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The king as hunter had become a standard royal image on silver plates during the reign of Shapur II (A.D. 310–379). The theme, symbolizing the prowess of Sasanian rulers, was used to decorate these royal plates, which were often sent as gifts to neighboring courts. The king has various royal attributes: a crown and fillet, covered globe, nimbus with beaded border, and beaded chest halter with fluttering ribbons. The identity of the Sasanian king on this plate is uncertain. His crown identifies him as either Peroz (r. 459–484) or Kavad I (r. 488–497, 499–531).
Sasanian silver bowls were usually hammered into shape and then decorated in various complex techniques. On this plate, separate pieces of silver were inserted into lips cut up from the plate to provide high relief. The vessel was then gilded using an amalgam of mercury and gold, which could be painted onto the surface, and niello—a metallic alloy of sulfur and silver—was inlaid. The result was a vessel of varied surface contours and colors.
For much of the Sasanian period, a single royal center seemingly controlled the production of court silver. Though vessels made in the royal workshops share many technical and stylistic attributes, each piece is unique. This exceptionally well-crafted plate combines a wide array of metalworking processes to produce its three-dimensional, gilded, and inlaid design.
Silver, mercury gilding, niello.
Met Museum, New York (34.33)
The final day of the 2016 Kanwar Yatra and devotees are in a hurry to reach their home town by the end of the day.
The Kānvar Yatrā or Kavad Yatra (Devanagari: कांवड़ यात्रा) is annual pilgrimage of devotees of Shiva.
Read more: en.wikipedia.org/wiki/Kanwar_Yatra
King hunting rams [5th to 6th cent AD] -
Metmuseum AN 34.33
The king as hunter had become a standard royal image on silver plates during the reign of Shapur II (A.D. 310–379). The theme, symbolizing the prowess of Sasanian rulers, was used to decorate these royal plates, which were often sent as gifts to neighboring courts. The king has various royal attributes: a crown and fillet, covered globe, nimbus with beaded border, and beaded chest halter with fluttering ribbons. The identity of the Sasanian king on this plate is uncertain. His crown identifies him as either Peroz (r. 459–484) or Kavad I (r. 488–497, 499–531).
Sasanian silver bowls were usually hammered into shape and then decorated in various complex techniques. On this plate, separate pieces of silver were inserted into lips cut up from the plate to provide high relief. The vessel was then gilded using an amalgam of mercury and gold, which could be painted onto the surface, and niello—a metallic alloy of sulfur and silver—was inlaid. The result was a vessel of varied surface contours and colors.
Source: Metmuseum
Himalaya under rain. The Kavad Yatra is annual pilgrimage of devotees of Shiva, to Hindu pilgrimage places of Haridwar, Gaumukh and Gangotri. During the annual Monsoon season thousands of saffron-clad pilgrims carrying water from the Ganges.
Fête du Cavadee à la Réunion, avril 2016
"Cavadee ou kavadi, la « Fête des dix jours » en l’honneur de Muruga, est spécifique à la communauté tamoule. Pour cette dernière, ces dix jours sont particulièrement importants. Ils permettent aux croyants de se purifier et de se renouveler pour affronter un nouveau cycle.
A la Réunion, la Fête des Dix Jours est célébrée à des dates différentes. Le mois d’avril fut le tour de la communauté de Saint-Pierre. La célébration a débuté par l’érection d’un poteau (naktal) près du temple, signe d’entrée dans un temps sacré, tandis que le dieu Muruga est montré au public dans un pandel. Chacun pourra ainsi recevoir son darshan (le fait d’être béni par la vue de la divinité, de sa représentation). Le point culminant des célébrations a été la journée du 21 avril.
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La célébration à Saint-Pierre a été théâtre d’un des moments les plus connus du Kâvadi coïncidant au dixième jour. Les pénitents se font implanter sur le corps un nombre consacré d’aiguilles en forme de vel. L’implantation des aiguilles d’argent matérialise le vœu de silence et symbolise la victoire du bien sur le mal. Des images impressionnantes qui relèvent toute l’importance de cet acte de pénitence."
