Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran)

Abstract

The symbolic motifs of birds in historical monuments are an embodiment of religious concepts and ancient myths and express the rich mystical content, human aspirations and desires through its historical period. Therefore, this study seeks to examine the commonalities or differences between the location, number and interpretations of bird motifs (Simurgh and Peacock) at the beginning and the end of the Safavid dynasty, in selected monuments of the cities of Ardabil (Sheikh Safi al-Din Ardabili’s Khānegāh and the tomb of Sheikh Amin al-Din Jabrail) and Isfahan (Shah Mosque, Hasht Behesht Palace, Chahār Bāgh school and Emamzadeh Haroun-e-Velayat). In this study, field method and content and historical analysis of information sources and documents were used. The analysis showed that most of the Peacock and Simurgh motifs are found in the monuments of Ardabil, in the interior and exterior spaces, and in the selected monuments of Isfahan, mostly in the exterior spaces, facaded and entrance gates. The Peacock bird motifs in the monuments of Ardabil city, probably refers more to deep mysticism, perishing in God, spirituality and inner purity, but in the monuments of Isfahan city, the Peacock motifs often serves as a gatekeeper and guiding people toward heaven and repelling the devil. Also, Simurgh's motifs in the historical monuments of Ardabil city seem to be somewhat reminiscent of unity in plurality, a symbol of the essence of transcendence, perfect man and divinity; However, in the historical monuments of Isfahan, it often refers to the conflicting concepts of the human soul, which includes Ahura Mazda and Ahriman, and indicates man's attempt to overcome his own soul.

Keywords

• Symbolic motifs
• Simurgh
• Peacock
• Safavid period

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