|
The present Iran National Museum complex was built 60 years ago. Seals were used in ancient times to formalise
economic deals and trade exchanges.
The most famous bronze ware of
Lorestan dated back to the Iron Age, during the Median dynasty.
The Achaemaenid period is one of
the significant political, economic, cultural and social eras in Iranian history.
The first floor of the museum
building housing treasures from the Islamic era, displays hand-written scripts of the Holy
Qur'an.
Pieces of the oldest Islamic
fabrics were found in the town of Rey.
|
|
Definition of
"Museum"
The word "museum" was derived from the Greek word "mouseion",
meaning an assembly of Muses or inspiring spirits. It was first used by a lexicographer
named Guille Aume Bude in his dictionary, where he defined the entry as "a place
devoted to the Muses or inspiring spirits for the study of genuine human
expressions."
In the Greek culture, there were nine "mouseions" (Muses), including poetry,
music, painting, history and other branches of art and literature.
Historical Perspective
The first official museum is considered to have been established in Alexandria by
Ptolemy (376-283 BC), the founder of the Ptolemaic dynasty. Before his time, however,
there were already buildings erected in honour of the Nine Muses. Ptolemy set up a large
complex, which included a university and complete with all educational and living
amenities for pupils and professors. One of the chief administrators of the complex was
Strabo, whom Ptolemy summoned from Greece to Alexandria in 300 BC.
During the Renaissance period, which marked Europe's return to classical arts and
traditions, the practice of collecting artistic works swept the European continent, and
businesses were set up by dealers to engage in the trade of precious relics. Public
museums followed and several palaces, including the Versailles and Louvre in France, the
palace of Henry VIII in London and those of the Russian tsars in Leningrad were converted
into museums.
Curators dispatched archaeological teams to the Near East and the Middle East, to
countries like Egypt, Mesopotamia and Iran, to dig and look for artifacts to be included
in museum displays.
Iran's archaeological museum,southern facade
Museums in Iran
The idea for the construction of a building to house and protect the country's
cultural heritage came from Sani od-Doleh. In the year 1295 of the lunar hejira (LH)
calendar, a part of the old building of the Ministry of Sciences, located north of the Dar
ol-Fonoon Technical School, was allotted for this purpose.
In 1297 LH, concurrent with the expansion of archaeological excavations by Europeans in
Iran, the government of the time set up an Antiquities Department within the Ministry of
Sciences. In later years, however, with the increasing destruction of historical sites,
plunder of artistic works and growing nationalistic sentiments, some officials spearheaded
the establishment of the Association of National Works in 1304 of the Iranian solar hejira
calendar (1925), with the objective of preserving cultural relics.
Article 8 of the association's regulations envisaged the construction of a museum and a
library in Tehran, to be run, according to Article 11, by the Antiquities Department of
the Ministry of Sciences.
Article 11 also foresaw the employment of a number of experts to administer the museum.
However, through the efforts of association members, the law for the protection of
national works was ratified and the government was tasked with safeguarding the national
heritage and building a museum.
In 1306 (1927), the then government decided to construct the museum building and employed
French architect Andrea Godar as director of the Archaeology Department. The building plan
was prepared two years later in 1308 (1929) and the Tehran Municipality offered a plot of
land to Godar to be the museum site. Construction activities kicked off on the 21st of
Ordibehesht, 1313, (10 May 1934) following the order by the minister of sciences.
The museum building, which was completed three years later in 1316 (1937), was designed in
accordance with its purpose. The entrance was built like a dome, decorated with dark red
bricks that were typical of Sassanian architecture. The land measured some 5,500 square
metres, with the building occupying an area of 2,744 square metres.
The main exhibition halls were in the basement, as well as the first and second floors.
The administrative department was housed on the northern side. The building had an
auditorium and a library located on the southern side. The museum gradually built up its
collection, enriching its treasures with new works of art and other relics and artifacts.
Exhibition halls were divided into two sections: pre-historic works and Lorestan
historical bronze ware. Before the Islamic revolution, the museum closed for some repairs
and was re-opened after structural refurbishment in 1359 (1980).
With the formation of the Cultural Heritage Organisation, the Antiquities Museum of Iran
was recognised as the principal museum in the country. Following the inauguration of the
Islamic Era Museum in 1375 (1996), the two were merged and came to be known as the Iran
National Museum.
The Iran National Museum
According to evolutions in economic, social, cultural and technological structures, human
existence can be divided into different periods. One great human achievement is the
invention of writing, which is instrumental in bringing about the historical era. Written
records of human activities began around 4000 BC in Mesopotamia, Egypt and Iran - three
important empires of the world.
The pre-historic era, which covers the longest period of human life, is immensely
important, as it forms the basis for all developments that took place in societies in
different historical eras. Among relics from pre-historic societies, pottery is the
most notable. Because of their use in trade exchanges, ceramic vessels are the most
obvious symbols of a particular culture.
