چکیده:
Sassanian artists were realistic in creating memorial artworks, but their artistic style did not necessarily result in exact
depiction of figures with accurate facial representations. In contrast, such realism manifests itself only through determined appearances
and unchangeable artistic conventions. Doing so, identifying people is only possible by recognizing their distinct crowns, headbands,
attire, specific signs, position in queues, their posture and overall representation in the figure. Based on semiological analyses, in this
paper, it has been argued that Pāpak, a member of the famous clan of Qāren was “Bidaxš” and that vice-regent of Bahram II, Bahram
III, Nerseh and Hormizd II. Contrary to some scholars’ argument concerning the resemblance between the symbols of Bidaxš and those
of the Qāren clan, a close comparison shows a significant dissimilarity between the two. While the symbol of the clan of Qāren is a
blossoming bud on a horizontal line, the symbol of Bidaxš is a bud surrounded by two leaves. That is not portrayed on a horizontal
line. The relief of Hormizd II at Naqsh-e Rustam is perhaps the best example in this case, which clearly demonstrates the difference
between the two symbols. At Naqsh-e Rustam, both symbols are depicted on the helmet of Hormizd II’s defeated enemy. The nobility
of “Bidaxš Pāpak,” therefore, refutes the stereotype idea among some scholars who argue that the rank of Bidaxš was only restricted
to the royal family.
خلاصه ماشینی:
Symbols of the Clan of Qāren and the Rank of Bidaxš inSassanianTimes Sorour Khorashadi Tarbiat Modares University, Iran Received: April 13, 2015 Accepted: July 3, 2015 Sassanian artists were realistic in creating memorial artworks, but their artistic style did not necessarily result in exact depiction of figures with accurate facial representations.
Based on semiological analyses, in this paper, it has been argued that Pāpak, a member of the famous clan of Qāren was "Bidaxš" and that vice-regent of Bahram II, Bahram III, Nerseh and Hormizd II.
The king thereafter ordered the artists to depict this historical event in a relief at Naqsh-e Rustam (Hinz 1385 [2006]: 267-273).
This man appears to be the same person as the last individual standing at the right corner in the relief of Bahram II at Naqsh-e Rustam (Figs.
The Fig of Bidaxš Pāpak in the rock relief of Hormizd II at Naqsh-e Rustam.
In line with Lukonin, Hinz identifies the last man as Pāpak, yet in contradiction to Lukonin, he believes that Pāpak is not depicted as Bidaxš in this particular relief, rather he is portrayed as the Satrap of Georgia, since his symbol is the "star and the crescent," not a "blossoming bud.
Hinz refutes the resemblance of Ardashir's bodyguard to Bidaxš by referring to the symbol of the clan of Qāren.
The similarities between the symbols of the clan of Qāren and the position of Bidaxš misled many researchers in identifying the characters in Sassanian artworks.