Symbology of the Motif of Holding the Entwined Snakes of Jiroft by Human Hands

Document Type : Original Article

Authors

1 Ph.D student of Philosophy, Faculty of Humanities, North Tehran Branch, Islamic Azad University, Tehran, Iran.

2 Associate Professor, Department of Philosophy, Faculty of Humanities, North Tehran Branch, Islamic Azad University, Tehran, Iran, Corresponding Author.

3 Associate Professor, Department of Philosophy, Faculty of Humanities, North Tehran Branch, Islamic Azad University, Tehran, Iran.

10.22051/pgr.2025.48393.1292

Abstract

 
The scene of snakes being held by human or human-animal is one of the dominant and unique motifs of the five thousand-year-old Jiroft civilisation. Decrypting this motif can be an initial point to identify the beliefs, credence, and thoughts of Halil-Rood civilisation peoples (Jiroft), and afterward, the other areas of Iran.
Regarding these interpretations, the question is "what meanings and concepts does the "snake" imply in the ancient Jiroft civilisation, and what is the purpose of humans to hold snakes in the esthetic and recurring motifs of this ancient civilisation?". Based on this, we are trying to learn about the thinking and attitude of the ancient people of Jiroft by applying the results obtained in collecting information. The purpose of this study is to symbology the motifs of snakes, entwined snakes, and snakes being held  by humans, and to research and explore the position of mankind behind the mysterious pictograms of Halil-Rood civilisation.
This research approach is qualitative and fundamental, in terms of modality is descriptive-analytical, regarding to purpose is developmental, the data collection method is documental and field-based while taking note is the main tool for it. Field surveys such as visiting "the Archaeological Museum of Jiroft", "the Harandi Museum of Kerman", and "the Museum of Ancient Iran" have been carried out to view and photograph these artifacts, in addition to the in-person visit of the ancient site of Jiroft. Historical studies and archaeological investigations concerning this research have been studied with a symbology approach. In this regard, non-probability sampling method was applied and 10 study samples including motifs of confrontation between humans and snakes (or human-animal) were analysed.
In many common scenes, a human in some situations has horns or claws, a mane and tail, holding two giant snakes or entwined snakes with his hands. The scene of holded snakes by human or combined motifs of human and animal in art of ancient Halil-Rood have prominent similarities to the art of neighboring civilisations. From these similarities, it can be derived that the mentioned motifs also share a common meaning in addition to their apparent similarities, and this will be facilitator in decoding the motifs containing this animal.
The motif of a "snake" and "entwined snakes" are the most incomparable and numerous ones found in the ancient civilisation of Jiroft. The abundance of this animal's motif and its unique performance in various scenes indicate its great importance and comprehensive and expansive concept which the snake implies that. The snake has allocated to itself a wide range of symbols among ancient people by having special features such as deadly and healing venom, a shiny and slippery body, crawling on the ground and hiding in the underground world, a lengthy and linear appearance, the ability to shed its skin, etc. In Persian, "the snake" has two meanings: 1- deadly and killer; 2- generative (matriarch and or stem and basis of something). Considering to the meanings of snake in other languages, we will observe that the snake is both the agent of non-existence and existence. The snake, in first meaning, is cognate with death, man and sick, and in second meaning, is cognate with matriarch and material. The snake's power to send human into the nothingness world has always been considered as a threat to humans, so that they were declared the executioner of death. However, this reptile has been associated with medicine and health in many civilisations.
The snake has always had a special position in human beliefs and credence. Despite its special cosmological position, the snake has many contradictions in its different behavioral and symbolic aspects. It has concepts such as water, fertility, woman, penis, tree, moon, sun, health, etc., and on the other hand, it is connected to concepts like filthiness, sin, devil, death, etc. Probably, this animal can be considered one of the most dominant visual examples of "the gathering of contradictory forces" in nature.
