تعداد نشریات | 25 |
تعداد شمارهها | 926 |
تعداد مقالات | 7,634 |
تعداد مشاهده مقاله | 12,435,065 |
تعداد دریافت فایل اصل مقاله | 8,850,951 |
تحلیلی بر مفاهیم نمادین رنگها و اَشکالِ ایزدان رَع و حوروس در آثار هنری مصر | ||
پژوهش نامه گرافیک نقاشی | ||
مقاله 10، دوره 6، شماره 10، شهریور 1402، صفحه 135-147 اصل مقاله (1005.56 K) | ||
نوع مقاله: مقاله پژوهشی | ||
شناسه دیجیتال (DOI): 10.22051/pgr.2023.41564.1177 | ||
نویسنده | ||
فاطمه غفوری* | ||
کارشناسی ارشد پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
چکیده | ||
ایزدان در تمدن و هنر مصر بسیار با اهمیت هستند. ایزدان مصری، همانند ایزد رَع (ایزد خورشید) و ایزد حوروس (ایزد آسمان) سرچشمهای از طبیعت بودند. نمادها و سمبلها کاربرد بسیاری در هنرِ مصر داشتهاست. هنر مصری، هنری نمادین و سمبلی است و هنرمندان مصری از این نمادها و سمبلها در آثار هنری استفاده کردهاند. رنگهای مورد استفادۀ آنها نیز نمادین بودهاست و معنا و مفهومی داشتهاست. با توجه به جایگاه هر ایزد، هنرمندان مصری در تصویرسازی ظاهری این خدایان از رنگها، حیوانات و اَشکال متفاوتی بهره گرفتهاند. هنرمندان در تجسم ایزد رع و ایزد حوروس از بدنی انسانی، سَر و صورتِ حیوانی (شاهین) استفادهکردهاند. جامعهآماری این پژوهش آثار هنری مصری است که ایزد رع و حوروس در آنها ترسیم شدهاند همچون نقاشیدیواری، نقشبرجسته و اِستل یا سنگ نبشته در معبدها و مقبرهها. نگارنده با روش پژوهش توصیفی ـ تحلیلی و با استفاده از گردآوری اطلاعات به روش اسنادی بر آن است تا به پرسش این پژوهش پاسخ دهد که ارتباط میان مفهوم نمادین رنگها و اَشکال ایزدان رع و حوروس در نقاشی و نقش برجستههای مصری با ویژگیها و جایگاه اسطورهای ایزدان موردِ اشاره چگونه است. هدف این پژوهش، مطالعه تطبیقی ظاهری ایزد رع و حوروس در آثار هنری مصری است. ظاهر ایزد رع و حوروس در آثار هنری یکسان است ولی در شکل و رنگ تاج با هم تفاوت دارند. تاج ایزد رع دایره است و ماری به دور آن پیچیدهاست. تاجِ ایزد حوروس نشانگر پادشاهیاش بر تمام مصر علیا و مصر سفلی است که شکلی ترکیبی دارد. | ||
کلیدواژهها | ||
کلیدواژهها: تمدن و هنر مصر؛ ایزد رَع؛ ایزد حوروس؛ نماد و سمبل؛ رنگ | ||
عنوان مقاله [English] | ||
An Analysis of the Symbolic Meanings of the Colours and Shapes of the Gods Ra and Horus in Egyptian Works of Art | ||
نویسندگان [English] | ||
fatemeh ghafoori | ||
MA., Department of Art Research, Faculty of Arts, Alzahra University, Tehran, Iran. | ||
چکیده [English] | ||
Gods are very important in ancient Egyptian civilization and art. Egyptian gods, like the god Ra (god of the sun) and the god Horus (god of the sky), were sources from nature. Symbols have been used a lot in Egyptian art. Egyptian art is symbolic and symbolic art, and Egyptian artists have used these symbols in their works of art. The colours used by them were also symbolic and had meaning. According to the position of each deity, Egyptian artists have used different colours, animals and shapes in the appearance of these deities. Artists have used a human body, animal head and face (falcon) in the representation of god Ra and god Horus. The statistical population of this research is the Egyptian works of art in which the gods Ra and Horus are depicted; such as: mural, relief and stelae or inscribed stones in temples and tombs. The author tries to answer the question of this research with the descriptive-analytical research method and by collecting information with a library method, which is the relationship between the symbolic concept of the colours and forms of the gods Ra and Horus in Egyptian paintings and reliefs with their characteristics and positions. What is the mythology of the mentioned gods? The purpose of this research is to study the appearance of Ra and Horus in Egyptian works of art. Egyptian art is a symbolic art that is a combination of eternalism, religion, immortality and belief in the afterlife. Egyptian artists always reflected the good aspects of life in their works and used colour to bring the figures to life. The remains of this civilization date back to 5000 BC. until 3000 BC. Egyptian civilization in the transition period (from hunting to agriculture) like other civilizations that were formed by the big rivers, It was created by the Nile River. Nature is very important for Egyptians and their gods originated from nature. The gods of the sun have special importance in different tribes and nations such as Egypt. In the Egyptian civilization, there have been many gods, each of which had a place; Like: god Ra (god of the sun), Anubis (god of death, dead and burial), Horus (god of the sky), Osiris (god of the underworld), Bes (god of marriage), Khepri (god of life changes), Set, also known as Seth and Suetekh, (god of chaos) and, etc. . Egyptian artists have used different and diverse colours, animals and shapes in depicting the gods, according to their positions. These colours, animals and shapes each have a symbol in Egyptian culture. Animals have been symbolic figures in Egyptian art. The images of these gods are used in architecture, ornaments, sculptures, murals, reliefs, inscribed stones, etc. The statistical population of this research is murals and reliefs in tombs, catacombs, temples and stelae. Egyptian artists used six colours, green, blue, red, yellow, white and black. According to the statistical