درآمدي بر نحوه شكل گيري نقوش در سنگ گورهاي منطقه سفيدچاه

An Introdution to the Style Of Motives Formation In Tomb Stones In Sefid Chahʹs Area

Iranʹs old tombs are important part of their thought, life of alive people before being a place for graves to dead people. The remained works of tomb stone show that which religion and thought, the Iranian nations have, and what their idea were about words concepts like fortune, death and creation. What is clear in reviewing of works on grave stones in Sefid Chah cemetery in Mazandaran, is the concept of thinking and see the reality in physical and spiritual world. It seems, Although the outward old age of cemetery was determinal, about 800 years, but its visual signs returned to older age. By looking at different types of religious approaches and effects of customs and rules, explicit that, origin of picture design was based on Iran ancient mythological beliefs and religious prospect offer Islam. And these factors effect on completion state of traditional and local customs. On the other hand, talented and common artists draw visual equivalent of rural traditional ceremony and customs on hand made and handicrafts especially on tomb stones. In this research process, the state of opinionative and cultural approach of people in this region, and presenting visual equivalent of picture from artists gain high significance, because popular looking to environment showed beyond looking and using old, mythological, and religious stories in Islam period. In this article, in process of reviewing popular thought and case study on tomb stones in Sefid Chah village is determined, that idea of common painters, their unconscious research and special selection is very attractive. It also seems, engraving images on tomb stones refers greatly to variant routine concepts, peopleʹs activities in agriculture and handicraft production and wishing for affluences. The type of designs have simple and popular declaration, based on religious and customary approaches and descriptive aspect of people is visible. In completion process of images not only individual characters but also mass thought reflection of tribes are clear, and always it based on moral concepts. This articleʹs Authors find out that the most important sources of common artists are: Mazandaranʹs tribe customs and local traditions, epic, religious and national literature, routine activities like hunting, handicraft and hand mad production, barberʹs trade, describing mythological stories of ancient Iran and Iranian religious prospect before accepting Islam. These prospects cause to links among old Mazandaranian tribes, Drawing different geometric, and plant, abstractive images. And along these some images are traditional and they have seen in all Iranian tribes and some pictureʹs origin from local matters. Pictures describe a kind of harmony and unites sense and it seems, it is visible in rural behavior and characters. Those above makes clear that common painters were very sensitive about their beliefs, Customs and to their environment.