مديريت توليد هنر در دوره هخامنشي

Art Production Management during Achaemenid era

يكي از ويژگي هاي مهم هنر هخامنشي، تكرار نقش مايه هاي يكسان در آثار هنري اين دوره طولاني و انسجام اين هنر است. از اين رو، بسياري ازپژوهشگران ايده وجود الگوهاي ثابت و از پيش تعيين شده براي اين هنر را ضروري دانسته و آن را الگويي براي حجاران، پيكرتراشان و فلزكاران دانسته اند. اما پژوهش حاضر درصدد نمايش تفكر منسجمي است كه با بهره-گيري از تفكري جامع به تدوين اين الگوهاي ثابت و متناسب پرداخته است. به اين منظور بررسي ميداني بر روي نقش سر شير بواسطه كثرت استفاده در هنرهاي گوناگون هخامنشي و بازنمايي آن از وجوه گوناگون مورد نظر اين مقاله قرار گرفته است. شيوه پژوهش استفاده از دستگاه ترسيم نماهاي گوناگون براي دستيابي به ساختار هندسي اين نقش مايه و نحوه بازنمايي آن در آثار نقش برجسته، سرستون و مجسمه ها و هنرهاي كاربردي اين دوره است. نتايج نشان مي دهد كه مديريت هنري كارگاه هاي دربار، يك سازمان سه بعدي داراي انتظام معين ايجاد و بنا به نياز بازنمايي هاي گوناگون، با استفاده از قوانين صفحات تصوير و ترسيم نماي مورد نظر، ضمن حفظ انسجام نقوش، نماي متناسب با جايگاه مورد نظر را پديد مي-آورده است. از سوي ديگر، نتايج مي تواند راهي براي تمايز آثار هنري كارگاه هاي دربار و ديگر آثار اين دوره محسوب گردد.

One of the important features of Achaemenid art is the repetition of almost similar motifs and their consistency during this lengthy era. Consequently, a large number of researchers consider the presence of the constant and pre-conceived patterns as necessity for stonecarving, sculptors and metalworkers. Apparently, this coordination arising from similar repeated patterns is visible in the Achaemenid arts hence; some of the researchers considered this phenomenon as the part of related constant patterns that were constantly employed in this art. The current research tries to highlight a cohesive thought that has focused on and arranged these constant and suitable patterns by applying comprehensive thought. For that reason, the paper has conducted a field study about the role of extensive use of lion head designs in various Achaemenid arts and their representations. The lion images in the current paper include designs of capital at eastern part of Apadana palace, image of lion from ahead on the facade of staircase, image of female lion as a gift by one of the subdued nations of achaemenid empire, a piece of ivory and two agate beads related to this period and a stone vessel kept in Reza Abbasi Museum, necklace of louvre museum and two rhytons each in Metropolitan Museum and Iran’s National Museum. Research methodology includes the usage of different design sketching apparatus in order to access to geometrical structure of this motif and their bas relifs representations, capitals and statues and functional arts of this era. Results show that the art management at royal workshops was a three-dimensional regulation that took into account different representations by using the proposed sketch and image regulations, preservation of cohesive designs in proportion to place. This aspect distinguished that there existed a distinct system in the Achaemenid art and patterns were provided for artists to perform them. In total Achaemenid artworks, a work that can be related to Achaemenid workshops through its qualitative execution is a head in a presumed cubical foundation with 60 degree angle in proportion to horizon and lateral sheets with similar angle in proportion to image used for representing lion on horizontal or actual surface of the voluminous art work. A comparative study between the sketched façades and the surfaces of these items shows that much attention and accuracy was paid to their representation including facial particulars. In comparison between two important materials of the proposed period i.e. Iran national and Metropolitan museums, metal rhytons, it was observed that rhyton of Metropolitan Museum lacks proportion and attention in representation of parts hence; it can be considered a work free and separate from royal workshop, or not the same time of achaemenid era. On the other side, results could be a way to distinguish works from royal workshop and others of the same period. As such, it is suggested that similar studies on other Achaemenid arts and similar models must be conducted.