population, the main question and the purpose of the current research; in this research, blue, yellow, red and white colours have been investigated more. In addition, it has investigated the symbolic concepts of animals, nature and shapes. The present research tries to answer the question and purpose of this research with the descriptive-analytical method and collecting information in a library method, so that by examining the statistical population of this research, the apparent, conceptual and symbolic similarities and differences of these two deities can be determined. The data of this research is qualitative. The statistical population of this research is Egyptian works of art (murals, reliefs and stone inscriptions). The sampling of this research is purposeful and by selecting the works in which there is a colour depiction of the gods Ra and Horus. First, with the descriptive method; It defines the myth, Egyptian civilization, Egyptian art and symbolic concepts, and then analyses the symbolic concepts of colours and shapes used in the depiction of God Ra and Horus in Egyptian works of art. In every culture and civilization, colours, shapes, nature, animals. have symbols that are rooted in the past of that civilization. In Egyptian art and motifs, every sign and pattern has a symbolic meaning and religious beliefs. The combination of these motifs together is a religious story and a religious epic, for example, the eagle is a symbol of royalty and ambition, the circle is the symbol of the sun god, the scepter is the symbol of royalty, the key is the symbol of life, the lion is the symbol of power, and the snake is the symbol of Pharaoh's supreme law. According to the agreement of most authors, the beginning of symbolic thought goes back to prehistory or the last part of the Paleolithic era. Another manifestation of mythology is its pictorial form; Myths are not always in the form of stories and narratives, but can be transformed into carvings. Pictorial expression is symbolic expression. In order to understand it, the depicted symbols must be translated into words so that they can be digested, but the mythological man did not need to translate these meanings and codes because he had learned the mystery of these mythological images from his ancestors. Mythological images were shown in rituals, and customs. Since ancient times, colours have always been around humans and had an impact on humans. Colour is one of the most important tools and means of expression in works of art. People in every culture and often regardless of their culture, react sensitively to colours. In history, colour has been associated with gods. Egyptian life is full of colourful symbols. In the Egyptian culture, the symbolic value of colours entered into their works of art. The Egyptians used 6 main colours (red, yellow, blue, green, black and white). By overlapping these colours, various shades of colour are created. Egyptians believed that colour is used not only for the beauty of the work but also for its perceived meaning. Also, they believed that some colours are not only symbolic, but have special powers or characteristics that relate to different gods. In order to understand these symbols, one must understand their meaning in every culture and civilization. Egyptian art and culture also have symbols. By examining the appearance characteristics of the gods Ra and Horus, the present research has achieved the connection between the symbolic concept of the colours and shapes of these gods in Egyptian paintings and reliefs with the characteristics and mythological status of them. Colours and shapes with special meanings have been used in visual depiction of god Ra, the sun god. His circular crown is a symbol of the sun and its red colour is a symbol of power. On this crown, there is a yellow snake, which is a symbol of power and the yellow colour is a symbol of the sun, immortality. In Egyptian reliefs and murals, two colours are used for the body colour of this god; Sometimes blue is a symbol of the sky and its place, and sometimes red is a symbol of victory and power. The head and face of this god is in the form of a falcon, which is a symbol of power, sky and sun. In Egyptian civilization, Horus is considered the god of the sky. The colours and shapes used in the appearance of this deity express a special meaning. His crown represents his kingdom over all of Upper Egypt and Lower Egypt, which has a hybrid shape. The main body of this crown is white, which is a symbol of renewed life; The downward triangle of the crown means water and its red colour is a symbol of victory and power; The spiral shape above the crown symbolizes powerful forces in red. This god with a red body is a symbol of power and victory. The head and face of Horus, the god of the whole sky, is in the form of a falcon. This bird has a meaning of power and sky. | ||
کلیدواژهها [English] | ||
Keywords:Egyptian Civilization and Art, God Ra, God Horus, Symbol, Colour | ||
مراجع | ||
منابع
اسماعیلپور، ابوالقاسم (1387). اسطوره، بیانِ نمادین (چاپ دوم)، تهران: سروش.