In many traditions, from earliest ages, "human" is described as a microcosm analogy. A belief was common in the ancient world that human body represented the cosmos in small scale and was made from the same elements as it. In some beliefs, human bone is made from soil, his blood is from water, his lungs are made of air and his head is from fire. In other beliefs, nervous system depends on fire, respiratory ones on air, blood circulatory ones on water and digestive ones on soil. Human touches three levels of cosmos: the earth by his feet, space by his body and the sky by his head. human has a share in three realms: inanimate, plant and animal. He can communicate to the divine by his soul. He is the centre and core of solidarity, the centre of symbols world like as the snake, and has the same vast range. human also has combination of contradictory features and is linked with forces of nature in physical and mental equilibrium.
In somewhere, he (human) is such as manifestation of existential perfection in the figure of Keyumars (in Iranian mythology) (indeed, the connection between these two items is also thought provoking by giving the label "Gel-Shah (great king) to Keyumars and Shir-e-Khak (lion of the earth) to snake. Mari and Marianne (Mashya and Mashyana) are emerged from him (Keyumars). At first, these two characters appear as a "snake" or "two entwined snakes" like "two rhubarb stem" wrapped around each other, and similar to entwined snakes despite of different genders (male and female) seem to a single snake, like they are unity and combination of contradictory forces. the first human couple (Mashya and Mashyana) similar to Lahmu and Lahamu are the manifestation of existential perfection of Keyumars and Tiamat. elsewhere, we also observe to unite the contradictions naming Gahmard and Mardyaneh (in Manichaeism) and Adam and Eve, etc., in form of the first human couples. Gilgamesh is depicted as human-animal (the same human motifs in Jiroft Civilisation) due to his superhuman features. Actually, Gilgamesh is manifestation of existential perfection and combination of contradictories as well as Keyumars and Tiamat, and reveals his unity with this hyper-coloured reptile by holding snakes. When ancient human pursues to hold and overcome such creature in form of illustrations, he indeed unveils his inner secrets, despite taking over all symbols which a single snake or entwined snakes implies them. "Two entwined snakes" are a symbol for combination of contradictories and are the life and death poles. This secret is mystery of healthfully and healing, nothing but maintaining proportions and balance. It is apparent of mental and physical equilibrium, human's complexity, his endless restraints and facilities for growth and development. Ancient people always believed in the balance of hidden forces inside the universe, creatures, and nature, combination and unity of all these forces and attributes in "snake" and their own existence.
Holding entwined snakes in Jiroft's art similar to double-edge weapon (duality) in hands of ancient human, is also to unity his inner plurality and the war in such scenes signifies inner fight against the enemies inside the human himself; according to symbols of snake and entwined snakes, human goes to the fight against all elements that are contradict the regularity and unity by getting this hyper-coloured reptile in his hand. Considering these issues, it can be claimed that ancient people of Jiroft civilisation truly unveils his inner secrets in eternal, everlasting and abiding encounter, by repeatedly depicting the motifs of snake and entwined snakes and holding them through human, and seek to overcome the nature, creatures, forces around themselves, with awareness about these inner contradictions and holding a creature as the same as himself, and actually, they try to unify their contradictions and inner polarity.
Now, regarding to such an approach in ancient civilisations beliefs and concerning the contradicting forces of snake and motifs of entwined snakes, carved scenes on many soapstone objects, by the creative artist of Halil-Rood who has specific style, in which a human (in some situations has two heads or horns, claws, a mane and tail) holding two giant snakes (and or entwined snakes) with his hands testify that these people are aware about their inner contradictions. In these illustrations, human knows himself on middle of universe who standing on the centre and snakes surrounded him as a frame. in some ones, ancient Jiroft's human illustrates himself idealistically in combination with other animals so that he imagines himself more powerful than he is (like God). When ancient human, in his ideal form (combination with other animals) situated himself on the centre of illustration and holds a snake and entwined snakes over his head while hands are open triumphantly, reconstructs the universe around himself pursuant to regularity, unity and immortality.
 

