Taq-e Bostan’s Boar Hunt, from Theory to Global Registration
Mohammad Aref said the book “1500-year- old Iranian Animation” deals with the Boar hunt Petroglyph on Taq-e Bostan of Ker- manshah. Bringing nine scientific reasons, the research tends to prove that in spite of the ideas of world-known researchers like Roman Ghirshman, Shinji Fukai, or Christiansen who had considered the Petroglyph artist of Kermanshah’s Taq-e Bostan in the Sasanian Era a Roman, he was definitely an Iranian.
Also, the Boar Hunt Petroglyph could be regarded as a prototype animation in that epoch of Iranian history. The work is distinct from other contemporary mural paintings.
He also talked about the attempts under- taken to register the Petroglyph as an eminent Sasanian artwork. So far the proposal has passed two national stages and if it can successfully pass the third session, it will be proposed to UNESCO for global registration, he added.
He went on to say, “I have lectured on the significance of this proto-animation in seven international conferences in Russia, Turkey, and Bosnia and my next lecture will be on October 2013 in the international conference of Cordoba in Argentina. We also presented the animation and defended our theory during a session with the presence of a UNESCO representative at the State University of Yazd.”
He finally stated that he has organized his speeches in a book titled ‘The 1500-Year- Old Iranian Animation’ that is consisted of seven chapters that will be published in the future.
The Boar Hunt Petroglyph is inscribed on the left wall of Taq-e-Bostan, showing the boar hunt ceremony in an enclosed arena. On the left, the elephanteers are directing boars to the central space where the Shah – with a figure larger than the others is set in a boar and busy hunting boars. In lower space, the elephants are collecting hunted boars with their trunks, and to the right, we see the dead boars mounted and the elephants being taken out of the scene.