ایونس، ورونیکا (1375). اساطیر مصر (چاپ اول)، ترجمه باجلان فرخی (م ـ ح)، تهران: اساطیر.
آموزگار، ژاله (1388). تاریخ اساطیری ایران (چاپ یازدهم)، تهران: سمت.
بوروس میتفورد، میراندا (1394). دایرۀالمعارف مصور نمادها و نشانهها، ترجمه معصومه انصاری و حبیب بشیرپور، تهران: سایان.
بیرلین، جی. اف (1386). اسطورههای موازی (چاپ اول)، ترجمه عباس مخبر، تهران: مرکز.
Restoration (Text in Persian).
حسامی، شیدا و سید نظام الدین امامی فر (1397)، «مطالعه نشانهشناختی تصویری در پوسترهای دهه اخیر با تأکید بر بنمایههای نگارگری ایرانی»، گرافیک و نقاشی، 2 (2)، 43 ـ52.
زراعتی، حسین (1394). مطالعه نقوش نمادین خورشید در دنیای باستان، پایاننامه کارشناسی ارشد، رشته نقاشی، دانشکده هنر و معماری، دانشگاه آزاد اسلامی، واحد تهران مرکزی.
سرلو، خوان ادواردو (1389). فرهنگ نمادها، ترجمه مهرانگیز اوحدی، تهران: دستان.
شمخانی، محمد (1396). فرهنگ نامه هنر: مروری بر مهمترین مبانی، مفاهیم، اصطلاحات و اطلاعات هنرهای دیداری، شنیداری و نمایشی، تهران: طلایی.
شوالیه، ژان؛ گربران، آلن (1379). فرهنگ نمادها: اساطیر، رویاها، رسوم، ایماء و اشاره، اشکال و قوالب، چهرهها، رنگها، اعداد، ترجمه سودابه فضایلی، جلد اول، تهران: جیحون.
شوالیه، ژان و آلن گربران (1382). فرهنگ نمادها: اساطیر، رویاها، رسوم، ایماء و اشاره، اشکال و قوالب، چهرهها، رنگها، اعداد، ترجمه سودابه فضایلی، جلد سوم، تهران: جیحون.
فروغی، مهدا؛ جوادی، شهره (1396). «بررسی مفاهیم نمادین رنگ در هنر نقاشی مصر باستان و منشأ آنها در طبیعت پیرامون»، باغ نظر، 14 (53)، 65 ـ74.
لوشر، ماکس (1389). روانشناسی رنگها، ترجمه ویدا ابی زاده، تهران: درسا.
وارنر، رکس (1392). دانشنامه اساطیر جهان، ترجمه ابوالقاسم اسماعیل پور، تهران: هیرمند.
ویلز، پولین (1390). رنگ درمانی، ترجمه مرجان فرجی، تهران: درسا.
ویو، ژ (1381). اساطیر مصر، ترجمه ابوالقاسم اسماعیل پور، تهران: کاروان.
هارت، جرج (1374). اسطورههای مصری، ترجمه عباس مخبر، تهران: مرکز.
هال، جیمز (1387). فرهنگ نگارهای نمادها در هنرِ شرق و غرب (چاپ سوم)، ترجمه رقیه بهزادی، تهران: فرهنگ معاصر.
هوک، ساموئل هنری (1381). اساطیر خاورمیانه، ترجمه علی اصغر بهرامی و فرنگیس مزداپور، تهران: روشنگران و مطالعات زنان.
هینلز، جان راسل (1368). شناخت اساطیر ایران، ترجمه ژاله آموزگار و احمد تفضلی، بابل و تهران: کتابسرای بابل و چشمه.
