Manifestations of Myth in Art: An Investigation of Ritual Tools and Vessels in the Yasna Ceremony

Background: Comprehending the thought processes of people from earlier periods has become a significant concern for modern humans. By exploring the mindset of ancient humans and understanding the differences, similarities, and trajectories of their lives and beliefs, we can also unravel many of the complexities that reside within contemporary human nature. This objective has fueled archaeological research and the study of ancient cultures, which have garnered substantial attention today.
Since "art," in its universal definition, has served as one of the primary means for humans to express their inner desires and beliefs from the earliest times until now, studying artistic works is one of the best ways to understand ancient thought. Additionally, ancient humans developed beliefs, rituals, myths, and customs to seek peace and connect with the world's complexities—a process that continues today.
This research aims to explore and introduce the thoughts of people who once lived in this country by focusing on three key areas: religious beliefs, myths, and artistic works. Numerous intellectual movements have emerged globally that connect myth and ritual, culminating in the establishment of the "Myth and Ritual School" in 20th-century Europe, where scholars engaged in discussions and exchanges on these topics.
A significant part of the available information about Zoroastrianism and its doctrines relies on secondary sources, such as accounts by non-Zoroastrian writers in Greek, Latin, Syriac, Armenian, Arabic, or even Persian. Direct reference to the Avesta and the actual practice of religious rituals is comparatively rare. Thus, first-hand examination of texts, customs, and rituals holds special importance.
In line with this approach, the present study aims to explore the ideas and beliefs underlying sacred tools and vessels used in Zoroastrian rituals by analyzing their shapes, forms, and artistic manifestations. The focus will be on the Yasna ceremony, which continues to be performed in Iran. However, given the scarcity of resources on the subject, attention will also be directed toward Yasna rituals held by Parsees in India, as well as those previously performed in Iran.
Method: The methods employed include observation, study, and mythological, ritualistic, and artistic analysis. The observation or fieldwork section focuses on examining the Yasna recitation rituals in Tehran, Iran. This category also includes capturing images and conducting interviews with the Mobeds (Zoroastrian priests) who perform the ceremonies, carried out by the author. In the library research section, we have explored the intellectual background that contributed to the formation of the current Avesta recitation rituals and the tools used within them. Finally, the analytical section seeks to uncover the myths embedded behind the appearance of ritual vessels and tools.
Conclusion: According to the Myth and Ritual Theory, the rituals of any ancient society play a crucial role in expressing the myths, thoughts, and worldviews of its people. By applying this theory to Zoroastrian religion and rituals, it becomes possible to explore and draw conclusions about this particular mindset.
Zoroastrian rituals, especially their liturgical ceremonies, are highly meticulous and demanding, requiring specific tools, vessels, actions, and prayers for their proper execution.
One way to approach the profound essence of Zoroastrian thought is by studying the ritual vessels and instruments. Although it may seem unusual at first glance, each item used in Zoroastrian rituals, as well as every ritual act associated with them, has a mythological background. In summary, they represent a symbolic form of a greater truth and even assist in establishing cosmic order.