پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 931 |
| تعداد مقالات | 7,652 |
| تعداد مشاهده مقاله | 12,491,783 |
| تعداد دریافت فایل اصل مقاله | 8,884,275 |
تحلیل ساختار بصری الهه باروری و مضامین وابسته به آن در ایران باستان | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 1، دوره 3، شماره 4، مرداد 1399، صفحه 4-18 اصل مقاله (781.5 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2020.32844.1078 | ||
| نویسندگان | ||
| فهیمه اصغریان بافنده1؛ علیرضا شیخی* 2 | ||
| 1کارشناسی ارشد نقاشی. موسسه آموزش عالی فردوس، مشهد، ایران. | ||
| 2استادیار گروه صنایع دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران. نویسنده مسئول. | ||
| چکیده | ||
| الهه مادر با فرم های متنوعی از ایران باستان به یادگار مانده است. نوع بیان و از سویی دیگر، اشکال نمادین همراه آن در طول تاریخ، آن را در خور تامل و اندیشه نموده است. هدف نوشتار، بررسی صوری و مفهومی پیکره‌های الهه باروری در دوران ایران باستان می‌باشد. بنابراین، سیر تحول ساختار فرم الهه باروری در دوران ایران باستان چیست؟ کدام نمادها در اطراف پیکره‌ها و تندیس‌های الهه باروری شکل گرفته‌اند؟ تحقیق از نوع توصیفی و تحلیلی است. اطلاعات و داده‌ها از طریق موزه‌ها و کتابخانه و مقالات گردآوری و جامعه آماری به صورت هدفمند و موارد با حداکثر اختلاف انتخاب شده است. یافته‌ها نشان می‌دهد: فرم الهه مادر در دوران نوسنگی و مس و سنگ، انتزاعی و هندسی بوده و بیش‌ترین تاکید در اندام باروری متمرکز شده است. از دوران مفرغ به سمت طبیعت‌گرایی گرایش پیدا کرد؛ و از 2500 تا 2000 ق.م. به واقع‌گرایی همراه با اغراق و عدم تناسب در فرم بدن رسید و تزییناتی مانند گردن‌بند و النگو و پا‌بند بدان اضافه شد. از دوران آهن به بعد، پیکره‌ها با اندام متناسب‌تر و با اشکال نمادین تلفیق گردیدند. حالت ایستا و خشک پیکره‌های موسوم به الهه مادر، از 500 ق.م. به حالتی سیال با حرکت در بدن تغییر پیدا کرد. این مجسمه‌ها در دوران اشکانی، طبیعت‌گرا شد که با جزییات بود و در دوران ساسانی با ترکیبی اسطوره‌ای و نمادین -که تلفیق از چند حیوان متفاوت، مانند سیمرغ، شیر، طاووس و سگ بر بدنه بود- شکل گرفت. | ||
| کلیدواژه‌ها | ||
| واژه‌های کلیدی: ایران باستان؛ الهه باروری؛ ساختار بصری؛ معنا و نماد | ||
| عنوان مقاله [English] | ||
| Analysis of the Visual Structure of the Fertility Goddess and Its Related Themes in Ancient Iran | ||
| نویسندگان [English] | ||
| F. Asqarian Bafandeh1؛ A. R. SHeikhi2 | ||
| 1Master of Painting, Ferdows Higher Education Institute, Mashhad, Iran. | ||
| 2Assistant Professor of Handicrafts DepartmentFaculty of Applied Arts, University of Arts, Tehran, Iran. Corresponding Author | ||
| چکیده [English] | ||
| The Mother Goddess has been remained as a keepsake (monument) from ancient Iran in various forms. The type of expression and on the other hand, the accompanying symbolic forms throughout history, has made it worthy of reflection and thought. Birth giving, fertility, land fertility and blessing (Baraka) are the most important and obvious issues related to the Mother Goddess (Izadbanoan) of ancient Iran. In fact, before understanding the way of fertilizing by human, fertility has been considered a supernatural force. Maternalism has existed in many prehistoric times, and women have enjoyed a powerful position in both inferior and superior societies. In this regard and the interpretation of the previous man from the environment has shaped his view and thought about life and metaphysical factors have played a significant role in his life. The purpose of this article is to formally and conceptually study the statues of the goddess of fertility in ancient Iran; therefore, what is the history of evolution of the structure of the fertility goddess form in ancient Iran? What are the symbols formed around the statues of the goddess of fertility? The current