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{{Short description|Art of the Sasanian Empire}}
[[File:Irnp105-Grobowce Naqsh-
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'''Sasanian art''', or Sassanid art, was produced under the [[Sasanian Empire]] which ruled from the 3rd to 7th centuries AD, before the [[Muslim conquest of Persia]] was completed around 651. In 224 AD, the last [[Parthia]]n king was defeated by [[Ardashir I]]. The resulting [[List of shahanshahs of the Sasanian Empire|Sasanian dynasty]] would last for four hundred years, ruling modern Iran, Iraq, and much territory to the east and north of modern Iran. At times the Levant, much of Anatolia and parts of Egypt and Arabia were under its control. It began a new era in Iran and [[Mesopotamia]], which in many ways was built on [[Achaemenid]] traditions, including the art of the period. Nevertheless, there were also other influences on art of the period that came from as far as China and the Mediterranean.<ref>Harper; Cotterell, 177–178;</ref>
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[[File:Iranian - Plate - Walters 57709.jpg|thumb|Silver plate, 6th century]]
Surviving Sassanid art depicts courtly and chivalric scenes, with considerable grandeur of style, reflecting the lavish life and display of the Sassanid court as recorded by Byzantine ambassadors. Images of rulers dominate many of the surviving works, though none are as large as the [[Colossal Statue of Shapur I]]. Hunting and battle scenes enjoyed a special popularity, and lightly-clothed dancing girls and entertainers
==Sculpture and rock reliefs==
[[File:The Colossal Statue of Shapur I.jpg|thumb
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Free standing sculptures are rare in this period, compared under the Parthians. The [[Colossal Statue of Shapur I]] (r. AD 240–272) is the single outstanding exception to survive.
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[[Naqsh-e Rustam]] is the [[necropolis]] of the [[Achaemenid dynasty]] (500–330 BC), with four large tombs cut high into the cliff face. These have mainly architectural decoration, but the facades include large panels over the doorways, each very similar in content, with figures of the king being invested by a god, above a zone with rows of smaller figures bearing tribute, with soldiers and officials. The three classes of figures are sharply differentiated in size. The entrance to each tomb is at the centre of each cross, which opens onto a small chamber, where the king lay in a [[sarcophagus]].<ref name="ReferenceA">Cotterell, 162; Canepa, 57–59, 65–68</ref> The horizontal beam of each of the tomb's facades is believed to be a replica of the entrance of the palace at [[Persepolis]].
Well below the Achaemenid tombs, near ground level, are rock reliefs with large figures of Sassanian kings, some meeting gods, others in combat. The most famous shows [[Shapur I]] on horseback, with the Roman Emperor [[Valerian (emperor)|Valerian]] bowing to him in submission, and [[Philip the Arab]] (an earlier emperor who paid Shapur tribute) holding Shapur's horse, while the dead Emperor [[Gordian III]], killed in battle, lies beneath it (other identifications have been suggested). This commemorates the [[Battle of Edessa]] in 260 AD, when Valerian became the only Roman Emperor who was captured as a prisoner of war, a lasting humiliation for the Romans. The placing of these reliefs clearly suggests the Sassanid intention to link themselves with the glories of the earlier [[Achaemenid Empire]].<ref>Herrmann and Curtis; Canepa, 62, 65–68</ref> There are three further Achaemenid royal tombs with similar reliefs at [[Persepolis]], one unfinished.<ref>[
The seven Sassanian reliefs, whose approximate dates range from 225 to 310 AD, show subjects including investiture scenes and battles. The earliest relief at the site is [[Elam]]ite, from about 1000 BC. About a kilometre away is [[Naqsh-e Rajab]], with a further four Sassanid rock reliefs, three celebrating kings and one a high priest. Another important Sassanid site is [[Taq Bostan]] with several reliefs including two royal investitures and a famous figure of a [[cataphract]] or Persian heavy cavalryman, about twice life size, probably representing the king [[Khosrau II of Persia|Khosrow Parviz]] mounted on his favourite horse [[Shabdiz]]; the pair continued to be celebrated in later Persian literature.<ref>Herrmann and Curtis; Canepa, 74–76</ref> [[Firuzabad, Fars]] and [[Bishapur]] have groups of Sassanian reliefs, the former including the oldest, a large battle scene, now badly worn.<ref>Herrmann and Curtis; Keall for the six at Bishapur</ref> At [[Barm-e Delak]] a king offers a flower to his queen.