Keywords

Main Subjects

References

منابع
قرآن کریم(1380). کلام مجید،ترجمۀ مکارم شیرازی،تهران: دفتر مطالعات تاریخ و معارف اسلامی.
آمیه، پیر (1349). تاریخ عیلام، ترجمة شیرین بیانی، تهران: دانشگاه تهران.
اقتداری، احمد (1354). دیار شهریاران، تهران: انجمن آثار ملی.
امت­علی، سارا(1386). جیرفت، بهشت گم­شددۀ هلیل­رود، آینۀ خیال ، آذرماه، شمارۀ2، صص30-35.
بلان، یانیک، (1380). ناگزیری مرگ گیل­گمش، ترجمۀ جلال ستاری، تهران: نشرمرکز. 
بهار، مهرداد (1384). پژوهشی در اساطیر ایران، تهران: انتشارات آگاه.
پروو، ژان (1386). نگاهی به نقوش بازمانده از جیرفت، ترجمه زهرا نوائی، آینه خیال، سال اول، شمارۀ 2،70-77.
تاوارتانی، ناهوکو (1385). ادبیات تطبیقی مار و کاج سمبولهای جاودان در ادبیات فارسی و ژاپنی، تهران: انتشارات بهجت.
تبریزی، محمد حسین­ بن خلف (1361). برهان قاطع، تصحیح محمّد معین، تهران: امیرکبیر.
تقوی، ترنم (1388). مفهوم نمادین مار در ایران (با نگاه به تمدن­های هم­جوار آن، میان­رودان، هند، یونان و مصر)، پایان نامۀ کارشناسی ارشد، تهران: دانشگاه تربیت مدرس.
توکلی سراجی، هما، (1380). نماد پژوهی مار (بررسی نماد مار در اساطیر چهار تمدن ایران، یونان، مصر و هند)، پایان­نامه کارشناسی ارشد، تهران: دانشگاه هنر تهران.
جعفری دهکردی، ناهید و جعفری دهکردی، نرگس(1398). پیشینۀ نشانۀ سازمان بهداشت جهانی و سلامت در اساطیر با تاکید بر تمدن جیرفت، مجله تاریخ پزشکی،  پاییز ، شمارۀ40،34-49.
حسین­آبادی، زهرا ( 1395). بررسی نقوش جانوری و جانوران ترکیبی در آثار سنگی تمدن جیرفت، هنرهای زیبا - هنرهای تجسمی، دوره 21 ، شمارۀ 1،9-21.
دادور، ابوالقاسم، مبینی، مهتاب (1389). جانوران ترکیبی در هنر ایران باستان، تهران: دانشگاه الزهرا.
دوبوکور، مونیک ( 1387). رمزهای زنده جان ، ترجمۀ جلال ستاری،  تهران: نشر مرکز.
ذکرگو، امیرحسین (1377). اسرار اساطیر هند، تهران: فکر روز. 
رفیع­فر، جلال­الدین و ملک، مهران (1392). آیکونوگرافی نماد پلنگ و مار در آثار جیرفت( هزاره سوم قبل از میلاد)، پژوهشهای باستان­شناسی ایران، دوره سوم، شمارۀ 4،7-36.
ژیران ، فلیکس و دلاپورت، لویی ژوزف و لاکوئه، جی ،(1382). اساطیر آشور و بابل، ترجمۀ دکتر ابولقاسم اسماعیل­پور، تهران: کاروان.
سیاح، احمد(1378). فرهنگ بزرگ جامع نوین سیاح ، ترجمۀ المنجد با اضافات، تهران: انتشارات اسلام.
سیدی، چنور و سیدی، فاطمه(1399). تجلی کهن الگوی قهرمان در نگارۀ جام زرین حسنلو(عصر آهن) براساس رویکرد جوزف کمبل، پژوهشنامه گرافیک و نقاشی، شمارۀ 5، صص128 -140.
