The Analytical Study of Auspicious Symbolism in Lion, Cow, and Peacock Motifs in Islamic Art History: (A James Frazerian Perspective)

Document Type : Scientific-Promotional

Authors

1 M.A. in Art Research, University of Guilan, Rasht, Iran

2 Assistant Professor, Department of Painting, University of Guilan, Rasht, Iran (Corresponding Author)

3 Instructor, Department of Painting, University of Guilan, Rasht, Iran

Abstract

Introduction
Throughout human history, concepts such as auspiciousness, prosperity, blessing, and good fortune have been central to mankind’s enduring quest for understanding and attainment. These notions have been particularly embodied in ‘auspiciousness’, as a term. Among the manifestations of this pursuit are symbols and signs, crafted in various forms, which function as the talismans of auspiciousness within human life. It is widely believed that talismans inherently embody a fusion of celestial and terrestrial forces, through which extraordinary phenomena manifest in the universe. Thus, the significance of talismans in human life is undeniable. Given humanity’s enduring belief in their power, the study and interpretation of these symbols can yield deeper insight into the latent, mysterious energies they potentially contain, enhancing human existence. Furthermore, examining talismans provides a critical awareness of the profound beliefs and values embedded within them, enabling individuals to navigate life with a greater purpose and meaning.
 
Research Method
This study seeks to address the following questions: what meanings are embedded within auspicious talismanic symbols in the history of Iranian art? What specific concepts do these symbols convey within this context? To this end, this research employs a descriptive-analytical method and a historical symbol analysis, grounded in James Frazer’s theory of sympathetic magic and talismanic efficacy, with a particular focus on zoomorphic symbols, specifically lions, bulls, and peacocks.
 
Research Findings
The findings reveal that these symbols in Islamic-period Iranian art were created and utilized as mediators for manifesting, storing, and channeling vital energies. Designed to transcend natural forces, they play a significant role in imbuing human life with meaning. Understanding these symbols not only provides deeper insight into Iranian culture and history but also serves as a means of attracting positive energies and good fortune in personal life. Within this framework, zoomorphic symbols-particularly lions, bulls, and peacocks hold a distinct place in popular beliefs due to their unique attributes: 1) the lion symbolizing power and courage; 2) bulls representing abundance and fertility; 3) the peacock embodying freedom and luminosity. Each of these motifs is uniquely encoded within talismanic traditions, reflecting their enduring symbolic resonance. The lion, embodying strength and courage, serves as a potent symbol of triumph and success in human life. The bull, with its associations with fertility and procreation, represents abundance and prosperity. Meanwhile, the peacock is revered for its liberating freedom. Also, as an emblem of luminosity, peacocks are deeply embedded within Islamic narratives and teachings, occupying a distinctive role in talismanic traditions. This diversity of symbols not only reflects a rich tapestry of beliefs but also underscores the profound connection between humanity and nature, highlighting its enduring influence on daily existence and spiritual practice.
 
Conclusion
The concept of auspiciousnesshas was a fundamental element in humanity’s enduring quest for felicity and good fortune throughout history. Beyond its association with luck and benevolence, it reflects mankind’s intrinsic desire to influence destiny and invoke blessings in daily life. Within this framework, talismans have served as a pervasive medium for attracting auspiciousness, embodying the intersection of symbolic belief and tangible practice. The concept of auspiciousness has consistently held significant cultural and historical importance in Iranian civilization, particularly during the Islamic period, where it emerged as a profound symbolic representation of prosperity, good fortune, and divine benevolence. The Islamic period's belief in celestial influences served this very purpose. Drawing upon their historical engagement with metaphysical sciences and natural forces, humans have consistently sought to mediate these cosmic powers through symbolic artifacts and talismanic objects. This study ultimately concludes that the concept of auspiciousness persists as a living tradition in contemporary society. A thorough investigation of this phenomenon could establish a foundation for subsequent research into the socio-cultural impacts of auspicious symbolism. Also, talismanic practices could facilitate deeper understanding of humanity's ontological relationship with the natural world.