Pottery making is in fact one of greatest strides achieved by societies in the
agricultural era. Ancient Iranian pottery is chiefly red and decorated with images in
relief. Pieces discovered on the rim of the central plateau in Cheshmeh Ali (Rey), Qareh
Tappeh (Shahriar) and Esmail Abad (Savojbolagh) date back to 6000-5000 BC. Engraved dark
red pottery unearthed in southern and southwestern Iran, including Susa, Ghaen (Nahavand)
and Tal Bakun (Fars) belong to 4000 BC.
With the onset of the Bronze Age in early 3000 BC, Aryan tribes settled in the northern
Iranian plateau, bringing with them a new culture, as reflected with the use of grey clay
in pottery. Pieces from this period were found in Yanik Tappeh, Hesar (Damghan), and
Turang Tappeh (Gorgan). From mid-2000 BC, Aryan culture spread to other parts of the
Iranian plateau. Aryan art is characterised by plain designs on pottery, relief and the
combination of sculpture with pottery.
New building of the archaeological museum,belonging to the Islamic era
Seals and Emblems
Seals and emblems are major cultural and social elements, aiding the dating and
classification of archaeological discoveries. Images engraved on seals are not only
artistic manifestations but are also a key proof of the existence of specialised
industries, professions and activities in ancient societies.
The use of seals marked a new era in trade exchanges and spurred the growth of ancient
civilisations. These markings on goods, vessels, and jars testified to somebody's
ownership of these items, with the seal also serving as the signature of the owner. In the
same vein, royal edicts and important documents were also stamped with the ruler's emblem.
The most antique seals date back to 5000 BC and were made of sun-dried clay, gypsum and
marble. Later, craftsmen used iron, Yemeni stones, agate, lapis lazuli, tar, ivory,
bronze, gold and silver in making seals. First crafted as a stamp, seals were later shaped
as cylinders. The oldest seals being kept at the Antiquities Museum of Iran were uncovered
at Seyalk Hill (Kashan), Hesar (Damghan), Ghaen (Nahavand) and Tal Bakun (Fars).
Designs on seals used to be simple and initially bore geometrical signs. Later, they
became embellished with foliage, as well as animal and human figures. Seals found from
urbanised localities reveal the classification of professions, such as pottery making,
cotton spinning, weaving, baking, and the making of musical instruments and architectural
work.
Lorestan Bronze Ware
The Bronze Age, which emerged from the early third millennium BC in Iran,
Mesopotamia, Egypt and Asia Minor, was a remarkable development in the history of human
civilisations. Bronze, made of copper and tin, is the oldest alloy made by humans.
The Antiquities Museum of Iran is home to a valuable collection of bronze ware from
Lorestan, made approximately from the first millennium BC to the Median era in 700 BC. The
pieces were excavated from central Zagros, Lorestan, Elam, and Kermanshahan. The most
renowned Lorestan bronze pieces were crafted in the period between the old Iron Age and
the Median era.
Such artifacts are unique in design and application. Relics unearthed from individual or
mass graves are related to religious rites and funeral ceremonies. A study reveals that
warrior migrant tribes that bred horses and herds crafted the relics. The antique objects,
shaped by moulding, casting and hammering are typical of Lorestan art, with the pieces
bearing exquisite animal patterns.
The Achaemaenian Era (550 BC-330 BC)
The Achaemaenian period is one of the golden eras in Iranian history from the
viewpoint of culture, economics, politics and social affairs. Aryan tribes, the apparent
heirs to the Median dynasty, expanded their rule to include territories from the Sind
River valley in Asia, to Egypt, Libya and Ethiopia in Africa, and to the Aegean Island and
Macedonia in Europe. Achaemaenian culture, art and civilisation, therefore, evolved from a
conglomeration of nations that consisted the Persian empire. These nations included
Babylonia, Assyria, Egypt, Elamite, Media, Aegia, Asia Minor, the Iranian plateau and the
Sind River valley.
On display at the Antiquities Museum are selected works from the Achaemaenian era,
showcasing this period's architecture, sculpture, and brickwork. Craftsmen of the time
were adept in embellishing mud structures with glazed moulded bricks. The Persepolis
terrace, and the surrounding staircases and pillars are wonderful masterpieces of
Achaemaenian masters.
Meanwhile, metal artists of this period were particularly inspired by Median craftsmen,
such as Marlik and Hassanlu, in the shaping of gold, silver, bronze and iron.
The Seleucid Era (312 BC-250 BC)
The decadence of the Achaemaenian dynasty was simultaneous with the accession to the
throne of Philip II in Macedonia, north of Greece.
To fulfil his ambitions of establishing a global Hellenic empire, Philip II rallied
support from the Greek army to invade the Orient. But his death botched his attempts of
expanding his domain, leaving his young son, Alexander, to carry on the work.
Though dying young in Babel in 323 BC, Alexander, however, achieved massive territorial
conquests in the Orient and India. His successor, Seleucus, an ex-commander, took control
of the Oriental territories until Mesopotamia. In 312, Seleucus founded the Seleucid
dynasty in Iran.
Artifacts from this period predominantly came from the western rim of the Iranian plateau
and the Khuzestan desert. The relics kept at the Antiquities Museum belonged to Susa, Izeh
(Chaharmahal Bakhtiari), Dinevar (Kermanshahan) and Mabad (Nahavand).
