The Lion-Bull Motifs of Persepolis: The Zoogeographic Context. Journal Article

Writer: Sathe، Vijay ؛

Iranian Journal of Archaeological Studies Summer and Autumn 2012, Volume 2 - Number 1 Ranking Science-Research (Ministry of Science (‎11 page(s) - From 75 to 85 )

Keywords: Iran Persepolis Asiatic lion Aurochs Zoomorphology Zoogeography

Abstract:

The lion-bull iconography during the Achaemenian period of ancient Persia has generated different theories of astronomical and seasonal events besides the suggestions that it could be the symbol of the time cycle of the day, with lion representing the sun and bull the night. However, the present paper draws the reader’s attention to the hitherto unexplored angle of zoology to understand physiognomy of the lion-bull iconography in sculptural art of ancient Iran. The zoomorphology of lion and bull attempts at taxonomic identification based on iconography, which is also influenced by observations, imagination and collective psyche of sculptors. Notwithstanding this human bias involved in depiction of the animal, the present study demonstrates ‘near-nature’ precision in sculptural art, thereby allowing precise identification and shows how the artistic manifestations reflect a combination of animal morphology with myths and collective observations that might have passed down since generations. This is yet another form of faunal evidence that needs to be taken into account in addition to the skeletal record when confronted with presenting a holistic view of the animal world at the site. The paper is structured into three parts viz. Zoo-morphology of lion-bull motifs, Biogeography and Early History of lion and bull, and Faunal (skeletal) evidence of Lion and Bull in protohistoric and early historic Iran. This study highlights the significance of integrating skeletal record with other means of ‘faunal evidence’ in ancient literature, iconography, coins and ceramics that are helpful in understanding ancient subsistence, and socio- religious structure.

Machine summary:

Theories of this kind have continued to leave scholars pondering over the lion-bull iconography in the ancient Persian art (Lindsay 1971; Frankfort 1963; Hartner 1965; Hartner and Ettinghausen 1964; Hinnells 1985 and Rice 1988). (After: The Omen of Fars: Iran Touring and Tourism Organisation, Shiraz 2003 and Curtis & Tallis 2005:78 ) IRANIAN JOURNAL OF ARCHAEOLOGICAL STUDIES 2:1 (2012) 77 Vijay Sathe 78 (View the image of this page) Fig. 4: : Bull on the capital at Naksh-e-rustam (King Darius’ tomb) (Source: from author’s personal archive) (View the image of this page) Fig. 2: Showing bulls on the columns in North Staircase of the Apadana, Perspolis (After: Brosius 2006: 38) (View the image of this page) Fig. 5: Griffin at Persepolis (from author’s personal archive) Fig. 3: Capital at Susa. The roaring lions in relief on the brick façade and glazed brick panel excavated from Susa IRANIAN JOURNAL OF ARCHAEOLOGICAL STUDIES 2:1 (2012) The Lion-Bull Motifs of 78 (View the image of this page) Fig. 6: Silver coin from Treasury (After: Schmidt, E. IRANIAN JOURNAL OF ARCHAEOLOGICAL STUDIES 2:1 (2012) The Lion-Bull Motifs of 80 The artistic manifestations of zebu, the humped cattle (Bos indicus) are few in Persepolis, e. In the light of the reference to Asiatic lions and large bovines’ (bull) representation in ancient Persian art, it is worthwhile to review the early history of these animals which have left impeccable impressions on the society that was amply familiar with the prowess and majesty of such beasts. Subsequent to its origins in the Indian Sub-Continent, the ancestors of cattle spread into Europe IRANIAN JOURNAL OF ARCHAEOLOGICAL STUDIES 2:1 (2012) The Lion-Bull Motifs of 82 and Africa during the Pleistocene period.

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