INVESTIGATING MOTIFS ON CERAMIC OBJECTS FOUND IN TAPPEH HESAR EXCAVATIONS AND EXAMPLES OF CONTEMPORARY APPLICATIONS OF MOTIFS
Abstract views: 240 / PDF downloads: 118
DOI:
https://doi.org/10.5281/zenodo.7083132Keywords:
Hisar Tepe, Decor motifs, Contemporary ceramics.Abstract
Contemporary ceramic art is based on traditional and functional products. These products not only release the person, but also the beliefs, cultures, lifestyles and minds of that age. The investigation of founded pottery samples in the excavations of the Hisar Tepe in the Damgan district of Iran, which is the refuge of the first civilizations, reveals that the life in this region is lasted up the four thousand years before the century. According to the results of carbon analysis of the products found in the excavations at Hisar Tepe, especially the ceramic objects was determined that, these products were made in the Chalcolithic Age (4500-300) and Bronze Age (3000-1500 BC). During these ages, the motives and production techniques of the ceramics, which have been made by three civilization in Hisar Tepe, grouped in three categories. These are similar in terms of visual characteristics such as the combination of designs, negative - positive area relationship and composition in products made in different periods. However, the rhythm, repetition and features of the lines have changed in the product decorations. The similarity of the motifs on the ceramic objects of these period and the small changes with time reveal the slow development of the visual properties on the ceramic.
In this research, the motifs on the ceramic products, which were obtained in Hisar Tepe excavations and thought produced in that area, were examined and evaluated. Today some of these motifs are interpreted and used in contemporary ceramic art and other visual art works.
References
Boroffka, R., & Parzinger, H. (2011). Pottery of the Sialk III period. Vatandoust et al., eds, 100-195.
Bulgarelli, G. (1977). The lithic industry of Tepe Hissar at the light of recent excavation. South Asian Archaeology, 1, 39-54.
Bulgarelli, G. M. (1974). Tepe Hiṣar. Preliminary Report on a Surface Survey, August 1972. East and West, 24(1/2), 15-27.
Dyson Jr, R. (1991). Ceramics I. The Neolithic Period through the Bronze Age in Northeastern and North-Central Persia. Encyclopedia Iranica, 5(3), 266-275.
Dyson, R. H. (1987). The relative and absolute chronology of Hissar II and the Proto-Elamite horizon of Northern Iran: BAR.
Gordon, D. (1951). The Chronology of the Third Cultural Period at Tepe Hissar. Iraq, 13(1), 40-61.
Helwing, B. (2006). The rise and fall of Bronze Age centers around the Central Iranian Desert–a comparison of Tappe Hesar II and Arisman. Archaologische Mittellungen aus Iran und Turan, 38, 35-48.
Howard, S. M. (1976). The Stratigraphic Sequence of the Main Mound at Tappeh Hesar. Tappeh Hesar: Reports of the Restudy Project, 55-68.
Moore, H., Mitchinson, D., & Guyot, J. (1981). Henry Moore Sculpture: Rizzoli New York.
Picasso, P. (2010). Les demoiselles d’Avignon, 1907. Museum of Modern Art, New York.
Roustaei, K. (2004). Tappeh Hesar: A Major Manufacturing Centre at the Central Plateau. Persia’s Ancient Splendour (Persiens Antike Pracht): Mining, Handicraft and Archaeology, 222-231.
Schmidt, E. F. (1933). Tepe Hissar Excavations, 1931: University Museum, University of Pennsylvania.
Schmidt, E. F., & Kimball, F. (1937). Excavations at Tepe Hissar, Damghan: University Museum.
Tosi, M. (1976). The distribution of industrial debris on the surface of Tappeh Hesar as an indication of activity areas. Tappeh Hesar: Reports of the Restudy Project, 13-24.
Yule, P., & Schmidt, E. F. (1982). Tepe Hissar: neolithische und kupferzeitliche Siedlung in Nordostiran (Vol. 14): CH Beck.
کاظمی, ش., محمدیان, فخرالدین, حاجی, م., & رسول, س. (2017). مطالعه نقشمایههای هندسی در سفالینههای دوران میانی اسلام. نشریه هنرهای زیبا-هنرهای تجسمی, 22(4), 87-100.
واندنبرگ, ل. (1958). باستان شناسی ایران باستان ,ع. بهنام, Trans.): انتشارات دانشگاه تهران. (
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 International Journal of Art, Fashion and Music
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.