@article { author = {Akbari, Hassan and Hessari, Morteza}, title = {Anthrography of Moienabad Pottery, Among the first examples of Ancient Iran}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {3}, pages = {23-32}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2018.258331.665948}, abstract = {During the archaeological studies in the east of Ray plain (Varamin plain) about 126 ancient sites from upper Paleolithic period up to Islamic period were found. One of these sites which is unique in the region is Tappeh Moeinabad, Moeinabad data showed that this settlement from Late Neolithic was residential and from Trans Chalcholitic period the residents abandoned this site. Again in Sasanian period it flourished. Among the finding of this site, there is a painted potsherd, which is completely unique up to now, was found which belongs to the end of Neolithic period. On this potsherd a human figure has drawn. Such an image at other contemporary sites has not reported up to now. In this research the essential point is concentrated on this potsherd.The consideredsherd belong to concave base of a vessel the condition of its wall is not obvious. The paste of this vessel is in light yellowish brown color   2.5Y6/3 and consists of chaff temper about half centimeter length. Although mineral infusions have seen among the paste but it is added intentionally. The interior side of this vessel has been smoothed when it was wet. The thick sleep coated of the pottery is in 2.5Y7/3 Pale Yellow color. The thickness of wall is about nine millimeter. The pottery clay is loose and has not processed well. We can see holes and cracks simply. The wall of the pottery is vacuous, light, brittle and simply broken. Although this condition maybe because of defective backing, for the core of the pottery has not baked well and it is unoxidized.this unique potsherds is handmade and traces of pottery wheel has not been seen. The designs are in GLEY1 3/ Very Dark Gray color and by washing them they disappear completely (fugitive).The length of design is nine centimeter and the bottom diameter is ten centimeter. It seems that this design belongs to a corpulent man with perfectly elongated feet, which the plantarextended to the right hand side. This design has drawn in the form of trifaces.the way of man’s standing conveys uneven and sloping feature. As well it seems that the design is stable and fixed as. It seems that the plantar has drawn in real size but from the knee up to ankle is smaller than the real size and the feet themselves have drawn thickness. The largeness of the thigh resembles woman statues, because this part of body (thigh) has made exaggeratedly. From the waist suddenly the design narrowed and it becomes in the form of cylindrical shape.Untill to the underarms it does not change any size the upper part of the body has drawn full faced. The size of hands seemsreally, but because of exaggeration of the thighs, hands seem too small. Only two fingers from right hand are observable, thumb has shown very big, but the left hand does not show any finger. Underarm of right hand like the overhang is a large muscle and left elbow too large to be drawn.      }, keywords = {MoienAbad,Pottery,New Neolithic,Anthrography}, title_fa = {بررسی انسان‌نگاری سفال معین‌آباد در میان نخستین نمونه‌های ایران‌باستان}, abstract_fa = {محور این پژوهش قطعه سفالی است که در طی بررسی‌ باستان‌شناسانه در معین‌آباد پیشوا به دست آمده که متعلق به دورة نوسنگی جدید است، بر روی این سفال نقش انسانی به تصویر کشیده شده که چنین نقشی در دیگر نقاط هم‌زمان خود در شرق‌باستان تاکنون گزارش نشده و بی‌نظیر است. این سفال از نقطه‌نظر کیفیت نقش‌مایه، بسیار قابل‌ملاحظه است، لذا مشخص‌کردن هویت این نقش از نظر مفهومی دارای اهمیت ویژه‌ای است. شباهت کلی این نقش، با دیگر نقوش به‌دست‌آمده نسبتاً هم‌زمان در شرق‌باستان در کنار تفاوت‌های آن‌ها، ار نکات مهمی است که اهمیت مطالعة هرچه دقیق‌تر این‌گونه آثار را طلب می‌کند. هدف اصلی این پژوهش، معرفی، بررسی این نقش و مقایسة تطبیقی با دیگر یافته‌های نسبتاً هم‌زمان است. این داده به شیوة میدانی، یافت شده و با روش داده‌افزایی کتابخانه‌ای سعی شده که این نقش‌مایه را تحلیل کند و براساس نتایج به دست آمده مشخص شد که نشانه‌ها تحت‌تأثیر فرهنگ‌ها، معانی متفاوتی به خود می‌گیرند. برای کشف حقیقت و نیت‌مندی هنرمند پیش‌ازتاریخ، گزینه‌های خاصی را باید در نظر داشت از جمله ابعاد مکانی و زمانی منطقه‌ای که موردنظر از آنجا پدیدار شده، بستر محل کشف شئ و در کنار آن‌ها رابطة شئ با محیط‌زیست و سازندگان آن نیز بایستی کاملاً مورد توجه قرارگیرد.}, keywords_fa = {معین‌آباد,سفال,نوسنگی جدید,انسان‌نگاری}, url = {https://jfava.ut.ac.ir/article_79506.html}, eprint = {https://jfava.ut.ac.ir/article_79506_5883866762dcfdae82681d39102a58b3.pdf} }