research is descriptive and analytical. Information and data are collected through museums, libraries, and articles, and the statistical community is purposefully selected and with maximum differences. Human beings have left traces and remnants during their life on earth for thousands of years. These works, in terms of time and location, represent and reflect his status and quality of life, in specific stages and in certain areas. Sometimes in one community and region, it has evolved and, on the contrary, in another era, it has had a slow evolution. The total of all these fluctuations and transformations has changed according to the formation of civilizations, which have generally evolved over the course of human societies development over time, leaving tangible effects and evidence for this theory. In this article, the statues of the mother goddess found in: Sarab hill of Kermanshah from Neolithic period, Shush hills, Fences b and c from the copper and stone period (4500 to 3000 BC), bronze period (3000 to 1500 BC), including the hills of Moshahalan Ismailabad, Marlik, Kangavar Temple, Inshushinak Temple of Shush, Nahavand Treasure, Shahdad and Yahya Hill of Kerman, Choghaznabil, Iron Age (1500 to 800 BC) Choghamish Hill of Khuzestan, Shah Tappeh, Choghaznabil and Lorestan province, from (1000 BC to Maad) The hills of Lorestan, Marlik, Amlash Gilan, Hajiabad Fars, Shousha, Meganic tombs of Lorestan, during the Median period of Noshijan hill, Seleucid and Parthian Apadana and the areas of Shoush and Hajiabad, Bostan Arch, Kelardasht and Chal Tarkhan Rey were considered and studied. In each period, the form of the mother goddess and its associated symbols made some changes according to the government; sometimes it turned into large statues and sometimes into small ones. In this regard, the form of the mother goddess has been visually analyzed. The results show that the form of the mother goddess in the Neolithic, copper and stone eras was abstract and geometric, and the greatest emphasis was focused on the reproductive organs. From the Bronze Age, it tended towards naturalism, and from 2500 BC to 2000 BC, it reached realism with exaggeration and unfitness in body shape, and decorations such as necklaces, bracelets and leg bracelets were added. From the Iron Age onwards, statues were combined with more proportionate limbs and symbolic shapes. From 500 BC, the statues changed from static to moving in the body. They were formed in Parthian period by naturalism with details and also in Sassanid period with a combination of myths and symbols that were formed by combining several different animals such as Simorgh, lion, peacock and dog on the body. For the people of ancient Iran, along with the goddesses of fertility, not only the goddesses and Izadbanoes who were a sign of fertility for them were respected but also animals, plants, decorative elements and mythical creatures that played a role in the formation and reproduction of fertility. This assumption can also be made that since these elements, from a mythological or symbolic point of view, meant the presence of blessing and fertility; they took fertility from the goddesses and gave it to the people of Iran. In fact, it can be said that the belief in some creatures and plants is due to metaphysical beliefs in primitive religions and is due to the dependence of human life on them and has led to a kind of Totemism. In a way, the goddesses and myths are the interpretation of the world and nature of the previous human beings of this land, and in a semantic sense, they also cover belief in the direction of life. Simorgh or Sin Mero, Chamrush, lion, goat, cow, pigeon, peacock, eagle, fish and snake from animals, rosewood, rosette, grape clusters, palms, wheat, pomegranate and lotus from plants, water and moon from natural elements, brooches among decorative items can be enumerated in this category. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Ancient Iran, Goddess of Fertility, Visual Structure, Meaning and Symbol | ||
