A Research in Petrography of Nehbandan District, Case Study in Nakhlestan Petrography

Most scholars consider lithographs to be visual arts. Lithographs are one of the important illustrations that allow us to identify the material and spiritual cultures of different human beings. One of the most valuable orthographic collections in South Khorasan is the palm orthography in Nehbandan. The complex has an abstract and figurative role with themes in four single and scattered pieces of rock. Descriptive-analytical research and data gathering tools were done by library and field method. The objectives of the research are to study and introduce palm tree motifs, to compare them with other motifs inside and outside Iran, and to study the semiotics of carved patterns. The present study concludes that the four frames of palm orthography, although differing in role, form, and sign, have been compared by comparisons between the motifs of this orthography with pottery motifs, The work of other seals and petroglyphs - all of which can be said to belong to a continuous period in the second millennium BC. Thematic motifs of the palm grove are thematically classified as vegetative, animal, human, and sign. Symptom analysis indicates that the simplification of the role of image to sign cannot be simply stated without convincing evidence; the present study suggests that the role of the cross may be semantic such as the wheel, the sun, the human, The bird or symbol of eternal life (ankh). It was also stated that the symbol of Ahk (eternal life) in ancient Egypt was used in the form of masculine and feminine percussions on the doors of traditional Iranian houses until the Qajar period.In frame1 there is a stylized plant role and the rest is animal motifs (cattle, goats, dogs, cats and foxes), some of which are portrayed as cavalry, figurative and with real fit. The frame is a narrative of a pastoral life, on the one hand domesticated animals, such as goats and cows, on a single tree, and on the right, a cat and dog image that is fraying, but On the left is a picture of a predatory animal, probably a fox or a wolf, with something in its mouth. The style of drawing of goats is comparable to the pre-historic pottery designs of the fifth millennium BC to different regions of Iran. The image of the horned cow is the only role in the frame, which is perfectly figurative and with real fit. In ancient art the Taurus (Chagasenebil) had a sacred aspect and was a symbol of the Guardian God. Even an animal here may have the concept of totem or divine power. In the first frame only one tree is completely abstracted. This mythical trope is reminiscent of the Tree of Life, the Tree of Life is usually depicted as a single image, and the animal is often depicted as a goat on one or both sides. From the fourth millennium to the Parthian period, the tree of life was represented in literature (such as the story of the Assyrian tree) and other arts.