Keywords

References

Refrences
Abdollahian, B. (1999). Symbols of Mithra and the moon in prehistoric Iranian pottery. Honarnameh, 1(2), 46–63 [In Persian].
Akbarnajad, M. T. (2009). Prayers issued from Imam Mahdi (may Allah hasten his reappearance) during the Minor Occultation. Qom: Masjid Moqaddas Jamkaran [In Persian].
Al-Qazwini, Z. (2001). Marvels of creatures and strange things existing (M. H. Khalf Tabrizi, Trans.). Tehran: Elmi va Farhangi [In Persian].
Asgari Galogahi, A. (2014). Study of animal symbols in ancient Iran [Unpublished master’s thesis]. Faculty of Literature and Humanities, University of Sistan and Baluchestan, Zahedan, Iran [In Persian].
Bolkhari, H. (2016). The wisdom of Islamic art (Vol. 2). Tehran: Soore Mehr [In Persian].
Bahar, M. (2007). A study on Iranian myths. Tehran: Agah [In Persian].
Beykmohammadi, N., Salehi Kakhki, A., & Zarei, M. E. (2020). Symbolism and origin tracing of the bull motif in Nishapur pottery based on historical texts. Iranian Archaeological Studies, 10 (2), 145–162. Doi: 10.22084/NBSH.2019.18799.1923 [In Persian].
Biruni, A. R. (1988). The remaining works from past centuries (A. DanaSeresht, Trans., 3rd ed.). Tehran: Elmi va Farhangi [In Persian].
Bowie, F. (2015). An introduction to the anthropology of religion (M. Arabestani, Trans.). Tehran: Naqd-e Afkar (Original work published 2006) [In Persian].
Chevalier, J., & Gheerbrant, A. (2000). Dictionnaire des symboles: mythes, reves, coutumes… (S. Fazeli, Trans.). Tehran: Jeyhoon (Original work published 1982) [In Persian].
Changiz, S., & Rezalu, R. (2011). Symbolic evaluation of animal motifs on Nishapur pottery (3rd and 4th centuries AH). Fine Arts: Visual Arts, 15(3), 45–67. Doi: 10.22059/jfava.2017.64029 [In Persian].
Cumont, F. (2005). The mysteries of Mithra (H. Razi, Trans.). Tehran: Behjat (Original work published 1903) [In Persian].
Cooper, J. (2008). An illustrated encyclopaedia of traditional symbols (M. Karbasian, Trans.). Tehran: Farshad (Original work published 1978) [In Persian].
Doostkhah, J. (2012). Avesta (Vol. 2). Tehran: Morvarid [In Persian].
Farrokhzad, P. (2007). Beads and seals. Tehran: Negah [In Persian].
Farnbagh Dadgi. (2006). Bundahishn (M. Bahar, Trans.). Tehran: Toos [In Persian].
Farboud, F., & Pourjafar, M. R. (2007). Comparative study of Sasanian and Eastern Roman textiles. Fine Arts Journal, No. 31, 65–76 [In Persian].
Frazer, J. G. (2006). The golden bough: A study in magic and religion (K. Firouzmand, Trans.). Tehran: Agah (Original work published 2002) [In Persian].
Golsorkhi, I. (1998). History of witchcraft. Tehran: Nashr-e Elm [In Persian].
Hall, J. (2008). Iconographic dictionary of symbols in Western and Eastern art (R. Behzadi, Trans.). Tehran: Contemporary Culture (Original work published 1994) [In Persian].
Hatami, Z. (2019). Talismans in the Qajar era: Scope, function, and actors. Historical Sociology, 11(1), 65–89 [In Persian].
Hesami, V. & Babarkat, S. (2017). A Study of the Symbol of Fish and Its Use in Safavid and Qajar Carpets. Negarineh Islamic Art, No. 14, 47-62. Doi: 10.22077/nia.2018.1469.1107 [In Persian].
Hosseini, M. S. (2014). A study of the role of four metal motifs discovered in Mazandaran during the Qajar period. Negarineh Islamic Art , No. 1, 78–86. Doi.10.22077/NIA.2014.562 [In Persian].
Ibn Arabi, M. M. (2016). Al-Futuhat al-Makkiyya (Vol. 4) (A. Ansari, Trans.). Tehran: Nashr-e Elm [In Persian].
Jobs, G. (1991). Symbols and signs in Eastern and Western art (M. R. Bagha Pour, Trans.). Tehran: Author [In Persian].
Khaleghi Motlagh, J. (2009). Sokhanhaye Dirineh [Ancient sayings]. Tehran: Afkar [In Persian].
Khazaei, M. (2007). Interpretation of motifs in Iranian art. In Proceedings of the Islamic Art Conference. Tehran: Islamic Art Studies Institute [In Persian].
Khazaei, F. (2016). Symbolism of the peacock in Qajar art. Tehran: Academy of Arts [In Persian].
Kharazmi, H. R., & Vatoukali, H. (2017). Talisman and talisman-breaking in the popular culture of Jebal Barz, Jiroft. Culture and Folklore, 16(1), 137–160. Doi. 10.1001.1.23454466.1396.5.16.7.1 [In Persian].
