śyena, orthography, Sasanian iconography
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S. Kalyanaraman
Nov 23, 2011, 12:34:49 AM11/23/11
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http://bharatkalyan97.blogspot.com/2011/11/syena-orthography.html
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22.11.11
śyena, orthography, Sasanian iconography
This is a continuation of the following blogposts on Soma traditions with particular reference to ancient metallurgy, interactions with Tocharian (Mt. Mujavat) and reviews how śyena (Rgveda) gets deified in cultural metaphors [comparable to the traditions of Indian linguistic area where one lexeme explains both a smithy and a temple: kole.l (Kota language)]:
http://bharatkalyan97.blogspot.com/2011/09/decipherment-of-soma-and-ancient-indo.htmlhttp://bharatkalyan97.blogspot.com/2011/09/haoma-hom-baresman-barsom.html
http://bharatkalyan97.blogspot.com/2011/10/decoding-lapis-lazuli-indus-seal.html
A good background article is Subhash Kak, Ancient religion in ancient Iran and Zarathushtra,(2003). The article notes common cultural concepts including: Saena (Syena): the eagle; also Saena meregh (mr.ga), Simurg.
"The Zoroastrian innovations did not change the basic Vedic character of the culture in Iran."
śyena of Rgveda gets exemplified in ancient Iranian glyphics matching the cultural traditions.
“Ahura Mazda, the god who created High Hara, also built palaces on it for the greatest gods: Mithra, Sraosha, Rashnu, Ardvi-sura Anahita, and Haoma, all of whom ride in special chariots. While humans could not live on the holy mountain, the greatest mythical heroes made sacrifices there. The way to the other world, a special abode of the blessed (where the largest and most choice specimens of plants and animals were found) lay through the foothills of Hara/Meru. The Chinvat bridge of Zoroastrian mythology, over which the souls of the dead had to pass was on or near High Hara. The motif of birds dwelling near the summit is shared by Iranian and Indian accounts, as is the theme of the theft of the intoxicating plant haoma/soma from the mountain's summit by a magical bird (Syena/Garuda/Simurgh); and the slaying of a multi-headed, multi-eyed dragon nearby (1). In the Indian tradition, Agni, the rock-born god of fire with tawny hair and iron teeth is connected with the sacred mountain. In the Iranian tradition, High Hara is also associated with metallurgy. Fire and metals were introduced to humanity after the hero Hoshang(Haoshyangha) sacrificed on the mountain (2). High Hara was also the locale of many of the most memorable contests in Iranian mythology (3).” http://rbedrosian.com/imyth.htm
1. G. M. Bongard-Levin, The Origin of the Aryans (New Delhi, 1980), pp. 48-49, 67, 99-101, 115.
2. A. J. Carnoy, 1917, "Iranian Mythology", pp. 299-300. Metal imagery pervades the Avesta. According to the Bundahishn xxiv.1 when the first human Gaya Maretan ("Human Life") died, his body became molten brass, while the metals gold, silver, iron, tin, lead, quick-silver and adamant arose from his limbs. "Gold was Gaya's seed, which was entrusted to the earth and carefully preserved by Spenta Armaiti, the guardian of earth. After forty years it brought forth the first human pair, Mashya and Mashyoi", Carnoy, p. 294; A flood of molten metal will burn up evil at the end of time, ibid. p. 262; K. D. Irani, "Socioeconomic Implications", p. 68 writes: "Metallurgy, though a technology, was in its early days associated with sacred lore and the invocation of occult forces. Its techniques, particularly the manufacture of steel arms, were for obvious reasons protected by shrouds of secrecy. Some of the technology, requiring the use of furnaces, became the speciality of fire-priests in temples that maintained fire-altars—particularly the techniques of generating fires of varying intensities".
3. A. J. Carnoy, p. 302.
Syena Chiti, Garuda shaped Chiti Schematic as described by John F Price. Context: Panjal Atiratra yajnam (2011). cf. The paper of John Price: Applied geometry of śulbasūtras.
Fig 1 The first layer of a Vakrapaksa‐syena altar. The wings are made from 60 bricks of type “a,” and the body, head and tail from 50 type “b,” 6 of type “c” and 24 type “d” bricks. Each subsequent layer was laid out using different patterns of bricks with the total number of bricks equaling 200.
