The importance of animal motifs can be seen in Iranian art from a long time ago. These animal motifs are sometimes considered as a symbol of gods, royalty or elements of the universe due to their use in agriculture and nutrition. Among the animal motifs, the goat horn pattern motif is very important.

In ancient times, this role had more than a decorative role, and it is a symbol of the benefactors and blessings. From the Sassanid era and then the Islamic era, when the beliefs and tendencies of art and culture have undergone fundamental changes, the goat horn patter image also went to the sidelines and kept most of its function in rural and tribal handwovens.

The purpose of the leading article is to search for the reason for the continuation and preservation of this role in ancient art and then its continuation in kilim art. This research has investigated the traces of Bezkohi’s presence and its meaning in Iranian art with the help of the available paintings from the prehistoric era until now, with the method of comparing the documents left behind in different eras and the descriptive-analytical method. The method of collecting information is also a library.

It seems that this role has existed on the petroglyphs for a long time and according to the beliefs and rituals of the past people, it was formed as a symbol of rain, fertility and abundance, and it was transferred from one generation to another in the art school, and it was preserved in the nomadic handlooms that were safe from the changes of the day. Is. The closeness of this role with the life, livelihood, environment and wishes of the weaver and its traditional transmission over the centuries is the cause of its preservation among the nomadic weavings until today. Even though today’s weaver is aware of the exact meaning of this role, he is the guardian of it, and in this way, the kilim has become a symbol of an ancient image and ideal.

The importance of animal motifs Before this, people thought that natural phenomena, such as rain and storms, fertility and fertility of the soil, were under the supervision of invisible forces. In order to control nature and create a favorable behavior in it, man does whatever he thinks is effective in order to achieve recovery, blessing and mastery over the environment. With the rise of the moon, the tide would rise, the sound of a bird could be a promise of rain, an animal His four legs led him to a spring in the mountains and desert. The instinctive behavior of animals in predicting natural events and finding water and wildlife resources gave humans the impression that they play a role in creating events and what is desirable.

Ancient artists created animals based on their ideas of mud, stone, and metal, which, from their point of view, had mana power and were influential in events and nature. Animals were sometimes respected or worshiped as ancestors or totems in ancient times and were praised for their beauty or natural strength.

The image of an antelope goat horn pattern in Iranian art

The image of ibex has played a very important role in Iranian art for a long time, and its images have been seen since prehistoric times in the motifs of caves, carved stones, on pottery and metal vessels. This role can be seen either in a natural form or in a winged form in the art of Lorestan bronzers, and in the Achaemenid period, it reached its highest glory in terms of the variety of forms, and over the centuries it is a symbol of life force, fertility and the guardian of the tree of life. Came

In some sources, the Bezkohi image is an animal symbol of Gil Gomesh, the Sumerian king is also the lord of animals and the symbol of Anahita, Izdbaran. In the prehistoric era, goat images were painted and carved on rocks, and the potters of Susa always put the moon or other symbolic images between the horns and trunk of the goat, and a large number of Susa clay drinking troughs in the 3rd and 4th millennia. They have no role other than this

Undoubtedly, the identity of Iranian quadrupeds is affected by the environmental, cultural and ritual conditions of these people. It can be said that some artistic phenomena were affected by the social conditions of the way of life of the people of their time and it shows the importance of some creatures and subjects in the nature around the people who made them.

The main goal of this research is to understand the meaning and concept of Bezkohi painting and its continuity in Iranian art from ancient times until now. Considering the changes in the conditions, customs and ways of living of Iranians in the past centuries, the image of goat in various forms in the handcrafts and handwovens of Iranian peoples has consistency and durability.

Why is the goat horn pattern so repeated in ancient Iranian art?

The main question of the upcoming research is why the role of goat was repeated to such an extent in ancient Iranian art and what was its fate in the later era?

For this purpose, the role of Bezkohi from petroglyphs, pottery and metalwork among the available and available documents from ancient history and civilization to nomadic rugs in the contemporary era has been investigated and studied.

