Parseh Journal of Archaeological Studies

fa بازتاب مضامین و نقش‌مایه‌های آثار فلزی ساسانی در آثار فلزی موصل Reflection of Concepts and Motifs of Sassanid Metal Works in Mosul Metal Works تخصصی باستان‌شناسی Special Archeology پژوهشي Research <div style="text-align: justify;">هنر فلزکاری ساسانی، یکی از تأثیرگذارترین هنرهای ایران‌باستان بر هنرهای دورۀ اسلامی به‌ویژه فلزکاری است. در هنر این دوره ابعاد زیباشناختی شامل انواع نقش‌مایه‌ها، مضامین و مفاهیم اسطورهای نمادین در هنر فلزکاری جلوه‌گر شد. با ظهور اسلام و بسط و توسعۀ هنر فلزکاری، علاوه‌بر ابعاد زیباشناختی، ابعاد فن‌شناختی شامل روش‌ها و فنون ساخت و تزئین در هنر فلزکاری دوران اسلامی و به‌طور برجسته فلزکاری موصل بازتاب و استمرار یافت. در مکتب فلزکاری به‌عنوان یکی از برجسته‌ترین کانون‌های تولید آثار فلزی در جهان اسلام، انواع آثار فلزی کاربردی با اهداف گوناگون تولید و عرضه می‌شد. در این آثار به‌خوبی ردپای انواع نقش‌ها، مضامین و مفاهیم رایج در دوران امپراتوری ساسانی مشهود است. از این رهگذر، پرسش مهم این مقاله این است که: نقش‌مایه‌ها و مفاهیم به‌کاررفته در آثار فلزی موصل که متأثر از هنر فلزکاری ساسانی است، کدام است؟ چه اینکه شناسایی، بررسی، تحلیل و معرفی مؤلفه‌های زیباشناختی فلزکاری ساسانی در آثار فلزی موصل، هدف و ضرورت پژوهش حاضر است. مضامینی همچون شکار (سوار و یا پیاده به‌همراه تیر و کمان و یا شمشیر)، دو جانور (بزکوهی) در دوطرف درخت مقدس یا زندگی، سلطان (حاکم) به‌صورت نشسته بر تخت با پاهای کشیده از روبه‌رو و ملازمان در طرفین و دست بر شمشیر و یا به‌صورت چهارزانو (و هلال ماه یا جام شراب در دست)، بهرام و آزاده‌سوار بر مَرکب، باده‌گساری، رقص و موسیقی، نقش‌های گیاهی شامل درخت (سرو، کاج)، پیچک‌های درهم‌فرورفته و به‌هم‌پیوسته (اسلیمی)، انواع گل‌ها (گل نیلوفر، برگ‌نخلی، گل‌های چندپَر)، حیوانات و پرندگان (شیر، گراز، خرس، فیل، شتر، قوچ و بزکوهی یا پازن، غزال، گوزن، قوچ‌های پشت‌به‌هم، شاهین (عقاب)، پرندگان روبه‌روی هم) و رشته‌های مروارید (ردیفی از شکل‌های گِرد کنارهم) از یافته‌های این تحقیق است. این تحقیق از نوع بنیادین و روش تحقیق از نوع توصیفی-تحلیلی است. شیوۀ گردآوری داده‌ها به‌صورت کتابخانه‌ای و جست‌وجو در موزه‌هاست. </div> <div style="text-align: justify;">Abstract Sassanian metalwork is one of the most influential ancient arts in Islamic art, especially metal working. in the art of this period, aesthetic dimensions including all kinds of mythical and symbolic concepts in the art of metallurgy were revealed. with the advent of Islam and the development of the art of metallurgy, in addition to the aesthetic dimensions, the technological aspects including methods and techniques of making and decorating in the art of the metalwork of the Islamic era and especially the metalwork of Mosul reflected and continued. in the metalwork school as one of the most prominent centers for the production of metal works in the Islamic world, various types of metallurgical works were produced and presented for various purposes. in these works, there are well-known traces of various types of motifs and concepts commonly found in the Sassanid Empire. therefore, the important question of this article is: what are the motifs and concepts used in the works of Mosul metal that is influenced by the art of Sassanian metallurgy? concepts such as hunting (riding or walking along with arrows or arrows or sword), two beasts on either side of the sacred tree or life, the sultan (motif) sitting on the bed with legs stretched out and servants in Two sides and a hand on a sword or in a quadrangle (And the crescent of the moon or cup of wine in hand), Bahram and Azadeh, bass, dance and music, plant motifs including the tree (cypress, pine), tangled and interconnected ivy (slavic), various flowers (lilies , Leafy leaves, multicolored flowers), animals and birds (lion, hog, bear, elephant, camel, ram and gooseberry), gazelle, deer, ram behind me, hawk (eagle), birds in front. Pearl strings (rows of round shapes). is the result of this research? This research is of fundamental type and research method is descriptive-analytical. the method of data collection is in the form of a library and search in museums. Keywords: Sassanid, Seljuk, Metal Working, Khorasan, Mosul. Introduction During the observation of Iranian art and its civilization, it is possible