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Shokri T. (2024). Iconological Study of a Selection of Seals of Early Elamite Period of Susa. Parseh J. Archaeol. Stud.. 7(26), 33-50. doi:10.22034/PJAS.7.26.33
URL: http://journal.richt.ir/mbp/article-1-600-en.html

Abstract
Seals are one of the most important archaeological data, being always considered in archeological and ancient art studies. As one of the most important archeological sites in Iran in different historical-cultural periods, especially the Elamite period, the ancient city of Susa has provided a lot of cultural-artistic data to archaeologists and art history experts, including seals. Findings from this ancient city, including the seals, indicate various artistic styles in the past, various styles of engraved seals, and iconography have a special place among this data that can express information in various fields such as symbols, myths, or narrative stories. In the Elamite period and especially the ancient Elam that is discussed in this article, we are faced with different artistic styles in the engraved seals. Styles that can express both the special Elamite art and in some cases have not been without the influence of the engraving styles of the neighboring land, i.e., Mesopotamia. Here is a selection of seals of the Early Elamite period of Susa (11 pieces) in this regard, which belongs to the National Museum of Iran, which are considered to study their images in terms of a specific cultural-artistic style to respond to the question indicating “whether the engravings of these seals of Early Elamite express a special narrative style!” The study, which is a library-museum method and is accompanied by a comparative analysis of images, can be a narrator of the power of “master of the animals” / or perhaps the best person in the society of that day in protecting the animals under his support against wild animals such as lions, somehow narrating its power with these illustrations.
Keywords: Susa, Seal, Early Elamite, Images, Symbols.

Introduction
The seal or sealing has always had an important meaning for archaeologists and art historians. The researcher can use them in indicating dates, subject analysis, determining customs, and sometimes even in understanding myths, and thus reconstructing a forgotten world in parts. In addition, by studying seals, complex administrative processes, business relationships, and cultural relationships may be somewhat understood (Neuman, 2013: 83). The use of a seal was a guarantee of authenticity, ownership, documentary participation in a legal exchange, or protection of goods against encroachment on individuals (Collon, 1990: 11).
No seals have been found in the 7-12 layers of the metropolitan area dedicated to the Susa IV period, but in any case, Le Breton’s tabulation of seals without exact origin indicates the superiority of the Mesopotamian style of seals during the first half of the third millennium (Carter, 1980: 25; Carter, 1979: 453). The influence of Akkadian art on the seals of Iran / Elam - almost simultaneously with the Awan period - can be seen on a group of cylindrical seals of unknown origin, at least one of which is purchased in the Foroughi collection from Iran (Porada, 1964: 88 -93). 

Discussion 
The form of wide shoulders and narrow waist and proportion of people in these seals is comparable to the examples of the Akkadian period. However, the equal distribution of people in the scenes of Iranian seals distinguishes them from the form of narrative distribution of people in the Akkadian seals, in which there were wide empty spaces in front of people (Porada, 1993: 486). The domination of the rulers of the third dynasty of Ur/ Ur III over Susa (from the last years of Shulgi rule on 2094-2097 BC) is reflected in the influence of the Mesopotamian sealing style on the seals of the rulers of Shimashki dynasty and the first kings of Sukkalmah (Porada, 1993: 486).
Based on the studies by researchers and comparative studies on several selected seals in the repository of the National Museum of Iran, this article will try to answer the question regarding whether the engravings of these seals of Early Elamite could express a special narrative style. The study was conducted by the library-museum method and was accompanied by the comparative analysis of images.
The seals selected from the National Museum of Iran, which are 11, can be divided into the following categories in terms of visual style and iconography:
- Susa style (Susa IV), which includes the seals No.: 592.1 (Susa), 597 (Susa), 599 (Susa), 602 (Susa), and 601 (Susa) of this collection.
In the period of Early Elamite, we   also see different styles, which we will discuss as follows:
- Akkadian Related style, which includes the seals No. 607 (Susa), and 605.1 in this collection.
- Popular Elamite style (Akkadian / Awan Related), which includes the seals No.: 619.1 (Susa), 619.2 (Susa), and 595 (Susa) in this collection.
- Ur III Related / Susa V, which includes the only seal: 606 (Susa) in this style collection.

Conclusion
What can be seen in all the designs and images of the seals is the depiction of things that existed in the life and climate of the people of that period, which were influenced their thoughts and type of look, somewhat being the engraved designs affected by the customs, beliefs, and traditions of those people. Except for the scorpion motifs on the seals, which symbolized the insidious creatures and suffering or even indicated rebirth, they were often found in arid lands and could be related to the climate that had influenced the beliefs of the people of those lands. What most of the pictures in this collection tell us, is about the fight between humans and animals; a powerful human being against strong animals, perhaps to defend a weaker animal. The fight of man and lion, with the presence of animals such as goats and cows; an ideal narrative of superior personal power. These fighting scenes are often seen in the motifs of ancient Iran (and of course Mesopotamia) from the period before Elamite and Elamite to later periods, indicating the power of a superior person in most interpretations - in older periods, perhaps the of “master of the animals” or ruler and referring to the king in more recent periods.
On the one hand, the distinct and prominent presence of animals such as lions (or cats) being the symbol of power in the land of Elam - especially the Susa plain as a habitat of this animal - e and also the goats as a constant companion of humans from The agricultural period onwards, and also in this period. On the other hand, the need to protect the owned animals accompanied by man against hostile animals does not take the creation of such scenes out of the mind. Inspired by the issues and landscapes around him, the engraving artist used to create images, which ultimately led to a particular style. In these special cases, the battle scene is a kind of narrative of a superior person to show his superiority and power. Now, this person should be considered the ruler of animals to be sought in myths, or a powerful king that is present in the historical scenes.