دورۀ نوسنگی

The number of Neolithic sites in Fars greatly increases in the pottery Neolithic period. How this pattern indicates the high capability of pottery Neolithic period of Fars is not clear yet. Even though a definite path to the growth of indices of Neolithic settlement patterns in Fars during the seventh and sixth millennium B.C. has been recommended which may indeed be true, for this period we cannot solely rely on Kur river basin and its other adjacent regions, rather the settlements which are also located in the valleys between mountains in Fars as well, even though most of the known pottery Neolithic sites are located in Kur river basin. Until now most of the analysis and research performed in the Fars Neolithic period had been focused on Kur river basin and Marvdasht plain in particular. Considering the fact that Fars has a variety of plains and valleys with different environmental features, in order to present a more comprehensive analysis for the Neolithic period of Fars, more surveys and research on the other regions are required. In light of the previous surveys and excavations, it seems that the Neolithic cultures of southern Fars have been different, therefore regions similar to Fasa, Darab or the southern basin of Qareagaj river have had a different pottery culture from Kur river basin and northern Fars. In this article, cultures from the northern half of Fars which have similarities with Kur river basin shall be discussed. Considering the existing problems in Fars cultural zone, Bavnat river went under survey, during which the Hormangan site was discovered and afterward excavated. The excavation in the above-mentioned site was important for several reasons, first because a site outside of Marvdasht plain was going to be excavated, second, this site was located in Fars altitude with a nearly cold weather and with an altitude of 2360 m, which made it the highest Fars Neolithic site in terms of elevation. Third, Hormangan’s simultaneity with Mushki period is a great assistance for the two points of this period’s chronology and livelihood economy in Mushki period. In this work, the existing challenges within the chronology of Fars Neolithic period shall be presented after which an introduction and a presentation of the results from Hormangan excavation and also an absolute chronology of the site is discussed. Finally using a relative comparison between cultural material and absolute chronology from Neolithic sites, Fars chronology is evaluated. In the following article, the goal is to began with absolute chronology of the site and other Neolithic sites located in the northern half of Fars and also, a comparison of cultural materials and understanding cultural characteristics to reach a better understanding regarding the neolithic zone of Fars region. In order to date the Hormangan site, 8 charcoal, and animal bone samples were sent to the University of Tokyo laboratory where the results showed that the zone had been used for settlement from 6373 B.C. which lasted up to 5950 B.C. Taking into account the similarities of Bashi materials with Hormangan, Rahmat Abad, and Mushki regions and the absolute chronology of these regions, consideration of Bashi phase does not seem logical, therefore by comparing the cultural materials and absolute chronology done in other regions, a sequence chronology including Rahmat Abad (7500–7000 B.C), formative Mushki (7000–6400 B.C), Mushki (6400–6000 B.C), Jari (6000–5600 B.C) and Shams Abad (5600–5200 B.C) for the neolithic period of Fars can be presented.

Color is an abstract phenomenon with an important role in the shaping of the world, the description of the world and in visual relationships. The science and knowledge of making color and the use of color in different ways, an endeavor that has been guided by nature, is rooted in very ancient times: seeing the light of the moon, the sun, the stars and the variety of color in flowers, animals and colored soils, caused early man to try to make use of natural and man-made pigments in order to be able to achieve color and light. The history of color in sculpture is also a long one... from the first jewel and colored-stone covered statues of gods and goddesses and the paintings that use natural colors that can be seen inside cave dwellings to contemporary sculpture. Color was first used only for decorating the bodies and dwellings of early man. With the passage of time and by looking upon nature as a guide, color became an important element in the shaping of what later became known as art. Early man used color as an effective, decorative and symbolic element in different contexts: tattooing the body and painting corpses, as a means for decorating or as a sign of respect toward religious beliefs and rites, and painting caves in order to reach a greater mastery over nature. Early man used color and decorative designs to make different utensils and objects as beautiful as he could on one hand and on the other hand, he found colored designs to be a good medium for the transfer of ideas. Among these usages, coloring figurines was the most important field in the use of color by early man; an activity that made use of various methods. Female figurines, usually found in a sitting position, are the most numerous figurines that are left from Neolithic times and are sometimes seen with color. In Iran, these colored figurines have mostly been found in areas such as the Haji Firouz hills, in Yanik-tepe and in the burnt city. These artifacts sometimes have similarities with the painted figurines that can be found in archeological sites in other parts of the world, for instance in sites such as Catalhoyuk in Turkey. This, to some extent, confirms the presence of shared beliefs and ideas in different cultures. In these figurines, color is usually used in different markings such as zigzagging lines, V-shaped waves or signs that are mostly symbolic in nature. Color in Neolithic figurines is considered to be a symbolic language that shows the special beliefs, ideas and concepts of each culture. The important place of color in the life, the beliefs, the ideas and finally in the art of Neolithic people, a role that is primarily symbolic, is the main concern of this article. Experts in archaeology have previously studied and analyzed colored figurines, but in this article the classification of these artifacts and finding an answer for the reasons that color is used in them from a sculptural point of view is addressed.