جستجوی مقالات مرتبط با کلیدواژه "lorestan bronzes" در نشریات گروه "هنر و معماری"

This article discusses the mythological interpretation of celestial patterns found on a starry bowl from the Iron Age Lorestan culture. Due to the abstract designs of Lorestan Iron Age bronzes and the lack of written sources, the interpretation of mythological patterns on these bronzes has been based on personal interpretations of researchers. The hypothesis of this research is that the religion and rituals of the Lorestan culture are connected to astronomy and celestial phenomena, and interpreting the celestial patterns on Lorestan bronzes can provide insights into their religion and rituals. The article focuses on a starry bowl with celestial patterns and Aramaic inscriptions, previously interpreted within the context of ancient Semitic cultures, but now being interpreted based on Indo-Aryan religions and ancient Iranian textual sources. The study is descriptive-analytical and relies on data collected from museum and library sources. According to the research findings, two sections, 4(a) and 8, have been identified with Ursa minor and Ursa major constellations and are symbolic of the cosmic balance pans, resembling a cosmic scale. Section 4(b), which embodies the ring and staff symbols representing the “pater” grade in the Mithraic ritual, has been identified with the celestial forms of 'Tishtrya/ Mirzam'. This section is considered as a symbol of the 'Gate of the ancestors' (= Pitri-yāna). In contrast, section 8 of the bowl is identified with the celestial form of ' Ursa major' and is considered as a symbol of the 'Gate of the Demons' or Hell. However, the most significant part of the bowl, the celestial pole at the center of bowl, is a symbol of the 'Gate of the Gods' (= Dēva-yāna). Those who, through their connection to the great secrets, return to their centers and the center of existence can pass through the 'Gate of the Gods', and attain eternity and become one with the unique essence of God. From the 'Gate of the Ancestors', they either return to the material world or experience gradual liberation through the levels of the heavens. Those who pass through the 'Gate of the Demons' or Hell are the ones who have returned to the material world more than three times. We have identified the two four-winged stars of sections 4(a) and 8 with the stars Tishtrya (= alpha Canis Major) and 'Spica'. They are considered as symbols of the two guardian dogs of the Chinvat Bridge and the cosmic scale. It appears that in Iranian tradition, the responsibilities of guarding the 'Gate of the Gods' and the 'Gate of the Ancestors' were assigned to the two deities ‘Mithra’ and ‘keyvân’ (Saturn). Based on some evidence, The Lorestan bowl is engraved with symbols related to pre-Zoroastrian tradition. On this bowl, the concepts related to gates are associated with "polar symbolism", unlike the Indian tradition in which the "Gate of the Gods" were related to solar symbolism and the winter solstice.

Abstract: This paper examines the formation of Lorestan bronzes and the effect of Gilgamesh the Mesopotamian myth on the Lorestan art. Surveying of the outstanding examples of many bronzes from the BC centuries in Lorestan shows that these people have been highly skilled in this profession and have been able to present their neighbors' culture with a particular artistic and elegant work. This research uses a descriptive-analytical method with an art history approach to link the Lorestan bronzes with Mesopotamian culture and myths and examines the flourishing period of Lorestan art. The purpose of this research is to investigate the role of Gilgamesh and its impact on Lorestan bronzes. The findings indicate that the ancestors of the Lor people, namely, the Caicos, have brought this art to their peak, given their racial characteristics and the time they ruled parts of the Mesopotamian lands. The results of this research show the long-standing relationship between the Caice and the Babylonians, the Sumerians, and the Assyrians. Gilgamesh, who is no longer an alien myth, but is associated with this people and plays an important role in the household instruments and instruments of donation and is considered as the main pillar of the art of Lorestan's bronze work. The work of Lorestan is the result of simple works that represent several centuries of the material revolution of the farmer and warrior. This art peaked in the fourth millennium BC. The significance of Lorestan's bronze work of art, the transfer of arts and ancestral traditions, the transfer of concepts and common religious issues, and the expression of the laws that have been admirable, heartbroken, admirable and admirable for all the tribes of the horseback rider, warrior and farmer of the old world. The Casits, creaters of these bronze works, in many of their beliefs, were influenced by the Mesopotamian culture and imitated them. And since most of these works have been obtained from cemeteries, it has been argued that Lorestan's bronzes has religious and mythic aspects. For this reason, Gilgamesh has embraced the Mesopotamian hero as a worshiping element. Gilgamesh , who is is a conqueror of giants and supporter of humans and animals, is the symbol of Mesopotamian epic and Mesopotamian hero , they considered him as a semi God in Sumer, Babylonia and Assyria, and is considered to be one of the gods in Lorestan, and most of all worshiped. With regard to historical, artistic and archaeological evidence, it can be concluded that the prevalence of Gilgamesh's role on the Lorestan bronze objects shows the influence of Mesopotamian civilization. And the role of the Gilgamesh in Lorestan has been a symbol of power, courage and humanity and a symbol of respect for animals and salvation of the earthly and the heavenly times.