نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار دانشگاه هنراسلامی تبریز
2 دانشجوی دکترای هنراسلامی
3 کارشناس ارشد طراحی صنعتی
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Man, based on a common sense, has considered the contribution of symmetry to beauty. However, beauty and symmetry have acquired different forms and increasing intricacies throughout the time, as there are numerous examples of them in paintings, sculptures, the architecture of temples and many more. The present article studies the symmetries of Aghkand’s pottery design. The authors’ assumption rest upon the aesthetical perception of man which is reflected in Aghkand’s pottery designs. In order to test this assumption, the researcher presented a rudimentary classification of sciences provided by Pires, historical evolution of geometry, presenting an ideal definition of the what of geometry to arrive at an understanding of the existence of a golden symmetry in the positive and negative atmosphere of pattern’s designs by statistical analysis and geometrical calculations which is the main aim of this article. In order to fulfill such an aim, the authors chose 20 samples of Aghkand’s pottery with the identification of animal design in the center and herbaceous designs on the periphery. The origin of this group of potteries is the Aghkand village which is located between Zanjan and Tabriz and is formed in the cultural area of the West and North Western part of Iran from 4th hegira to the start of Mogul’s invasion. The present article studies the symmetries and hidden geometry in Aghkand’s pottery as the main issue. The method used in gathering the available sample to be used in the presentation of the results is statistical method. The authors maintains that the existence of the geometrical approach, based on the golden symmetry is a confirmation to the results taken from Gusta and Theodore Fakhner’s studies in 19 th century and Piress approach in Normative and Non-normativel sciences. If we come near to a numerical pattern concerning golden symmetries, after examining the 20 samples’ design surface to the whole circle area, then it can be assumed that beauty varieties manifest in the world, when the created elements can be differentiated by weight and number. So, the article answers two questions in this regard: 1-What is the necessity of calculation approach in aesthetical approach to the study of Aghkan’s potteries? 2-Does the aesthetics of such works can be evaluated and confirmed by numbers?
کلیدواژهها [English]
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