The Variety of Attitudes in the Motif of Bird (4th to 7th Century A.H.) in Tabarestan, Jorjan, and Deilaman Pottery

Document Type : Original/Research/Regular Article

Authors

1 art Research, College of Art and Architecture, Mazandaran University.babolsar.iran

2 Department of Handicrafts and Art Research, University of Mazandaran .babolsar.iran

Abstract

The applied arts and decorative motifs painted on them have been the most important tools for transmitting culture as well as artistic and conceptual traditions among ancient nations, which in addition to messaging, have a variety of shapes and forms and a variety of combinations. In the meantime, one of the most important motifs that have always been considered and its usage has continued with the change of rituals and artistic developments, is the very important motif of birds in terms of design and content, used in various arts, especially pottery. This study aims to explain and evaluate the types of bird drawing and analysis methods in the composition of discovered potteries in three regions of Tabarestan, Deilaman, and Jorjan. The present study seeks an answer to the following question: What is the attitude in designing and combining bird motifs in Tabarestan, Jorjan, and Deilaman potteries? To study and survey nine samples of pottery (with the motif of birds), related to the 4th to 7th centuries A.H. (after Hijrat) have been selected. The motif of birds on the potteries of Jorjan and Tabarestan regions has more diversity compared to Deilaman potteries. Exaggeration in the appearance of birds, lack of proportion in design, simplification, and magnification in some parts of the body and more dynamism and movement of the bird form compared to the other two regions are the most important features of the motif of birds in Jorjan region. In the Tabarestan region, these motifs have been represented in various forms and special methods such as abstraction and simplification and sometimes being close to nature. It is noteworthy that these features distinguish it from the drawings of Jorjan and Deilaman regions. In the Deilaman region, all the studied figures have been designed and built in the form of realism and natural sizes. The proximity of the bodies to their true nature, disproportionate and unbalanced exaggerations in the head, neck, and body of the bodies of the figures are the characteristics of the motif of the bird in this region. At the same time, the artist's attention to the bird's appearance has sometimes prevented him from paying attention to the formal aesthetics and visual language content. However, this attitude is observed in the design, not in all figures, but most works.  The research method in this study is descriptive and analytical and gathering the data and information has been accomplished through field and library study. The results show that in line with the images studied, three methods of realistic, meta-realistic, and abstract design have been revealed. Realistic motifs are devoid of any creativity and visual value due to their adaptation of nature, and the emphasis on more detail in the actual shape of the bird's body and its natural dimensions and size, as well as the artist's close connection with nature, is very evident.  While in the unrealistic motifs, the artist's imagination is perceivable in depicting the motif of the bird and the exaggeration of its components, in which the inner sensitivity, emotions, and imagination are obvious. Also, in the abstract approach, the motifs are based on the basic essence of the forms and the visual value hidden in these works is based on a kind of aesthetics and is not easily understood. The motifs are inspired by nature and the environment around them, but the artist changes it with his imagination and taste so much that he creates an abstract role of nature. On the other hand, in this attitude, there is less of a sign of reality and visual aesthetics is gained instead. The concepts between lines and colors are the same; to understand it, every viewer must rely on their perceptions. In analyzing the types of composition in these pottery works, we are faced with various types of compositions such as symmetrical, asymmetrical, diffused, circular, and radial, the most common example of which is related to the Tabarestan region. In Jorjan province, the diffuse component is very obvious, and in the Deilaman region, all the studied samples have symmetrical composition.

