رد پاي نقش‌مايه‌هاي تزييناتي معماري بومي روستايي گيلان در سرزمين آماردها

The Trace of Decorative Designs of Guilan (Province) Native Rural Architecture on Amards’ Land

خصوصيات اقليمي گيلان موجب شده است كه تحقيقات چندان شايسته‌اي در مورد آثار برجاي مانده از دنياي كهن در اين منطقه صورت نپذيرد و گيلان به‌ لحاظ شناسايي تاريخ كهن آن مهجور واقع‌ گردد. اما با نگاهي به ‌تزيينات معماري بومي در روستاهاي گيلان مي‌توان ‌نقش‌مايه‌هايي را مشاهده كرد كه تا حدودي متمايز از ديگر نقاط ايران است. با بررسي كشفيات باستان‌شناسي پيش ‌از اسلام در منطقه نيز ردپايي از اين نقوش را در معماري امروز مي‌توان يافت. استمرار اين نقش‌مايه‌ها و بن‌مايه فكري‌اي كه موجب تداوم به‌كارگيري اين نقوش بوده‌اند، شالوده اين مقاله را تشكيل مي‌دهد. مقاله بر پايه تحقيقات تاريخي ‌و توصيفي و با مطالعات اسنادي‌ و ميداني انجام پذيرفته است. در اين مقاله، مقايسه‌اي تطبيقي بين تزيينات موجود از ميان سيزده‌هزار شي ثبت‌‌شده در موزه شهر رشت، برخي از اشياي در معرض نمايش در موزه ايران ‌باستان ـ كه بخش اعظمي از آنها متعلق به تمدن آماردهاست از يك سو و تزيينات معماري بناهاي سنتي روستايي گيلان بر اساس برداشت‌هاي ميداني از سوي ‌ديگر، صورت گرفته است. نوشتار با نگاهي كوتاه به تاريخ گيلان از زمان‌هاي كهن آغاز شده است و سپس كشفيات باستان‌شناسي اشيايي كه در آنها طرح‌هايي به منظور تزيين به‌كار گرفته شده است، مورد بررسي قرار گرفت. اهميت تزيين و پرداختن به‌ جنبه‌هاي هنري خلق اثر، از مباحثي است كه در حد مقاله به آن توجه شده است و مقايسه تطبيقي نقش‌مايه‌هاي تزييني امروز با گذشته، محور اصلي اين نوشتار است. در پايان، نحله‌هاي فكري مولّد اين آثار هنري و عوامل اين تداوم در به‌كارگيري طرح‌هاي همسان، مورد بررسي قرار گرفته است. حاصل سخن آنكه هنرمند بومي گيلان، به‌رغم توانايي در ظهور هنر طبيعت‌گرا، بر اساس نحوه انديشه درباب انگيزه غايي، دست به خلق هنر انتزاعي و هندسي زده است و اين استمرار نحله‌هاي فكري، هنرهايي همسان را در طول تاريخ به وجود آورده است.

Because of the special climatic specifications of Guilan Province, Iran, no proper research has been done in relation to the works remained from the old world in the area and the ancient history of Guilan has not been recognized. Regarding the native architectural decorations in Guilan Villages There are many designs, which are somewhat distinct from those of the other regions of Iran and with study of the archeological works and detections in the area in relation to the age before Islam the trace of the mentioned designs in today’s architecture could be found. Continuation of these designs and the mental bases which caused continuation of designs application has been the focal point of this article. The article has been written on the basis of historical and descriptive researches with documented and field studies. A contrastive comparison has been made in it, among the existing decorations from the thirteen thousand objects registered in the Museum of Rasht City (center of the province) and some objects have been exposed to sight at Ancient Iran Museum, the major part of which belongs to Amards’ Civilization on one hand, and architectural decorations of Guilan Province traditional rural buildings on the other hand, on the basis of field sampling method. The article is started with a short view to the history of Guilan Province since ancient times. Then the archeological detections of objects, in which some designs were used for decoration, have carefully been investigated. The artistic aspects of the creative worksand their decoration has been mentioned as well as a contrastive comparison between the former and today’s decorative designs is the main body of current article. Finally mental ideologies creating those artistic works and the factors effective on continuation of using the similar designs have been investigated. Conclusion is that the decorative designs come from the nature, and the majority of the village farmer socials used abstractive and geometrical designs. This abstractive art includes a female nature as well as the decorated rural constructions of Guilan does. The arts and the artists are united with a view to art creation thought and the native artists of Guilan province in spite of their efficiency in creation of nature-inclined art on the basis of the manner of thought in relation to final motivation have created abstractive and geometrical arts. The arts have been involved with the settlements of the ancient people of Guilan as well as the present rural architecture. The arts have been involved with the religious thoughts on the basis of supernatural views. In this way, the arts have also been configured to satisfy the spiritual needs, and the existence of the unique thoughts in time duration converged to the similar arts. Consequently, the continuation of the decorative designs from the pre-history era up to now, and application of the similarity of symbolic designs illustrate the artistic thoughts of the people of this land.