Also, this role has been examined among the motifs available from hand-woven fabrics, especially the kilims of the nomads of Bakhtiari, Shahson and Qashqai regions, with reference to its background in ancient art. In this research, the importance of Bezkouhi painting in terms of its meaning, function and connection with mythology, beliefs, beliefs, and rituals in different historical periods and its continuation in the contemporary era has been investigated.

Mountain goat horn pattern morphology

There are various forms of goat depictions in ancient art, and sometimes due to the similarity with other quadrupeds such as rams, goats, and marals, its exact identification is doubtful, and in some texts it is named incorrectly. Therefore, it is necessary to first describe the appearance of these quadrupeds. be expressed

ram

Herdsmen and early animal husbandry communities in the Iranian plateau considered the ram to be a symbol of superiority over other animals, especially sheep, and the main characteristic of the ram is its snail-shaped horns. The ram is one of the male gods associated with fertility and reproduction, and in Egyptian mythology, it is the symbol of Amon, the god of creation, and Khnum, the god of creativity.

Maral, Deer, Mountain Cow This animal, which belongs to the family of deer, has long and multi-branched horns, and its horns grow longer than yellow deer and up to 110 cm. The habitat of this animal, which is often confused with an ibex, is mostly in the northern regions of Iran. This animal does not have the distribution and extent of its habitat like the mountain goat.

goat horn pattern on pesrian kilim bags

Gazelle

This animal is also scattered throughout Iran. Its horn grows up to 44 cm, its legs are long and its neck is long and its horns are short and towards the back. In general, it is smaller than Meral, Bezkohi and Koch

Kal, guard, mountain goat

The mountain goat is scattered in almost all the provinces of Iran and mountainous areas.

The goat easily climbs the rocks, its horn is sword-like and beautiful, and the animal is estimated from the protrusion on the horn. Its tail is short and its length is slightly longer than the length of the ears with hairs at the end. Its legs are strong and its hoof is relatively wide. (Picture 2)

The motif of an antelope is seen for the first time on the beads of the Mesopotamian shaped cylinders belonging to the 4th and 3rd millennia BC.

goat horn pattern on Iranian petroglyphs

Stone carvings are the oldest books of early humans, on which they recorded their interests, tastes and beliefs. About 30,000 to 25,000 figures have been carved in the heart of the mountains and caves, and it can be safely said that the most abundant figure found in the petroglyphs is the mountain goat, especially the male goat, with large horns drawn in various styles, which are prominent in most of the scenes. slow (Farhadi, 1377, 130)

Due to the widespread distribution of this animal in Iran, this role has been seen in the petroglyphs of the mountainous regions of Lorestan, Arsbaran, Kahkiloyeh, Khomein, Dasht Maghan and other regions of Iran.

A mountain goat with long horns turned back and a narrow neck of ninety degrees is a sign recorded in the petroglyphs of different regions of Iran, and it means asking for water, fertility and abundance of blessings. It is a mountain goat. (Nasseri Fard, 1388, 133) Next to the carvings discovered from Bezkohi, there is a rhombus-shaped carving that is from the collection of mixed lines of ancient Elam, and the archeology professor confirmed to Hintz the existence of a ziggurat-shaped carving near this design. It is sacred. Mountain goat motifs are often found in areas close to water, and even today it is considered one of the blessed areas. In this period, the role of a mountain goat is seen everywhere as a mythical and holy angel, the guardian of the moon and the requester of water, fertility and abundance (ibid., 134).

