كليدواژه :
تل باكون , سفالينه هاي منقوش نخودي , نقوش چكيده نگارانه , هنر پيش از تاريخ
چكيده فارسي :
تل باكون در نزديكي تخت جمشيد از مهم ترين تمدن هاي پيش از تاريخ و مناطق توليد سفال نخودي در هزاره پنجم و چهارم پيش از ميلاد بوده است. رواني قلم، اغراق در فرم و انتزاع از خصوصيات بارز نقوش اين منطقه به شمار مي روند. يكي از دلايل اهميت اين نقوش دارا بودن معاني نمادگونه است و اين نقوش مقدمه اي بر خطوط تصويري و الفبايي هستند. از نظر شيوه اجرا به دو صورت طبيعت پردازانه و چكيده نگارانه ترسيم شده اند.
هدف از انجام پژوهش حاضر گردآوري و بررسي نقوش به دست آمده از ظروف و سفالينه هاي اين منطقه از نظر ويژگي ها و كيفيات بصري است. از اين رو نويسنده به دنبال ويژگي هاي بصري مشترك در اين نقوش است. پژوهش حاضر از نظر هدف بنيادي بوده و با روش توصيفي تحليلي انجام شده است. شيوه جمع آوري اطلاعات نيز به صورت كتابخانه اي بوده است. پس از جمع آوري نقوش مذكور و با حذف موارد مشابه، در نهايت 178 نقش از اين سفالينه ها و تكه سفال هاي يافت شده با ابزار جدول مورد بررسي قرار گرفته اند.
بر اساس يافته ها از نظر نوع نقش، 55 % از نقوش، نقوش حيواني با اكثريت چهارپايان، 32 % نقوش تجريدي، 21 % نقوش انساني و تنها 1 % نقوش گياهي اند. حدود 80 % از نقوش نيز در محدوده مستطيل هاي افقي و عمودي قرار مي گيرند و بقيه به ترتيب در محدوده مربع و دايره جاي مي گيرند. 10 % از نقوش نيز راستاي غالب خاصي ندارند.
چكيده لاتين :
Pre-historic pottery investigating is one of the sources that provide a lot of information about the life and art of that
time. Among Iranian arts, Pottery is of a greater antiquity, originality and importance and represents people’s culture, beliefs and traditions more than any other art. After basket weaving, pottery has been the first lasting art of mankind. By investigating earthenware motifs, we understand that
designs and motifs are sometimes tools or references to
express a subject and a matter, and sometimes indicate
religious beliefs. One of the most important prehistoric
regions and civilizations in the fifth and fourth millennium
BC, which has a variety of certain earthenware in terms of
the shape of the vessel and type of its motifs, is Tall-i Bakun
near Persepolis, which is divided into two parts, Bakun A
and B. Pottery production more than the residents’ needs
indicates that Bakun’s Buff-wares and Slip-painted Pottery
were exported to the surrounding areas. The pen smoothness,
the exaggeration of the form and the abstraction are the
prominent features of the motifs of this region. Having
symbolic meanings as well as being an introduction to visual and alphabetical lines is one of the reasons for the importance
of these motifs. In terms of implementation, they are drawn
in both naturalistic and abstract forms.
The purpose of this research was to collect and investigate the
animal motifs obtained from earthenware and pottery pieces in
this area in terms of visual features and qualities. Therefore,
the author seeks common visual features in these motifs.
The present study is fundamental in terms of purpose and
has been done through a descriptive-analytical method and
Library research in data collecting. Finally, after collecting
the mentioned patterns and motifs and removing analogous
items, 98 of the 178 motifs obtained from these found pottery
pieces and earthenware were related to animal motifs and
were examined with table tools. A number of these examples
are given.
Using table tools, animal motifs were divided into three
groups: Quadruped, Birds, and Reptiles. According to the
research findings, Quadrupeds which include goats and
sheep, Canidae and other Quadrupeds, are at the forefront
of animal motifs, with a frequency of 43%, which shows
their great importance in the life and beliefs of the people of the region. In the next rank, reptiles include lizards,
scorpions, fish and insects, accounting for about 35% of all
animal motifs. In terms of the motif’s location, the horizontal
rectangle ranks first, with 66% and the rest are located in
the vertical and square rectangles. As for the dominant line,
Bakuni has used 67% of curved lines in animal design.
The predominant direction is also divided into six groups:
horizontal, vertical, oblique, horizontal and oblique, vertical
and oblique, horizontal and vertical, that most of the reviewed
motifs have a predominant horizontal direction. Regarding
the texture quality it should be said that 77% of the patterns
and motifs do not have special textures and flat colors have
been used in drawing them. The composition of these motifs
also used asymmetry in 64% of them.
