オリエント
Online ISSN : 1884-1406
Print ISSN : 0030-5219
ターク・イ・ブスターン大洞猪狩図の服飾文様の分類と復元
道明 三保子
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ジャーナル フリー

1981 年 24 巻 1 号 p. 49-75

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At Taq-i-Bustan situated in northwest Iran, the relief of Royal Boar Hunt of the larger grotto shows the rich illustration of the late Sasanian textile designs, which decorate the garments of the figures. The sorts of the motifs and arrangements of decorative patterns on the garments are selected according to the groups of the figures.
The vegetable motifs contain a lot of variations, but their forms are reduced into a few groups. The origin of floral designs of eight petals, quatrefoil leaves and chrysanthemum remounts to ancient Mesopotamian and Achaemenid art. The motif of quatrefoil rose succeeds Roman and Parthian tradition. The motif of the tree of life is a Sasanian type. Most of their forms are comparatively simple. As the main patterns of the garments, the vegetable motifs are seen only on the kings and musicians' garments.
On the contrary, the bird motifs are richly seen as the main patterns of the garments. The aquatic bird motifs are seen on the rider-courtiers' garments. The cock, peacock, crane and eagle motifs are seen on the other courtiers' garments. The simurgh motif is only seen on the kings' garments. The sheep and boar head motifs are represented on the partial decorations of garments of the crews of the kings' boats. These animal motifs are not decorated with ribbons and pearl necklaces which are very popular in the Sasanian-type textile designs.
In comparison with the designs of Sasanian-type textiles, the arrangements of main patterns on the garments reveal certain irregu-larities and simplifications. These arrangements are classified into several types, such as arrangements of horizontal row, symmetry, zigzag and diagonal lattice. In the Royal Boar Hunt, there are neither zigzag patterns of the roundels surrounded by a pearl ring, nor zigzag patterns of the roundels enclosing symmetrical arrangements. The simurgh pattern of the Mounted King in the lower section of the rear wall shows the most developed phase in the textile designs of Taq-i-Bustan.

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© (社)日本オリエント学会
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