"Kavadia" (One who carries the "Kavad")
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The month Shraavan, according to Hindu Calendar, is very auspicious and devout Hindus avoid non veg. food and visit various Temples and observe fasting on many days of the week. And in many parts of the country the customs followed varies. On my visit to Indore, Madhyapradesh State in India, the custom I saw was unique. People wearing saffron colour clothes walk barefoot for days (Ujjain to Indore itself is about 91Kms) visiting from one temple to another carrying a thin log on their shoulder, two small earthen/plastic pots filled with offerings tied at both ends. Though individual devotees (Kavadias) could be seen, many walk in groups, small and big. It was a sight to watch as could be seen from these photos. (The most interesting thing I noticed was individual devotees walking with light reflectors attached to them during night for vehicles to take care to avoid any hits)
The Kavad Yatra is annual pilgrimage of devotees of Shiva, to Hindu pilgrimage places of Haridwar, Gaumukh and Gangotri. During the annual Monsoon season thousands of saffron-clad pilgrims carrying water from the Ganges.
1.Kanwar Yatra is named after the kānvar (काँवर), a single pole (usually made of bamboo) with two roughly equal loads fastened or dangling from opposite ends. The kānvar is carried by balancing the middle of the pole on one or both shoulders. The Hindi word kānvar is derived from the Sanskrit kānvānrathi (काँवाँरथी). Kānvar-carrying pilgrims, called Kānvariās, carry covered water-pots in kānvars slung across their shoulders. This practice of carrying Kavad as a part of religious pilgrimage, especially by devotees of Lord Shiva, is widely followed throughout India . Yatra means a journey or procession.
2.Shraavana (Hindi: सावन saavan, Sanskrit: श्रावण shraavan) is a month of the Hindu calendar, also known as Sawan. In India's national civil calendar, Shraavan is the fifth month of the Hindu year, beginning in late July and ending in the third week of August. In the Tamil calendar, it is known as Aavani and is the fifth month of the solar year. Shraavan begins with the Sun's entry into Leo.
In lunar religious calendars, Shraavana begins on the new moon and is the fifth month of the year.
3.Neelkanth Mahadev Temple (Hindi: नीलकंठ महादेव मंदिर) is a Hindu temple dedicated to Nilkanth (Lord Shiva). The temple is situated at a height of 1330 meters and is located about 32 km from Rishikesh in the Pauri Garhwal district of Uttarakhand.
The Temple is one of the most revered holy shrines dedicated to Lord Shiva and is a prominent Hindu pilgrimage site. It is surrounded by dense forests and is adjacent to the mountain ranges of Nar-Narayan. It is enveloped between the valleys of Manikoot, Brahmakoot and Vishnukoot and is located at the confluence of the rivers Pankaja and Madhumati. ~~ Wikipedia
Sasanian empire silver coin of 1 drachma showing on its front side Sasanian king Kavad Ist (Father of Khosrow Ist "Anushirvan" wearing a double ribboned crown, between 2 stars. Above his crown, one can see his typical spheric hairdress (Korymbos). The king is surrounded by 3 stars aboove crescents and by a single grenetis. A Pehlevi inscription can be seen. On the reverse side, a fire burns on an altar from which 2 ribbons are flowing down, between 2 animal figures standing on 2 pillars. Here again, a Pehlevi inscription and a single grenetis achieve the decoration.
The coin was made in Ardeshir Kwarreh (City of Gur), at the 38th year of Kavad's reign, so probably around 628 CE, near actual Firuzabad city in Fars province.
Personal collection coin, Scanned January 2010.
Silver gilt, 7th century C.E.
D. 20 cm.
This extraordinary example of silver craftsmanship depicts the theme of the Sasanian royal hunt in a distinctively decorative style, almost totally filling the circular field with pictorial elements. In this highly conservative genre, the central image is always that of a ruler engaged in hunting on foot or, more commonly, on horseback. Earlier royal hunting plates tend to be simple compositions featuring the king and one or more animals of the same species; but later versions tend to be more complex and often include animals of differing types. In this example, a dead lion and a charging boar are seen beneath the body of the rearing horse. The royal huntsman holds his leg up to avoid the beast while thrusting a spear through its body. In an odd and totally unnaturalistic fashion, the spear, which is held only in his right hand, passes behind his body to stab the boar. Entering the scene on the right is a caparisoned elephant driven by a mahout. It is reminiscent of the elephants depicted herding wild beasts in a royal hunting scene carved in low relief on a side wall of the large rock-cut niche at Taq-i Bostan, created during the reign of Khosro II (r. A.D. 591-628). A small winged genius bearing a ribboned necklace flies toward the royal personage to bestow it on him as an emblem of victory.
