The Evolution of the Master and Mistress of Animals Motif in Iranian Art from Ancient Times to the Seljuk Period

Introduction: In works related to Iranian art, a mythological image featuring three animals arranged in a symmetrical composition—one creature at the center and two on either side—is commonly known as the «Master and Mistress of Animals». In ancient Iran, this configuration sometimes appeared in human-animal form, representing the fusion of human intellect with animal power, and its meaning and significance varied across periods. The two animals flanking the central figure have been interpreted as symbols of nature and the beings of the cosmos. This motif held a prominent place in Iranian art, appearing on ceramic and metalwork objects from the pre-Islamic era through the late Seljuk period. This study seeks to answer the following questions: «What are the causes and functions underlying the emergence of the Master of Animals motif in Iranian art, and how is it connected to mythology, literature, and popular beliefs?» The research aims to identify the trajectory of its evolution, its meanings, the reasons for its depiction, and the factors contributing to the continuity of this motif in Iranian art.Research Method: This study employs a qualitative, descriptive-analytical, and historical approach. Data have been collected through library and documentary research. The statistical population consists of ۲۱ purposively selected samples, chosen for their distinctive characteristics. The analysis of the works is conducted through comparative examination and by tracing formal and conceptual developments of the motifs within their historical and cultural contexts.Findings: The earliest appearance of this motif in Iran dates to the ۴th millennium B.C.E., and its continuity can be traced up to the Seljuk period. In the early periods, it was depicted as a god, a goddess, or a transcendent being accompanied by animals and engaged in combat with supernatural creatures. During the Islamic period, the motif underwent a transformation, becoming a representation of a terrestrial king battling earthly animals. Sacredness and veneration were among the key factors that contributed to the persistence of this motif into the Islamic era.Conclusion: The transition from matriarchy to patriarchy resulted in the depiction of the Master of Animals in a masculine form and led to the elimination or reconfiguration of specific motifs. A common characteristic of this figure in most representations is its benevolent aspect, as it combats demonic forces, offers protection, and embodies heroism. The display of royal authority and political power, the religious legitimization of the king, and the presence of mythological and historical figures in literature, such as Keyumars and Bahram Gur, constitute additional shared reasons for the depiction of this motif in both pre-Islamic and Islamic art.

کلیدواژه ها:

Ancient Motifs ، Master and Mistress of Animals ، Ancient Iranian Art ، Islamic Art