"Sênmurw (Pahlavi), Sîna-Mrû (Pâzand), a fabulous, mythical bird. The name derives from Avestan mərəγô saênô 'the bird Saêna', originally a raptor, either eagle or falcon, as can be deduced from the etymologically identical Sanskrit śyena." See: discussions in the appended, embedded document.
Senmurv on the tomb of Abbess Theodote, Pavia early 8th c. "Griffin-like .
Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")."http://www.flickr.com/photos/27305838@N04/4830444236/
See: http://www.iranicaonline.org/articles/simorg
See: http://en.wikipedia.org/wiki/Simurgh
Sassanid silk twill textile of a simurgh in a beaded surround, 6-7th c. CE
"The simurgh was considered to purify the land and waters and hence bestow fertility. The creature represented the union between the earth and the sky, serving as mediator and messenger between the two. The simurgh roosted in Gaokerena, the Hōm (Avestan: Haoma) Tree of Life, which stands in the middle of the world sea Vourukhasa. The plant is potent medicine, is called all-healing, and the seeds of all plants are deposited on it. When the simurgh took flight, the leaves of the tree of life shook making all the seeds of every plant to fall out. These seeds floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, in cosmology taking root to become every type of plant that ever lived, and curing all the illnesses of mankind. The relationship between the simurgh and Hōm is extremely close. Like the simurgh, Hōm is represented as a bird, a messenger and as the essence of purity that can heal any illness or wound. Hōm - appointed as the first priest - is the essence of divinity, a property it shares with the simurgh. The Hōm is in addition the vehicle of farr(ah) (MP: khwarrah, Avestan: khvarenah, kavaēm kharēno) "[divine] glory" or "fortune". Farrah in turn represents the divine mandate that was the foundation of a king's authority."
simorgh
Court art of Sogdian Samarqand in the 7th century AD
Archaeology in the landscapes of ancient Sogd has furnished us with a great amount of works of art, mainly from the early Middle Ages. Of highest value are the wall paintings from a palace hall (object 23, room 1) of the Sogdian ruler Varxuman at Samarqand (Afrasiab site)...
The western wall is the most important one in room 23/1 due to its position opposite the entrance. This feature seems to be common in Sogdian architectural layouts both of private main halls and palace throne rooms.
Who is figure no. 4 of the western wall? (page II)
The following proposal for an identification of figure 4 is certainly only an attempt. As we have seen, group A2 of delegates seems to belong to nations of the west. A second hint comes from the clothes of figure 4. The delicate ornamentation depicts fabulous beasts known as "Senmurvs". Look below:
Left: The Senmurvs are set into an overall pattern of curved rhomboids.
Right: Close-up of the garment of figure 4
Originally more than hundred human figures must have been depicted on the walls of our room. Many of these persons are dressed with richly ornamented and multicoloured clothes. But it seems noteworthy that the Senmurv is, in contrary to other patterns, only to meet with figure 4 on the western wall.
The reason for that must be the symbolic nature of the Senmurv. Speaking of this creature we concentrate only on the "dog-peackock" as depicted on the Afrasiab murals. Doubtless it originates from Iranian symbolism. The most spectacular examples can be seen on the late Sasanian rock reliefs of Taq-e Bustan (Iran):
Left: Senmurvs as pattern on the caftan of a Sasanian king, Taq-e Bustan, Great Ivan, left wall.
Right: Senmurv in medaillon on the clothes of the heavy-armoured rider, Taq-e Bustan, Geat Ivan.
Comparing these images with the Senmurvs from Afrasiab we notice a striking similarity.
Apparently the Senmurv in Sasanian iconography was a symbol with intimate connection to kingship. Images concentrate on representations of royal persons and on royal silverware. Only in post-Sasanian times, when dynastic restrictions were lost, the Senmurv spread wide as a merely ornamental motif on Near and Middle Eastern textiles, metalwork, and so on.
Concerning the Afrasiab murals we have a general date within the limits of the Sasanian dynasty (i.e., before 652), as we have tried to explain on another page.