| مراجع | ||
[1] Ahmadi Oliaei, S., Azamzadeh, M. (2016). A Typological Study of “Standing God on the Animals” Motif from the Ancient Civilizations of Mesopotamia and Asia Minor (Hittites, Sumer, Babylon and Assyria), Journal of Archaeological Studies, 8(1), 1-19. doi: 10.22059/jarcs.2016.59486 (Text in Persian).[2] Afkhami, B., Farajzadeh, S., Hosseininia, S. (2016). Representation of Anahita in Archeological Documents, Journal of Woman in Culture Arts, 8(2), 225-248. doi: 10.22059/jwica.2016.60316 (Text in Persian).[3] Afzaltousi, E. (2012). Rug the Preserver of Wild Goat Figure Since the Ancient Times, Negareh Journal, 7(21), 55-67 (Text in Persian).[4] Afzaltousi, E; Jalalian Fard, N. (2019). Symbolism of Birds in Islamic Culture (Birds Book in the Name of God), Painting Graphic Research, 1(1), 29-40 (Text in Persian).[5] Bahar, M. (2012). Research in Iranian Mythology, Tehran: Agah (Text in Persian).[6] Bahrami, H. (2008). Sepandarmaz, Fertility Festival in Ancient Iran,Political Science, 195 & 196, 107-107 (Text in Persian). [7] Behnam, E. (1963). Sculpture in Ancient Iran, Honar va Mardom, 1(6), 2-5 (Text in Persian). [8] Behzadi, R. (2010). Aryans and Non-Aryans in the Ancient Perspective of Iranian History, Tehran: Tahoori (Text in Persian). [9] Beigvand, B. (2013). Forgotten Celebrations of Ancient Iran, (1st ed.), Tehran: Noorbakhsh (Text in Persian). [10] Berghe, L. V. (1944). Archeologie de L'Iran Ancient, Translated by Issa Behnam, Tehran: University of Tehran (Text in Persian). [11] Curtis, V. (2002). Translated by Abbas Mokhber, Persian Myths, Tehran: Markaz (Text in Persian). [12] Dadvar, A; Mansouri, E. (2006). An Introduction to the Myths and Symbols of Iran and India in Antiquity, (1st ed.), Tehran: Alzahra University (Text in Persian). [13] Eslamdoost,M; Sheikhi Narani, H; Ghanbari Babaabbasi,N(2020). Studying the Bronze of Sorkh Dom and Sang Tarashan Regions in Lorestan Province and Their Motifs, Painting Graphic Research, 2(3), 4-17 (Text in Persian). [14] Firooznia, F. (1992). The Lost World of Ilam, (1st ed), Tehran: Elmi va Fahangi (Text in Persian). [15] Girshman, R. (1997). Prehistoric Iranian Art Cultures, Median Art, Achaemenid Art, Parthian Art, Translated by Yaghoub Azhand, (1st ed.), Tehran: Mola (Text in Persian). [16] Firuzmandi, B., Rezaei, M., Judi, K. (2012). A Folk narration of “Fertilizing Goddess” Myth in Lorestan, Journal of Woman in Culture Arts, 4(2), 25-43. doi: 10.22059/jwica.2012.24752 (Text in Persian).[17] Girshman, T. (2010). Archeologue malgre moi; vie quotidienne d'une mission archeologique en Iran, 1970., Translated by Firooz Dilamaghati, Tehran: Kashan Cultural Institute (Text in Persian). [18] Ghanbari, L. (2014). Culture and Civilization of Ancient Ilam, (1st ed.), Tehran: Khaneh Tarikh va Tasvir-e Abrishami (Text in Persian). [19] Hall, J. (1917). Illustrated Dictionary of Symbols in Eastern and Western Art, Translated by Roghayeh Behzadi, Tehran: Farhange Moaser (Text in Persian).