كليدواژه :
آئين , اسطوره , رقص , سماچه , پيش از تاريخ
چكيده فارسي :
آدميان در گذر زمان تلاش كرده‌اند انديشه‌ها و باورهايشان را صورتي عيني بخشيده و آن را تصويرسازي كنند. تصاوير ظروف منقوش باستاني باقي‌مانده كه حاوي پيا‌م‌هاي گوناگون است بهترين گواه اين مدعاست. مطالعه ظروف كاربردي-هنري بخش اعظمي از هويّت مردمان سرزمين كهن ايران را مي تواند آشكار كند و اطلاعات ژرفي از هنرهاي ديگر اين مرز و بوم را منتقل سازد. نقوش انساني در حال انجام حركات موزون از جمله آثاري است كه در وراي خود سبقه فرهنگي و معنايي بارز توجه‌ايي را متبلور مي‌نمايد. در اين ميان حركات موزون متفاوت و شاخص تر از ديگر نقوش رقصنده برظروف مشاهده مي‌شود كه مي توان آنها را در يك گروه، به «رقص با سماچه» موسوم دانست. اين مقاله با هدفي كاربردي در جهت شناخت و شناساندن اين پديده انجام شده و مسئله اصلي آن واكاوي و هويّت يابي تاريخي هنري رقص با سماچه در ايران مي‌باشد. روش تحقيق كيفي مي‌باشد و با رويكردي تحليلي- توصيفي، براساس گردآوري اطلاعات مكتوب كتابخانه‌ايي انجام شده است. نتيجه حاصله نشان از آن دارد كه رقص با سماچه پديده‌ايي نمايش‌گونه و كهن در ايران است كه مي‌توان با كاربردي كردن آن در هنرهاي نمايشي، راه برون‌رفت از بن‌بست هاي كليشه‌اي نمايش در ايران و حتي جهان را مهيا ساخت.
چكيده لاتين :
Drama" as an art is a universal category and "display" is
a very old phenomenon among human beings. Today, the
play as a text (art made by humans) has a special position
in art history. One of the topics discussed in art history is
theories about the emergence of a phenomenon until it
becomes defi nable and accepted in the form of a specialabsolute
art. In this evolution, the identifi cation of the
origin, factors, and elements affecting the formation of that
art is of great importance, because theorists have justifi ed
their ideas by referring to them and using the various
sciences, and, on the other hand, it can infl uence their
application in the present and future condition of arts. In
order to approach the origin of this phenomenon, we
should analyze the life of primary man; in particular, we
should consider their rituals in two social contexts and
beliefs, both of which have fundamental use in movement
ritual symbols. the present study is based on a descriptiveanalytic
and deductive similarity design and seeks to
recognize "dramatic art" as a historical-social and religiousartistic
phenomenon and it attempts to review the ignored
parts of the history of this art in the past and also analyze
their role in the creation and formation of ritual-theatrical
movements and subsequent theatrical traditions and
dramatic art. Civilizations have their own existential status
and expand in their particular circumstances. The land
known today as Iran has a long history. The historicalartistic
study of Iran in its distant past will lead to a wider
section of present-day Iran, i.e. the Iranian Plateau and its
native Najd people. The prehistoric documents of the
formation of Iranian empire on the Iranian plateau and in
the present-day Iranian interior testify to the civilization's
complete control over their art history.The remaining
stacked dishes are the best proof of that. Study of appliedartistic
dishes can reveal both a large part of the people's
identity on this land and convey more in-depth information
on other arts. Part of these motifs show human motions in
rhythmic motion. Among these rhythmic motions on the
utensils and instruments, there are distinctive motions than
the other dancer motifs, which today can be described as a
"dance with Samacheh"."Samache" has not ceased in its
pre-historic past and is still present in many cultural,
artistic, social and religious contexts in most societies and
cultures. It will also reveal the origin, base, process and
factors associated with its formation and consequence of
its continuation and use. the social and religious contexts
of this pervasive phenomenon in the culture of the ancients
will show that "dance with Samacheh" is an integral part of
the life mixed with metanarrative world view of prehistoric
people. Samacheh dance can be the very origin of
arts such as drama and drama-dance. Accordingly, this
article aims to explore this phenomenon and its course in
Iran in order to study the importance of recognizing and
introducing this phenomenon for historical and artistic
identifi cation in this land by historical-analytical method.
