Stone Horned Bull Sculpture Decorative Objects, Ancient Pixiu Patina Home Decor

Hand Created Sculpture Decorative Objects, stone Horned Bull, Ancient Pixiu for Home Decor
In tradition

As for all other Zoroastrian cosmological beliefs, the primary source of information on the primordial ox is the Bundahishn, a 9th-century text. In this text, the primordial ox is a hermaphrodite, having both milk and semen. It is "white, bright like the moon, and three measured poles in height".

In Shahnameh and other epic poems, which reflect the myths, the life of primitive and ancient
In Iranian societies, animals and others are important and go beyond their normal
features and status. Myths are truths of the thoughts and ideas of the first people, which are
mixed with different stories and are expressed symbolically and cryptically. Epic events are
usually the result of linking these myths to history. Among the animals, "cow" is one of the actors
that is mentioned in Ferdowsi's Shahnameh and other epic poems, and has its themes and
themes. This article aims to examine the place of the cow in the myths and civilizations of the past,
as well as in the most valuable epic work, Shahnameh and five other epic poems (Garshasbnameh,
Kushnameh, Bahmannameh, Banogshsabnameh and Borzoonameh) and the most important
mythological themes. Extract, classify and analyze the epic and ritual of this animal. These themes
are the lexical and symbolic meaning of the cow, the place of the cow in myths and ancient Iran, the
relationship between the creation and death of Kiomars with the cow, the cow's relationship with the human
psyche and moon, Heroic Cow, Heroic Breeding, Sculpture or Composition, Gausser Stick,
Cow, Name of the Tower in the Sky, Cattle Totem

Griffin’s role in Iranian artwork can be described in three historical periods:
Prehistoric era, Achaemenid era, and Sassanid era.

Prehistoric era

The patterns acquired from this period are related to the Marlik Hills, Lorestan, and Ziwiyeh areas. There are also artworks with the figure of combination creatures, including the bird’s head and the body of a four-footed animal from the Amlash Hasanlu area. The figure of the Eagle has also been observed on ancient Persia's pottery and cylinder seals. Eagles with widespread wings are painted among the Ilam cylindrical seals and jellies of silk hills in Kashan. In the Shusha tiles (related to the third millennium), the golden medallion is represented by the figure of an eagle with open wings, as well as Lorestan’s bronze works, artefacts near Amlash and Marlik, and Hasanlu’s golden bowl (early 2nd millennium BC) are also decorated with the figure of Eagle. But the oldest Griffin sample in Persian art has been observed on the metal container from the Marlik hill. The history metal cup of Marlik is taken back to three thousand years ago, the end of the second millennium and the early millennium BC. Four gryphons are on the four sides of the upper edges embossed on the Golden Cup. Another example of a Griffin is a small golden jewellery set of eight centimetres in height, derived from the Ziwiyeh of Kurdistan, dating back to the fifth century BC.

Griffin in the Achaemenid period:

Griffin samples date back to the Achaemenid period of 500 BC. The artistic form of these particular creatures dates back to the Achaemenid Period and represents the most memorable Griffins of all ages. Achaemenid Griffins are made up of large sizes in capitals to small ones in jewellery. One of the patterns found on the margin of the Pazyryk carpet of the Achaemenid period is a Griffin, which is repeated in the form of a winged lion alternatively. The other type of Griffin, specific to the Achaemenid era and the inventions of the time, is the horned Griffin observed in Achaemenid jewellery samples. The combination of the eagle’s head and the hands of the lion with the bird’s paw has also been added to these jewels. Adding the horn doubles the sanctity and respect attribute of this creature.

Griffin in the Sassanid period:
The figure of the Eagle in the Sassanid period has great importance. In many Sassanian artworks, the figure of the eagle or only the eagle’s wings is portrayed. Still, the figure of the gryphon, in a way that was previously common, was changed into a bird called the Sassanid Simorgh. This bird combines a lion’s body; a head belongs to a dog or lion with wings, an eagle’s claw, and sometimes a tail of peacock’s feathers. This mythological and giant bird, generally seen in all Sassanid works of metal, stone and textiles, meant bringing happiness and goodness of life to its owner. The Sassanid Simorgh seems the same as the Achaemenid Griffin, which has roots in literature, mythical stories, Pahlavi texts, and religious songs of India and Iran.

Height approx. 28 cm, 21 x 18 cm.

Condition report:

Excellent Condition

Additional dimensions information:

Height: 8.67 in (22 cm)Width: 11.03 in (28 cm)Depth: 7.09 in (18 cm)