Painting for humans in the ancient period is considered as their first line of writing, and the hope for fertility and blessings is greater, and it can be definitely said that the role of the goat as a symbol of the moon and rain is more than other animals such as sheep, horses, deer and lions for the past people of Iran. It is important and its abundance is a sign of importance in their lives and beliefs

Due to the fact that the goat is resistant to heat and inaccessible, mountainous areas and low vegetation and is a native game of Iran, the vital importance of this animal in the livelihood and living of the nomads is obvious. On the other hand, for ancient people, the horn of this animal is reminiscent of the moon

The importance of the moon according to its relationship with plants, water and rain, which is a manifestation of supernatural power. Rain is vital in nature, it is divinity, kingship, power, victory, abundance of flocks and crops, birth and fertility. Also, the manifestation of life force with the vital principle that rises from the head; Hence, the horns on your helmet or headgear give extra strength. Horned gods are also considered to be the embodiment of warfare, fertility, and the lord of animals. (Cooper, 218, 2019)

It can be said that the role of an antelope was used more than other animals in bronzes and pottery of millennia BC. This animal, which in ethnic and mythological beliefs, is the male principle and the symbol of the power of production, is one of the animals ruling the heavens, the tenth sign of the zodiac and also one of the constellations in the northern sky that Iranians Ibex and other horned animals also believed in eternal power, and there was a strong possibility that there was a connection between the curved horns and the crescent moon. Since ancient times, the moon has been associated with rain and the sun with heat and drought

Therefore, the horn is considered effective in raining, and this water dependent was prominently displayed on the dishes, and the crescent moon was always depicted as a water tank in the middle of the crescent of the horns. And the square is a sign of the earth, because it has four main directions, and the sky also appears in the form of birds that have opened their wings. (Pope, 1380, 15)

According to these mystical and magical meanings, one can understand why the role of horned animals is clearly and strongly expressed in artistic examples.

goat horn pattern in Iranian myths

Myth is the response of human inability to not knowing the real causes of events and trying to interpret them. The nature of myths is described by symbols, because symbols define the relationships and connections between the signifier and the signified, human and God. (Cooper, 1379, 1399)

Girishman believes that the Iranians and the Vionanis, in their art periods, narrate mythological subjects. These works were seen in Iran first in pottery and then in metal artists, and they were engraved on metals for at least two centuries in Lorestan. (Girishman, 1374, 74)

In one of the myths related to the story of the creation of man, there is a story of a plant with two leaves (probably rhubarb) growing in the shape of a man, which is known as Mishiyeh and Mishyaneh, and in the events that happened to them, they drank the milk of a white goat. In other words, the goat plays an important role in early human life. (Carnoy, 1383, 51)

In the myths of ancient Iran, among the gods who are represented in the form of quadrupeds, we can mention Vartharghneh (Bahram), the god of war and victory, who is an abstract being, and one of his incarnations was a male goat. (Hinels, 1374, 71)

Examining the pattern of antelope in clay drinking troughs of 4000 BC in Susa, it is evident that the horns are of unusual dimensions, which are considered a symbol of the moon and the source of rain, and in most cases, a symbol of the earth, water, and sun is depicted among the horns. (Figure 4)

There is an undeniable connection between the moon, water and water in the ancient myths of the world, especially the myths of the Indo-Vairanis, who are the ancestors of the people of the Iranian plateau. The connection of the moon with tides, storms and rain strengthens its connection with plants

It is stated in Yashta in Yashta (VII, 4): Plants grow in the warmth of the moon. The connection of the moon with plants and vegetation is such that some of the fertility gods are also lunar gods at the same time, such as Hathor in Egypt and Anahita in Iran. In other cultures of the ancient world, creatures such as dogs or snails, snakes, eels, and frogs are related to the moon and rain.

In the culture of ancient Iran, in addition to the fact that the ibex is a symbol of Bahram, the god of victory, its horn is also a reminder and sign of the moon, so among its horns there is a symbol of water (rain) or earth, which refers to vegetation. (Picture 4-5)

In the bronzes of Lorestan, a mountain goat appears next to Anahita and is a reminder of the god of fertility and water. Among the remains of votive pieces whose exact meaning is not known, there are images of goats, tools and tools related to horses (under series) and simple figures in the form of pins, which may be related to family emblems or made for sacrifices, eyes and eyes. or objects that represent the hero’s fight with two forest animals can be seen