Therefore, if the Senmurv (i.e., the "dog-peacock"!) was a Sasanian royal emblem, his appearance on the Afrasiab murals should point to the same symbolic value. In other words: The "owner" of the symbol should represent a Sasanian king.
http://www.orientarch.uni-halle.de/ca/afras/text/w4b.htm
Wall panel with a Senmurv. Iran, Chal Tarhan. 7th-8th c. Stucco.Inv. Nr. 6642. Image of a quite similar panel which is in better condition that came from the same site, see British Museum, inv. no. ME 1973.7-25.3.
Sassanid silver plate of a simurgh (Sēnmurw), 7-8th c. CE. An exquisite and beautifully gilded Sassanid silver plate. The central creature within it is usually identified as the senmurw of Zoroastrian mythology which features the head of a snarling dog, the paws of a lion and the tail of a peacock. This object is today displayed in the Persian Empire collection of the British Museum.
Peacock-dragon or peacock-griffin?
British Museum. Department: Middle East Registration number: 1922,0308.1 BM/Big number: 124095. Date 7thC-8thC (?) Description
Gilded silver plate with low foot-rim and centering mark on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior; hammered and lathe-turned, then decorated; interior shows a senmurw (a legendary dog-headed bird) facing left, a leaf hanging from its mouth; neck and lower portion of the wing are punched with an imbricated design; the breast is enriched with a foliated motif; the tail feathers are conventionally rendered by punching, the lowest portion concealed by a bold scroll in relief; below the tail, a branch of foliage projects into the field; the foliate border is composed of overlapping leaves, on each of which are punched three divergent stems surmounted by berries in groups of three. Old corrosion attack on part of the underside. Condition of gilding suggests that this is re-gilding. Dimensions : Diameter: 18.8 centimetres (rim)Diameter: 6.8 centimetres (interior, foot-ring)Diameter: 7.3 centimetres (exterior, foot-ring)Height: 3.8 centimetres
Volume: 450 millilitresWeight: 541.5 grammes.
Hammered gilt silver plate with a low circular foot ring measuring 7.3 cm. across at the base; centering mark and extensive traces of old corrosion attack on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior. The plate was made by hammering, and decorated through a combination of chasing and punching, with thick gilding over the background. Early published references to the raised portion being embossed separately and added with solder are incorrect, and only the foot ring is soldered on. XRF analysis indicates that the body has a composition of 92% silver, 6.9% copper and 0.45% gold, and the foot has a slightly different composition of 93.4% silver, 5.4% copper and 0.5% gold. The decoration is limited to the interior and shows a composite animal with a dog's head, short erect mane, vertical tufted ears and lion's paws, facing left with a foliate spray dangling from its open mouth like a lolling tongue; a ruff-like circle of hair or fur frames its face; the neck, muscular shoulders and lower tail feathers are punched with an imbricated or overlapping wave design resembling feathers or scales; the breast is enriched with a foliated motif; a pair of wings with forward curling tips rise vertically from behind the shoulders, with a broad rounded peacock-like tail behind decorated with a bold foliate scroll and conventionally rendered by punching; below the tail, a second branch of foliage projects into the field. The foliate border is composed of overlapping leaves, on which are punched three divergent stems surmounted by berries in groups of three.
