نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانش آموخته ی کارشناسی ارشد باستان شناسی دانشگاه محقق اردبیلی
2 استادیار گروه باستان شناسی دانشگاه محقق اردبیلی
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Sassanid art is known in many aspects as the representative of Ancient Iranian art and also its last survivor. Both secular and religious elements can be found in the art of this period. Here, the Author is analyzing the influence of Iranian Sassanid art especially royal hunting on Omayyad royal art comparing the Qusayr amrah Palace and the Sassanid Taq-e Bostan. The goal is to determine the rule of Ancient Iranian art in developing the secular Islamic art and also to explain their characteristic foundations. As long tradition of hunting rituals and popular Iranian culture that somehow maintain combat readiness and increase physical and mental battle. With all its usual practice, the walls of the large arch Taq-e Bostan and take the most telling figure is shown. The artwork will also include a lot of detail can be seen in paintings Qusayr amrah Palace. Architecture making of Qusayr amrah Palace is obvious was the imitation of the Parthian and Sassanid architecture features. Where the paintings have appeared Qusayr amrah, the principle of respect for the Iranian arch and Painting and drawing are more patio space; or with designs, arc-shaped stage to show depth and perspective have drawn. The Hunting in Taq-e Bostan is full of movement, vitality, clash between Man and Nature and animals. There are musical instruments and dance and cheer and joy and excitement on stage at first glance the viewer’s aesthetic impact. The king is always the main element in the landscape. This feature is also a difference in the visual and narrative paintings of Qusayr amrah Palace. All of the points mentioned in Taq-e Bostan relief on the viewing angle, the way of design, coordination motifs and patterns of signification are dramatic, but the unprofessional manner in compliance with the Qusayr amrah Palace paintings. Dress styles and designs of clothes at Taq-e Bostan compared Qusayr amrah Palace paintings, Cannot be fully apparent copycat, but resemblance is visible. Of course, showing all the details on the rocks far more difficult than painting on the wall. Qusayr amrah Palace paintings in the use of various garments in various ceremonies observed. And to some extent on the type of clothing people, they identified the Position. The importance of decorated animals, plants and symbolic motifs in Sasanian art is something which still needs to be more thought. Decorative arts of Sassanid era and even more special symbols are unknown; maybe some of them with the same meaning or symbolic meaning in Umayyad art also has influence. The result of this research shows that the representations of Qusayr amrah Palace received a great impact from the high relief of Taq-e Bostan. It means that the creatures of the Omayyad art had either Iranian nationality and has seen the Sassanid Taq, or had access to similar works. However, the object is not to suggest the direct influence of Sassanid style, but to show its legacy and its role developing what is now known as the Islamic Art. Find content display in a prominent role in the great arch Taq-e Bostan which represent hunting scenes, crowned, and the battle royal banquet, the different roles of humans, animals and plants, etc. compare them with the paintings of Qusayr amrah, the Sassanid art has shown. Including aspects of the Sassanid Iranian art in the palace at Taq-e Bostan particularly large patio set can be evaluated: Impact royal life with features of gallantry, bravery and biased view of symmetry and the whole place, manner of dress, the symbols like: Mazda, Mithra, Anahita, moon, sun, fire, Tree of Life, lotus flowers, Pelmet and birds, animals.
کلیدواژهها [English]
)