تحوير الأشكال الحيوانية المنفذة على الفخاريات الإيرانية القديمة

Abstract EN

Throughout the ages, art was able to translate the relationship between man and the forces of nature and the earth to represent them according to an artistic structure that carried many data, indications and values, including what were associated with intellectual visions such as religion, beliefs and myths related to that according to the organization and purposeful cultural artistic formations derived from its environment to express and communicate the meaning, and this allowed Through pluralism and diversity in the formal formulation, so that the diversity of the viper will generate the processes of modification and change to bear these pottery forms, including the animal produced many indications and symbols, in addition to the functional value that granted it a distinctive character to it than the rest of the arts of ancient civilizations, For this reason, the current research included four chapters: the first of which included the research problem, which arose from answering the following question (What is the extent of the modifications made by the artist in animal pottery forms for their artistic and intellectual functioning) and also includes its importance and need for it and the goal that means (know Modifying the animal forms executed on the ancient Iranian pottery) and its limits, and defining the terms mentioned therein.

As for the second chapter, it included two topics, the first (the concept of modification - its types and mechanisms of its work) and the second (artistic methods of ancient Iranian pottery) up to the indicators of theoretical framework and ending with previous studies.

Whereas the third chapter included research procedures, including the research community, the research approach (descriptive and analytical), the research tool (indicators of the theoretical framework) and the research sample of (4) a technical model.

As for the fourth chapter, it included the results, including: 1-Some of the urgent necessities and needs of the human person formed intellectual pressures that he sought to achieve through modification such as fertility, development, abundance, sex, and other things that were believed to be achieved through the presence of an intimate relationship between him and those natural and unseen phenomena, and this was reflected in the artistic approach and thus achieved the goal of its production.

--Modified models carried significant, symbolic, symbolic intellectual dimensions that differed in artistic formulations.

-The alteration of the ancient Iranian artistic pottery achievement stimulated memory and imagination growth to deepen the visual sense of the artist in producing fictional exotic faux animal pottery forms by removing them from their perceived reality to their symbolic significance.

The conclusions also included: 1- Most of the modified ancient Iranian pottery forms are of an intellectual nature (magic, mythological, religious, ritual, political) and with different techniques and artistic styles.

-The absence of individualism and subjectivity in the Iranian civilized achievement and the emergence of collective benefit in religious thought, belief and practices.

Then recommendations and proposals, and the search ends with a list of sources, title and summary in English