مجله هنر و تمدن شرق
پیاپی 22 (زمستان 1397)

Long waving ribbons are one of the specifications of art in Sassanid era which besides power ring and royal crown can be found also on clothes and shoes, horse and king’s bow and the cloth of goddesses as well as some animals, objects and plants. The ribbons have been replaced by wing in the power ring and they should be associated with heavenly forces. The goal of Sassanid antiquities was showing power and triumph of the king and its legitimacy via royal glory. The continuity of glory in the king and its promotion depended on victory in war and hunting. Glory in Sassanid era was understood as fortune and destiny. Wind Goddess better known in Sassanid era as “Vay Dirang Khoday” was one with the time and space and had deemed to have a key role in the creation. It was also considered to be united with the sphere. Thus it was intertwined with fortune and destiny. “Vay” is associated with the glory and goddesses who bring glory and sustain it. “Vay” was the goddess of war and terminator of diabolic entities. It was also rain bringer and bounty endower. Then, it helped the king in his war, hunting, personal affairs and bounties. Thus, “Vay” had been related with glory, its preservation and promotion and was considered to be a proper symbol to be replace by wing.

Mitra is one of the oldest myths in Iran. As this belief has directly influenced many traditions and religions, it has aroused the interest of several national and western authors. The effect of Mithraism on Zoroastrian, Christianity, Judaism, and some Islamic and oriental mystics has been investigated. In the antiquity, the mysterious Mithraism directed toward West from Iran, its origin, by militants and warriors. Warmly welcomed, many Mithraeums were built throughout Roman Empire from Turkey and the current Syria to Germany, Poland, Italy, and France. Western Mithraism focuses on the theme of Holy “Cattle Slaughtering” painting and relief in all Mithraism temples; whereas, Mithraism is different in its home land, Iran. During the Sassanid period, the signs of Mithraism began to fade away when Zoroastrian religion was formally recognized. Almost all Mithraism temples were turned into Zoroastrian fire temples where Ahura Mazda, the only god, was accompanied with Mitra and Nahid. However, Mithraism survived and its traditions penetrated into the new religion so much so that Mitra (god of Mehr) accompanied Ahura Mazda. With the arrival of Islam, following Sassanid, fire temples became Islamic holy places and Mithraism customs continued to evolve through transformation in Islamic traditions. Historical misfortunes and religious transformations in the form and the performance of Mithraeums ruined almost all independent Mithraism temples in Iran; while, Mithraeums turned into churches in the west and many Mithraism beliefs spread in the formalized Christianity. However, within the area of the Plateau of Iran, there were some parts such as Armenia underwent the least modifications comparing the central area. Many signs of Iranian Mithraism can be easily seen in Armenian Christianity. Iranian and western Mithraism shares many commonalities; although, there can be seen some fundamental differences1. The effect of Mithraism on Christianity, makes a distinction between western Christianity and Christianity in the Plateau of Iran (Armenia)2. Therefore, the present research attempts to study the differences between Iranian and Western Mithraism based on the Mithraism signs and symbols in various decorations.

Kalmakare Cave was discovered in 1989. The ancient objects have been exhibited in the National Museum of Iran, museum of Falak-ol-Aflak, Illam, Tabriz, and international museums of Louvre, Britain, New York Metropolitan Museum, Miho Museum in Kyoto, as well as private collections. Archeologists and historians have been largely interested in Kalmakare due to a large number of golden and silver objects attributed to Kalmakare, the elegance, art, and innovative technologies of the so-called objects dating back to the local reign of Samatoureh in Neo-Elamite period. Kalmakare treasure is known as the world’s sixth largest treasures. Scholars have mainly focused on reading the inscriptions, and introduced dishware, silver human and animal sculptures, as well as golden masks, and conceptually analyzed symbolic and mythological motifs in Kalmakare. This research seeks to develop a new approach to analyze the function of the cave’s indoor and outdoor space through using a historical-analytical method with reference to Kalmakare’s etymology. In doing so, this paper is an attempt to understand whether Kalmakare has been the place for the treasure of Smatoureh local rulers or Achaemenid kings; and whether Kalmakare have served the ritual function such as Mithraism due to its human geography. So far, no similar research has been conducted in this area. Thus, testing the Mithraism hypothesis of Kalmakare requires a deep reflection on Loni Deger views. Hence, the present research is an investigation of the ritual function of Kalmakare.

The Aryan God, great Mehr, symbolizing the light and sunshine, the real warriors helper, and god of covenant and promise was highly respected in Iran and India such that it was worshiped along other Indian gods.
After the advent of Zoroaster, Mithra, goddess of sun, had been assigned to the assistant of Ahura Mazda and survived along with Anahita, divinity of waters and god of fertility. In Islamic period, Mithraism has been transformed in to a new tradition and culture as it can be currently seen. Mithraism has penetrated into the West during Parthian and Sassanid eras so that it has been known as the official religion of Roman Empire for almost 5 centuries. Accordingly, it also greatly influenced the Christian culture and art.

Spiritual and exalted viewpoint towards the light is an issue which can be observed among various Iranian religions and rituals According to this point of view, the light has metaphysics origin and spiritual nature and is holy. The sun was the God of light and brightness in ancient religions and was really important in the Zoroastrian religion and Islam. In Islam, it has been said that Quran is the light of the earth and sky. Therefore, the light has been considered as the spring of the all being, which renew the entire world during various time and religions. This element has been always in Iranian culture and in fact it shows the eminent and spiritual world and its exalted and holiness values have been spread throughout this culture associating the past to the present.
This article tried to highlight the importance and the concept of the holiness element in Iranian culture and the way it has been handed down to new generations through the time.

Although Islam has forbidden painting and the harsh treatments that existed in the early centuries of the emergence of a new religion, Iranian painting was preserved and transferred along the Silk Road to China by the Uyghur people who converted to Mani religion.
Most of these paintings have obvious similarities to the animals of the Sassanid silver plates. Therefore, the question is how, after many centuries, Iranian paintings are instantly discovered in these works? It seems that the answer to this question should be sought in the late years of the Sassanid era and converting Uighurs to Mani religion.
Hypothesis: after Mogols’ invastion and regarding the power of Uighurs in their court, Iranin painting obtained its position and survived such that it reached to its peak during the government of Shahrokh, the Timurid king.
Research This research is a comparative comparison between the remained works of Sassanid, Ilkhanid and Teimuri periods. The aesthetics of Iranian painting in Sassanid era transferred to Uyghur dominated areas by the Manichaean immigrants. Uighurs, by maintaining the principle of Iranian miniature during the Shahrokh government, the Timurid king, developed this style of painting and reached it to its peak.