ABSTRACT

During the Parthian era (ca. 238 BC–224 AD), rupestrian art was mainly the product of the patronage of kings, independent aristocrats, subjugated vassals, or peripheral rulers, which often developed independently from the main authorities conventions, shaping a proper tradition through the canonisation of certain motifs. In the minor kingdom of Elymais, the socio-political situation seems to have stimulated a creative combination of native, Hellenistic and Parthian artistic elements. Within this panorama, the enigmatic carving of Hung-e Azhdar within the Zagros-Bakhtiari region in southwestern Iran embraces a tradition of two to three centuries of Iranian art, starting from the use of well-rooted Hellenistic heritage at Izeh-Malamir. The choice of this specific boulder, already bearing an Elamite relief, suggests that this enclosed spot represented a regionally important cult site where the reaffirmation of royal power and the necessity of political propaganda was evoked by the kings of Elymais.

摘要

在帕提亚时代（约公元前238年至公元224年），岩画艺术主要是国王、独立贵族、被征服的封臣或外围统治者赞助的产物，它们往往独立于主要当局的惯例而发展，形成了适当的传统通过某些主题的经典化。在埃利迈斯这个小王国，社会政治形势似乎激发了本土、希腊化和帕提亚艺术元素的创造性结合。在这幅全景图中，伊朗西南部扎格罗斯-巴赫蒂亚里地区的 Hung-e Azhdar 神秘雕刻体现了伊朗艺术两到三个世纪的传统，从伊泽-马拉米尔根深蒂固的希腊化遗产的使用开始。选择这块特定的巨石，已经带有埃兰浮雕，