This plate is said to have been obtained in India prior to 1922 when it was purchased in London by the National Art Collections Fund on behalf of the British Museum. It is usually attributed to the 7th, 8th or early 9th century, thus is post-Sasanian, Umayyad or early Abbasid in political terms. Initially described as a hippocamp, peacock-dragon or peacock-griffin, most scholars follow Trever's (1938) identification of this as a senmurw (New Persian simurgh), or Avestan Saena bird (cf. also Schmidt 1980). The iconographic features of a senmurw include the head of a snarling dog, the paws of a lion and the tail of a peacock, with the addition of the plant motifs on the tail or hanging out of the mouth being allusions to its role in regenerating plants. This bird is described in Pahlavi literature as nesting "on the tree without evil and of many seeds" (Menog-i Xrad 61.37-42), and scattering them in the rainy season to encourage future growth (Bundahišn XVI.4). For this reason it was believed to bestow khwarnah (glory and good fortune), and particularly that of the Kayanids, the legendary ancestors of the Sasanians. This motif is first attested in a datable Sasanian context on the rock-cut grotto of Khusrau II (r. 591-628) at Taq-i Bustan, when it appears within embroidered roundels decorating the royal gown. The same motif recurs within a repeating pattern of conjoined pearl roundels depicted on silks from the reliquary of St Lupus and a tomb at Mochtchevaja Balka in the north Caucasus, a press-moulded glass inlay and vessel appliqué in the Corning Museum of Glass, metalwork, Sogdian murals, and the late Umayyad palace façade at Mshatta (e.g. Harper et al. 1978: 136, no. 60; Trever & Lukonin 1987: 115, pl. 73, no. 26; Overlaet ed. 1993: 270, 275-77, nos 119, 127-28). However, there are significant differences of detail between all of these, and a little caution is necessary before making definite attributions of iconography, date or provenance. Many of the features are also repeated on the depiction of a horned quadruped depicted on a 7th century plate in the Hermitage (Trever & Lukonin 1987: 117-18, pl. 106, no. 36); most recently, Jens Kröger has reiterated the possibility of an early Abbasid date for the present plate, and observed that the distinctive decoration on the tail resembles the split palmette motifs on early Abbasid and Fatimid rock crystal. Source:http://tinyurl.com/7wbzcxg
http://bharatkalyan97.blogspot.com/2011/09/decipherment-of-soma-and-ancient-indo.htmlhttp://bharatkalyan97.blogspot.com/2011/09/haoma-hom-baresman-barsom.html
http://bharatkalyan97.blogspot.com/2011/10/decoding-lapis-lazuli-indus-seal.html
A good background article is Subhash Kak, Ancient religion in ancient Iran and Zarathushtra,(2003). The article notes common cultural concepts including: Saena (Syena): the eagle; also Saena meregh (mr.ga), Simurg.
"The Zoroastrian innovations did not change the basic Vedic character of the culture in Iran."
śyena of Rgveda gets exemplified in ancient Iranian glyphics matching the cultural traditions.
“Ahura Mazda, the god who created High Hara, also built palaces on it for the greatest gods: Mithra, Sraosha, Rashnu, Ardvi-sura Anahita, and Haoma, all of whom ride in special chariots. While humans could not live on the holy mountain, the greatest mythical heroes made sacrifices there. The way to the other world, a special abode of the blessed (where the largest and most choice specimens of plants and animals were found) lay through the foothills of Hara/Meru. The Chinvat bridge of Zoroastrian mythology, over which the souls of the dead had to pass was on or near High Hara. The motif of birds dwelling near the summit is shared by Iranian and Indian accounts, as is the theme of the theft of the intoxicating plant haoma/soma from the mountain's summit by a magical bird (Syena/Garuda/Simurgh); and the slaying of a multi-headed, multi-eyed dragon nearby (1). In the Indian tradition, Agni, the rock-born god of fire with tawny hair and iron teeth is connected with the sacred mountain. In the Iranian tradition, High Hara is also associated with metallurgy. Fire and metals were introduced to humanity after the hero Hoshang(Haoshyangha) sacrificed on the mountain (2). High Hara was also the locale of many of the most memorable contests in Iranian mythology (3).” http://rbedrosian.com/imyth.htm
1. G. M. Bongard-Levin, The Origin of the Aryans (New Delhi, 1980), pp. 48-49, 67, 99-101, 115.
2. A. J. Carnoy, 1917, "Iranian Mythology", pp. 299-300. Metal imagery pervades the Avesta. According to the Bundahishn xxiv.1 when the first human Gaya Maretan ("Human Life") died, his body became molten brass, while the metals gold, silver, iron, tin, lead, quick-silver and adamant arose from his limbs. "Gold was Gaya's seed, which was entrusted to the earth and carefully preserved by Spenta Armaiti, the guardian of earth. After forty years it brought forth the first human pair, Mashya and Mashyoi", Carnoy, p. 294; A flood of molten metal will burn up evil at the end of time, ibid. p. 262; K. D. Irani, "Socioeconomic Implications", p. 68 writes: "Metallurgy, though a technology, was in its early days associated with sacred lore and the invocation of occult forces. Its techniques, particularly the manufacture of steel arms, were for obvious reasons protected by shrouds of secrecy. Some of the technology, requiring the use of furnaces, became the speciality of fire-priests in temples that maintained fire-altars—particularly the techniques of generating fires of varying intensities".
