Tag: Iconography

  • The Significance of the Wreath in the Late Antique Orient

    The Significance of the Wreath in the Late Antique Orient

    Corfù, Nicolas Assur. 2025. Die Bedeutung des Kranzes im spätantiken Orient: zu Thronbesteigung, Kranzübergabe und Religionen im Sasanidenreich. Basel: Schwabe Verlag.

    The wreath first appears in funerary culture in the West and in Egypt. Later, it increasingly came to represent victory as well, deriving from the oriental nose-rope with ring, which was adopted and adapted into the West during Greece’s ‘Orientalizing Period’. In Sasanian iconography, the wreath was re-imported from the West: it now symbolizes victory, honor, or a funerary aspect.

    This book examines the wreath in East and West from its first appearance up to Late Antiquity. The author develops a new interpretation of the inscription ANRm-b and offers a novel reading of rock reliefs depicting wreath-giving, using a group-theoretical approach from mathematics: as an act of honoring a deceased predecessor of the commissioning Sasanian ruler.

  • Representations of Kingship in Pre-Islamic Central Asia

    Representations of Kingship in Pre-Islamic Central Asia

    Shenkar, Michael. 2025. Kings of cities and rulers of the steppes: Representations of kingship in pre-Islamic Central Asia (Schriften zur vorderasiatischen Archäologie 22). Wiesbaden: Harrassowitz Verlag.

    Kings of Cities and Rulers of the Steppes examines the iconography of Central Asian rulers from the Bronze Age to the Early Islamic period, focusing on the cultural, religious, and ideological messages conveyed through royal imagery. With over 650 illustrations (including 300 original drawings), Michael Shenkar traces the evolution of kingship and its iconography over time, highlighting Central Asia’s role as a meeting point for Iranian, Greek, Chinese, Indian, and Turkic cultures. Often referred to as a “crossroads of civilizations,” Central Asia provides a rich context in which these cultures interacted and influenced one another. By examining royal imagery as a historical and cultural source, this book uncovers the cultural complexities behind the kings who ruled the region’s rich cities and vast steppes. It uses these visual representations as a lens to explore the cultural, political, and religious dynamics that defined Central Asia’s heritage.
    A major theme of the book is the unparalleled diversity of ancient Central Asian royal imagery, which reflects both the political fragmentation of the region and the interactions between nomadic and sedentary populations. Shenkar also highlights the distinct feature of collective sovereignty found in many Central Asian and Iranian states. Post-nomadic royal clans such of the Scythians, Yuezhi, Huns, and Turks often utilized an ‘appanage system’, allowing rulers to express their identities by combining traditional symbols of power with unique elements that differentiated them from others. This book provides an ambitious, multi-century exploration of Central Asian kingship, offering new insights into the political and cultural significance of the region’s royal imagery

  • Les Céramiques Buff de Nishapur

    Samavaki, Sheila. 2021. Les Céramiques Buff de Nishapur: L’étude iconographique des céramiques polychromes à décor figuratif, IXe-Xe siècles. Editions KPD.

    En 1935, les fouilles entreprises par les chercheurs du Metropolitan Museum of Art de New York ont révélé une série de céramiques très caractéristiques dans les ruines de la ville médiévale de Nishapur au nord-est de l’Iran. Ces céramiques étaient particulièrement distinctives pour leur représentation de scènes à figures humaines, animales et d’oiseaux, souvent sur un fond jaune vif, agrémenté des couleurs vert, noir et parfois rouge. Du fait de la couleur beige-jaunâtre de leur pâte, elles ont été appelées céramiques animate buff ware ou céramiques polychromes (rangârang en persan) pour la variété des couleurs. Elles ont été attribuées à Nishapur aux IXe-Xe siècle.

  • The Image of the Zoroastrian God Srōsh

    Grenet, Frantz & Michele Minardi. 2021. The image of the Zoroastrian god Srōsh: New elements. Ancient Civilizations from Scythia to Siberia 27, 154-173.

    Sogdian ossuary from Samarkand, ca. 7th century AD photo: F. Grenet

    This paper presents new and decisive evidence relative to the identification of one of the colossal depictions of deities discovered by the Karakalpak-Australian Expedition (KAE) at Akchakhan-kala with the Avestan yazata Sraosha. Besides the therianthropic Sraošāvarez, the explicit Zoroastrian symbol that decorates the tunic of this god, new iconographic details are seen. One is the sraošō.caranā, which is a whip, “the instrument of Srōsh”, held in the hands of one of these “bird-priests” instead of the customary barsom. The symbols are presented and discussed in their historical context.

  • Religious Imagery in pre-Islamic Iran and Central Asia

    Shenkar, Michael. 2019. Religious imagery and image-making in pre-Islamic Iran and Central Asia. In Christiane Gruber (ed.), The image debate: Figural representation in Islam and across the world. London: Gingko.

