Rahpooye Honar-Ha-Ye Tajassomi

Rahpooye Honar-Ha-Ye Tajassomi

Studying of subjects the Mural Paintings in the Palace of Knossos ……. Research Paper

Document Type : Original Article

Authors
Firoozeh Nawab Akbar 1
Bahman Firoozmandi Shire gini 2
Kamaluddin Niknamie 2
1 PhD in Skilled Archaeology, Islamic Azad University, Central Tehran Branch
2 Professor Archaeology, Islamic Azad University, Central Tehran Branch
http://dx.doi.org/10.29252/rahpooyesoore.5.2.71
Abstract
The study is about the study of the mural of the Knossos Palace wall paintings. It is located on the island of Crete belonging to Minoan civilization; it has the most beautiful murals in the modern Bronze Age. The main purpose of this study was to study the subjects of mural painting in the palace from the viewpoint of painting art. The basic matter is the study of themes: plants, animals and humans from the perspective of painting art. This research has been done in a descriptive way.Data collection was carried out through library studies.
It  is    done    by   three     methods:1.axis  combination interpretation. 2.analysis manner. 3.semiotics.The circumstance and essence results show that: In the Konossos paintings palace, the role of Griffin Hall in the throne is influenced by the Civilization of the East (Iran) and the role transfer has been carried out by impression. Data collection was carried out through library studies. The resource and information collection required, 14 sample images were selected from all the collected images (about 60).
The questionnaire key, consisting of 28 main questions designed with reference to the sources. The questions coded and then transferred to the Excel program and the qualitative codes became quantitative. Human activity and its purpose is to convey the highest and best emotions that humanists have achieved.
With the help of art designs, he expresses his feelings to all people and this is true not only of the present but of the past and the future (Tolstoy; 1994). The Aegean Civilization painting is style by Impressionism and Fresco. The Impressionism History is depending on Aegean Civilization in the Konossos Palace.
The study indicates that the location of the paintings with regard to their subject in different parts of the palace was this: the topic of vegetation in the west wing. The subject matter in the south side, the human subject in the south side and paintings of the northern side of the palace were related to celebrations, spiritual celebrations and worship. The paintings have been around the busiest in the home and exposed too many viewers. The results showed that paintings were of rhythm, unity and harmony (composiosion, line, color, texture).
From a semiotic perspective.Importance of internal issues.Coordination,creativity   and   imagination (combining, subjectivity and objectivity).
The themes of the paintings have been mythical, social and atrocious. Minoan paintings are one of the first things, which means getting out of the laws and regulations of painting at that time. In visual art, it is the first time that Impression method has been used and then impressionism was the beginning of Minoan Civilization.This indicates a change in the history of this painting in the history of art.
Keywords
Minoan Art
Knossos Palace
Mural Painting
اسکندری، ایرج(1378)، بررسی و تحلیل نقاشی دیواری از ما قبل تاریخ تا عصرحاضر. هنرومعماری: هنرهای تجسمی، شماره، 274- 299.
آژند، یعقوب(1390)، تاریخ هنرباستان، سمت، تهران.
دورانت، ویل(1380)، یونان باستان، امیرحسین آریان پور و  دیگران، تهران، شرکت انتشارات علمی و فرهنگی.
آمیه، پیر(1384)، تاریخ ایلام، شیرین، بیانی، تهران، دانشگاه تهران، چاپ چهارم.
دی، کی، چینگ، فرا نسیس، مارک، ام(1389)، تاریخ معماری جهان، محمدرضا، افضلی، یزدا،تهران.
فیروزمندی شیره جینی، بهمن( 1389)، باستان شناسی وهنرآسیای صغیر دردوران تاریخی، انتشارات سمت، تهران.
موسوی، زینب، زهرا بطحائی(1387)، “ زعفران” ، فصلنامه عطارنامه، سال دوم، شماره 8، ص 5.