صرفی، محمد رضا(1383). چکیده مقالات همایش شناخت و معرفی تمدن حوزه هلیل رود، کرمان: مرکز کرمان شناسی.
صفری سنجانی، سودابه و محمدزاده میانجی، مهناز (1397). واکاوی نشانه­های آیین مهر در نقوش آثار سنگی تمدن باستانی جیرفت 5000 سال ق.م، جلوه هنر، سال دهم، بهار و تابستان، شمارۀ 1، 73 -85.
طوسی، محمدبن محمودبن احمد (1382). عجائب­المخلوقات و غرائب­الموجودات، به اهتمام: منوچهر ستوده، تهران: انتشارات علمی و فرهنگی.
عرب گلپایگانی، عصمت(1376). اساطیر ایران باستان، تهران: انتشارات هیرمند.
علمی، قربان (1395). میرچا الیاده و انسان شناسی، فصلنامه انسان پژوهی دینی، سال سیزدهم، شمارۀ 36، پاییز و زمستان،5-29.
فرنبغ دادگی (1385). «بندهشن» ، ترجمۀ مهرداد بهار ، تهران: توس.
قلی­زاده،خسرو(1392). دانشنامه اساطیری جانوران و اصطلاحات وابسته، تهران: بنگاه ترجمه و نشر کتاب پارسه.  
کریستین­سن، آرتور (1386). نخستین انسان و نخستین شهریار در تاریخ افسانه­ای ایران ، ترجمۀ ژاله آموزگار و احمد تفضلی، تهران: نشر چشمه.
کمبل، جوزف (1377). قدرت اسطوره، ترجمۀ عباس مخبر، تهران : نشر مرکز
کوپر، جین(1380). فرهنگ مصور نمادهای سنتی ، ترجمۀ ملیحه کرباسیان، تهران: فرشاد.
گدار، آندره (1357). هنر ایران ، ترجمۀ بهروز حبیبی، تهران: دانشگاه ملی ایران.
گنون، رنه(1398).سمبل­های بنیادین زبان جهان­شمول علم مقدس، ترجمۀ دل­آرا قهرمان، تهران: حکمت
مجلسی، محمدباقر (1386). بحارالانوار، جلد 61 ، دارالکتب اسلامیه، تهران : چاپ­خانۀ حیدری.
مجیدزاده، یوسف (1382). جیرفت کهن­ترین تمدن شرق، تهران: وزارت فرهنگ و ارشاد اسلامی باهمکاری سازمان میراث فرهنگی.
ملک­زاده بیانی، ملکه (1363). تاریخ مهر در ایران، تهران: انتشارات یزدان.
میرمطهر، خاطره (1392). مطالعۀ موتیف مار در تمدن جیرفت(هلیل­رود) با رویکرد نشانه-اسطوره شناسی، پایان­نامه کارشناسی ارشد، اصفهان: دانشگاه هنر اصفهان.
ناس،جان­بایر(1354).تاریخ جامع ادیان ، ترجمۀ علی­اصغر حکمت، چاپخانۀ پیروز،کتابخانۀ ملی،(بی­جا).
هال، جیمز (1390). فرهنگ نگاره­ای نمادها در هنر شرق و غرب، ترجمۀ رقیه بهزادی، تهران: فرهنگ معاصر.
یاحقی، محمد جعفر(1369). فرهنگ اساطیر و اشارات داستانی در ادبیات فارسی، تهران: مؤسسه مطالعات و تحقیقات فرهنگی وابسته به وزارت فرهنگ وآموزش عالی و سروش.
یونگ، کارل گوستاو (1353). انسان و سمبول­هایش، ترجمۀ ابوطالب صارمی، تهران: امیرکبیر.
References
 
