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Mohammadifar Y, Rastegarfard M, Hemati Azandaryani E. (2024). Revealing Pearl as A Functional Element or A Sacred Concept in Sasanian Art. Parseh J. Archaeol. Stud.. 8(29), 105-127. doi:10.22034/PJAS.8.29.105
URL: http://journal.richt.ir/mbp/article-1-842-en.html

Abstract
The pearl motif stands out as one of the most prominent and widely used decorative elements in Sasanian art, with its diverse reflections evident in the cultural and artistic works of the era. This study aims to explore the significance and position of this motif in Sasanian decorative arts, analyzing it as one of the most notable designs employed in royal ornaments and as a sacred or meaningful symbol. The research adopts a fundamental approach, utilizing descriptive and comparative-analytical methods, with data collected through library-based studies. Findings reveal that the use of the pearl motif in Sasanian art extended beyond mere decoration, serving as a symbolic, spiritual, and royal element. The analysis indicates that the motif was deeply connected with Zoroastrian beliefs, representing farr-e izadi (divine glory). This symbolic motif was extensively featured in various decorative arts, including silk textiles, gold and silver vessels, coins, and architectural adornments such as stucco and wall paintings. The use of the pearl motif emphasized themes such as royal legitimacy, divine sanctity, and the aspiration for increased divine favor, ultimately leading to greater prosperity and success. The results highlight that the pearl motif, by bridging religious and social values, became a cornerstone of Sasanian decorative arts and a powerful symbol of the interconnectedness between humanity, the divine, and the royal order during this period.
Keywords: Pearl, Symbol, Decorative Art, Sasanian, Farreh Izadi.

Introduction
The motif of the pearl in Sasanian art stands out as one of the most prominent and widely used elements in the artistic decorations of this period. Beyond its decorative aspects, it served as a symbol of spirituality and royalty. Despite its significance, existing studies have not comprehensively analyzed its meanings and applications. The symbolic use of pearls in art emphasized royal legitimacy, divine sanctity, and the attainment of khvarenah (divine glory) and greater prosperity. This paper demonstrates how pearls, as a significant symbol, established a profound connection between humans, deities, and the royal system. 
Despite the importance of pearls in the Sasanian era, current research lacks a thorough analysis of their meanings and functions in Sasanian art. This study explores the roles of pearls in Sasanian art, examining their association with the spiritual and social values of the time. It also highlights how this symbolic element reflected the relationship between humans, divine beings, and the royal order. The primary goal of this research is to analyze the significance and role of the pearl motif in Sasanian art. It aims to show how this motif, beyond its decorative purposes, embodied spiritual and social meanings and served as a symbol of khvarenah and royal legitimacy in artistic works.
This study also investigates the various applications of the pearl motif in Sasanian decorative arts, including textiles, vessels, coins, and architectural ornamentation. It examines its connections to Zoroastrian beliefs and its impact on the social and religious values of Sasanian society. Moreover, it analyzes how the pearl motif was used to emphasize royal legitimacy and to secure prosperity and well-being, while also exploring the bond between humans, divine entities, and the royal system as reflected in artistic works.
The key research questions are: What symbols and functions does the pearl represent in Sasanian art? How are the most significant visual manifestations of the pearl motif related to the spiritual values of the Sasanian era?
In response to the first question, the hypothesis suggests that the pearl motif in Sasanian art transcended its decorative nature, symbolizing spiritual and royal values that reflected the religious and social beliefs of Sasanian society. For the second question, it is hypothesized that the visual expressions of the pearl motif, through specific designs and compositions, were closely tied to spiritual and ideological values and served as a symbol of khvarenah and royal legitimacy in artistic creations.

Identified Traces 
Since Sasanian art was primarily intended for the court and was entirely official, its artistic elements were naturally aligned with royal objectives. Pearls, intrinsically associated with farrah (divine glory) in both tangible and abstract forms, were used extensively in Sasanian art for decorative and symbolic purposes.
One of the primary uses of pearls was as royal adornment. They were frequently seen in various types of jewelry, royal garments, crowns, and in the decorations of royal rings. A notable decorative element was the design of one or two strands of pearls, often interspersed with square jewel-encrusted pieces. This motif seems to have been one of the standard designs used in various decorations.
Among royal jewelry, there was a necklace that appeared to hold a distinctive value compared to other jewels. It consisted of a single strand of gems or pearls ending in a flowing ribbon, with three large gemstones or three royal pearls in the center. This necklace seems to have held a status akin to that of the royal ring. In Sasanian art, such necklaces were either worn by kings and deities or by specific animals on their necks or beaks.
Pearls were also used as symbolic elements in architectural decorations. Pearl-encrusted medallions and circular frames were among the most common features in Sasanian decorative and symbolic art. Beyond their aesthetic function, these pearl frames had two meaningful aspects: first, they surrounded sacred and pre-defined symbolic elements in Sasanian religious and philosophical thought, emphasizing their significance and sanctity; second, elements that were not inherently sacred gained new meaning when placed within these frames, sometimes carrying a message from the king and ultimately attaining a spiritual and transcendent quality. The concept of a sacred halo, like the pearl motifs, was also related to the notion of farrah (Sodavar, 2017: 19).

Conclusion 
The motif of pearls in the Sasanian period can be explored from both an artistic and decorative viewpoint, as well as from a mythological and religious perspective. Since Sasanian decorative art was dedicated to celebrating the finest creations of the divine, pearls, with their sacred status as symbols of Mithra, Anahita, and other deities associated with water, became one of the most prominent decorative elements. In Sasanian art, pearls were never used purely for ornamental purposes; rather, they were imbued with deep religious meanings, transforming them into a widely used and sacred motif.
Pearls were among the most common embellishments in Sasanian handicrafts and architectural decorations, serving as a visual representation of farrah. The various forms in which pearls manifested farrah included not only the usual jewelry worn by priests, courtiers, nobles, and aristocrats but also a specific type of necklace comprising a strand of jewel-encrusted pearls, with three large gemstones or royal pearls in the center. This special necklace, in addition to symbolizing power, was presented by sacred animals such as the peacock, duck, ram, and winged horse as a sign of the king’s legitimacy and divine selection as ruler.
Finally, pearl-encrusted solar rings were transformed into a sacred halo around the heads of kings and deities, symbolizing divine presence and spiritual power.