Musapour, E. (2009). Twelve plus one: Thirteen studies on talismans, amulets, and magic. Tehran: Ketab Marja [In Persian].
Mohaghegh, M. (2016). Ancient symbols in Islamic art. Tehran: Academy of Arts [In Persian].
Mokhtari, M. (2000). Epic in national mystery and secret (2rd ed.). Tehran: Toos [In Persian].
Nieberg, H. S. (2015). Religions of ancient Iran (S. N. Najmabadi, Trans.). Tehran: Iranian Center for Cultural Studies (Original work published 1938) [In Persian].
Pakbaz, R. (2006). Encyclopedia of art: Painting, sculpture, graphics. Tehran: Farhang Moaser [In Persian].
Papoli Yazdi, M. H., & Jalali, A. (1999). Rain-seeking rituals during droughts. Geographical Research, No. 5, 186–211 [In Persian].
Parham, B. (1992). Rock carvings of Iran. Tehran: Elmi va Farhangi [In Persian].
Pope, A., & Ackerman, Ph. (2008). Survey of Persian Art (Vol. 3) (N. Daryabandari et al., Trans.). Tehran: Elmi va Farhangi [In Persian].
Rahimpour, S. (2015). Examining the status of the horse from myth to its continuity on carpets. Negarineh Islamic Art, No. 6, 21–36. Doi.10.22077/NIA.2015.564 [In Persian].
Rezaei Baghbidi, H. (2009). Magic. In The Great Islamic Encyclopedia (Vol. 17). Tehran: Great Islamic Encyclopedia [In Persian].
Razi, H. (1965). Research on Vendidad (Who were the Magi?). Mehr Magazine, 12 (7), 418–423 [In Persian].
Zomorodi, H. (2003). Comparative critique of religions and myths in Shahnameh, Nizami’s Khamsa, and Mantiq al-Tayr. Tehran: Zavar [In Persian].
Sabotsky, E. (2015). Magic and the mind (F. Moradian & N. Naseri Tafti, Trans.). Tehran: Arjmand (Original work published 2010) [In Persian].
Sajadi Rad, S., & Sajadi Rad, K. (2013). The importance of the horse in Iranian and other nations’ myths and its reflection in Ferdowsi’s Shahnameh. Epic Literature Research Journal, No. 16, 99–128 [In Persian].
Shabani, R., & Roumi, F. (2009). Analysis of symbol and myth in history. Meskouyeh Journal, No. 11, 144 [In Persian].
Shirani, R. (2009). Symbolic study of contemporary Iranian talismans with emphasis on the Qajar period (Unpublished master’s thesis). Faculty of Art, Alzahra University, Tehran, Iran [In Persian].
Shirazi, A. A. (2011). Symbols and signs in Islamic art. Tehran: Soore Mehr [In Persian].
Sheikhi Narani, H. (2010). Semiotics of the bird: Peacock. Naghshmaya Research of Visual Arts, 3(5), 27–41 [In Persian].
Sabaghpour, T., & Shayestehfar, M. (2010). A study of symbolic motifs of birds in Safavid and Qajar carpets in terms of form and content. Negareh Journal, No. 14, 40 [In Persian].
Sedaghati, A. (2022). Symbolism of mystical-Islamic and literary aspects of the role of the peacock in the entrance façades of Islamic and Safavid era buildings. Honar Khorasan, No. 3, 85–96. Doi: 10.22034/DARAYGAH.2022.322105.1001 [In Persian].
Sadeghnia, S., & Poozesh, S. (2015). An interpretive and semiotic study of the role of the peacock in Iranian arts. Research in Iranian Art and Civilization, No. 39, 25–42 [In Persian].
Taheri, S. (2012). The archetype of the lion in Iran, Mesopotamia, and ancient Egypt. Fine Arts Journal, No. 49, 83–93. Doi:10.22059/jfava.2012.28523 [In Persian].
-----. (2017). Semiotics of archetypes. Tehran: Shour Afarin [In Persian].
Tanavoli, P. (2015). Traditional Iranian graphic talismans. Tehran: Bon Gah [In Persian].
Vedaei, Sh. (2015). Study of motifs of amulets and talismans from the Safavid to the end of the Qajar period [Unpublished master’s thesis]. Faculty of Visual Arts, University of Art, Tehran, Iran [In Persian].
White, G. (2008). The folklore of farming: Beliefs and customs of rural life. London: Random House.
Yaghoubzadeh, A., & Khazaei, M. (2019). Motifs of talismans, amulets, and charms: A case study of Bakhtiari nomads’ handwoven textiles. Art and Civilization of the East, 7(1), 25–43. Doi: 10.22034/jaco.2019.92837 [In Persian].
 
URLs:
URL1:https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=218042&partId=1&searchText=qajar&images (Access Date: 2024/10/1)
URL2: https://www.wikiwand.com/en/articles/Islamic_pottery (Access Date: 2024/10/1)
Journal of Iranian Handicrafts Studies
Volume 7, Issue 2 - Serial Number 13
13
March 2025
Pages 209-226

Files

Share

How to cite

Statistics