ABSTRACT

The article discusses the well-known painting from the outer courtyard of Temple II in Panjikent, which has been unanimously identified as depicting a group of fravašis. It argues that the painting should rather be interpreted as a ritual procession of high-ranking Sogdian women carrying symbols and attributes of Nana, the supreme goddess of Panjikent, who was worshipped in this temple. In addition, it suggests that the two structures from the painting from Area XXV, Room 12 in Panjikent are not a unique depiction of the gates of Heaven and Hell, as they have been interpreted since publication, but are rather a schematic representation of two Sogdian temples, dedicated to Nana and her guardian, Vrēšman.

摘要

这篇文章讨论了潘吉肯特二号神殿外院的著名画作，该画被一致认定为描绘了一群弗拉瓦希斯人。它认为这幅画应该被解释为高级粟特妇女的仪式游行，携带着潘吉肯特最高女神娜娜的象征和属性，娜娜在这座寺庙中供奉。此外，这表明潘吉肯特 XXV 区 12 室绘画中的两座建筑并不是对天堂和地狱之门的独特描绘，正如自出版以来所解释的那样，而是两个粟特人的示意图。供奉娜娜和她的监护人弗勒什曼的寺庙。