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MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA

Year 2018, Issue: 23, 211 - 225, 01.07.2018

Abstract

Hayvan motifleri insanoğlunun eserlerinde kullandığı en eski motiflerdendır. Bu motifler Mısır ve İran’da İslamiOrta Çağ’da yanlızca süs amaçlı değil belki zaman zaman umut, korku veya doğa ve hayattaki tehlikelerdesavaşlarda da yardım göstergesi ve bazan de dini inançlar ve eskiye dayalı efsaneler göstergesidir Bu kıymetlive özel göstergeler bazen motifleri tüm tarih boyunca bir mesaj verme sembolü haline getirmiştir. Müslümansanatçılar bu Eskiçağ sembolik motifleri uyarlamış ve İslam Çağı’nın motiflerini İslam’ın bakış açısına uyarlayarakonu hep diri tutmaya çalışmışlar. İslam Çağı’ndan kalan bir çok motif inançlar göstergesi olan sembolik anlamlaradayalıdır. O zaman İslam’ın Orta Çağ’daki çömlek şanatçılarının en sevdiği önemli ve özel hayvan motifleriözellikle Mısır’daki Fatımiler’in kızıl çömlek üzerinde yaptıkları resimler ve İran’ın çömlek ürünleri burada bahiskonusudur. Bu araştırma kaliteli ve pratik bir araştırma olup, bütün veriler var olan dokümanlardan toplanmış vegörünen semboller ile efsanelerin anlamlarının birbirine uyarlamasıyla oluşturulmuştur. Mısır Fatımiler dönemindeLüster çömleklerde kullanılan hayvan motıfleri ve İslam’ın Orta Çağı İran’da yapılan çömleklerin tanınması buaraştırmanın asıl hedefidir. Bu projenin sonucu yapılan resimlerde bazen gerçek ve bazen gerçek dışı hayvanlarınolduğunu gösteriyor ki her biri insan hayatında özel anlamların göstergesidir ve efsanevi ve astronomik anlamlariçerir. Bu kaplarda İslami dönemde 11 ve 12. yüzyılda çömleklerde bir süs unsuru olan eski uygarlıklardan alınmışefsanevi anlamlar taşıyan sfenks grifon ve harpi gibi resimler giderek yaygınlaşıyor Çömlekler üstüne yapılanşahin aslan tavşan ve balık gibi burçların resımleri de İslam’dan önceki döneme aittir ve bu dönemin çömleksanatçılarının kendi sanat eserlerinde süs olarak kullandıkları en sevdiği motifler arasındadır.