[20] Hinnells, J. (1941). Persian Mythology, Translated by Zhaleh Amoozgar and Ahmad Tafazoli, Tehran: Cheshmeh (Text in Persian). [21] Kambakhsh Fard, S. (2001). Historical Monuments of Iran, Tehran: Cooperative Publishing Institute of the Cultural Heritage Organization (Text in Persian). [22] Kambakhsh Fard, S. (2007). Archaeological excavations and Researches and Restoration of the Architecture of Anahita Kangavar and Taq Gara Temple, (1st ed.), Tehran: Archaeological Research Institute (Text in Persian). [23] Kambakhsh Fard, S. (2013). Pottery in Iran from the Neolithic Age to the Contemporary Era, First Edition, Tehran: Qoqnoos (Text in Persian). [24] Kargar, M. (2001). Ancient Iran, A Look at the Treasures of the National Museum of Iran, Tehran: Contemporary National Museum (Text in Persian). [25] Khosravi, L. (2015). Analytical Research of Symbolic and Mythological Motifs in Lorestan Kalmakarreh Art, Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomi, 20(2), 63-76. doi: 10.22059/jfava.2015.55510 (Text in Persian).[26] Kazem Zade, P. (2013). An Analysis on Reasons of Believing in the Goddesses in Ancient Iran, Religious Research, 1(2), 49-74 (Text in Persian). [27] Molazadeh, K. (2015). Medes Archeology, Tehran: Samt (Text in Persian). [28] Mousavi Jami, R. (2017). Sassanid Reliefs, Tehran: Samt (Text in Persian). [29] Masoumi, Gh. (1974). Lament in Ancient Iran, Honar va Mardom, 13(146-147), 63-71 (Text in Persian). [30] Mesbah, B, Hejbari Nobari, A, Tavousi, M. (2013). Analytical-Mythological Study of Images of Three Goddesses of Fish, Plants and Water in Iran (1500 to 3200 BC), Journal of Visual and Applied Arts, 6(12), 77-92 (Text in Persian). [31] Majidzadeh, Y. (1991). History and Civilization of Ilam, (1st ed.), Tehran, University Publishing Center (Text in Persian). [32] Negahban, E. (1999). Marlik Excavations, (Vol. 1), Tehran: Cultural Heritage Organization (Text in Persian). [33] Negahban, E. (2006). A Review of Fifty Years of Iranian Archeology, Tehran: Sobhan Noor (Text in Persian). [34] Niknami, K., Ghasemi, R., Rezaee, R. (2014). Analysis of the role of Women in Seleucid and Parthian Societies based on Seals and Seal Impressions. Journal of Woman in Culture Arts, 6(3), 377-389. doi: 10.22059/jwica.2014.54517 (Text in Persian). [35] Ramtin, I. (2011). God's Light of Lady, The Status of Women in Ancient Iran, (1st ed.), Tehran: Sonboleh va Aeen Tarbiat (Text in Persian). [36] Sami, A. (2014).Sassanid Civilization, (3rd ed.), Tehran: Samt (Text in Persian). [37] Sarianidi, V. (2017). Myths of Ancient Bactria and Margiana on Its Seals and Amulets,Translated by Seyyed Rasool Seyyin Borujeni, Soraya Alikaydehno, Tehran: Cultural Heritage and Tourism Research Institute (Text in Persian). [38] Sarraf, M. (1993), Ilam Reliefs, Tehran: Jahād-e Dāneshgāhi (Text in Persian). [39] Satari, R., Hasanpour Alashti, H., Haqiqi, M. (2015). A Mythical and Psychological Critique of Status of Women in Banugoshasb-Nameh, Journal of Woman in Culture Arts, 7(1), 37-60. doi: 10.22059/jwica.2015.56776 (Text in Persian).[40] Schmidt, E. F.(2012). Excavations at Tepe Hissar, Damghan, Semnan: General Department of Cultural Heritage, Handicrafts and Tourism of Semnan Province (Text in Persian). [41] Shishegar, A. (2015).Tomb of two Elamite Women from the Family of Shah Shotur Nehonte, Son of Indd of the New Elam Period, (1st ed.), Tehran: Cultural Heritage, Handicrafts and Tourism Research Institute (Text in Persian).[42] Talaei, H. (2013). Seal in Iran from the Beginning to the Beginning of Islam, Tehran: Samt (Text in Persian).[43] Warner,R. (2013). Encyclopedia of World Mythology, Translated by Abolghasem Ismailpour, Tehran: Hirmand (Text in Persian). - https://www.britishmuseum.org/ (retrieved 9/9/90).
| ||
|
آمار تعداد مشاهده مقاله: 415 تعداد دریافت فایل اصل مقاله: 290 |
||