One of the most important bronze works of Lorestan is the bronze rods that were found in a shrine in “Sorkh Dem”. These rods lead to a circular plate, in the center of which there is a prominent figure of a human head, which should be the head of the “Mother God” of the tribes. It is an Asian that has been worshiped from Asia Minor to Susa. (Girishman, 1371, 48)

goat horn pattern and legends in hand-woven rugs

Myths are part of the cultural values ​​of every society, as Eliade said, symbols, myths and rituals should be judged as cultural values. In the common language of the 19th century, myth was anything that contradicted reality. In primitive societies, the myth is the actor of absolute truth because it expresses a sacred history, so the myth here is real and sacred and repeatable. The creation of a myth requires special conditions. Our thinking again is myth as an element of civilization.

In fact, myth and mythic behavior are about breaking away from the unholy time and integrating with the origin. Creating a model for the whole society is one of the characteristics of the myth. Perhaps the effort to free the modern man from the origin of his history is the return to the mythical way of life. It is only in modern societies that man finds himself captured by daily work from which there is no escape, and because he can no longer escape from time during idle hours.

The defense against the time when every mythical attitude appears is in fact inseparable from human conditions and appears in different ways and changes in the new world. But more than anything, this issue shows itself in human preoccupations and entertainments. Therefore, this mythical attitude can be found in the entertainments and unconscious psychological activities of people, such as dreams and human fantasies, according to All the concepts and definitions that are presented in the field of myth, it should be acknowledged that the scope of myth is used in all areas of social and individual life. An example of this use can be found in the entry of myth into literature, philosophy, religion and religion, sociology and art. Art and myth shows its importance when after knowing different myths, we find that these concepts have solidified their foothold in the foundations and principles of artistic works.

The discussion of Iranian hand-woven kilim and the myth of their associations reminds us of the role of kilims. However, in this brief, there is no time to examine the basis of Iranian kilim patterns, the number of which exceeds hundreds of patterns in the whole country, and explore their connection with myths. However, as much as possible and with reference to the deep studies and researches of the Iranian kilim masters, an attempt is made to list some of these examples here.

goat horn pattern symbol in historical developments

The motifs of many animals throughout history on walls, historical monuments and temples, various utensils and tools, seals, etc. clearly indicate the close interaction between humans and the animals around them. In addition to the undeniable role of every

Of the animals in the ecosystem and natural cycle, their role in history, culture and art and the impact they have had on the lives of the people of Iran throughout history is also very important and worthy of attention.

The oldest rock carvings, paintings on pottery and seals left from ancient times clearly show that the first hunters in the Iranian plateau used spears, arrows and bows, especially with the help of sharp-legged hunting dogs that they had in their possession. They hunted them to use their meat and skin (Golshan. Ali. 2013: 37).

The role of prehistoric pottery, which shines on the world’s great museums, shows the culture, art and high thought of man of this period in the land of Iran. An important part of the history of symbols and motifs in different cultures and civilizations lies in the body of works that are studied as authentic documents. From the beginning of creation, the artist has always tried to establish an objective relationship with the world around him and the audience by creating the work and has carried a message to the viewer. During the era of type and quality, this communication has changed from visual to religious and cultural values. Tolstoy considers art to be the highest manifestation of the idea of ​​God in spiritual and spiritual pleasure for humans.

There have always been connections between man and God, which ancient artists depicted in the majority of symbols (Cooper. 1379: 1), which are symbols such as life force, supernatural force, divinity, monarchy, war, victory, increase of crops and Fertility can be mentioned. Also, the nature of myths can be seen through the representation of symbols in a work of art. Because in the distant past, myths have been a visual reflection of ancient man’s inability to know the real causes of events, as well as the visualization of emotions to reduce troubles or protest against unjust events (Amouzgar. 2018: 18). By studying the works left from the pre-history of Iran, there has been a lot of dispersion in the distribution of the presence of the motif of  antelope  in ancient Iran (Afzal Toosi. 1391: 56). observed in Iran.

The first artistic signs, including carvings on bones, paintings on the walls of caves, and carvings on rocks, show the human tendency to develop religious beliefs and rituals (Malek Shahmirzadi. 1391: 130).