References

  • ABED DOOST, HOSSEIN / ZIBA KAZEMPOUR. 2010. “Continuity of the ancient sphinxes and harpies in the art of the Islamic period”, Journal of Negarh 13: 81- 92.
  • ALLEN, JAMES P. 2003, Oxford Guide: The Essential Guide to Egyptian Mythology. Berkley.
  • BAHRAMI, MEHDI. 1949. Gurgan Faience’s, Mazda publisher, Cairo.
  • CONTADINI, A.1998, Fatimid Art at the Victoria and Albert Museum. London.
  • CLAUSS, MANFRED, 2000, The Roman Cult of Mithras: The God and his Mysteries.
  • COOPER, J.C. 2001. Illustrated Culture of Traditional Symbols. (Translated M. Karbassian). Tehran.
  • DEHKHODA, ALI AKBAR.1995. Dehkhoda Dictionary. Tehran.
  • ETINGHAVEN, RICHARD. 2537 Persian Lion Rugs, Parviz Tanavoli and Cyrus Parham. Tehran.
  • ERNST J. GRUBE. 1965. The Metropolitan Museum of Art Bulletin, New Series Vol. 23/6: 209-228.
  • GHAHARI GHEGLOU, MAHNAZ. 2010. Comparative Study of Astronomical Signs with Patterns of Artwork “Pottery, Metal, Architecture and Painting of Iran from the 5th to 7th Centuries”. Master’s Thesis.Tabriz. Art School of Art, Islamic art Department.
  • GRISHMAN, ROMAN. 1993. Art of Iran “During the Median and Achaemenid Period”, (Translated by I. Behnam). Tehran.
  • GOBLET D’ALVIELLA, EUGÈNE, COMTE, 1894, The Migration of Symbols, London: A. Constable and Co. Guratola,Givovani. 2006. Persian Ceramics from the 9th to the 14th centuries AD, Skira Editore S.P.A. Italy.
  • HINCKLEY, RICHARD ALLEN. 1899. Star Names: Their Lore and Meaning. New York: Dover. Hawkins, Joycem. 1986. The Oxford Reference Dictionary, Oxford University Press. New York.
  • KRAPPE, ALEXANDER H. JUL. –SEP., 1945. “The Anatolian Lion God”, Journal of the American Oriental Society 65/3.
  • HABIBI, MANSOUREH. 2003. Silk; Symbols and Signs, Moon Art Books. (49 and 50). 170-166.
  • HASSAN, ZAKI MUHAMMAD. 2004. The Treasures of the Fatimids (Translated by N. Golijani Moghadam). Tehran.
  • HOSSEINI, SEYYED-HASHEM. 2013. The Motifs of Combined Beings in the Art of Pottery of the Islamic Era of Iran. Fine Arts Magazine - Visual Arts 4: 45-54.
  • JOBS, GERTRUDE. 2003. Symbols: First Book: Animals (Translated by M. Reza Beghapour).
  • HALL, JAMES. 2002. The Culture of Symbols in the Art of the East and the West (Translated by R. Behzadi). Tehran.
  • HUNTS, WALTER. 1998. The Lost World Ilam (Translated by Firoozeh Nia). Tehran.
  • HERZFELD, ERNEST. 2003. Iran in the Ancient East (Translated by H. Sanati / Z. Kermani). Tehran.
  • KHAZAEI, MOHAMMAD. 2009. “The Motif of Lion, Imam Ali (AS) in Islamic Art”, Moon Art Book (33, 31): 39-37.
  • KHANPOUR, AREZOO / NAEIMEH EZABI. 2016. A Comparative Study of Glassworks of the Seljuk Period of Iran with the Egyptian Fatimids in the 5th and 6th Centuries AH. Journal of Comparative Art Studies 5/9, Spring and Summer 2015: 105-120.
  • LAMBTON,N. K. S. 1985. An Adventure in Iranian History After Islam, (Translated by Y. Ajand). Tehran.
  • MORGAN, PETER. 2005. Samani Pottery, Types and Technique: Islamic Pottery, attempted by Nasser Khalili, (Translated by F. Hayari). Tehran.
  • NOUR-AHAGHI, ARASH. 2009. Number, Symbol, Myth, Tehran.
  • ROOH ALAMINI, MAHMOUD. 2009. Rites and Celebrations in Iran Today. Tehran.
  • SHOVALIEH, JEAN / GREBEN, 2010. Allen. Symbol Culture. (Translated by S. Fazaheli) Volume Four, Tehran: Jayhoun.
  • SHIN DASHTGOL, HELENA. 2001. The Reflection of the Constellations on Mythology, The Book of the Moon of Art (27 and 18): 100-92.
  • SARFI, MOHAMMAD RASHA.2005. Abstract. Articles of the Congregations of the Sermon and the Introduction of the Civilization of Halil Rood Field. Kerman: Kermanology Center.
  • SUFI, ABDULRAHMAN. 1982. The Book of Fixed Stars (Translated by K. Nasir-e-AlDin Al-Tusi). Tehran.
  • SULAVA, NESTAN, 2003. Lion Symbol in Folk Tradition and Shota Rustaveli’s. Shota Meskhia State Teaching University of Zugdidi Annual Sci.
  • SOUSTIEL, J. 1985, La céramique islamique. Fribourg.
  • TAHERI, SADR AL-DIN .2013. “Gupta and Shirdalal in Ancient East”, Journal of Fine Arts - Visual Arts 4: 22-13.
  • TAHERI, SADR AL-DIN .2013. “Ancient Lion Pattern in Iran, Middle Eastern and Ancient Egypt”, Fine Arts - Visual Arts 49: 93-83.
  • WILKINSON, JOHN GARDNER. 1847. The Manners and Customs of the Ancient Egyptians. Vol V. London.
  • WHITE, GAVIN, 2008, Babylonian Star-lore. London.
  • WATSON, OLIVER. 2004. Ceramics from Islamic Lands. London.
  • YAHAGHI, MOHAMMAD JAFAR. 2008. The Culture of Mythology and Stories in Persian Literature. Tehran.
  • ZAREI, MOHAMMAD IBRAHIM AND KHADIJEH SHARIF KAZEMI. 2013. Study of Astrological Symbols of Sculptural Pottery and Museum of Mostazafan Foundation. Comparative Studies of Art. Third Year. No. 6; 53-43.
  • ZABKAR, LOUIS V. 1968, A Study of the Ba Concept In Ancient Egyptian Texts. University of Chicago Press.