3. A. J. Carnoy, p. 302.
Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")."http://www.flickr.com/photos/27305838@N04/4830444236/
See: http://www.iranicaonline.org/articles/simorg
See: http://en.wikipedia.org/wiki/Simurgh
"The simurgh was considered to purify the land and waters and hence bestow fertility. The creature represented the union between the earth and the sky, serving as mediator and messenger between the two. The simurgh roosted in Gaokerena, the Hōm (Avestan: Haoma) Tree of Life, which stands in the middle of the world sea Vourukhasa. The plant is potent medicine, is called all-healing, and the seeds of all plants are deposited on it. When the simurgh took flight, the leaves of the tree of life shook making all the seeds of every plant to fall out. These seeds floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, in cosmology taking root to become every type of plant that ever lived, and curing all the illnesses of mankind. The relationship between the simurgh and Hōm is extremely close. Like the simurgh, Hōm is represented as a bird, a messenger and as the essence of purity that can heal any illness or wound. Hōm - appointed as the first priest - is the essence of divinity, a property it shares with the simurgh. The Hōm is in addition the vehicle of farr(ah) (MP: khwarrah, Avestan: khvarenah, kavaēm kharēno) "[divine] glory" or "fortune". Farrah in turn represents the divine mandate that was the foundation of a king's authority."
simorgh
Court art of Sogdian Samarqand in the 7th century AD
Archaeology in the landscapes of ancient Sogd has furnished us with a great amount of works of art, mainly from the early Middle Ages. Of highest value are the wall paintings from a palace hall (object 23, room 1) of the Sogdian ruler Varxuman at Samarqand (Afrasiab site)...
The western wall is the most important one in room 23/1 due to its position opposite the entrance. This feature seems to be common in Sogdian architectural layouts both of private main halls and palace throne rooms.
Who is figure no. 4 of the western wall? (page II)
The following proposal for an identification of figure 4 is certainly only an attempt. As we have seen, group A2 of delegates seems to belong to nations of the west. A second hint comes from the clothes of figure 4. The delicate ornamentation depicts fabulous beasts known as "Senmurvs". Look below:
Originally more than hundred human figures must have been depicted on the walls of our room. Many of these persons are dressed with richly ornamented and multicoloured clothes. But it seems noteworthy that the Senmurv is, in contrary to other patterns, only to meet with figure 4 on the western wall.
The reason for that must be the symbolic nature of the Senmurv. Speaking of this creature we concentrate only on the "dog-peackock" as depicted on the Afrasiab murals. Doubtless it originates from Iranian symbolism. The most spectacular examples can be seen on the late Sasanian rock reliefs of Taq-e Bustan (Iran):
Comparing these images with the Senmurvs from Afrasiab we notice a striking similarity.
Apparently the Senmurv in Sasanian iconography was a symbol with intimate connection to kingship. Images concentrate on representations of royal persons and on royal silverware. Only in post-Sasanian times, when dynastic restrictions were lost, the Senmurv spread wide as a merely ornamental motif on Near and Middle Eastern textiles, metalwork, and so on.
Concerning the Afrasiab murals we have a general date within the limits of the Sasanian dynasty (i.e., before 652), as we have tried to explain on another page.
Therefore, if the Senmurv (i.e., the "dog-peacock"!) was a Sasanian royal emblem, his appearance on the Afrasiab murals should point to the same symbolic value. In other words: The "owner" of the symbol should represent a Sasanian king.
http://www.orientarch.uni-halle.de/ca/afras/text/w4b.htm
Peacock-dragon or peacock-griffin?
