شمایل شناسی هرکول؛ حرکت نمادین هرکول از غرب به گُنداره (هند) در دوره اشکانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در شمایل نگاری دنیای باستان، هرکول شخصیت اسطوره ای یونانی، در حالات و ژست های متفاوتی تصویر شده است. یکی از این فرم ها، شمایل فرد لمیده بر تخت است. این صحنه بیانگر ضیافتی است که برای متوفی تدارک دیده می شد. شخصیت قابل تطبیق با او در هند (گنداره)، وَجرَپانی است. به رغم وجوه اشتراکی که میان هرکول و وَجرَپانی (محافظ شخصی بودا) وجود دارد؛ نمادهای به کار رفته و ساختار روایی این اسطوره هندی با نسخه یونانی تفاوت های آشکاری دارد که ماحصل بافت فرهنگی و زمینه ی مذهبی و تاریخی حوزه فرهنگی هند می باشد. هدف از این پژوهش واکاوی سفر نمادین هرکول به هند و تبدیل او به وَجرَپانی، معانی نهفته در حالت نیروانه یا خفته (کمال یافته) و شناخت حالت ها و ژست های فرد لمیده بر تخت (هرکول) است. پژوهش حاضر از لحاظ ماهیت توصیفی -تحلیلی است و بر پایه تحلیل آیکونول وژی پانوفس کی صورت گرفته است. حاصل مطالعه نشان می دهد که هرکول در سفر خود از غرب (یونان) به شرق (هند)، با روایت وَجرَپانی کهن الگوی هندی تلفیق شده و تغییراتی در فرم و محتوای آن صورت می گیرد. وَجرَپانی مانند هرکول قهرمان و نابود کننده دشمنان نیست بلکه محافظ بودا است و با شمایلی خشن و داشتن وَجرَ، مخالفان و نافرمانان بودا را می ترساند و رام می کند. در حالی که هرکول با زحمات خودش و طی سفر و مأموریت های سخت، طبیعت نافرمان خود را رام می کند و به آرامش و جاودانگی می رسد. در مجموع آیکون هرکول لمیده بر تخت، تبدیل به نیروانه یا بودای دراز کشیده بر تخت می شود. هر دو به کمال و آرامش ابدی و جاودانگی می رسند و در واقع، نیروانه ماحصل سفر نمادین هرکول لمیده بر تخت (از لحاظ فرم و نه محتوا) به شرق (هند) است.Iconography of Hercules; The Symbolic Movement of Hercules from the West to Gandhāra (India) in the Parthian Period
This research first deals with the differences and commonalities, in terms of icons form and symbols used, between Hercules and Vajrapani in India and then explains the form and states of lying and sleeping of the icons and seeks to find The meaning and thematic relationship between the image of a person lying on the bed (the role of Hercules) and the state of sleeping on the bed (nirvana).The result of the study shows that the icon of Hercules had a symbolic journey from the west to the east. It shows that the image of Hercules first appeared on the coins of Alexander and the rulers of Bactria, the Greek colony of Balkh. This icon changes and changes in form and symbols in two stages.The second stage of transformation occurs in the first three centuries of AD. The icon of Hercules undergoes a cultural transformation; These changes occur due to the emergence of the spice route and the formation of caravan cities in the 1st century AD and the spread of Stoicism philosophy in the eastern Mediterranean lands. The Stoicism tried to reconcile religious sects with each other. Therefore, at this point in time, old religions are combined with each other and eclectic religions emerge. The Stoicism accepted the Roman belief that the soul of a person after death turns into tiny particles and remains in the air, and if the soul has no faults and sins, it goes to the moon and then the sun. This philosophy has an influence on the popularization of one of the postures and gestures of Hercules, which is the form of the person lying on the bed, which represents the feast and the scene of drinking the holy liquid (wine) for immortality, and in this period, throughout the eastern Mediterranean lands. It is widespread from Palmyra to Parthian territory and then throughout the Kushan territory (in Gandhāra and Mathûra areas).The symbol of Vajrapāni is Vajra, instead of the club and Nemean lion skin in the image of Hercules, which is a weapon of metal shape and the nature of lightning, this weapon was taken from Indra and because it shines like a diamond, it is also a symbol of wealth. He is the protector and guardian of Buddha and sometimes Vajrapāni appears like a Bodhisattva, his face is harsh and aggressive and, in some cases, he is kind and calm. While Hercules is like a hero and sometimes has Dionysian spirit. Vajrapāni's role is to guide the Buddha in his travels, while Hercules is the guide to the spirits of the dead.The iconology of Hercules shows that the application of the role of Hercules in the cultural context of India (Gandhāra and Mathûra basin) has caused changes in the concepts and tasks and narration of the myth of Hercules. The myth of Hercules is shown on the narrative of a hero who kills and destroys the enemy and the unworthy in his missions. While in the Vajrapāni narrative, he is the protector of the Buddha or in the position of Bodhisattva and subdues the enemies or rebels by threats, he does not kill because killing any living being, in Indian culture, means from the cycle of life exit or Samsara; And only one who reaches the stage of perfection, his soul can leave the cycle of life; This stage is called nirvana, which means reaching perfection and eternal peace that Buddha and redeemed people reach. On the other hand, in Gandhāra, the role of Hercules can be seen while in addition to the skin of a lion in his hand, the image of a live lion can be seen watching the scene, which seems to represent the rebirth of the lion or its taming. He is, while in Greek Hercules, he has the role of killing the lion and in all the scenes he is seen only with the skin of a lion or fighting with a lion, and there is no trace of a tamed lion by his side.In terms of iconology, the icon of Hercules in its symbolic journey towards the east is placed in the context and cultural context of India (Buddhism-Brahmanism) and due to the expansion of the two intellectual systems of the Mahayana sect in India and the philosophy of the Stoicism from the west, in the first three centuries AD, undergoes cultural transformation. Some symbols, functions and states of Hercules are divided and assigned to two characters Vajrapāni and Buddha. While Vajrapāni stands next to the Buddha with the same image and duties as Hercules, the form of Hercules lying on the bed turns into the state of the sleeping Buddha (in the stage of nirvana), which is both the concept of reaching perfection and immortality, and in other words, the representation of the last supper and immortality.
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