هارت، فردریک(1382)، سی و دو هزار سال تاریخ هنر. نقاشی، پیکرتراشی، معماری، موسی، اکرمی، بهزاد برکت و دیگران، پیکان، تهران.
منابع لاتین
Alouppi, E, A.G.Karydas andT.Paradellis.(2000).Pigment Analysis of Wall Paintings and Ceramics from Greece and Cyprus.The Optimum Use of X Ray Spectrometry on Specific Archaeological Issues.John wiley & Sons, LTd.
Alram–stern,Eva, Fritz Blakolmer.(2014). Metaphysisritual, myth andsymbolism in the Aegean Bronze Age.Proceeding of the 15th International Aegean.
Anderson, W, (1950), The Architucture of ancient Greece, An ccount of it,s Historic Development, B.T. Bathsford, LTD.
Ancient Greek art, (2016), Coo1: “Greek Art Pots, stones and Mosaics”, P 1, 2.
Bradshaw, Jeffery M, Ronan, James Head(2012), “The Investitiure Pannel at Mari and rituals of divine kingship in the Near East”, Studies in the Bible and antiquity , Vol.4, p 1-42.
Chapin. Anne(2016). Aegean painting in the Bronze Age. Cambridge .University press.
Charbonneau. A. (2011). Minoan Art and the phaeacians. Dawson College.
Conference, Vienna Institute for oriental and European Archaeology, Aegean and Anatolia Department, Austrian Academy of Sciences and Institute of Classical Archaeology, University of Vienna, Andreas G. Vlachopoulos: 375- 384.
Day, Jo.(2013).Botany meets archaeology: people and plants in the past. Journal of Experimental Botany, vol.64, no Si: 1-12.ht
Demargen, Pieree, (1958), Aegean Art the Origin, of Greek Art, Thames and Hudson, P 6,21.
Dietrich, Wolf. Barbara Neimeir. (1989). Minoan Frescoes in the Eastern Mediterranean: 69-98.
Grilli Caiola, Maria, Antonella, Canini. 2010. Looking for Saffron s parents, global science book, Functional plant science and Biotechnology: 1-12.
Hassan, Selim( (1949. The Sphinx it,s History in the light of recent Excavations government press, Cairo, Egypt: 1-304.
Honour, Hugh, John Feleming, (1982), A world History of Art.
Jan son, H, W. ( 1995). History of Art. New York : Harry N. Abrams.
Kalman. Paula.( 1958). Depiction of the sea in the Minoan frescoes from Knossos and Akrotiri (1700- 1450Bc).
Lawrence, W, Greek Architecture(1996) History of Art, Fifth edition, Yale University Press Pelican.
Martino, Paula Lynne( (2005, “The Hagia Triada Sarcophagus: Inter connections between Crete and Egypt in the late Bronze Age”, Faculty of Graduate School of the University of Maryland , College Park, P 1,104.
Mcinerney, Jermy,(2009), “Bulls and Bull-leaping in the Minoan world”, 6 volume, 53 Number 3 edition, P 7-13
Matz, Friedrich.(1926) .Crete and early Greece, Translated: Ann E, Keep, Holle Verlag GMBH, Baden Baden Germany: 76-227.
Mellink, Machteld.(2016).The origin and Iconography of the late Minoan painted Larnax .American school of classical studies at Athens is collaborating with JSTOR to digitize, preserve and extend access to Hesperia: 81- 93.
Minoan Art( (2016. Fresco painting, stone working, and metallurgy .p 1.
Mousavi, Zeinab, Zahra, Bathaie.(2011).Historical uses of Saffron: Yale University Press Pelican.Identifying Potential new avenues for modern research, Natural products, An Indian Journal Vol7, Issue 4: 174.
PanagIotopoulos, D. 2012. Minoan Realities. Approaches to images, Architecture and society in theAegean Bronze Age. Diamantis Panagiotopoulos.Ute Gunkel – Moschek.
Papaodysseus, C M. Panagopoulos.2008.Geometric templates used in the Akrotiri (Thera) wall- paintings.
Schneider Adams, Laurce,(2001), A History of Western Art, 3d edition, University of New York, P 33, 50.
Schiering, Wolfgang.(1993).Minoan Artisans Travelling overseas: The Alalakh frescoes and the painted plaster floor at Tele Kabri: 189-200.
Wiener, Malcom.H.(2017).Realities of power: The Minoan Thalassocracy in Historical perspective: 149- 173.
Vlachopoulos, Andreas G.(2014), “Knossos”, Sciences and Institute of Classical Archaeology, University of Vienna, P 375,384.

  • Receive Date 24 November 2019
  • Revise Date 08 December 2019
  • Accept Date 05 January 2020