ABSTRACT

Made in the midst of the Sasanid period, Sasanid silver vessels are one of the most important relics of the period that along with abundant archaeological data, convey valuable insights into the cultural past of Sasanid society, the people and their beliefs. The artworks carved on these vessels, besides their aesthetic features, cover a wide range of subjects in the political, social, religious, and cultural spheres. Although the Sasanid silver vessels have been the subject of many pieces of research, what is less noticed, is the iconographical analysis of dancers and their garments. The present study, which is based on the theory of Erwin Panofsky, examine the attires of dancers carved on four Sasanid silver vessels from the perspective of religious tendencies of Sasanid society. The results show that due to the religious nature of the Sasanid rituals, the dancers and the costumes they wore were closely connected to the religious beliefs of the Zoroastrians.

摘要

制作于萨珊王朝中期的萨珊王朝银器是该时期最重要的文物之一，伴随着丰富的考古数据，传达了对萨珊王朝社会、人民及其信仰的文化历史的宝贵见解。雕刻在这些器皿上的艺术品除了具有美学特征外，还涵盖了政治、社会、宗教和文化领域的广泛主题。尽管 Sasanid 银器已成为许多研究的主题，但鲜为人知的是对舞者及其服装的图像学分析。本研究以欧文·潘诺夫斯基的理论为基础，从萨珊王朝社会的宗教倾向的角度，考察了雕刻在四个萨珊王朝银器上的舞者的服饰。