Holy Quran ,(1380). Kalam Majid, translated by Makarem Shirazi, Tehran: Daftar Motaleat Tarikh va Maref Eslami, ( Text in Persian).
Amieh, Pir ,(1970). The history of Elam, translated by Shirin Bayani, Tehran: University of Tehran Publication, ( Text in Persian).
Arab Golpayegani, E., (1997). Mythology of Ancient Iran, Tehran: Hirmand Publication, ( Text in Persian).
Bahar, M., (2005). Research in Iranian Mythology, Tehran: agah Publication, ( Text in Persian).
Belan, yanik, (2001). The inevitability of Gilgamesh's death,Translated by Jalal Sattari, Tehran: markaz Publication), ( Text in Persian).
British Museum ( 1995). Latar Mesopatamia and Iran, London: Author.
Christian Sen, Arthur (2007). The First Man and the First king in the Legendary History of Iran, translated by Jale Amouzgar and Ahmad Tafzoli, Tehran: Cheshmeh Publication, ( Text in Persian).
Cooper, Jane, (2001). An Illustrated Encyclopaedia of Traditional Symbols, translated by Malihe Karbasian, Tehran: Farshad Publication, ( Text in Persian).
Cooper, Jerrold S (1992). “The Fate of Mankind: Death and Afterlife in Ancient Mesopotamia”, Death and After Life Perspectives of Worlds Religions, ed. Hiroshi Obayashi, New York.
Dadvar, A., Mobini, Mehtab,(2010). Hybrid animals in ancient Iranian art, Tehran: Daneshgah Al-Zahra Publication, ( Text in Persian).
Dubucour, Monique, (2008). The Secrets of Living Life, translated by Jalal Sattari, Tehran: markz Publication, ( Text in Persian).
Eghtedari, A.,(1975). The land of princes, Tehran: Anjoman Asar Meli, ( Text in Persian).
Eliade, Mircea (1959). The Sacred and the Profane: The Nature of Religion, Trans. Willard R. Trask, New York: Harcourt, Brace and Co.
ـــــــــــــــ (1987) .The encyclopedia of religion.vol. 13, New York : Macmillan ; London : Collier Macmillan
ـــــــــــــــ (1991). The Myth of the Eternal Return, tr., W. R. Trask (Princeton, NJ: Princeton University Press.
ـــــــــــــــ (1995). Mephistopheles and the Androgyne Studies in Religious Myth and Symbols, Trans. Cohen, New York: Sheed & Ward.
Elmi, Gh.,(2017). Mircha Eliade and Anthropology, Quarterly Journal of Ensan Pazhohi Dini, 13(36), 5-29, ( Text in Persian).
Faranbe Dadegi, (2006). «bandehashen» , translated by Mehrdad Bahar, Tehran: Tos Publication, ( Text in Persian).
Frazer, James G ( 1919) . The folklore in the old testament. Vol.1, London, Macmillan.
Ganon, Rene, (2019). Fundamental symbols : the universal language of sacred science, translated by Del-Ara Kahraman, Tehran: Hekmat Publication, ( Text in Persian).
Godard, Andre, (1978). The Art of Iran, translated by Behrouz Habibi, Tehran: Daneshgah Meli Iran, ( Text in Persian).
Hall, James, (2011). Illustrated dictionary of symbols in eastern and western art, translated by Roghieh Behzadi, Tehran: Farhang Moaser Publication, ( Text in Persian).
Hossein-Abadi, Z., (2016). Animal Motifs and "Hybrid Animals" in The Stone Relics of Jiroft Civilization, Journal of Honarhaye zyba - Honarhaye tajasomi, 21(1), 21-9, ( Text in Persian).
Jafari Dehkordi, N. and Jafari Dehkordi, N., (2019). Background of the World Health Organization's Symbols in Myths with Emphasis on the Works of Jiroft Civilization, Journal of tarikh pezeshki, Autumn, 11(40), 34-49, ( Text in Persian).
kambel, jozef,(1998). The power of myth, translated by Abbas Mokhbar,
Tehran: Markz Publication, ( Text in Persian).
Majidzadeh, Y. , (2003). Jiroft, the oldest civilization of the East, Tehran:
Vezart Fareang va Ershad Eslami ba Hamkari Sazmane Miras Fareangi, ( Text in Persian).
Majlisi, M B., (2016).Bihar al-Anwar, volume 61, Islamic Dar al Ketab, Tehran: Ahap‌khaneĥ̉ Haydari, ( Text in Persian).
Malek Zadeh Bayani, M., (1984). History of Mehr in Iran, Tehran: Yazdan Publication, ( Text in Persian).
Mattison, chris ( 1999) . The Essential Visual Guide to the World of Snakes. London. DK Publishing.
