سیمرغ یا گریفین ایرانی؟ بازنگری در نام‌گذاری نقشمایۀ جانور ترکیبی در هنرهای تجسمیِ دورۀ ساسانی

Introduction: Animal motifs occupy a prominent place among the decorative themes found in Sassanid artworks. Among these, one of the most well-known is the motif commonly identified as the Senmurv (Simorgh). This article reexamines the concept, function, form and significance of this motif, as well as its reflection in the culture and visual arts of the Sassanid period. It argues that the conventional designation "Senmurv (Simorgh)" is not the most appropriate name for this hybrid creature. Therefore, this present article aims to reassess the conventional name of this motif and to encourage a more critical approach that avoids the repetition of such errors in contemporary art historical and archaeological research. In addition, it proposes a more appropriate designation for this motif based on the available textual, visual, and historical evidence.
Problem statement: To investigate this issue, the study examines references to the Senmurv (Simorgh) in Sassanid texts and explores the development of hybrid creatures in the art of the pre-Sassanid periods. It also demonstrates that the Sassanid hybrid creature did not emerge suddenly but evolved gradually through a long process before assuming its well-known legendary form. Finally, the article reviews previous studies by Western scholars to assess their interpretations of the form and meaning of the Senmurv (Simorgh) motif during the Sassanid period.
The study then examines Sassanid artworks that depict the motif commonly identified as the Senmurv (Simorgh). It also considers the earliest known depiction of the Senmurv (Simorgh) in the Islamic period, which portrays the creature as a complete bird with slender legs, a cock-like head, round eyes, a small red beak, and a beard rendered in blue, red, and green.
Undoubtedly, the Senmurv (Simorgh) of the Islamic period is depicted as a bird, whereas the creature represented in Sassanid art is a hybrid animal. The findings of this study, based on an analysis of the motif and its comparison with the Senmurv (Simorgh) of the Islamic period, indicate that the hybrid creature commonly identified as the Senmurv (Simorgh) in Sassanid art exhibits considerable formal diversity. Moreover, it differs significantly from the Senmurv (Simorgh) described in later Iranian literary traditions and oral narratives. These findings suggest that identifying the Sassanid hybrid creature with the Senmurv (Simorgh) of later Persian tradition is open to question. From this perspective, it should be distinguished from the motif depicted in Sassanid art, which appears as a hybrid creature and is known by the same name.
Background: In many studies of art history and archaeology, this motif has frequently been reproduced and cited based on metalwork attributed to the Sassanid period. However, insufficient attention has been paid to the possibility that many of these objects may be forgeries or post-Sassanid works.
Oscar White Muscarella, a leading scholar in the study of art forgery, has written extensively on the culture of forged antiquities and the illicit antiquities trade. According to Muscarella, forged objects are often assigned false or fabricated ancient provenances, while dealers employ expressions such as "said to be from," "supposedly from," and similar phrases to confer upon them a sense of authenticity and a value comparable to that of artifacts recovered through scientifically conducted archaeological excavations.
With regard to the Sassanid period, Muscarella also discusses the widespread problem of forged artifacts. Although he acknowledges that the vast geographical extent of the Sassanid Empire limits the available evidence, he notes that, since the 1950s, dozens of gold and silver vessels produced in the Sassanid style have appeared on the antiquities market and have been acquired by museums, many of which are now considered forgeries. He further argues that the number of forged objects attributed to the Sassanid period exceeds that of many other historical periods and that countless counterfeit stamp seals have also been produced.
Muscarella's observations prompted the authors to undertake a more critical examination of vessels attributed to the Sassanid period. An analysis of a large number of these objects, together with their manufacturing techniques and stylistic characteristics, suggests that many of them are products of the modern forgery tradition rather than authentic Sassanid artifacts. Unfortunately, these objects have been repeatedly reproduced and cited in scholarly publications without sufficient critical evaluation. Of particular relevance to the present study is the motif commonly identified as the Senmurv (Simorgh). Owing to its visual appeal and popularity, this motif appears to have been widely exploited by forgers and antiquities dealers, resulting in the production of numerous vessels bearing this design. A careful examination of their manufacturing techniques, workmanship, and finishing details indicates that many of these objects are clearly modern forgeries rather than genuine Sassanid works.
Method: In terms of its purpose, this research is a fundamental study. Methodologically, it adopts a descriptive-analytical and historical approach, and the data were collected through library research.
Result: The findings of this study indicate that the motif conventionally identified as the Senmurv (Simorgh) in Sassanid art represents a hybrid creature and bears no direct relationship to the Senmurv (Simorgh) of the Islamic period. Consequently, its traditional identification appears to be inaccurate. The study also compares this motif with the bird Varghna and demonstrates that the two represent distinct mythical creatures. On the basis of this analysis, the term "Persian Griffin" is proposed as a more appropriate designation for the Sassanid motif. This term was originally suggested by the distinguished art historian Mohamad Reza Riazi. After evaluating the various names that have been proposed, the authors conclude that "Persian Griffin" provides the most appropriate and accurate designation for this motif.