Hammering, carving, and chasing were techniques utilized to produce this work, without the addition of any separately made pieces to heighten the relief. This suggests a late date for its creation. Various technical characteristics such as the low relief and use of spot gilding are consistent with a late Sasanian date. A variety of sizes of circular punch marks decorate the hair, tied beard, diadem, necklace, chest halter, sword, belt, and other elements of the royal image. The long-tailed ribbons flying from the back of the diadem, the streamers from the back of the figure's chest halter, the scalloped edges of his diaphanous costume with parallel line and V-shaped wrinkles in the material shown here are characteristic of the remarkably consistent elements of royal imagery in silverwork repeated throughout the Sasanian era. The horse's harness is especially ornate, with emphasis given to the band of large high relief rosettes carved across his neck and rump. Even the tiny winged genius has been given a short-sleeved tunic with a dotted pattern.
The headdress depicted on this plate is not recognizable as that of any known Sasanian ruler. The diadem with two bands of pearls and a crescent on the front is first depicted on royal busts from coin issues of first reign of Kavad I (488-97); but the body of the crown seems to be derived from a very rare curled-cap crown found on a few coins of earlier kings.1 These caps, however, do not have globes on the top, as do most official Sasanian crowns. Thus the crown worn by this figure appears to be made up of elements of several types.
The composition of this plate is very close to that of a silver plate in the Museum fur Islamische Kunst, Berlin; although in this case a short javelin is held by the hunter in a convincing manner, and pointed at a bear standing behind a tree.2 In the Shumei plate the bear is replaced by the elephant and its driver. Also notable is the fact that the crown depicted on the Berlin plate is entirely different. Most puzzling, however, is the fact that the styles of the Berlin plate and the Shumei plate are unquestionably dissimilar. One possible solution to this problem could have been the use of a common prototype for both compositions. The Berlin plate was found in Armenia; but it is probable that drawings of silverwork designs circulated widely, making it possible for artisans from workshops in various locations to be similarly inspired.
Although the craftsmanship of this silver plate displays great skill, it is so highly syncretic in style that it does not fit comfortably within any of the stylistic categories of Sasanian silver plates proposed by Harper.3 Indeed, it may be the creation of a transitional era, not long before or after the fall of the Sasanian dynasty in the mid-seventh century, when oversight of official workshops had become slack or had come to an end, but at a time when high quality craftsmanship in silver might still be found, kept alive through private commissions of patrons nostalgic for reflections of a lost era of Sasanian royal glory. In fact, it might have been created to represent a Sasanian king from the distant past who, like Varahran V (Bahram Gur), became a subject of tales of heroic hunting exploits in later times. Legends such as these were part of an Iranian tradition surrounding the great deeds of its kings that survived long into the Islamic era to be crystallized in the epic of the Shah nameh.
MLC
1. Gl 1971, Table XIV.
2. Harper and Meyers 1981, pp. 68-70, p. 131, pl. 20.
3. Ibid., pp. 187-94.
Text and image from the website of the Miho Museum.
بشقاب شکار قوچ از آثار باستانی دوران ساسانیان (اواخر سده پنجم - اوایل سده ششم بعد از میلاد)است که در موزه متروپولیتن نیویورک نگهداری میشود. بشقاب نقرهای شکارگاه، با جیوه، نقره و طلا تذهیب کاری شده و با روش سیاه قلمکاری تزئین شدهاست. این بشقاب دارای ارتفاع ۴٫۶ و قطر ۲۱٫۹ سانتیمتر میباشد. در تصویر شاه ساسانی در حال شکار قوچ میباشد. طرح بشقاب برای درباریان نشانه دلاوری و شکستناپذیری شاهان ساسانی بودهاست. این قبیل آثار برای هدیه دادن به پادشاهان کشورهای همسایه کاربرد داشتهاست. پادشاه در بشقاب دارای تاج و سربند و همچنین گوی با پشتیبان مخصوص میباشد که هالهای در اطراف سر او با مهره یا منجوق تزئین شدهاست. گمان میرود پادشاه در طرح بشقاب، پیروز یا قباد یکم باشد.
