بررسی نقش خورشید بر سفالینه های ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سفال به عنوان نخستین کتاب مصور بشر، از دیرباز بستری بوده برای نمایش احساس و بیان اندیشه های انسان. پایداری و ماندگاری فرهنگی این نقوش دیرپا بر بستر سفالینه هایی از هزاره های پیشین تا روزگاران پس از اسلام نمادی است از امتداد فرهنگ قوم ایرانی و ره آوردی برای هنرمندان امروز که آرمانشان ماندگاری واحیای آن تأثیرات مثبت و کارآیی است که درگذشته بدان رسیده اند. از میان این نقوش آنچه بیش از همه به چشم می خورد، نقش خورشید وچلیپا است، که به باور بسیاری از پژوهشگران ریشه در آیین ها و سنت های باستانی و اساطیر کهن این سرزمین دارد. این نقش با وجود سادگی، از تنوع و بدعت فراوانی برخوردار است. مقاله حاضر پس از شرح کوتاهی از خورشید در اساطیر ایران و رابطه آن با چلیپا، به بررسی نقش خورشید، چلیپا، سواستیکا یا گردونه مهر بر سفالینه های ایران پرداخته و تداوم این نقش را تا به امروز نشان می دهد، سپس در قالب جداولی بر اساس موقعیت زمانی، مکانی وآنالیز نقش خورشید و چلیپا به همراه نمونه های تصویری، تنوع بصری آن را نیز در کنار ترکیب بندی متنوع نشان می دهد که نتیجه آن، بیان روند شکل گیری و آشکار نمودن بهتر تاثیر پذیری و شباهت های تصویری این نقش می باشد.The Study of Sun Image on Iranian Ceramic Dishes
ceramic as a first illustrative book of man was the best place for showing humen's senses and attitudes from the very beginigs of human's 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.
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