بررسي نقش خورشيد بر سفالينه هاي ايران

The Study of Sun Image on Iranian Ceramic Dishes

سفال به عنوان نخستين كتاب مصور بشر، از ديرباز بستري بوده براي نمايش احساس و بيان انديشه هاي انسان. پايداري و ماندگاري فرهنگي اين نقوش ديرپا بر بستر سفالينه هايي از هزاره هاي پيشين تا روزگاران پس از اسلام نمادي است از امتداد فرهنگ قوم ايراني و ره آوردي براي هنرمندان امروز كه آرمانشان ماندگاري واحياي آن تاثيرات مثبت و كارآيي است كه درگذشته بدان رسيده اند. از ميان اين نقوش آنچه بيش از همه به چشم مي خورد، نقش خورشيد وچليپا است، كه به باور بسياري از پژوهشگران ريشه در آيين ها و سنت هاي باستاني و اساطير كهن اين سرزمين دارد. اين نقش با وجود سادگي، از تنوع و بدعت فراواني برخوردار است. مقاله حاضر پس از شرح كوتاهي از خورشيد در اساطير ايران و رابطه آن با چليپا، به بررسي نقش خورشيد، چليپا، سواستيكا يا گردونه مهر بر سفالينه هاي ايران پرداخته و تداوم اين نقش را تا به امروز نشان مي دهد، سپس در قالب جداولي بر اساس موقعيت زماني، مكاني وآناليز نقش خورشيد و چليپا به همراه نمونه هاي تصويري، تنوع بصري آن را نيز در كنار تركيب بندي متنوع نشان مي دهد كه نتيجه آن، بيان روند شكل گيري و آشكار نمودن بهتر تاثير پذيري و شباهت هاي تصويري اين نقش مي باشد.

ceramic as a first illustrative book of man was the best place for showing humenʹs senses and attitudes from the very beginigs of humanʹs life. The cultural persistence and permanence of such long-lasting images on ceramic dishes from the ancient millennium to after-Islam periods is a symbol of the direction of Iranian culture and a gift for today’s artists whose ideals are to survive and revive such positive and efficient influences achieved by those images in the past. What is more noticeable among such images is the image of Sun and also the image of Cross which according to most investigators, has a deep root in ancient traditions and old legends. In spite of the simplicity and monotony of the image’s structure, its shape and form is so diverse that the investigation and display of which can be pioneer to those artists who care images and image-making and are loyal to traditional images. After a brief explanation of Sun in Iranian legends and its relation to cross, this essay will investigate the image of Sun, Cross and Savastika or the Love Carriage on Iranian ceramic and show the permanence of the image up to now then in the seprated fram but according to positions, time and the analyse of Cross and sign of the sun in the plottery with imaginary examples and the diffrences in faces of them express the way of forming and clearing effects and similaritties of this sign. from what we recall and compare the following tables refer to the fact that every pattern of artifacts related to everyday life. The body of historical Iranian pottery of the ancient Silk and even today closed repeatedly the image that we call it a cross or crucifix, Connect the subject and background as well as the expression of thousands of years in this pattern and its relationship with the Iranians and the religious beliefs and traditional rituals, makes it clear that not only cross, but all designs and The rituals and symbols associated with ancient beliefs and ethnic that in the history and formation of the new regulations even after the invasion, migration and etc. we received them oral today and it causes to formation and survival and diversity of form and its meaning ,and all of them was served the spiritual and material life of human. According to studying of the changing process of the sun’s pattern of pottery in Iran we find that role of this motif have coordination structure in different regions of Iran and in their various historical periods has influenced of their past. This article was an attempt to classify the comparison of time and place between the sources of the ceramic samples in Iran and shows briefly the processing of its formations, studying and showing them can guide those artists who are concern about patterns and creating them and who are devoted to the to the motifs and traditional patterns.