to find a lesser period that was as impressive as the Sassanid art of the art of the contemporary civilizations and, more importantly, beyond itself. metalworking is one of the most prominent Sassanian arts that has made itself in the manufacture of all types of metal works, especially silverware. Artists of this age, using the techniques of making, decorating and reflecting many old Iranian beliefs and traditions in metal works, have preserved the identity, artistic values and experiences of the past, and transmitted and continued it to the Islamic era. the artistic work of the Islamic era and the geography of Iranian civilization, especially during the rule of the Seljuk Empire, expanded rapidly in the light of security and tranquility, and outstanding metallurgical schools appeared in the production of metal works such as Khorasan and Mosul. artists active in these two schools, while paying attention to and modeling the Sassanian art of art in technical and artistic dimensions, were able to with their innate innovations, ingenuity and creativity, as well as the attention to common religious beliefs in some sciences such as astronomy and astrology, the nature They created a new artistic dimension for this art. the mentioned schools, especially Khorasan, were very dynamic and thriving during the Seljuk period. In addition to the influence of Sassanid art, there were significant effects, especially in decorative styles, on visual effects and roles on the metal works of Mosul. in fact, Mosul was directly (neighboring the Sassanid-Madan capital - and included in the Sassanid civilization) and indirect (the modeling and influence of the metal art of Khorasan through the interactions and the migration of artists from Khorasan, especially the artists of Herat to Mosul in the direction Mongol invasion) has benefited from Sasanian art and this is evident in Mosul’s works. The purpose of this research is to identify the dimensions of the influence of the Sassanian metalwork art on Mosul’s metalwork, its introduction and documentation in order to protect and protect an important part of Iranian art and civilization. what are the motifs and concepts used in the Mosul metal works affected by the Sassanian metalwork art? the topics discussed in this article are as follows: The influence of the Sassanian metalwork art on the art of metalworking of the Islamic period, the impact of the Mosul metal school on the metalwork of Khorasan [Herat], and the impact on other metalworking schools, the general coordinates of the Sassanid metal works of Khorasan and Mosul, decorative practices and content (Patterns and roles mapped from Sassanid art and specific themes and roles of Mosul) Mosul metal works. Type and method of research This research is of fundamental type and research method is descriptive-analytical. What is the way to collect data in a museum-like book-house? Conclusion The most important result of this research is the introduction and reflection of the concepts and motifs of Sassanid metal works in the metal works of the Mosul metalwork school. Hence, the metalworkers have been instrumental in aesthetic and technological aspects of the methods of making, decorating and paying the art of Sassanid metalworkers through the metalwork school of Khorasan during the Seljuk period. In the aesthetic aspect, we can refer to a variety of themes and motifs commonly used in Sassanian Iranian art that also reflected Seljuk art. The themes of hunting, the two beasts on the two sides of the tree of life, the Sultan (ruler) sitting on the throne with legs, Mars and Azadeh on horseback, which, of course, has been used in camel works in place of horses, music, Dance, plant motifs including the tree (cypress, pine), various flowers such as flowering flowers, palm trees, etc.</div> ساسانی, سلجوقی, فلزکاری, خراسان, موصل. Sassanid, Seljuk, Metal Working, Khorasan, Mosul. 69 84 http://journal.richt.ir/mbp/browse.php?a_code=A-10-1-18&slc_lang=fa&sid=1 Mohammad Afrough محمد افروغ m-afrough@araku.ac.ir Yes Assistant Professor at Arak University, Faculty of Arts استادیار گروه هنر دانشگاه اراک