantly moves forward the bird on the seal is Dorna that wing has been opened it seems that the artist insisted on drawing the head and neck of the Dorna so as not to induce the role of the Farrah.ConclusionPrehistoric believes of Iranian ethnicity have had such a broad role in shaping Iranian art that it is still visible in many works of art, an example is the seal studies. At a time when most of the seals built during the Achaemenid period are cylindrical, a bilateral seal imprinted on Persepolis is the most famous and important Achaemenid city, all the carved motives on it reflect the millennial believes of the Iranian people, some of which still have the same implicatins for contemporary people. None of the motives were devised by the Achaemenid artist, rather, old concepts in a new way with new technology and sophistication are on the seal.