The Migration Period: A New Artistic Identity on the Iranian Plateau (دوره کوچ)(هویت هنری نو در فلات ایران)

By Keyvan Shovir, Artist & Researcher

As a researcher, my work is a continuous exploration of how cultures define themselves through a synthesis of form and material. The second half of the second millennium BCE on the Iranian Plateau marks a pivotal moment in this process. This period, often referred to as the Iron Age, witnessed a significant demographic and cultural shift that laid the foundation for the great empires that would follow. While traditional scholarship has often debated the precise nature of these changes—whether they resulted from a mass migration or gradual cultural diffusion—the archaeological record speaks volumes, revealing a new, distinctly Iranian identity forged from the crucible of this transformative era. My artistic practice is deeply informed by this historical moment, where ancient hands began to articulate a new visual vocabulary in clay, bronze, and gold.

The Historical Context and Archaeological Evidence (بستر تاریخی و شواهد باستان‌شناسی)

The landscape of the Iranian Plateau, defined by the towering Alborz (البرز) and Zagros (زاگرس) mountain ranges, played a crucial role in shaping the artistic and cultural trajectory of its inhabitants. Archaeological evidence, particularly from sites in the western and northwestern regions, shows the abrupt appearance of new cultural traditions around 1400 BCE. This transition is most clearly documented by the sudden shift in burial practices. Unlike the preceding inhabitants who practiced intramural burial—interring their dead beneath the floors of their homes—the new arrivals adopted extramural cemeteries, a tradition that reflects a distinct cosmological and social structure.

This cultural shift is also evidenced by a fundamental change in material culture, particularly pottery. The appearance of elegant, thin-walled Gray Burnished Ware (سفال خاکستری صیقل‌یافته) in the archaeological record is a hallmark of this period. Excavations by pioneering archaeologists such as Roman Ghirshman at Tepe Sialk (تپه سیلک) and Robert Dyson at Tepe Hasanlu (تپه حسنلو) documented this phenomenon, revealing a sophisticated ceramic tradition with no clear local antecedents. The debate among scholars centers on whether these changes represent a mass migration of Indo-European-speaking peoples or a gradual diffusion of ideas and technologies. Regardless of the mechanism, the result was the genesis of a new, complex society whose art was both technically advanced and stylistically independent.

The Material Culture of Transition: Ceramics, Metallurgy, and Iconography (فرهنگ مادی انتقال: سفالینه‌ها، متالورژی و شمایل‌نگاری)

The art of the Iron Age is characterized by its bold forms and the mastery of new materials. The ceramics of this era, particularly during the Iron Age I (c. 1400–1200 BCE) and Iron Age II (c. 1200–1000 BCE), are notable for their elegant silhouettes and highly polished surfaces. At Tepe Marlik (تپه مارلیک), this ceramic tradition found a sculptural voice, as seen in the remarkable Humped Bull Figurine, which melded ceramic craft with animalistic form. The transition to metal, however, defined the era's artistic peak.

The bronze objects of the Lorestan (لرستان) region are a testament to this technical and artistic prowess. These artifacts, found in numerous collections today, are renowned for their distinct style, which blends naturalistic and highly stylized forms. Horse bits, finials, and daggers were adorned with composite animal figures, such as goats and lions with elongated bodies and prominent, spherical eyes. This unique artistic language demonstrates a deep connection to nature and mythology, reflecting a culture that articulated its beliefs through the sophisticated medium of bronze.

The climax of this artistic tradition can be seen in the monumental gold and silver objects found at Hasanlu and Ziwiye (زیویه). The Hasanlu Gold Bowl (جام طلایی حسنلو) is a prime example of a masterwork from the Iron Age III (c. 1000–800 BCE). Its intricate repoussé decoration depicts complex mythological narratives, suggesting a rich and layered belief system. At the royal site of Ziwiye, a hoard of objects revealed a syncretic art style, blending local Iranian motifs with influences from neighboring Assyrian and Scythian cultures. This fusion of styles is not merely imitation; it is a creative synthesis that defines the artistic character of the period.

Golden Bowl of Hasanlu

Architecture and the Dawn of Monumentality (معماری و سپیده‌دم عظمت)

The artistic ambition of the Iron Age was also expressed on a monumental scale. At Tepe Hasanlu, the archaeological remains reveal a powerful citadel with large, columned residential and administrative buildings. These structures, particularly the columned aivan (ایوان ستون‌دار) and main halls, are considered by architectural historians to be the direct forerunners of the monumental royal architecture of the later Median and Achaemenid empires, as seen at sites like Pasargadae (پاسارگاد) and Persepolis (تخت جمشید). The deliberate shift to a grand, public architectural style, distinct from earlier domestic-focused structures, marks a new stage in social and political organization on the plateau.

Gate of All Nations, Persepolis

A Foundational Legacy (میراثی بنیان‌گذار)

The art and material culture of the Iron Age represent more than just a change in style; they signify the genesis of a new, complex, and distinct Iranian identity. The artistic innovations in ceramics and metallurgy, the development of a new visual language for narratives, and the emergence of monumental architecture all laid the foundations for the artistic traditions that would flourish under the Achaemenid and Sassanian dynasties. For me, as an artist, this period is a profound source of inspiration. It is a powerful reminder that all creative expression, regardless of its time, is a living conversation with the past, and that the hands that shaped the gray vessels and bronze artifacts of the Iron Age are fundamentally connected to the hands of every artist today.