Mirmotahar, Kh., (2013).The study of the snake motif in Jiroft (Halil-Rud) civilization with a symbolic-mythological approach, Master's thesis, Isfahan: Isfahan Art University, ( Text in Persian).
Nas, Jan Bair, (1975). Comprehensive history of religions, Translated by Ali Asghar Hekmat, Chapkhaneĥ̉ Piruz,Ketabkhaneĥ̉ Meli, (unavailable) , ( Text in Persian).
Pitman, Holly (2002).  The jewelers Seal Susa and Art of Awan, leaving ni Stones Unturned Essay on The near east and Egypt in Honor of Donaldp Hansen, Esenbrauns.
Provo, Jean ,(2007). A look at surviving patterns from Jiroft, translated by Zahra Navai, Journal of ayneh khyal, 1(2), 70-77, ( Text in Persian).
Qolizadeh, Kh., (2013). Encyclopedia of mythological animals and related terms,Tehran: Bongah Tarjomeh va Nashr Ketab Parseh Publication, ( Text in Persian).
Rafifar, J. and Malek, M., (2013 The Iconography of  Leopard and Snake Symbol of Jiroft Artifacts During The 3rd Millennium B.C., Journal of Pazhohesh-ha-ye Bastanshenasi Iran, 3(4), 36-7, ( Text in Persian).
Safari Sanjani, S. and Mohammadzadeh Mianji, M.,(2018). A Study on Mithraism Signs in Motifs of Jiroft Ancient Civilization’s Stone Works, 5000 B.C., Jelve Honar, 10(19), 73-85, ( Text in Persian).
Sarafi, MR., (2004). Abstract of the articles of the conference on the recognition and introduction of the civilization of Helil Rood area. Kerman: Markaz Kerman Shenasi, ( Text in Persian).
Sayah, A., (2008).The great comprehensive culture of Novin Siah,Translation of al-Manjad with additions, Tehran: Islam Publication, ( Text in Persian).
Seyedi, Ch. and Seyedi, F., (2020). The Archetype of Hero archetype in the Hasanlu Golden Cup Gallery (age of iron) Based on joseph Campbell's Approach,  Journal of Graphic Arts and Painting Research, 3( 5), 128-140, ( Text in Persian).
Tabrizi, Mohammad Hossein ebn Khalaf, (1982). Conclusive proof, corrected by Mohammad Moin, Tehran: Amir Kabir Publication, ( Text in Persian).
Taqavi, T., (2009). The symbolic concept of snake in Iran (looking at its neighboring civilizations, Mesopotamia, India, Greece and Egypt), Master thesis, Tehran: Tarbiat Modares University, ( Text in Persian).
Tavakoli Saraji, H., (2001). Researching the symbol of the snake (examination of the symbol of the snake in the mythology of four civilizations of Iran, Greece, Egypt and India), Master's thesis, Tehran: Tehran University of Art, ( Text in Persian).
Tavartani, N., (2006). Comparative literature of snake and pine eternal symbols in Persian and Japanese literature, Tehran: Behjat Publication, ( Text in Persian).
Tresidder, Jack (1998). Dictionary of symbols: an illustrated guide to traditional images, icons and emblems. Chronicle books, UK - Williams, Georje , 2003, Handbook hindu mythology. Oxford England.
Tusi, Muhammad abn Mahmud ebn Ahmed,(2003). The wonders of creation and the strangeness of existence, by: Manouchehr Sotoudeh, Tehran: Elmi va Fareangi Publication, ( Text in Persian).
Ummat-Ali, S., (2007). Jiroft, The Lost Paradise of Halil-Rood, Journal of Ayane Khyal, 30-35, ( Text in Persian).
Yahaghi, MJ., (1190). The culture of mythology and fictional allusions in Persian literature,Taharan: Moaseseh Motaleat va Tahghighat Farhangi Vabasteh be Vezarat Fareang va Amuzesh ali va Sorosh, ( Text in Persian).
yong, karl gostav, (1353).Man and his symbols, translated by Abu Talib Sarmi,
 Tehran: Amir Kabir Publication, ( Text in Persian).
Zekrgo, A H., (1998). Secrets of Indian Mythology, Tehran: Fekre Ruz Publication, ( Text in Persian).
Zhiran, Felix and Delaporte, Louis Joseph and Lacue, J. (2003). Mythology of Assyria and Babylon, translated by Abul Qasim Esmailpour, Tehran: Karvan Publication, ( Text in Persian).
 
 
URLs
URL1: www.barbier-mueller.ch
URL2:  www. Louvre.fr

Files

Share

How to cite

Statistics