The Spiritual Being in the Material World; The Reflection of Zoroastrian Tradition on the Iconography of Ohrmazd in Sasanian Rock Reliefs

With the foundation of Sasanian dynasty, the first fully anthropomorphic representations of Ohrmazd appeared in ancient Iranian art. He was depicted in eight rock reliefs at Firuzabad, Naqsh-i Rajab (2 scenes), Naqsh-i Rustam, Tang-i Chugan (2 scenes) and Taq-i Bustan (2 scenes) while investing a beribboned diadem to the Sasanian king. The iconography of Ohrmazd was not a new one and before Sasanian period in Commagene and Bactria, the image of Ohrmazd had mainly created by imitating Greek-Roman prototypes. But the iconography of Ohrmazd in Sasanian rock reliefs was different. He was completely depicted in Iranian artistic fashion, and in some scenes, he carried bundles of barsam. Barsam is an implement carry by priests in ceremonial rituals. However, Avesta reveals that barsam was not only use by priests, but also hold by some deities including Ohrmazd. In Aban Yasht, Ahura Mazda (Middle Persian Ohrmazd) praises Aredvi Sura Anahita with the barsam. There are still questions about the figure of Ohrmazd and the sources of his iconography in Sasanian rock reliefs. So it is significant to review Zoroastrian texts again and study whether they affect the iconography of Ohrmazd or not. By analyzing and comparing the characteristics and details of iconographical elements of Sasanian rock reliefs and also regarding Zoroastrian written sources, the authors try to find the origin of these artistic models and the reason why Ohrmazd carries a bundle of Barsam at Firuzabad, Naqsh-i Rajab, Naqsh-i Rustam and Taq-i Bustan investiture scenes. The results show that the iconography of Ohrmazd was especially modeled after the royal art and the king himself. Furthermore, Some Zoroastrian texts reveal that Ohrmazd incarnate in Gētīg (material world) as an Ahlaw man or a priest and probably Sasanian artists consciously depicting him while carrying barsam in his hand(s).