Representation of the Image of the Enemy in the Stone Reliefs of Bahram II Sassanid and Ashurbanipal II

Document Type : Original Article

Authors

1 Assistant Professor, Department of Art, Faculty of Civil Engineering, Architecture and Art, Science and Research Branch, Islamic Azad University, Tehran, Iran

2 Associate Professor at The Institute of Art's Studies and Academic Research, Tehran, Iran

3 Master of Art Studies, Science and Research Branch, Islamic Azad University,,Tehran, Iran

10.22124/ira.2024.28928.1036

Abstract

Introduction: This article presents a comparative study of how the enemy is portrayed as human beings in stone reliefs depicting the victories of Bahram II over the Kushans, representing the civilization of ancient Iran, and Ashurbanipal II over the Elamites of Mesopotamian civilization. The research focuses on examining the similarities and differences in the representation of the enemy as depicted in human form within these stone reliefs. The purpose of this study is to gain a deeper understanding of wars and how they are represented in artworks, while identifying common signs and symbols present in the two pieces. The image of the enemy in the form of a human being in both artworks is presented as murdered, captured, and wounded. In the stone relief which is attributed to Bahram II, victory over enemies is depicted more symbolic. The king is in the center of the image and the enemies and other motifs are placed in the margins. In the stone relief of Ashurbanipal II the war scene and victory over enemies are more realistic and the motifs are depicted with more details. The purpose of art in these two artworks is to exhibit the power of the kings and intimidate the enemies.
Problem Statement: In this text, stone reliefs of the victory of Bahram II over Kushans and the victory of Ashurbanipal II over Elamites have been described. The opinions of researchers were also mentioned. The effect of Assyrian art on Sassanid art in these artworks is obvious and that is the reason that we have chosen these two stone reliefs. Presenting the image of the enemy in the stone reliefs and responding to the question of the similarities and differences of the image of the enemy between the two cultures is the problem statement of this research. 
Background: Numerous studies have been conducted on the artworks of ancient Iran and Mesopotamia, but so far no research has been done on depicting images of enemies in the form of human beings. Generally, the motifs of these artworks have been divided into different contents, such as religious and nonreligious themes. According to these researches, the Impact of Mesopotamian art on the art of ancient Iran is obvious. The artists use these Mesopotamian art elements which coordinate with Iranian art consciously (Rezaeenia, 2008). An enemy is also mentioned as the origin of evil in all the texts (Mirfakhrai, 2012).
Methods: The research is descriptive-analytical and comparative. The method of data collection is library-based. The method of data analysis is qualitative. Features and general characteristics of the artworks have been examined according to the images. 
Result: In Sassanid and Assyrian dynasties motifs in artworks are used for displaying degraded enemies. We see some mutual motifs like a line of prisoners and the severed heads of the enemies in these artworks. As artists have always been influenced by each other at all times and places, different tribes who gained power in Mesopotamia have also been affected by each other. Moreover, the impact of the art of Assyria on the art of Sassanid is obvious. Dynamism, realism, and violence in Assyrian art are more eminent than the art of Sassanid. In the art of both civilizations Depicted figures do not correspond to reality.

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References

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URL1: https//media-britishmuseum.org/Repository/Documents/2014-11/12-16/cc4b14c9-1f80-447d-b843-a3e1010904d3/mid-00111334-001-jpg (access date: 7/8/2024)
Interdisciplinary Researches of Art
Volume 2, Issue 2 - Serial Number 3
December 2024
Pages 173-194

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History

  • Receive Date: 10 November 2024
  • Revise Date: 14 December 2024
  • Accept Date: 17 December 2024
  • Publish Date: 17 December 2024

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