مطالعه عناصر شكار در دوره ساساني با تأكيد بر ظروف سيمين و صحنه شكارگاه طاق بستان

(A S tudy on hunting elements in the Sassanid Era (Case s tudy: the hunting scene of Taq-e Bos tan

موضوع شكار به روش‌هاي گوناگون در بيشتر آثار و در تمامي ادوار تاريخي بروز يافته و تنها، مفهوم آن است كه به واسطه زمان تغيير يافته است. اين مفهوم در دوره ساساني فراتر از شكار صرف است. از دوران ساساني بخش قابل توجهي از ظروف سيمين باقي مانده است. از آنجايي كه هنر ساساني عمدتاً درباري و نمايانگر شكوه ايزديِ پادشاهان ساساني است، بنابراين اغلب آثار، دربردارندة موضوعاتي مرتبط با پادشاه و از جمله شكار شاهانه است. بطوري‌كه صحنه هاي شكار در اغلب آثار هنري اين دوره از جمله ظروف سيمين و نقش‌برجسته‌ها نيز به نمايش درآمده است‌. از مهمترين اين نقش‌برجسته‌ها صحنه شكارگاه طاق‌بستان مي‌باشد سوال اين است كه: چه ارتباطي بين ظروف سيمين با صحنه شكار شاهي و نقش برجسته شكارگاه طاق بستان به لحاظ عناصر صحنه و تركيب بندي وجود دارد؟ براي يافتن پاسخ، به شيوه توصيفي – تطبيقي، به بررسي تعداد شش ظرف سيمين با مضمون شكار و مقايسه‌ عناصر شكار بين آنها و صحنه شكارگاه طاق‌بستان پرداخته شده است. با مقايسه آنها مي توان گفت كه اين عناصر تقريباً در تمام آثار مشترك‌اند.در طاق‌بستان صحنه شكار برگرفته از تركيب‌بندي‌هايي مشابه است، با اين تفاوت كه عناصر مكمل صحنه زيادتر و هم‌زماني نيز در آن ديده مي‌شود.

According to human his tory, it is obvious that age of hunting is as long as life of human. The exis tence of human until today depends on hunting. Hunting was not only an act for human firs t acquires but also it made human to grow his abilities. Subject of hunting, in different ways, with all the handmade object of human since the mos t developed of them, is shown in whole his tory. an‎d jus t the meaning of it changes during passes of time. The concept of hunting in Sassanid era, as las t period glories of culture of Iran before Islam remained lots of noticeable Golden and Jasmine monuments. Which these monument could be account as the mos t meaningful of Iran’s culture. Because, generally, Sassanid art is symbol of glories of Iran’s kings so the Golden and Jasmine monuments which remained from this period contain subjects and concepts that related to the king, especially king’s hunting. The concept of hunting in all of the art’s monuments from this period is clear. One of them is inscription, Taq-e Bos tan inscription is one of the mos t important ones. This inscription declares the importance of this matter. The subject of hunting has manifes ted in various ways in the mos t human cons tructs, even the mos t evolved of them, in all his torical periods, and the only meaning is that it has changed over time .In the Sassanid period, this concept takes on a concept beyond hunting. Since the Sassanid era, a significant part of the golden and silver works has been remembered. Since Sassanid art is mainly courtly and represents the divine glory of the Sassanid kings, mos t of the gold and silver artifacts left over from this period covering the themes related to the king, including royal hunting .So the theme of hunting is reflected in all the artworks of this period, including the highreliefs. One of the mos t important high –reliefs is the hunting ground scene of Taq-e Bos tan .The purpose of this article is to compare the hunting elements between Sassanid artworks, especially Sassanid silverware, and the scene of the hunting grounds of Taq-e Bos tan, in a descriptive-comparative manner and by examining seven cases of silverware with the theme of hunting. There is no difference of opinion between the motifs of Sassanid silverware and the decorations created on the hunting scenes in Taq-e Bos tan. It seems these elements to be common almos t in all artworks. In the Taq-e Bos tan, the hunting scene is derived from similar combinations, with this difference that the elements of the scene are more and simultaneous. The examples of these common features and elements are, as the case may be: the king, the characteris tics of the riders’ figures, the royal horse, the characteris tics of combination of the riders, and the general composition of figures, realism in iconography, weapons, drawing common hunting animals, special perspective, symbolic concepts, precise description of scenes and characters, narration, emphasis on the power and invincibility of kings, attention t