پژوهشی در تکوین و تحول نگارۀ کهنِ بز در نقوش تزئینی هنر ایران (از دوران باستان تا قرون میانۀ اسلامی)

نوع مقاله : مقاله پژوهشی

نویسندگان

1 دانشیار گروه هنر اسلامی، دانشکدۀ هنر، دانشگاه شاهد، تهران، ایران.

2 استادیار گروه باستان‌شناسی، دانشکدۀعلوم انسانی، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران.

3 دانشجوی دکترای تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه هنر اسلامی، دانشکدۀ هنر، دانشگاه شاهد، تهران، ایران (نویسندۀ مسئول).

10.22084/nb.2025.30390.2742

چکیده

نقش‌مایۀ بزکوهی از قدیمی‌ترین نقوش کاربردی در هنر جهان باستان به‌شمار می‌آید و جایگاه ویژه‌ای نیز در هنر ایران داشته و در بیشتر صخره‌نگاره‌ها و غارنگاره‌های باستانی و آثار پیش‌ازتاریخ در اشکال واقع‌گرا، تلخیص‌یافته و انتزاعی دیده می‌شود. بی‌تردید چنین نقشی که حاوی معانی حیاتی زایندگی، زندگی و حفاظت بوده و تا پایان دورۀ ساسانی هم‌چنان پرتکرار است؛ در دوران اسلامی نیز تداوم می‌یابد. پژوهش‌های بسیاری دربارۀ انواع نقش بز در مناطق مختلف و دوره‌های تاریخی انجام شده، اما در هیچ‌یک روند پیدایی، تحول و یا تطوّر آن بررسی نشده و هنوز نقوش حاصل از تطوّر آن در دوران اسلامی مشخص نیست. این مهم که سیر تکوین و تطور نقش بز و شاخ‌های مؤکد آن در هنر ایران باستان چه روندی داشته و دارای چه مضامینِ هنری بوده و بازآفرینی آن در هنرهای دوران اسلامی چگونه تداوم‌یافته و دارای چه مفاهیمی بوده است؟ و کدام‌یک از نقوش دوران اسلامی حاصل این تطور و دگردیسی هستند؟ از مهم‌ترین پرسش‌هایی است که در پژوهش حاضر سعی‌شده به آن‌ها پاسخ داده شود. روش تحقیق توصیفی، تحلیلی و براساس تطبیق نقوش است. نمونه‌های انتخابی از نقش‌های بز و شاخ‌های آن و نقوش تزئینی در هنر ایران باستان تا دوران میانۀ اسلامی موردمطالعه، ترسیم و تحلیل قرار گرفتند. نتایج به‌دست آمده از تحلیل و تطبیق نقوش نشان می‌دهد نقش بز که همواره در کنار درخت مقدس زندگی (اشاره به منظومۀ درخت آسوریک) قرار دارد، ابتدا در شاخ مارپیچی آن خلاصه شده و سپس با گیاه مقدس زندگی یگانه می‌شود. این تلفیق به مرور با بال‌های پرندگان نیز می‌آمیزد. نقش تلفیقی حاصله از نمادهای سه‌گانۀ شاخ بز، گیاه مقدس و بال‌های پرندگان در دورۀ ساسانی، اسلیمی‌ها و ختایی‌های اولیه را به‌وجود آورده‌اند. شبه‌اسلیمی‌ها و شبه‌ختایی‌ها با ساختارهای هندسی تقارن چرخشی مارپیچی گردونۀ مهر(چلیپا) تلفیق‌شده و در دوران اسلامی به‌صورت اسلیمی و ختایی تکامل می‌یابند.

کلیدواژه‌ها

موضوعات

عنوان مقاله [English]

A Study on the Development and Evolution of the Ancient Goat Motif in the Decorative Art of Iran (From Antiquity to the Medieval Islamic Period)

نویسندگان [English]

  • Khashayar Ghazizadeh 1
  • Reza Nazari-Arshad 2
  • Nafiseh Heidari 3
1 Associate Professor, Department of Islamic Art, Faculty of Arts, Shahid University, Tehran, Iran.
2 Assistant Professor, Department of Archaeology, Faculty of Humanities, Hamedan Branch, Islamic Azad University, Hamedan, Iran.
3 Ph.D. student of comparative and analytical history of Islamic art, Shahid University, Tehran, Iran (Corresponding Author).
چکیده [English]

The mountain goat motif is regarded as one of the oldest applied patterns in both the art of the ancient world and that of Iran. Undoubtedly, this motif, which conveys essential symbolic meanings of fertility, life, and protection, remained widespread until the close of the Sasanian period and continued to flourish during the Islamic era. Numerous studies have examined the various representations of the ibex across different regions and historical periods, but none have addressed the process of its emergence, evolution, or transformation, nor identified the motifs that resulted from this transformation in the Islamic period. One of the central questions this research seeks to address is: What has been the process of development and transformation of the ibex motif and its prominent horns in ancient Iranian art, and what artistic themes did it embody? How was it reinterpreted in Islamic art, and what new meanings did it acquire? Which decorative motifs in Islamic art can be traced to this evolution and metamorphosis? The research method is descriptive, analytical, and comparative, based on a detailed study of motifs. Selected examples of the ibex motif and its horns, as well as other decorative motifs in ancient Iranian art through to the medieval Islamic period, were examined, illustrated, and analyzed. The findings from the analysis and comparison of motifs indicate that the ibex motif, consistently associated with the sacred tree of life (alluding to the Asurik tree motif), initially appeared in the form of spiral horns and later became integrated with the sacred plant of life. Over time, this fusion was further combined with the wings of birds. The resulting composite symbol of the triad—ibex horns, sacred plant, and bird wings—formed the basis of the early Islimi (Arabesque) and Khatai motifs of the Sasanian period. These motifs, with their geometrically symmetrical spiral structures resembling the wheel of the sun (chakra), subsequently developed into the Islamic versions of the Islimi (Arabesque) and Khatai motifs.

کلیدواژه‌ها [English]

  • Ibex Motif
  • Goat’s Horns
  • Islimi (Arabesque) and Khatayi
  • Decorative Motifs
  • Ancient Iran

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پژوهش های باستان شناسی ایران
دوره 15، شماره 45
شماره انگلیسی
1404
صفحه 191-221

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