كليدواژه :
تاق بستان , بعد چهارم , شمايل‌نگاري تاق بستان , گور , نيايشگاه
چكيده فارسي :
حجاري نقش برجسته‌هاي صخره‌اي از هزاره سوم ق.م در ايران رواج داشته است. در دوره ساساني نقش برجسته‌ها از نظر فرم، ظرافت تراش، پرداختن به جزييات، ايجاد تزيين، نمايش موتيف‌هاي پوشاك و حتي به‌كار بردن نمادهاي ايراني و غير ايراني (يوناني)، از تمامي ادوار پيش از خود برتري و تنوع بيشتري مي‌يابند. ايوان بزرگ تاق بستان داراي چهار صحنه با مضامين تاج‌ستاني، صحنه رزم انفرادي پادشاه، صحنه شكار و موسيقي و ضيافت در فضاي داخلي و نماي بيروني آن است. بيشتر پژوهشگران معتقدند كه تمامي نقوش ايوان بزرگ متعلق به دوره خسرو دوم پادشاه ساساني است. اين نوشته در پي پاسخ به اين پرسش است كه نقوش ايوان بزرگ داراي چه معاني و رموزي و كاركرد ايوان چه بوده و بعد چهارم چگونه در آن تصوير شده است؟ هدف از اين پژوهش تحليل مضامين و شناسايي رموز نگاره‌هاي ايوان بزرگ و ايجاد پيوند معنايي ميان صحنه-هاي گوناگون اين اثر است. يافته‌ها حاكي از آن است كه ايوان بزرگ، گور نمادين خسرو دوم و نقوش آن بيانگر روايتي از چهار مرحله از زندگاني خسرو دوم در چهار صحنه مختلف مي‌باشد؛ اين مراحل صحنه‌هايي از تاج‌ستاني تا مرحله مرگ پادشاه است. با اين تفسير بُعد چهارم كه تصوير نمودن زمان و حركت و معنا در تصاوير مي‌باشد، در ايوان بزرگ تاق بستان مشاهده مي‌شود. روش پژوهش توصيفي-تحليلي بوده و داده‌ها از طريق منابع كتابخانه‌اي جمع‌آوري شده است.
چكيده لاتين :
Taq-e Bostan is located in near the city of Kermanshah. The Most researchers believe that the large porch designs belonging to the Sassanid king Khosro II period. The author first describes reliefs of the large Ivan Taq-e Bostan , and then to state of the art plasticity (volumetric technique) designs. The author of two narratives extracted from the stems, the first order of Bas-reliefs in the porch big idea is that Khosro II stages of his life since coming to power until his death in ceremonies such as the scene throne legal, war, hunting and feasting, your body image Khosro stautue. king be seen in the side walls of the hunting party hunting scene was the order of the king to hunt to feed Farvahar. It results in the best Khosro ancestors. Ancient music scene and it is a joy to weep for the dead.
There are prominent symbols of the Mithraism in the ancient Mazdeanshan. The same is true of Roman monuments that Mitra has been sculpted in various forms and scenes like Mitra slaughtering cattle, Mitra being hunted and Mitra performing religious rituals. In the large porch of Khosrow's backdrop, it is depicted in four different scenes in various shapes and shapes. The author extracts two narratives from it. In the first thought, the purpose of the carvings of the motifs inside the great porch is that Khosroodum would have to take steps from his life from time to time to his death at a ceremony such as the crown scene Ancient, war, hunting, and body and figurative (symbol and symbol of the corpse of Kharsodom, like the shapuric figure in the Shapur Kazeroon cave). In the second commentary of Khosrow on a bed above the sky, he shows his coronation ceremony in the presence of Ahuramazda and Anahita, and is depicted on the surface of the earth for the king in the form of an armed man who is ready to fight evil and demonic spirits. . In the side walls where scenes of hunting and hunting are seen, the purpose of the scene was to hunt the king to go to hunt to provide the best food to feed Forohar's ancestors. Because the hungry furrows every year come to the ground when the New Year arrives in battle with the dress, so that the place of Gurshaw is distanced from the influence of evil forces and evil spirits, and on the other hand, the scene of music and the accompanying song is that in ancient Iran They would not have died on the dead, but for the lost, there was a need for a funeral ceremony to provide a pleasurable bed for the reception of Foruhar's ancestors, and likely at the end of each year and when the New Year arrived, in the arch Bastan Hamaspazamaedaya Celebration Celebration (this ceremony is one of the Ganhnarbah celebrations)