Keywords

References

-Abbasian, M. (1991). Tile History in Iran from the Prehistoric Period. Tehran: Gothenburg.
-Barari, M.; Shafiee, M.; Agha Davood Jolfaei, S. (2015). Re-reading of formal and Structural Features (Design and Color) in Rural Pottery of Sari in the 4th and 5th Centuries A.H. Pajouhesh-e-Honar, (12), 29-36.
- Barry, M. (2016). Pottery and Pot in Tabaristan: Sari Pottery. Tehran: Goldasteh.
- Changiz, S.; Rezaloo, R. (2013). Symbolic Evaluation of Neishabour Pottery Animal Patterns. Honarhe-ye Ziba, Honarha-ye Tajasomi, (47), 33-44.
-Chit Sazan, A.M.; Saadat, N. (2010). A Study of the Aesthetics of Kashan Pottery from the Ilkhanan Period Based on the Views of Anne Shebaerd, Naghsh-e-Mayeh, (5), 61-66.
-Dandis, A. (2003). Basics of Visual Literacy. (M. Sepehr, Trans.). Tehran: Soroush.
- Davoodi, H. (2011). A study of the Characteristics of Today's Pottery and Ceramics in Gilan and Mazandaran. (MA Thesis) Faculty of Arts, Tehran University of Art, Tehran, Iran.
-Ebrahimi Naghani, H.(2005). The Position of Composition in Iranian Painting. Motaleat-e- Honar-e Eslami,(2),7-16.
-Ebrahimi Naghani, H. and Shirani, R. (2006). An Introduction to the Aesthetics of Pre-Islamic Animal Pottery in Iran. Honarha-ye Ziba, (28), 105-114.
-Ghaini, F. (2004). Museum of Glass and Pottery of Iran, Cultural Heritage of the Country. Tehran: Entehsrat va Tolidate Farhangi.
-Ghandehari, H. (2010). Study and Analysis of Decorative Pottery Patterns in Jorjan. (MA Thesis), Mohaghegh Ardabili University, Ardabil, Iran.
-Grubeh, E. (2005). Islamic Pottery. (F.Haeri, Trans.). Tehran: Karang.
-Hernick, E. (1997). Iranian Pottery in the Ashkani Period. (H. Choubak, Trans.).Tehran: Cultural Heritage Organization.
-Helu, I. F. (2005). Art of the Community, South Pacific. Kingdom of Tonga: Atenisi Institute.
- Hendi, R.; Ghazizadeh, Kh. (2012). Aesthetic Features of Bird Paintings in Seljuk Art. Naghsh Maye, (11), 45-52.
-Khalatbari, M. (2017). Cultural and Artistic Masterpieces of Gilan. Tehran: Gooy.
-Kafili, N.; Samanian, S. (2013). Recognition of Iranian Native Pottery with the Approach of Cultural Ecology. Pzhouheshha-ye Ensanshenasi-e Iran, (2), 103-122.
- Khamaki, M. (2018). Study and Analysis of the Influences of Jorjan Pottery and the Impact of Painting on Pottery. (MA Thesis), Faculty of Arts, Shahid University, Tehran, Iran.
-Kiani, M,Y, (1984), The Islamic City of Gorgan. Archaologische Mitteilungen aus Iran, 11, Berlin.
-Kubba, Sh, A.A. (1987), Mesopotamian Architecture and Town Planning, from the Mesolithic to End of the Proto- Historic period (1000 B.C. to 3500 B.C.). BAR International Series, 367 (i).
-Mackenzie, Ch. F. (1980). Travelogue of the North. (M. Etehadiye (Nezam Mafi). Tehran: Shargh.
-Matufi, A. (2015). Pottery and Glass: the historical city of Gorgan (Jorjan). Tehran: Forouhar.
- Mortezaei, M.; Sedaghatizadeh, N. (2012). Study of Animal Motifs of Ancient Pottery in Gorgan (Jorjan) in the Islamic era. Name-ye Bastanshenasi, 2(2), 47-62.
-Murphy, H. (2006). Art Anthropology. (H. Abdolhosseinzadeh, Trans.). Tehran: Farhangestane-e-Honar.
-Norouz Zadeh Chegini, N. (1987). Mazandaran in the Sassanid Period (part two). Bastanshenasi va Tarikh, 1(2), 44.
-Pakbaz, R. (1999). Encyclopedia of Art. Tehran: Farhang-e Moaser.
- Reed, H. (1995). The Meaning of Art. (N. Darya Bandari, Trans.). Tehran: Elmi Farhangi.
- Rafiei, A.; Rahmati, A. (2016). Pot and Pottery in Gilan. Tehran: University of Gilan.
-Seyyedan, Sh. (2000). Nahavand in the Millennia of History. Tehran: Ashti.
-Vandenberg, L. (1966). Archeology of Ancient Iran. (I. Behnam, Trans.). Tehran: University of Tehran.
- Vesal, Z. (2008).Study of the Role of the Bird in the Islamic Era Hall of the National Museum of Iran. Ketab-e Mah-e Honar, (103) and (104), 86-93.
-Varjavand, P. (2005). Exploration of Maragheh Observatory. (2nd Ed.). Tehran: Amir Kabir.
-Watson, O. (2004). Ceramics from Islamic Lands. United Kingdom: Thames & Hudson.      
URLs:
-URL1. http://www. V&A.com (Access on: 02/02/2020)    
-URL2. http://www. Louvre.com (Access on: 02/02/2020)
-URL3. http://www. Louvre.com (Access on 02/02/2020)
 
Theoretical Principles of Visual Arts
Volume 5, Issue 2 - Serial Number 10
February 2021
Pages 43-55

Files

History

  • Receive Date: 12 June 2020
  • Revise Date: 18 October 2020
  • Accept Date: 22 October 2020

Share

How to cite

Statistics