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Sassanian reliefs are concentrated in the first 80 years of the dynasty, though one important set are 6th-century, and at relatively few sites, mostly in the Sassanid heartland. The later ones in particular suggest that they draw on a now-lost tradition of similar reliefs in palaces in [[stucco]]. The rock reliefs were probably coated in plaster and painted.<ref name="Herrmann and Curtis"/>
The standard catalogue of pre-Islamic Persian reliefs lists the known examples (as at 1984) as follows: [[Lullubi]] #1–4; [[Elam]] #5–19; Assyrian #20–21; Achaemenid #22–30; Late/Post-Achaemenid and Seleucid #31–35; Parthian #36–49; Sasanian #50–84; others #85–88.<ref>Vanden Berghe, Louis, ''Reliefs rupestres de l' Iran ancien'', 1983, Brussels, per [
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Many symbolic badges are found in the forms of various plant and animal figures in the reliefs and stuccos. They represent Zoroastrian deities.<ref>{{cite journal |last1=Rostami |first1=Houshang |last2=Aryamanesh |first2=Shahin |title=Investigation on Symbolic Badges in Sasanian Rock Reliefs and Stuccoes |journal=Archaeology of Iran in the Historical Period |series=University of Tehran Science and Humanities Series |date=2020 |pages=319–328 |doi=10.1007/978-3-030-41776-5_25 |url=https://link.springer.com/chapter/10.1007/978-3-030-41776-5_25 |publisher=Springer International Publishing |isbn=978-3-030-41775-8 |s2cid=219510557 |language=en}}</ref>
{|
! Figure
! Image
! Symbol of
|-
| [[Sacred lotus in religious art|Lotus]]
|
| ''[[Khvarenah|Farr]]'', [[Anahita|Anahid]]<ref name="Mousavi" />
|-
| [[Tree of life]]
| [[File:Relief plaque with confronted ibexes, Iran, Sasanian period, 5th or 6th century AD, stucco originally with polychrome painting - Cincinnati Art Museum - DSC03952.JPG|100x100px]]
| Abundance, [[immortality]]<ref name="Mousavi" />
|-
| [[Grape]]
| [[File:Anahita Vessel, 300-500 AD, Sasanian, Iran, silver and gilt - Cleveland Museum of Art - DSC08129.JPG|100x100px]]
| Blessing and fertility<ref name="Mousavi" />
|-
| [[Date palm]]
|
| Blessing and fertility<ref name="Mousavi" />
|-
| [[Pomegranate]]
|
| Blessing, [[Anahita|Anahid]]<ref name="Mousavi">{{cite journal |last1=Mousavi |first1=Rasool |last2=MehrAfarin |first2=Reza |title=Research on the most prominent Symbolic Plant Figures in Sassanid Stuccos (in Persian) |url=https://www.academia.edu/43335707 |language=en}}</ref>
|}
==Reliefs==
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==Stucco==
In addition to the rock reliefs, stucco reliefs played a major role in art under the Sassanids. Since stone brick buildings were conceived as ugly, they were covered in stucco. Within these stucco walls reliefs were often carved of mainly floral patterns, but also figurative representations and especially animals. Often important state buildings, such as palaces and administrative headquearers, would have been decorated as such, often colored white
==Paintings==
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At [[Bishapur]] floor [[mosaic]]s in a broadly Greco-Roman style have survived, and these were probably widespread in other elite settings, perhaps made by craftsmen from the Greek world.<ref>Keall for Bishapur; see Harper for other sites</ref>
<gallery>
File:Parte della composizione a più registri della sala cerimoniale (blu), pendjikent, sett. VI, cam. 41, angolo n.o., 740 ca. 2.JPG|Sections of wall-paintings from [[Panjakent]], c. 740
File:Relief plaque with confronted ibexes, Iran, Sasanian period, 5th or 6th century AD, stucco originally with polychrome painting - Cincinnati Art Museum - DSC03952.JPG|[[Stucco]] relief with confronted [[ibex]]es, 5th or 6th century, once with polychrome painting
File:Coupe de Chosroès.JPG|The so-called "Coupe de Chosroès", metal and [[hardstone carving|carved semi-precious stone]]
File:Bishapur zan, AO 26169.jpg|Mosaic at [[Bishapur]] of a musician playing an [[angular harp]]
</gallery>
==Architecture==
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[[File:Firuz abad iwan.jpg|thumb
The grandest buildings of [[Sassanid architecture]] were very large palaces in brick, with high vaulted halls, that were important in the development of the [[iwan]] in [[Islamic architecture]]. The Sassanids further developed the vaults and arches used by the Parthians, usually with a large opening to one side of the hall in iwan style.
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[[Taq Kasra]], the palace at [[Ctesiphon]], is dominated by an arched hall, with much of the enormous vault still standing. The facade is elaborately articulated with columns and niches which once bore paintings and reliefs.