Parthian (Arsacide) Era (250 BC-224 AD)
In 250 BC, an Aryan tribe led by Arsacide revolted in northeastern Iran, conquered
Parthian towns and put an end to Seleucid and Greek dominance on Iranian territory. Main
developments of the era included the replacement of Greek language and writing with
Arsacide Pahlavi; revival of Achaemaenian systems in government administration;
revitalisation of ancient Iranian religions and beliefs, particularly compilations of the
Avesta, the religious book of Zoroastrians; and, the gradual restoration of genuine and
traditional vernacular Iranian elements.
Plaster moulding, which was a key element of Arsacide architecture and sculpture, evolved
during the Sassanian dynasty and the Islamic era. Parthians also boasted of advanced
metalworking shops where they crafted giant statues and images. Pottery was another art
medium used by the Parthians. Arsacide pottery were chiefly found in the southwest, north
and northeast of Iran. Compared to the Achaemaenian era, Parthian potters employed
remarkable techniques, particularly in the construction of the baking furnace and the
application of glaze on their vessels.
Parthian pottery mostly came from northwestern and southwestern Iran, in particular Susa,
Izeh (Chaharmahal Bakhtiari), Germei (Moghan) and the Temple of Anahita (Kangavar).
Sassanian Era (224 AD-651 AD)
Under Sassanian rule, the Persian territory was somewhat like a semi-autonomous
state, governed by the Arsacide kings. Babak's son, Ardashir, the military commander of
the Persian army, capitalised on the chaotic feudal system to overthrow the Arsacide
dynasty. Aided by Zoroastrian clerics, he revolted against Ardavan V, thus putting an end
to the Arsacide empire. Ardashir, the son of an Anahita Temple priest in Estakhr,
established the Sassanian dynasty and made Ctesiphon his capital.
Similar to the arts of the Achaemaenian and Arsacide eras, Sassanian art also depicted
royal grandeur. Due to greater interaction with other cultures, Sassanian art was largely
influenced by the Occident, especially the Eastern Roman Empire (Byzantine).
The many talents of Iranian artists flowered during Sassanian rule and was manifested in
silver gilded vessels, worsted fabrics, tinsel, exquisite plaster mouldings and paintings,
and mosaic floorings similar to Byzantine works in Antioch. Works from this period kept at
the Iran National Museum, were discovered in archaeological sites in Bishabur Palace
(Fars), Bisotun (Kermanshah), Germei (Moghan), Damghan, Susa, Fars, Gilan and Khorasan.
The Islamic Era
Islamic treasures consist of various pieces crafted from the early years of the
Islamic era to the 14th century LH. The displayed works fall into different categories.
The first floor of the Islamic Era Museum is home to handwritten copies of the Holy
Qur'an, set in a totally spiritual atmosphere with other complementary elements of a
mosque, such as a praying vault.
There are also other handwritten books from the Timurid era to the time of the Safavids.
Notable among this collection is Ferdowsi's Shahnameh (Book of Kings), Sa'adi's collection
of poems and prose, Nezami's Khamseh (The Five), as well as the collections of poems of
Hafez and Amir Alishir Navaee. Most of the books are in Nastaliq script and embellished
with miniatures drawn by Timurid and Safavid artists.
There are rows of scientific books in the fields of medicine, astronomy, geography and
philosophy in another part of the Islamic Era Museum. The oldest book is the Dastur
ol-Loghah (Grammar) dating back to the 5th century LH.
This section is decorated with fine calligraphy and miniature paintings bearing Shirazi,
Herati, Indian, Mongol and Isfahani patterns.
The four main sections of the first floor have been categorised as follows:
- Illuminating facilities
- Astronomical equipment and works
- Glassware
- Wax pieces (such as writing materials)
Aside from these, the first floor also has three main
halls containing hand-woven carpets and fabrics, pottery and metalwork. The first hall
contains the oldest Islamic era fabrics discovered in the town of Rey, which was a former
hub of textiles in the early Islamic centuries.
During the Safavid era, the art of weaving reached its climax. Various kinds of fabrics,
such as velvet, tinsel and block-printed materials, were produced. In the meantime, a
handful of other beautiful arts, such as braiding and quilting, emerged. The second hall
displays an array of ceramics made through moulding, glazed painting, and enameling. The
second hall has pottery pieces belonging to the town of Rey, Kashan and Gorgan. The last
hall showcases metalwork, set according to their historical evolution and style. Metals in
the Islamic era were shaped by engraving, grating, silver printing and gold printing.
The second floor of the Islamic Era Museum accommodates fine pieces of stucco mouldings,
metalwork and pottery made in different Islamic periods. The 4th century LH booth contains
wonderful Kufic writings. Generally, the second floor illustrates the evolution of
different artistic mediums, such as pottery, glassblowing and metalworking of the 6th and
7th century LH; architecture of the Ilkhanid and Timurid eras; paintings, carpets and
fabrics of the Timurid and Safavid eras; and, the ornamental arts of the Qajar era,
including enameling, gilding, encrustation and inlaying.
|
