PLATE IV.
Persépolis. Combat du roi et du griffon. Palais no 3.
Perrot et Chipiez. Histoire de l’Art dans l’Antiquité, Tome v. opposite page 547.
[To face p. 64.
Perrot and Chipiez have supposed this constantly repeated scene to represent imaginary contests between the reigning monarch and all possible or impossible monsters, but a very different impression was produced on the mind of Ker Porter by these same bas-reliefs; and though he did not adopt a purely astronomic theory to explain them, he was firmly convinced that the combat depicted was not one waged between an ordinary human being and an ordinary or extraordinary animal, but that it was a symbolical representation of the combat constantly carried on by Ormuzd (Ahura Mazda), and by his representative Mithras, against the powers of evil and darkness.[36]
[36] “The man who contends with the animals ... is represented as a person of a singularly dignified mien, clad in long draperied robes, but with the arms perfectly bare. His hair, which is full and curled, is bound with a circlet or low diadem; and his sweeping pointed beard is curled at different heights, in the style that was worn by majesty alone.... The calmness of his air, contrasted with the firmness with which he grasps the animals, and strikes to his aim, gives a certainty to his object, and a sublimity to his figure, beyond anything that would have been in the power of more elaborate action or ornament to effect. From the unchanged appearance of the hero, his unvaried mode of attack, its success, and the unaltered style of opposition adopted by every one of the animals in the contest, I can have no doubt that they all mean different achievements towards one great aim....”—Ker Porter’s Travels, vol. i. p. 672.
With the astronomic clue to Persian symbolism put into our hands by the Roman sculptures, of which mention has been made, and by a study of the researches of Lajard, it is not difficult to recognize in the composite animals represented on the bas-reliefs allusions not only to the Zodiacal Bull, traditionally associated with the spring equinox, but also to three other constellations which at the same date of the world’s history (namely, from 4,000 to 2,000 B.C.) marked more or less accurately the remaining colures, i.e. the Lion, the Scorpion, and the Eagle.
The constellations of the Lion and the Scorpion, there can be no doubt, were appropriate star marks for the summer and autumn seasons, when the spring equinoctial point was in the Bull,[37] but as regards the Eagle it must be admitted that though it adjoins the Zodiacal Aquarius (the constellation in which the winter solstitial point was then situated), yet its principal stars lie considerably to the north and west of that constellation.
[37] The solstitial and equinoctial colures were situated, speaking in round numbers, for 2,000 years in the constellations Taurus, Leo, Scorpio, and Aquarius.