EXPLORING SYMBOLIC ANIMAL MOTIFS OF EGYPTIAN FATIMID LUSTERWARE POTTERY AND POTTERY PRODUCTS OF THE MIDDLE AGES

Year 2018, Issue: 23, 211 - 225, 01.07.2018

Abstract

Animal sketches are one of the oldest paintings man that man used in his works. These elements and drawings in Egyptian and Iranian pottery art in the Middle Ages were not merely decorative, but also sometimes expressed hope, fear, or resort to a force to fight the dangers of nature and life and sometimes expresses religious beliefs and ancient myths. These values and expressions sometimes make motifs somewhat symbolic and contractual used as message transmissions over the course of history. Muslim artists have reshaped many of the symbolic roles of ancient art and kept them alive by coordinating the elements and motifs of the Islamic period through the Islamic ideology. Many of the remains of the Islamic period are based on symbolic concepts, which reflect and the issues of beliefs. As stated, the most notable animal symbols in the Middle Ages, specifically on the Egyptian Fatimid lusterware pottery, the pottery products of Iran, the rooting of motifs are the theme of this topic. This research has a qualitative and strategic system and its findings have been documented using the adaptation of mythological concepts and observation symbols. The main objective of this research is the recognition and rooting of symbolic animal motifs used in Egyptian Fatimid lusterware pottery and pottery of the Middle Islamic period of Iran. The result of this paper shows that the motifs depicted, have included: real and supernatural animals, each of which represents

References

  • ABED DOOST, HOSSEIN / ZIBA KAZEMPOUR. 2010. “Continuity of the ancient sphinxes and harpies in the art of the Islamic period”, Journal of Negarh 13: 81- 92.
  • ALLEN, JAMES P. 2003, Oxford Guide: The Essential Guide to Egyptian Mythology. Berkley.
  • BAHRAMI, MEHDI. 1949. Gurgan Faience’s, Mazda publisher, Cairo.
  • CONTADINI, A.1998, Fatimid Art at the Victoria and Albert Museum. London.
  • CLAUSS, MANFRED, 2000, The Roman Cult of Mithras: The God and his Mysteries.
  • COOPER, J.C. 2001. Illustrated Culture of Traditional Symbols. (Translated M. Karbassian). Tehran.
  • DEHKHODA, ALI AKBAR.1995. Dehkhoda Dictionary. Tehran.
  • ETINGHAVEN, RICHARD. 2537 Persian Lion Rugs, Parviz Tanavoli and Cyrus Parham. Tehran.
  • ERNST J. GRUBE. 1965. The Metropolitan Museum of Art Bulletin, New Series Vol. 23/6: 209-228.
  • GHAHARI GHEGLOU, MAHNAZ. 2010. Comparative Study of Astronomical Signs with Patterns of Artwork “Pottery, Metal, Architecture and Painting of Iran from the 5th to 7th Centuries”. Master’s Thesis.Tabriz. Art School of Art, Islamic art Department.
  • GRISHMAN, ROMAN. 1993. Art of Iran “During the Median and Achaemenid Period”, (Translated by I. Behnam). Tehran.
  • GOBLET D’ALVIELLA, EUGÈNE, COMTE, 1894, The Migration of Symbols, London: A. Constable and Co. Guratola,Givovani. 2006. Persian Ceramics from the 9th to the 14th centuries AD, Skira Editore S.P.A. Italy.
  • HINCKLEY, RICHARD ALLEN. 1899. Star Names: Their Lore and Meaning. New York: Dover. Hawkins, Joycem. 1986. The Oxford Reference Dictionary, Oxford University Press. New York.
  • KRAPPE, ALEXANDER H. JUL. –SEP., 1945. “The Anatolian Lion God”, Journal of the American Oriental Society 65/3.
  • HABIBI, MANSOUREH. 2003. Silk; Symbols and Signs, Moon Art Books. (49 and 50). 170-166.
  • HASSAN, ZAKI MUHAMMAD. 2004. The Treasures of the Fatimids (Translated by N. Golijani Moghadam). Tehran.
  • HOSSEINI, SEYYED-HASHEM. 2013. The Motifs of Combined Beings in the Art of Pottery of the Islamic Era of Iran. Fine Arts Magazine - Visual Arts 4: 45-54.
  • JOBS, GERTRUDE. 2003. Symbols: First Book: Animals (Translated by M. Reza Beghapour).
  • HALL, JAMES. 2002. The Culture of Symbols in the Art of the East and the West (Translated by R. Behzadi). Tehran.
  • HUNTS, WALTER. 1998. The Lost World Ilam (Translated by Firoozeh Nia). Tehran.
  • HERZFELD, ERNEST. 2003. Iran in the Ancient East (Translated by H. Sanati / Z. Kermani). Tehran.
  • KHAZAEI, MOHAMMAD. 2009. “The Motif of Lion, Imam Ali (AS) in Islamic Art”, Moon Art Book (33, 31): 39-37.
  • KHANPOUR, AREZOO / NAEIMEH EZABI. 2016. A Comparative Study of Glassworks of the Seljuk Period of Iran with the Egyptian Fatimids in the 5th and 6th Centuries AH. Journal of Comparative Art Studies 5/9, Spring and Summer 2015: 105-120.
  • LAMBTON,N. K. S. 1985. An Adventure in Iranian History After Islam, (Translated by Y. Ajand). Tehran.
  • MORGAN, PETER. 2005. Samani Pottery, Types and Technique: Islamic Pottery, attempted by Nasser Khalili, (Translated by F. Hayari). Tehran.
  • NOUR-AHAGHI, ARASH. 2009. Number, Symbol, Myth, Tehran.
  • ROOH ALAMINI, MAHMOUD. 2009. Rites and Celebrations in Iran Today. Tehran.
  • SHOVALIEH, JEAN / GREBEN, 2010. Allen. Symbol Culture. (Translated by S. Fazaheli) Volume Four, Tehran: Jayhoun.
  • SHIN DASHTGOL, HELENA. 2001. The Reflection of the Constellations on Mythology, The Book of the Moon of Art (27 and 18): 100-92.
  • SARFI, MOHAMMAD RASHA.2005. Abstract. Articles of the Congregations of the Sermon and the Introduction of the Civilization of Halil Rood Field. Kerman: Kermanology Center.
  • SUFI, ABDULRAHMAN. 1982. The Book of Fixed Stars (Translated by K. Nasir-e-AlDin Al-Tusi). Tehran.
  • SULAVA, NESTAN, 2003. Lion Symbol in Folk Tradition and Shota Rustaveli’s. Shota Meskhia State Teaching University of Zugdidi Annual Sci.
  • SOUSTIEL, J. 1985, La céramique islamique. Fribourg.
  • TAHERI, SADR AL-DIN .2013. “Gupta and Shirdalal in Ancient East”, Journal of Fine Arts - Visual Arts 4: 22-13.
  • TAHERI, SADR AL-DIN .2013. “Ancient Lion Pattern in Iran, Middle Eastern and Ancient Egypt”, Fine Arts - Visual Arts 49: 93-83.
  • WILKINSON, JOHN GARDNER. 1847. The Manners and Customs of the Ancient Egyptians. Vol V. London.
  • WHITE, GAVIN, 2008, Babylonian Star-lore. London.
  • WATSON, OLIVER. 2004. Ceramics from Islamic Lands. London.
  • YAHAGHI, MOHAMMAD JAFAR. 2008. The Culture of Mythology and Stories in Persian Literature. Tehran.
  • ZAREI, MOHAMMAD IBRAHIM AND KHADIJEH SHARIF KAZEMI. 2013. Study of Astrological Symbols of Sculptural Pottery and Museum of Mostazafan Foundation. Comparative Studies of Art. Third Year. No. 6; 53-43.
  • ZABKAR, LOUIS V. 1968, A Study of the Ba Concept In Ancient Egyptian Texts. University of Chicago Press.
There are 41 citations in total.