یاحقی، محمدجعفر (1386). فرهنگ اساطیر و داستانوارهها در ادبیات فارسی (چلپ اول)، تهران: فرهنگ معاصر.
الیاده، میرچا (1372). رساله در تاریخ ادیان (چاپ اول)، ترجمه جلال ستاری، تهران: سروش.
References
Amoozgar, J. (2009). Mythological History of Iran, (11nd ed), Tehran: SAMT, (Text in Persian).
Bierlein, J. F., (2007). Parallel Myths, Translated by Abbas Mokhber, Tehran: Markaz, (Text in Persian).
Bruce-Mitford, M, (2015). The Illustrated Book of Signs and Symbols, Translated by Masoomeh Ansari & Habib Bashirpoor, Tehran: Sayan, (Text in Persian).
Chevalier, J., Gheerbrant, A. (2000). Dictionnaire des Symboles: Mythes, Reves, Coutumes, Gestes, Formes, Figures, Couleurs, Nombres, Vol. 1, Translated by Sodabeh Fazaili, Tehran: Jeyhon, (Text in Persian).
Chevalier, J., Gheerbrant, A. (2003). Dictionnaire des Symboles: Mythes, Reves, Coutumes, Gestes, Formes, Figures, Couleurs, Nombres, Vol. 3, Translated by Sodabeh Fazaili, Tehran: Jeyhoon, (Text in Persian).
Cirlot, J. E. (2009). A Dictionary of Symbols, Translated By Mehrangiz Ohadi, Tehran: Dastan, (Text in Persian).
Eliade, M. (1993). Traite R'histoire des Religions, Translated by Jallal Sattari, Tehran: Soroush, (Text in Persian).
Esmailpour, A. (2008). Myths: The Symbolic Expressions, (2nd ed), Tehran: Soroush, (Text in Persian).
Foroughi, M., Javadi, Sh. (2017). "Examining the symbolic meaning of colors in ancient Egyptian painting art and their Origin in Environment", Bagh-e Nazar, 14 (53), 65-74, (Text in Persian).
Hall, J., (2008). Illustrated Dictionary of Symbols in Eastern and Western Art, (3nd ed), Translated by Roghayeh Behzadi, Tehran: Farhang Moaaser, (Text in Persian).
Hart, G., (1995). Egyptian Myths, Translated by Abbas Mokhber, Tehran: Markaz, (Text in Persian).
Hessami, S., Emami Far, S. (2019). "A semiotic study of pictorial art on posters of the last decade, with an emphasis on". Painting Graphic Research, 2 (2), 43-52. doi: 10.22051/pgr.2019.22919.1014, (Text in Persian)
Hinnells, J. R., (1989). Persian Mythology, Translated by Jale Amoozgar and Ahmad Tatazoli, Tehran: Ketabsaraye Babol & Cheshmeh, (Text in Persian).
Hooke, S. H., (2002). Middle Eastern Mythology, Translated by Ali Asghar Bahrami and Farangis Madapoor, Tehran: Roshangaan & Motaleaat Zanan, (Text in Persian).
Ions, V. (1996). Egyptian Mythology, Translated by Bajalan Farokhi (M ـ H), Tehran: Asatir, (Text in Persian).
Luscher, M., (2010). Psychologie der Farben, Translated by Vida Ebi Zadeh, Tehran: Dorsa, (Text in Persian).
Shamkhani, M. (2017). Dictionary of Art, Tehran: Tallaei, (Text in Persian).
Vieu, J. (2002). The Myths of Egypt, Translated by Abolghasem Esmailpour, Tehran: Karvan, (Text in Persian).
Warner, R. (2013). Encyclopedia of World Mythology, Translated by Abolghasem Esmailpour, Tehran: Hirmand, (Text in Persian).
Wills, P. (2011). Colour Therapy: The Use of Colour for Healing, (8nd ed), Translated by Marjan Faraji, Tehran: Dorsa, (Text in Persian).
Yahaghi, M. J. (2007). Culture of Myths and Stories in Persian Literature, Tehran: Farhang Moaaser, (Text in Persian).
Zeraati, H. (2015). Investigation of the symbolic motifs of the sun in the ancient world, Master Thesis, Painting, Faculty of Art and Architecture, Islamic Azad University, Central Tehran Branch (Text in Persian). | ||
آمار تعداد مشاهده مقاله: 186 تعداد دریافت فایل اصل مقاله: 150 |