Visual Metarepresentation of Painted Pottery of Cheshmeh Ali II & III and Tape Pardis
Since works of art and the universality of art originate on the one hand in line with society and on the other from the human tendencies, so archeology and even anthropology, certainly cannot express human's senses, but based on the material evidences left, some ideas can be put forward. In fact, archaeological evidences and cultural artifacts have the task of transmitting information. Therefore, studying and comparing the cultural materials of different sites is important as one of the most useful and effective approaches in archeology and art in tracking and understanding the cultural interactions of one another. In the present study, 12 samples of painted pottery fromTape Pardis and 6 painted samples from periods II and III of Cheshmeh Ali in the central plateau of Iran were metarepresentationed to identify the extent to which Tape Pardis's printed pottery motifs are influenced by Cheshme-Ali's printed pottery motifs, because motifs are one of the main sources in metarepresentations and over-representations. The results of this study show that the pottery maker of Tape Pardis has considered the main basis of his pottery decorations as Cheshmeh Ali motifs. This descriptive-analytical research was carried out through library studies and museum's specimen research. And the motifs in each area are analyzed separately and finally the motifs of both areas are metarepresentationed together. Since works of art and the universality of art originate on the one hand in line with society and on the other from the human tendencies, so archeology and even anthropology, certainly cannot express human's senses, but based on the material evidences left, some ideas can be put forward. In fact, archaeological evidences and cultural artifacts have the task of transmitting information. Therefore, studying and comparing the cultural materials of different sites is important as one of the most useful and effective approaches in
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