تجربه هاي بصري انسان پيش از تاريخ

Visual Experience of Prehistoric Human

اين پژوهش تلاش دارد تا نحوه ي شكل گيري تصاوير لكه اي و خطي دوران پيش از تاريخ را بررسي كند. مبناي نظري اين پژوهش، وجود نور و بازتاب هاي آن به صورت سايه و سايه نما، و مواجهه ي آدمي با طبيعت پيراموني اش است. بررسي نقوش پيش از تاريخ نشان مي دهد كه اين نقوش در عين سادگي، واجد مفاهيمي نمادين بوده و برداشتي از طبيعت هستند. بارزترين اَشكال اين دوره، نقوش تخت و سياه رنگي هستند كه برخي به شكل تجريدي و دفرمه مي باشند كه ما از آنها تعبير به تصاوير سايه وار مي كنيم كه احتمالاً حاصل از منبع نور متحرك هستند. اين پژوهش با رويكردي علمي و با تكيه بر ديدگاه هاي تجربه گرايان و رفتارگرايان به تحليل فرضيه خود پرداخته و با استفاده از روش توصيفي- تحليلي به معرفي دامنه ي منظرهاي مشترك انسان و نحوه ي تصويرگري او پرداخته، و ضمن تطبيق مشابهت-هاي تصويري در گستره ي زمين، نتيجه گيري مي كند كه اساس مشابهت نقوش دوران مذكور، تجربه ي واحد آدميان در درك تصوير، سايه ها و تصاوير ضد نور بوده، به نحوي كه در آن دوره اين شكل از تصويرگري، براي جبران نيازهاي بيانگرانه آدمي، كفايت مي كرده است.

This research wants to consider the formation process of outline and spotted shapes in prehistoric periods. The light and the various form of its reflection, which appears as a shadow, silhouette and lightfast, and the way of facing human with nature surrounding him, is the theoretical base of this paper. Light is one of the important elements in nature which help human to know and comprehend its surroundings. So studying the affects of light in human life and discovering all its power, could help us to know more about prehistoric humans who were our ancestors and the images which they created. These images are the most important documents which could help us to understand the prehistoric periods and the men created these images, whom are the builders of our historical life. Besides all, considering prehistoric time could help us at first, to know more about our origins, physical characteristics and abilities as a human, and in secondly as a creature of images and painters. Consideration of prehistoric motifs shows that these forms contain symbolic and mysterious concepts besides simplicity. Along with, most evidences shows that images are originated from nature and precisely from conceptions of prehistoric men from nature. One thing that we can see in consideration of prehistoric motifs is the black and even forms which are abstractive and deformed, and we interpret them as the “Silhouettes” which are made from moving light source. This essay with scientific approach and by using empiricists, behavioristʹs outlooks and linguistic models is tried to analyze its hypothesis which is the black images remains on the prehistoric rocks. For accomplishing this, our research used descriptive and analytic methods with observational and bibliotheca techniques besides experimental tests to discover the similarity between humans all around the world in making images because of the similarity in comprehension of surroundings. And it wants to prove that the way of prehistoric men illustration was articulate for them and they could communicate and dialogue with each other by their images which were their visual longue. Consequently we could claim that because of the limited knowledge of prehistoric men about their nature in comparison with present human being who have large amount of information and knowledge about his surroundings due to the improvement of technology and communications systems, that way of illustrating was responder to their need of visual dialogue. Because of the improving communication networks which have increased the speed of exchanging information, the artists started to represent something more creative and different from just their conception from nature. So because of all various conceptions, representations and productions, it seems that contemporary man is smarter than prehistoric one. But the fact is just the improvement of technology and knowledge about surrounding make today human different from prehistoric man and in depth both are sapiens who have ability to talk, make tools and communicate with its genre. It means that what we can see in prehistoric paintings is representative of the way that prehistoric men deal with their surroundings.