Articles
Publication Date: 2026
Ancient Iranian Studies (28212215)5(14)pp. 115-126
Daštān is a Persian word meaning the menstrual cycle that happens to every girl after puberty. In Zoroastrianism, the menstrual cycle is tied to mythology so that they believed it occurred after the Ahriman’s kiss on the forehead of Jahī (Demoness of lasciviousness). The consequence of this belief about menstruation (Daštān) resulted in strict rules to prevent pollution and impurities of sacred elements. Most rules were written in post-Sasanian texts. The obligations of a woman in time of Daštān were stated in those texts. This research describes and analyzes the issue of Daštān in texts based on literary evidence. It examines whether the strict laws surrounding Daštān originated from religious laws or were rooted in myth, and what attitude towards women they created. Studies show that Daštān was considered filthy. Since the menstrual cycle is a periodical condition, a set of rules were conducted for women to obey in order to prevent the spread of pollution. In spite of negative ideas in some texts including Bundahišn and Zādspram about this issue, there were no negative approaches towards women. © 2026 The Author(s).
Publication Date: 2025
Persica Antiqua (27832732)5(8)pp. 19-33
The Territorial conquests of the Medes, as Far East as Hyrcania, could be traced from the first half of the seventh century BC onwards. The first Median kings undertook far-flung campaigns to take control of the region and extend their territory. The existence of the fortified settlement in the Gorgān plain could prove the expansion of centralized Median kingdom as far as Hyrcania. The Assyrian sources of the 9th to 7th century BC are also in overall agreement with the results of the archeological studies in the western steppe of Gorgān plain (Hyrcania). As a result, the Median’s dominance over Hyrcania determined the strategies and political guide-lines of the Median kingdom and set the foundations for its transformation from a confed-eration of tribes to a powerful trans-regional state. Accordingly, in the present paper, beside historical and literary sources, archaeological evidences have also been studied in order to determine the Median’s range of territory in the east of their homeland. © 2025 The Author(s).
Publication Date: 2025
Iran and the Caucasus (16098498)29(4-5)pp. 411-434
So far, more than forty Sasanian bas-reliefs have been discovered in Iran and neighboring countries, in which the horse is the most frequently depicted animal motif. A mysterious decorative object often appears in Sasanian equestrian reliefs, usually positioned between the horse's hind legs. In the pre-Sasanian period, this object is rarely encountered, with no trace of it except for a wall painting at Dura-Europos and a piece of graffiti at Persepolis. By examining the typology and iconography of these tassels, the present study argues that they were used as whips to stimulate the horse to run faster. © ESMAEIL SANGARI ET AL., 2025.
Publication Date: 2024
Journal of Archaeological Studies (22519297)16(1)pp. 253-275
The bear hunting silver plate housed in the Abkhazia Museum stands out as a distinctive example of artwork from the Sasanian period. Its portrayal of bears being hunted, alongside the utilization of a lasso as the primary hunting instrument, renders it a unique specimen among Sasanian hunting vessels. This study employs an iconographic analysis approach to investigate the scene depicted on the plate, which has been previously attributed by Lukunin to Bahram I, the fourth ruler of the Sasanian dynasty, prior to his ascension to the throne. The objective of this research is to offer a comprehensive analysis of the entire scene depicted on the plate, followed by a detailed examination of each motif in isolation. Finally, an evaluation is provided regarding the realism or symbolism inherent within the scene, drawing upon available information. This study constitutes a descriptive-analytical inquiry into ancient Iranian art, drawing upon data collected from both library sources and online visual repositories. © 2024 University of Tehran. All rights reserved.
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. © 2022 British Institute of Persian Studies.