Gilded silver plate with low foot-rim and centering mark on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior; hammered and lathe-turned, then decorated; interior shows a senmurw (a legendary dog-headed bird) facing left, a leaf hanging from its mouth; neck and lower portion of the wing are punched with an imbricated design; the breast is enriched with a foliated motif; the tail feathers are conventionally rendered by punching, the lowest portion concealed by a bold scroll in relief; below the tail, a branch of foliage projects into the field; the foliate border is composed of overlapping leaves, on each of which are punched three divergent stems surmounted by berries in groups of three. Old corrosion attack on part of the underside. Condition of gilding suggests that this is re-gilding. Dimensions : Diameter: 18.8 centimetres (rim)Diameter: 6.8 centimetres (interior, foot-ring)Diameter: 7.3 centimetres (exterior, foot-ring)Height: 3.8 centimetres
Volume: 450 millilitresWeight: 541.5 grammes.
Hammered gilt silver plate with a low circular foot ring measuring 7.3 cm. across at the base; centering mark and extensive traces of old corrosion attack on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior. The plate was made by hammering, and decorated through a combination of chasing and punching, with thick gilding over the background. Early published references to the raised portion being embossed separately and added with solder are incorrect, and only the foot ring is soldered on. XRF analysis indicates that the body has a composition of 92% silver, 6.9% copper and 0.45% gold, and the foot has a slightly different composition of 93.4% silver, 5.4% copper and 0.5% gold. The decoration is limited to the interior and shows a composite animal with a dog's head, short erect mane, vertical tufted ears and lion's paws, facing left with a foliate spray dangling from its open mouth like a lolling tongue; a ruff-like circle of hair or fur frames its face; the neck, muscular shoulders and lower tail feathers are punched with an imbricated or overlapping wave design resembling feathers or scales; the breast is enriched with a foliated motif; a pair of wings with forward curling tips rise vertically from behind the shoulders, with a broad rounded peacock-like tail behind decorated with a bold foliate scroll and conventionally rendered by punching; below the tail, a second branch of foliage projects into the field. The foliate border is composed of overlapping leaves, on which are punched three divergent stems surmounted by berries in groups of three.
This plate is said to have been obtained in India prior to 1922 when it was purchased in London by the National Art Collections Fund on behalf of the British Museum. It is usually attributed to the 7th, 8th or early 9th century, thus is post-Sasanian, Umayyad or early Abbasid in political terms. Initially described as a hippocamp, peacock-dragon or peacock-griffin, most scholars follow Trever's (1938) identification of this as a senmurw (New Persian simurgh), or Avestan Saena bird (cf. also Schmidt 1980). The iconographic features of a senmurw include the head of a snarling dog, the paws of a lion and the tail of a peacock, with the addition of the plant motifs on the tail or hanging out of the mouth being allusions to its role in regenerating plants. This bird is described in Pahlavi literature as nesting "on the tree without evil and of many seeds" (Menog-i Xrad 61.37-42), and scattering them in the rainy season to encourage future growth (Bundahišn XVI.4). For this reason it was believed to bestow khwarnah (glory and good fortune), and particularly that of the Kayanids, the legendary ancestors of the Sasanians. This motif is first attested in a datable Sasanian context on the rock-cut grotto of Khusrau II (r. 591-628) at Taq-i Bustan, when it appears within embroidered roundels decorating the royal gown. The same motif recurs within a repeating pattern of conjoined pearl roundels depicted on silks from the reliquary of St Lupus and a tomb at Mochtchevaja Balka in the north Caucasus, a press-moulded glass inlay and vessel appliqué in the Corning Museum of Glass, metalwork, Sogdian murals, and the late Umayyad palace façade at Mshatta (e.g. Harper et al. 1978: 136, no. 60; Trever & Lukonin 1987: 115, pl. 73, no. 26; Overlaet ed. 1993: 270, 275-77, nos 119, 127-28). However, there are significant differences of detail between all of these, and a little caution is necessary before making definite attributions of iconography, date or provenance. Many of the features are also repeated on the depiction of a horned quadruped depicted on a 7th century plate in the Hermitage (Trever & Lukonin 1987: 117-18, pl. 106, no. 36); most recently, Jens Kröger has reiterated the possibility of an early Abbasid date for the present plate, and observed that the distinctive decoration on the tail resembles the split palmette motifs on early Abbasid and Fatimid rock crystal. Source:http://tinyurl.com/7wbzcxg
Kalyanaraman
Member, Action Committee Against Corruption in India (ACACI)
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