Details

Primary Language Turkish
Journal Section Research Article
Authors

Najmeh Nouri This is me

Sayed Hashem Hosseyni This is me

Publication Date July 1, 2018
Published in Issue Year 2018 Issue: 23

Cite

APA Nouri, N., & Hashem Hosseyni, S. (2018). MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA. TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi(23), 211-225.
AMA Nouri N, Hashem Hosseyni S. MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA. TÜBA-AR. July 2018;(23):211-225.
Chicago Nouri, Najmeh, and Sayed Hashem Hosseyni. “MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA”. TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi, no. 23 (July 2018): 211-25.
EndNote Nouri N, Hashem Hosseyni S (July 1, 2018) MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA. TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi 23 211–225.
IEEE N. Nouri and S. Hashem Hosseyni, “MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA”, TÜBA-AR, no. 23, pp. 211–225, July 2018.
ISNAD Nouri, Najmeh - Hashem Hosseyni, Sayed. “MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA”. TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi 23 (July 2018), 211-225.
JAMA Nouri N, Hashem Hosseyni S. MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA. TÜBA-AR. 2018;:211–225.
MLA Nouri, Najmeh and Sayed Hashem Hosseyni. “MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA”. TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi, no. 23, 2018, pp. 211-25.
Vancouver Nouri N, Hashem Hosseyni S. MISIR FATIMİLER DÖNEMİ’NDE HAYVAN MOTİFLİ LÜSTER KAPLARI VE İRAN ORTA ÇAĞI ÇÖMLEKÇİLİK ÜRÜNLERİ ÜZERİNE BİR ARAŞTIRMA. TÜBA-AR. 2018(23):211-25.

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