مطالعه و بررسی میدانیِ بازشناسی رنگین نگاره های کوه دمبه اصفهان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سنگ نگاره، بازنمایشی تصویری از فرهنگ، اندیشه و برهم کنش های گوناگون انسانی-محیطی در عرصه ی زیست بوم است. این هنر از منظر تاریخی، از رایج ترین شیوه های بیان و انتقال پیام جوامع بوده که در قاب ها و دیوار پوش های سنگی-صخره ای بازتاب یافته و به مثابه رسانه، از پیش ازتاریخ تاکنون تولید و بازتولید می شدند. فراوانی و گوناگونی سنگ نگاره ها در اغلب مناطق فلات ایران بر تلاش بیشتر به منظور مطالعه آن ها تأکید دارد؛ بنابراین، شایسته توجه است زیرا اغلب سنگ نگاره ها، در زمان های گذشته و عموماً توسط افراد، گروه ها و در جوامع نانویسا تولید می شدند. با توجه به ایجاد سنگ نگاره ها در موقعیت های سنگی-صخره ای، استان اصفهان از مناطق ویژه در ارائه این نوع باز نمایش های هنری به شیوه رنگین نگاره است. از این منظر، تاکنون جایگاه اصفهان در مطالعات باستان شناسی هنر کمتر شناخته شده است؛ بنابراین سنگ نگاره های کوه دمبه در محدوده ی شهر اصفهان موردپژوهش قرار گرفت. ازآنجا که سن سنجی های دقیق در تعیین زمان ایجاد سنگ نگاره ها وجود ندارد؛ هدف این مقاله به بازشناسی و ادراک موضوعی نقشمایه ها و صحنه های روایی و تجزیه وتحلیل آزمایشگاهی رنگین نگاره های این مجموعه اختصاص یافته است. در راستای این اهداف، سؤالات پژوهش عبارت اند از: 1. رنگین نگاره های کوه دمبه اصفهان دربرگیرنده چه نوع نقوشی هستند؟ 2. شیوه و یا سبک ترسیم رنگین نگاره های کوه دمبه اصفهان چگونه است؟ 3. عناصر تشکیل دهنده رنگدانه مورداستفاده در خلق نقوش رنگی کوه دمبه اصفهان کدم اند؟ 4. رنگین نگاره های کوه دمبه اصفهان در چه دوره ای ایجادشده اند؟ 5. رنگین نگاره های کوه دمبه اصفهان با کدام مناطق ایران و چه نوع داده های فرهنگی قابل مقایسه و بررسی هستند؟ این پژوهش به روش کیفی و کمی و مبتنی بر گردآوری اطلاعات به شیوه کار میدانی، آزمایشگاهی و اسنادی است. نتایج پژوهش، درمجموع چهل ویک نقشمایه شناسایی شد. آن ها به شیوه فیگوراتیو و شبح گونه در سبک های طبیعت گرایانه، واقع گرایانه و انتزاعی صحنه هایی از فعالیت های گوناگون معیشتی فردی و گروهی را نمایش می دهند. بر مبنای مطالعات آزمایشگاهی رنگ استفاده شده در ایجاد عناصر نقشی ترکیبی از اکسید آهن و کلسیت است. به نظر می رسد سنگ نگاره ها توسط فرد یا گروهی مشغول یا آشنا با راهبردهای معیشتی کوچ گری رمه داری، زراعت و صنایع دستی ایجادشده باشند.A Field Study on Pictographs in Dombeh Mountain in Isfahan
Pictographs are a visual representation of culture, mentality, and different human-environment interactions in an ecosystem. The art of pictography is historically one of the most common methods for societies to convey their meaning that has been featured on stone-rock panels and frames and they have been produced and reproduced like media from prehistory to contemporary times. The diversity and abundance of pictographs in most zones of the Iranian plateau highlight the fact that their pictographs need to be further studied. This is worth noting because most pictographs were made by illiterate individuals, groups, and communities in the past. Since pictographs were made in stone-rock environments, Isfahan province was a special place for this artistic representation. However, Isfahan has rarely been the subject of archaeological studies of art. Hence, the pictographs of Dombeh Mountain near Isfahan city are the subject of our study. Since there are no precise dating methods for determining when the pictographs were made, this study aims to recognize and thematically understand the motifs and narrative scenes and experimentally analyze the pictographs of Dombeh Mountain. The research questions aligned with our goals are: 1. what motifs are found in pictographs of Dombeh Mountain in Isfahan? 2. What is the drawing style of pictographs of Dombeh Mountain in Isfahan? 3. What are the constituent elements of pigments used in pictographs of Dombeh Mountain in Isfahan? 4. What period do pictographs of Dombeh Mountain in Isfahan belong to? And 5.What regions in Iran and cultural data can be compared to the pictographs of Dombeh Mountain in Isfahan? Regarding method, this is a qualitative and quantitative study by gathering data using field, experimental, and documentary research.The results indicate that almost 90% of the human motifs were in front view, and the animal motifs were all in profile. Goats were painted more professionally, similar to their real anatomy. There were always two horns on their heads. Human motifs are mostly in front view in narrative scenes, including pastures, hunting, dancing, riding, etc. In ancient times, a ritual dance was performed during harvest or when praying for rain. In the study area, a ritual dance was performed during hunting as a thanksgiving ritual. Due to the regional climate, goats were mostly used as livestock by the local residents. Regarding the main pigment used in motifs of Isfahan, the result of analyzing red or ocher pigments indicates that they contain a high content of Fe, which is related to iron oxide or hematite mineral compounds, which is in red ocher. Furthermore, Al, Si, Mg, and K were identified in three analyzed sample points, which are usually found in clay compounds. These compounds, along with hematite, are the constituents of ocher pigment formed on limestone rocks.The painted scenes on Dombeh Mountain narrate ranching, farming, and recreational hunting. In fact, the painter painted a completely naturalist and realistic picture based on the everyday activities of the people living around him which indicates the dominant way of living at that time. Motifs of Dombeh Mountain in Isfahan are all created in a realistic style. The creators painted the pictographs with a lot of precision and elegance, and they were perfectly able to represent human and animal gestures and movements while dancing, praying, or hunting. From an aesthetic point of view, the creator has tried to include as many details and characteristics as possible in each pictograph. Another interesting point is that the pictographs are located in an area with a desirable climate and a seasonal spring, which made it a perfect location for a farming and ranching lifestyle (semi-sedentary). The climate, water, and vegetation of the area turned the subsistence economy into a proper choice of living in the area, and thus, almost all the areas surrounding the pictographs depended on this type of living. Most probably, this living system was dominant in the area in the distant past, and the pictographs were made by semi-nomadic communities.The investigations reveal that the pictographs are similar to other areas of Iran, such as the petroglyphs of Songon (Arsbaran), Bawki (Azna), Timreh (Khomein), Djerbat, Khore Hanjiran, Mahabad, Chalamber, and western Iran in terms of motifs (not the nature of the paintings). Regarding the dating of pictographs in Dombeh Mountain of Isfahan, animals and tools are noticeable. Comparing these motifs with the cultural information related to the Iron Age (e.g., horse, plow, bow, arrow, and yoke), the pictographs cannot date back to more than the 2nd millennium BC. Dating tools were used for the chronological analysis of pictographs in Dombeh Mountain of Isfahan in terms of morphological comparison to other petroglyphs and cultural information. Therefore, the pictographs can be cautiously dated back to the Iron Age, i.e., the 1st and the 2nd millennium BC, based on the animal motifs and the discovered tools.
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