Iranians had a special skill in making engraved dishes. By comparing their creations with similar lands, it turns out that Iranian patterned dishes are rarely known (Dadorohamkaran. 2012: 2). In the pre-literature era and before mankind knew how to write, man used to reflect his thoughts by drawing motifs instead of lines.

Since pottery in Iran is more than 10.000 years old, undoubtedly, one of the important sources that can be mentioned in this regard is the pottery that was decorated with the art of engraving in different civilizations and cultures (Mirzaei. Davarzen. 1394: 54). . Looking at the works found from ancient times, we find that most of the animal motifs that can be seen in the works of the ancients are related to hooves. According to the obtained evidence, probably these animals were the main source of food and common hunts of people in different eras. The multiplicity and variety of these motifs, which are several thousand years old, show the importance and the prominent role of hoof hunters in the culture and civilization as well as the life of the ancient tribes living in Iran (Golshan. Ali. 2013: 38).

Prehistoric artists used to create their ideas about flowers, stones, and metals in the form of animal motifs, which may have been a symbol of gods for them. Among these motifs, the motif of  mountain goat It appears in various styles more than other animals. Mountain goats with long horns have a special and undeniable place in the obtained works and motifs. Until now, various traces of the shape of this goat have been left in a realistic or abstract form on pottery. During this period, protective and guarding animals were worshiped as “totems”. The most dominant role of totemic animal in ancient Iran was quadrupeds, especially mountain goats (Farhadi.1377: 130). Its presence in ritual and religious relations and its representation in human beliefs and imaginations are considered obvious. During that period, the goat was a symbol of the Lord of the Gentiles (Naghban. 1378: 422), the life force, the creator of energy and the guardian of the tree of life, the god of rain (Cooper. 1379: 218), a symbol of the moon and as the source of rain, victory, increase of crops and fertility. (Afzal Tusi and Mousavi Ler. 2014: 32). The symbol of an antelope on the pottery left over from this era indicates that the rich dish and the product will be doubled. With the belief that the goat is the angel of life, the artists have drawn it with the uses of fertility, rain, water and breeding, visually and in everyday use, designs of winged goats with a high degree of beauty and artistic work, which have the self-characteristic power of flight of the angel’s nature. which is also referred to the myth of Meshi and Meshianeh. This myth is an expression of the story of the creation of man from the seed of Kiyomarth in the form of a plant growing with two stems (rhubarb), then finding a human face in the plant body of the stems and the creation of Meshia and Mashianeh (Moshia and Mashianeh are the first pair of human beings in the mythological history of Iran and from the seed of Kiyomarth, who They are born on the earth from his killing and are responsible for freeing the world from evil spirits) who used the milk of a white goat during their lifetime (Karnoi. 1383: 51). This shows the importance of goats in the life and ancient culture of Iran. Is.

The unique techniques implemented in the role of the horn of this animal in the magnification and abstract complexity have indicated the sanctity of the goat among the ancient people. Sometimes the enlargement of the horns represents the end of the era of feminism and the beginning of an era when men play a more prominent role in livelihood, economy and formations. They act as a government.

In the motifs, sometimes there are added motifs between the curves of the horns, these elements evoke the symbols of the earth, the sun, water, which can show off the superior power of this animal among the ancient myths, and the symbol points out the mastery over the elements of life. Or  goats with wavy horns  that evoke the flow of water. Also, the role of an antelope with triplets, which by changing the shape of the animal’s legs, tries to convey the concept of movement along with the technique of repetition, which is indicative of a changing style and the presence of movement in which the representation of the art of realism is visible. This pattern was observed in Lorestan around (700 to 800 BC). The noble aspect of the goat motif in the historical period with the simplification of motifs indicates that people have formalized another religion such as Zoroastrianism, so the mythological and sacred motifs gave way to decorative motifs and the dishes with motifs or shapes of goats are light and purely for consumption and decoration. He took it upon himself.