    The Image Debate: Figural Representation in Islam and Across the World is a collection of thirteen essays which examine the controversy surrounding the use of images in Islamic and other religious cultures and seek to redress some of the misunderstandings that have arisen. Written by leading academics from the United States, Australia, Turkey, Israel and the United Kingdom, the book opens with an introduction by the editor Christiane Gruber, who sets the subject in context with a detailed examination of the debates over idols and the production of figural images in Islamic traditions. Twelve further articles are divided into three sections: the first deals with pre-modern Islamic practices and anxieties with image-making; the second addresses similar issues in Judaism, in Christianity during the Byzantine period, in pre-Islamic Iran and Central Asia, and in Hindu and Buddhist contexts in South Asia; and the third brings the reader back to Islamic lands with five articles examining traditions of figural representation in the modern and contemporary periods.

  • Wēś in Early Kushan Coinage

    Taasob, Razieh. 2020. Representation of Wēś in early Kushan coinage: Royal or local cult? Afghanistan 3(1). 83–106.

    Wēś on a coin of Huvishka (© American Numismatic Society, 1944.100.63654)

    The religious significance of Wēś is a widely debated topic in the historical and numismatic study of Central Asia, including contributions from several scholars who claimed that the representation of Wēś in early Kushan coinage, particularly in the coins of Vima Kadphises (ca. ce 113–127), was an allusion to the conversion of the king to Shivaism. This paper contests the claim that the certain attributes depicted with Wēś should not be construed as belonging to the Indian god Śiva or the Greek god Heracles. The royal portrait on the obverse of the coinage of Vima Kadphises shows the king taking part in the Iranian practice of sacrificing at a fire altar, which further supports the claim that the depiction on the reverse is of the Iranian god Wēś. This paper also challenges recent studies, which suggest that the representation of Wēś may have served only as a royal cult or merely to announce the personal faith of the king. Therefore, this account seeks to remedy this misconception by pointing to the absence of other types of coins used for normal transactions by ordinary people which could have likewise represented their religious cults. Consequently, this article shows that Wēś was a religiously syncretic phenomenon that displays the religious practice of all levels of Kushan society including both the king and the locals who were mostly Bactrian-Iranian during the early Kushan period rather than Indian.

  • Not the Queen Šābuhrduxtag but the Goddess Anāhitā

    Goddess Anāhitā at the investiture of Narseh (c. 293-303), Naqš-e Rostam, Fārs, Iran

    Tanabe, Katsumi. 2018. Not the Queen Šābuhrduxtag but the goddess Anāhitā: Identification of the female figure in the investiture scene of Narseh at Naqsh-i Rustam. Japan Society for Hellnistic-Islam Archaeological Studies 25. 9–26.

    The rock-cut relief depicting the investiture scene of the Sasanian King of Kings, Narseh (293-302) at Naqsh-i Rustam in southern Iran has been investigated by many scholars since the beginning of the twentieth century CE . As regards the iconography of this relief, one of a few problems that have not yet gained scholarly consensus is the identification of the female figure depicted on the viewer’s rightmost side of the relief.

    Currently there are two major hypotheses as regards the identification. One of them is to identify the female figure as the Zoroastrian goddess of water, Anāhitā (Arədvī Sūrā Anāhitā). The other is to identify it as the queen of Narseh, Šābuhrduxtag (Shāpuhrdukhtak).

  • The Monumental Reliefs of the Elamite Highlands

    Javier Álvarez-Mon. 2019. The Monumental Reliefs of the Elamite Highlands: A Complete Inventory and Analysis (from the Seventeenth to the Sixth Century BC). Eisenbrauns.


    The Monumental Reliefs of the Elamite Highlands documents and analyzes for the first time a corpus of eighteen monumental highland reliefs from the Elamite civilization in ancient Iran, which—hitherto preserved by their remote location and anonymous existence—have recently become imperiled by an influx of tourists and the development of the surrounding landscapes. With this book, Javier Álvarez-Mon aims to safeguard this important part of Iran’s cultural heritage.
    The eighteen reliefs presented in this volume are spread across the valley of Izeh/Malamir (Xong-e Azdhar, Shah Savar, Shekaft-e Salman, and Kul-e Farah), the Ghale Tol plain (Qal-e Tul), the Mamasani Fahliyan river region (Kurangun), and the Marvdasht plain (Naqsh-e Rustam). In his analysis of these reliefs, Álvarez-Mon draws from the complementary disciplines of art history and archaeology, giving equal weight to the archaeological context of these artifacts and traditional methods of artistic analysis in order to determine the nature and significance of each artifact’s form and theme. At the same time, the book’s dual emphases on ritual-religious and aesthetic-ecological phenomena respond to the contemporary challenges of the dissociation of human existence from nature and the commodification of the environment on an unsustainable scale, presenting the preservation of this remarkable corpus of monumental art as a matter of urgency.


    Richly illustrated with hundreds of color photographs and line drawings, The Monumental Reliefs of the Elamite Highlands is sure to become an invaluable reference to scholars who study the Elamite and other ancient civilizations.

  • A Seal Imprint from Old Nisa and the Iconography of Mithra

    Sinisi, Fabrizio. 2017. A seal imprint from Old Nisa and the (Apollonian) iconography of Mithra. Studia Iranica 46(1). 9–30.

    A seal impression from Old Nisa / Mithradatkart bearing the image of a deity is reexamined. It is suggested that the figure is depicted in the guise of Apollo in order to portray the Zoroastrian god Mithra. Other images of Apollonian derivation are discussed to track the iconographic development of the solar traits of Mithra.