The Palace of [[Firuzabad, Fars|Firuzabad]] (Iran) was built by [[Ardashir I]]. It is located on a small lake, which opens to the main arch of the structure. From that opening on both sides slightly smaller halls present are also curved. Behind the main arch is also a hall with a dome 22-meters high., with two domed rooms on either side. Behind these rooms, there is a surrounding courtyard which connects all around. The walls of the rooms are divided by niches and once had rich stucco decorations. The area around the palace was once a garden. The garden, palace, and lake were all built together and were at a time connected.<ref>{{cite web| title =Firuzâbâd - A Sassanian Palace or Fire Temple?| work =Vohuman.org| url =http://www.vohuman.org/SlideShow/Firuzabad/Firuzabad00.htm
===Urban planning===
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==Coinage==
[[File:Ardaschiri coin 3.jpg|thumb
[[File:Hormidzii.jpg|thumb
==Arts and crafts==
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A number of Sasanid silver vessels have survived, especially rather large plates or bowls used to serve food. These have high-quality engraved or embossed decoration from a courtly repertoire of mounted kings or heroes, and scenes of hunting, combat and feasting, often partially [[gilding|gilded]]. Ewers, presumably for wine, may feature dancing girls in relief. These were exported to China, and also westwards.<ref>Harper; Cotterell, 189–190</ref>
A special feature of Sassanid art is represented by shells of silver and gold, on the inner surface of which a scene is etched into a relief. About a hundred specimens are known of, which demonstrate the literary splendor of the court. Many come from excavations, but they are mostly chance finds. Many were found near the [[Ural Mountains]] in Russia and were likely traded in this area. The original purpose, function and authority of these shells therefore remains in the dark. Often, a ruler is shown at the hunt. He usually sits on a horse that moves in a flying gallop. He stands with his sword pointed at a dangerous animal such as a [[boar]] or [[lion]] or shooting a bow and arrow. The face often appears in three-quarter view.<ref>{{cite web| title =Shapur II| work =The State Hermitage| url =http://www.hermitagemuseum.org/html_En/03/hm3_5_4a.html|
There are also some peaceful representations that occur, such as depictions of
Another group of metal goods are present; richly decorated vessels whose shape may have been adopted from the customs of the Mediterranean.
<gallery>
File:
File:Anahita Vessel, 300-500 AD, Sasanian, Iran, silver and gilt - Cleveland Museum of Art - DSC08129.JPG|The "Anahita Vessel", c. 300-500, gilted silver: the female dancers may be Zoroastrian religious images or bacchantes, followers of the cult of the wine god Bacchus<ref>{{Cite web|url=http://www.clevelandart.org/art/1962.294|title = Anahita Vessel|date = 31 October 2018}}</ref>▼
▲File:Head of king Met 65.126.jpg|[[Silver-gilt]] head of a king, 4th century
▲File:Anahita Vessel, 300-500 AD, Sasanian, Iran, silver and gilt - Cleveland Museum of Art - DSC08129.JPG|The "Anahita Vessel", c. 300-500, gilted silver: the female dancers may be Zoroastrian religious images or bacchantes, followers of the cult of the wine god Bacchus<ref>http://www.clevelandart.org/art/1962.294</ref>
File:Woman and water buffalo rhyton, c. 600-700 CE, silver, Sasanian, Cleveland Museum of Art.JPG|[[Rhyton]] with female head and [[water buffalo]], c. 600-700, silver
File:MIK - Sassaniden Jagdschale.jpg|Silver partly [[gilding|gilded]] dish with the favourite subject of the king hunting, 7th century
</gallery>
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==Influence==
Sassanid art had a strong influence on the Islamic art of [[Persia]] and the wider Islamic world. Arches are one of the most characteristic elements of Persian architecture. Especially in Central Asia, such as [[Sogdiana]] the methods and customs of art are directly attributable to the Sassanids.<ref>{{cite web| title =Soldier on wall painting from Pendischkent in a heavily influenced Sassanid style| work =Kroraina| url =http://www.kroraina.com/ca/pict/ca18bg.jpg
Sasanian influences are found in medieval Byzantine textiles, jewelry, and architectural sculpture. A notable example of Sasanian-influenced decorative motifs can be found in the fifth- and sixth-century floor mosaics of [[Antioch]]. The Sasanian motifs did not appear before the fifth century in Roman-Byzantine art, but the impact was long-lived.<ref>{{cite book |last1=Hoffman |first1=Eva R. |title=Late Antique and Medieval Art of the Mediterranean World |date=9 February 2009 |publisher=John Wiley & Sons |isbn=978-1-4051-8207-2 |page=45 |language=en}}</ref>
It was mainly through textiles that heraldric motifs spread, although some mosaics as early as the 6th century from [[Antioch]] depicted the same motifs.<ref>{{cite web| title =Sacred Destinations| work =Antioch Mosaic Photos| url =http://www.sacred-destinations.com/turkey/antioch-mosaic-photos/ibexes-louvre-cc-Antiquite-Tardive-flickr.jpg.html|
==See also==
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==Literature==
*Canepa, Matthew P., "Topographies of Power, Theorizing the Visual, Spatial and Ritual Contexts of Rock Reliefs in Ancient Iran", in Harmanşah (2014), [https://books.google.
*Cotterell, Arthur (ed), ''The Penguin Encyclopedia of Classical Civilizations'', 1993, Penguin, {{ISBN|0670826995}}
* [[Kurt Erdmann]]: ''The Art of Iran in the Time of the Sassanids''. Berlin 1943, 1969
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==External links==
{{commons category|
{{Sasanian Empire}}
[[Category:Sasanian art| ]]
[[Category:Ancient Near East art and architecture]]
[[Category:
[[Category:Hellenistic art]]
[[Category:Iranian art]]
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