ارزیابی مجموعه سفال‌های منسوب به فرهنگ دالما

نوع مقاله : مقاله پژوهشی

نویسنده

کارشناس پژوهشکدۀ باستان‌شناسی، پژوهشگاه میراث‌فرهنگی و گردشگری، تهران، ایران.

10.22084/nb.2025.30954.2775

چکیده

در پژوهش‌های میدانیِ دو دهۀ اخیر در گسترۀ جغرافیایی اصلی فرهنگ دالما و مناطق پیرامونی آن، مجموعه‌ سفال‌هایی به‌دست آمده که به‌دلیل وجود مؤلفه‌هایی تقریباً مشابه با سنت سفالی دالما، آن‌ها را به دورۀ دالما نسبت داده‌اند. بارزترین مؤلفه‌های سنت سفالی دالما در این مجموعه‌ها، سفال با نقش فشاری، سفال منقوشِ تک‌رنگ و سفال با پوشش قرمز است؛ درواقع مجموعه سفال‌های مناطق حاشیه‌ای بیانگر نوعی امتزاج مواد فرهنگی دو یا سه منطقۀ فرهنگی همجوار است. با مبنا قراردادن شاخص‌های واقعی سنت سفالی دالما می‌توان به تفاوت‌های سنت سفالی دالما با مجموعه‌های سفالی مناطق بینابینی پی‌برد و جایگاه گاه‌شناسی نسبی این مجموعه‌ها را تا حدودی روشن‌تر کرد؛ ازجملۀ این مناطق حاشیه‌ایِ فرهنگ دالما می‌توان به شمال دریاچۀ ارومیه، کریدور زنجان-قزوین، کریدور بیجار-قروه و حاشیۀ شرقی و جنوبیِ زاگرس‌مرکزی اشاره کرد. مجموعه‌های سفالی این مناطق حاشیه‌ای که به این دوره منسوب شده‌اند عبارت است از: کلنان، سهاچای، تالوار 11، تازه‌کند، قلاگپ، کول‌تپه و ایدیر. با تحلیل‌های دقیق مجموعه‌های سفالیِ این مناطق می‌توان مؤلفه‌های بومی و تفاوت‌های مجموعه‌های حاشیه‌ای «منسوب به سنت سفالی دالما» را با «سنت کلاسیک دالما» شناسایی و سمت‌وسوهای فرهنگی و مرز‌بندی این سنت را تا حدودی مشخص کرد. 

کلیدواژه‌ها

موضوعات


عنوان مقاله [English]

Dalma or Non-Dalma: Evaluation of the Ceramic Assemblages Attributed to the Dalma Culture

نویسنده [English]

  • Hanna Bahranipoor
Expert, Iranian Center for Archaeological Research (ICAR), Research Institute of Cultural Heritage and Tourism (RICHT), Tehran, Iran.
چکیده [English]

During the past two decades, a dozen excavations have been conducted in the primary geographical region of the Dalma Culture and its surrounding areas of the Zagros. Some archaeologists have assigned the ceramic assemblages recovered from these investigations to the Dalma Period based on ceramic types comparable to the classic Dalma ceramic tradition, such as Dalma Impressed, Dalma Monochrome, and Red-Slipped Ware. Several of these assemblages exhibit a combination of cultural materials originating from two or three neighboring regions. In distinguishing between genuine Dalma ceramics and those containing elements merely resembling the classic Dalma ceramic tradition, it is essential to employ the defining characteristics of the Dalma ceramic tradition as a baseline for establishing the relative chronology of these assemblages. Numerous ceramic assemblages from sites both within and along the periphery of the Dalma territory have been attributed to this period, including Kalnan, Soha Chai, Talvar II, Tazeh Kand, Qela Gap, Kul Tappeh, and Idir. The assemblages from these sites can be examined in detail to identify localized traits. It is likewise possible to distinguish ceramics “attributed to the Dalma tradition” from the “classic Dalma tradition,” thereby clarifying some of the characteristics and boundaries of this ceramic tradition. In this article, we examine the ceramic assemblages, and, in certain cases, other aspects of the sites attributed to the Dalma Culture, and compare them with key reference sites such as Dalma Tappeh, Godin, Seh Gabi B, and Nadali Beig. The results indicate that some sites attributed to the Dalma Culture actually belong to later periods, such as Gabrestan I and Godin VII, whose ceramic assemblages contain attributes only distantly related to those of a genuine Dalma assemblage.

کلیدواژه‌ها [English]

  • Dalma Ceramic Tradition
  • Dalma Monochrome
  • Dalma Impressed
  • Godin VII Period
  • Absolute Chronology
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