پديد آورندگان :
باصفا، حسن دانشگاه نيشابور - دانشكده ادبيات و علوم انساني - گروه باستان شناسي , داوري، محمدصادق , رضايي، محمدحسين دانشگاه نيشابور - دانشكده ادبيات و علوم انساني - گروه باستان شناسي
كليدواژه :
ايدئولوژي , شمايل نگاري , مفاهيم اسطوره اي , نقش مار , نوآوري
چكيده فارسي :
حولات نيمه نخست هزاره سوم م. سبب شد تا فرهنگ‌هاي شهري وسيعي در مناطق مختلف خاورنزديك با شمايل‌نگاري ويژه‌اي در آثار هنري‌شان شكل گيرد كه از باورها و اعتقادات آن‌ها منشأ گرفته بود. از مهم‌ترين حوزه‌هاي فرهنگي در اين دوره مي‌توان به حوزه فرهنگي ايلام در جنوب‌غرب ايران با محوريت شوش و چغازنبيل، حوزه فرهنگي جنوب‌شرق ايران با محوريت جيرفت، حوزه فرهنگي سيستان با محوريت شهر سوخته، حوزه فرهنگي دشت گرگان با محوريت بازگير، حوزه فرهنگي خراسان با محوريت شهرك فيروزه و چلو، حوزه فرهنگي بلخ و مرو در آسياي ميانه و حوزه‌هاي فرهنگي در حاشيه جنوبي خليج‌فارس، مكران، پاكستان و دره سند اشاره كرد. هر يك از فرهنگ‌هاي شهري در اين دوره به‌عنوان يك كانون فرهنگي- هنري با ايدئولوژي‌هاي اعتقادي، سيستم‌هاي اجتماعي، سنت‌ها و شمايل‌نگاري‌هاي هنري ويژه و منحصر به فرد شناخته مي‌شوند. نقش مار به‌عنوان حيواني اسطوره‌اي از دوره مس‌سنگ در آثار مادي- هنري كانون‌هاي فرهنگي ذكر شده با شمايل‌نگاري متفاوتي تجلي يافته است. در پژوهش حاضر تلاش مي‌شود به روش مطالعه تطبيقي و رويكرد شمايل‌شناسانه، تغييرات سبكي و مفاهيم اسطوره‌اي اين نقش در كانون‌هاي شهري پيش از تاريخ ايران و آسياي ميانه ارزيابي شود. نتايج پژوهش نشانگر اين است كه نقش مايه مار در هنر ايران شرقي و آسياي مركزي علاوه بر الهام گيري از هنر ايران غربي و ميان رودان، به تدريج به علت پيوند با هنر، باورها، مناسبات آييني و اساطير ايران شرقي و آسياي ميانه و تغييرات سطوح اجتماعي، مذهبي و سياسي اين جوامع ادغام شده و نهايتاً منجر به نوآوري‌هايي در مفاهيم و سبك‌هاي هنري اين نقش شده است.
چكيده لاتين :
Developments in the first half of the third millennium B.C. led to the formation of extensive urban cultures in different regions of the Middle East with special iconography in works of art, which originated from their beliefs and convictions. Cultural zone of Elam in southwest of Iran with a focus on Susa and Choghazanbil, cultural zone of southeast of Iran with a focus on Jiroft, cultural zone of Sistan with a focus on Shahr-e Sukhteh, cultural zone of Gorgan with a focus on Bazghir, cultural zone of Khorasan centered on Shahrake Firouzeh and Chelow, Bactria-Margiana Archaeological Complex in Central Asia, as well as cultural zones in southern coast of Persian Gulf, Makran, Pakistan, and the Indus Valley are among the most important cultural zones of this period. Each urban culture in this period is recognized as a cultural-artistic center with specific ideological beliefs, social systems, traditions, ¬and unique art of iconography. The serpent has manifested as a mythical animal of chalcolithic period in material-artistic works of the above mentioned cultural zones with a different iconography. The present study was an attempt to evaluate the stylistic changes and mythical concepts of this motif in prehistoric urban centers of Iran and Central Asia with a comparative methodology and iconographic approach. The results indicated that the serpent motif in Eastern Iran and Central Asia art has been inspired by western Iran and Mesopotamia art and gradually has been integrated with art, beliefs, rituals, Eastern Iran and Central Asia mythology, and changes in social, religious, and political levels of these communities; therefore, it has led to innovations in artistic concepts and styles of this motif.
Developments in the first half of the third millennium B.C. led to the formation of extensive urban cultures in different regions of the Middle East with special iconography in works of art, which originated from their beliefs and convictions. Cultural zone of Elam in southwest of Iran with a focus on Susa and Choghazanbil, cultural zone of southeast of Iran with a focus on Jiroft, cultural zone of Sistan with a focus on Shahr-e Sukhteh, cultural zone of Gorgan with a focus on Bazghir, cultural zone of Khorasan centered on Shahrake Firouzeh and Chelow, Bactria-Margiana Archaeological Complex in Central Asia, as well as cultural zones in southern coast of Persian Gulf, Makran, Pakistan, and the Indus Valley are among the most important cultural zones of this period. Each urban culture in this period is recognized as a cultural-artistic center with specific ideological beliefs, social systems, traditions, ¬and unique art of iconography. The serpent has manifested as a mythical animal of chalcolithic period in material-artistic works of the above mentioned cultural zones with a different iconography. The present study was an attempt to evaluate the stylistic changes and mythical concepts of this motif in prehistoric urban centers of Iran and Central Asia with a comparative methodology and iconographic approach. The results indicated that the serpent motif in Eastern Iran and Central Asia art has been inspired by western Iran and Mesopotamia art and gradually has been integrated with art, beliefs, rituals, Eastern Iran and Central Asia mythology, and changes in social, religious, and political levels of these communities; therefore, it has led to innovations in artistic concepts and styles of this motif