Plate with king hunting rams
Period: Sasanian
Date: ca. A.D. mid-5th–mid-6th century
Geography: Iran, said to be from Qazvin
Culture: Sasanian
Medium: Silver, mercury gilding, niello inlay
Dimensions: H. 1 7/8 in. (4.6 cm), Diam. 8 5/8 in. (21.9 cm)
The king as hunter had become a standard royal image on silver plates during the reign of Shapur II (A.D. 310–379). The theme, symbolizing the prowess of Sasanian rulers, was used to decorate these royal plates, which were often sent as gifts to neighboring courts. The king has various royal attributes: a crown and fillet, covered globe, nimbus with beaded border, and beaded chest halter with fluttering ribbons. The identity of the Sasanian king on this plate is uncertain. His crown identifies him as either Peroz (r. 459–484) or Kavad I (r. 488–497, 499–531).
Sasanian silver bowls were usually hammered into shape and then decorated in various complex techniques. On this plate, separate pieces of silver were inserted into lips cut up from the plate to provide high relief. The vessel was then gilded using an amalgam of mercury and gold, which could be painted onto the surface, and niello—a metallic alloy of sulfur and silver—was inlaid. The result was a vessel of varied surface contours and colors.
HUNNIC TRIBES, Hephthalites. Anonymous. Circa 484/8-560. AR Drachm (29mm, 3.44 g, 3h). Half-length bust of chieftain left, holding drinking cup; Baktrian legends in fields / Sasanian style bust imitating Kavād (Kavādh) I right. Cf. Alram & Pfisterer, p. 32; Alram, Schatzfund 48 var. (tamgha to right on rev.); Göbl, Dokumente E25; cf. Zeno 42957 (for type). Good VF, toned, traces of deposits, struck on ragged flan. Extremely rare.
CNGTRITONXVII, 489
SASANIAN KINGS. Husrav (Khosrau) II. AD 591-628. AV Dinar (24mm, 4.18 g, 12h). Uncertain mint. Dated RY 36 (AD 625/6). Facing bust, wearing mural crown with frontal crescent and surmounted by pellet-in-crescent; crescents and fillets over shoulders, crown flanked by stars / Husrav standing facing, crown and symbols as on obverse, holding sword; “syčsyh” to lower left. Cf. K. Mosig-Walburg. “Sonderprägungen des Xusrō II vom Typ Göbl V/6 und VI/7,” Iranica Antiqua XXVIII (1993), 2-7; Göbl type VI/7; Paruck 460; Saeedi -. VF, areas of toning, a few edge marks. Very rare.
Beginning in 611 AD (RY 21), a series of special issue silver drachms and gold dinars were struck on behalf of Husrav (Khosrau) II and were probably intended as special issue those who helped to support and expand the empire. The drachms show a crowned bust of the king right on the obverse and a facing portrait of Anahit on the reverse. The dinars were of two types. Those of RY 21 show a crowned bust of the king right on the obverse and a facing portrait of Anahit on the reverse. Those beginning in RY 33, however, featured a crowned facing portrait of the king on the obverse and the king standing facing on the reverse. The reverse legends of both the silver and gold issues proclaim may Iran expand. This was certainly true during the early years of Husrav’s reign, when the Sasanians had conquered much of the Levant, going so far as to occupy Armenia, as well as the cities of Damascus, Jerusalem, and Alexandria.
By AD 622, the tide had begun, making that wish a more hollow one. That year, the Byzantine emperor, Heraclius, had pushed the Sasanians out of Armenia and made his way as far as the ancient Achaemenid town of Ganzhak, sacking the town and destroying the fire temple there. Over the next several years (and decades), the Sasanians would continue to receive military setbacks, precipitating the loss of much of their empire. This was particularly true in relation to the Muslims, who expanded out of the Hijaz and into the imperial void left by continued war between the Sasanians and Byzantines. According to legend, at the same time that the Byzantines were driving the Sasanians back from Armenia, Husrav received a letter from Muhammad, asking the king to preach Islam. Violently rejecting this (which included the tearing-up of the letter), Husrav is said to have sent men to capture Muhammad, who, when he heard of this plot is said to have replied, “may his kingdom tear apart,” predicting as well that the king would be murdered by his son. Prophetically all of this came to pass: Husrav was indeed murdered by his son, Kavad (Kavadh) II, and the ensuing dynastic civil war did weaken Sasanian power, which resulted in its fall to the Muslims in AD 651.
CNGTRITON14, 529