فهرست مطالب مهدی حسینی نیا

The present study deals with the analysis of motifs and relative comparison of the exposed gold cup from Ahmad-Bigelo village, Meshginshahr city with samples obtained inside and outside of Iran. This object was discovered and recorded through unauthorized excavations in 2013. Due to the fact that no research work has been done on this object, therefore, conducting such a research in this field in order to determine the function, construction technique, comparison, relative dating, analysis of the symbolic motifs used on this work of art. It seems necessary. The methodology of this article is in the form of a comparative and analytical-descriptive study, and the method of gathering information is also in two library and field methods. The analysis of the dating of the Meshkinshahr gold cup with domestic and foreign examples has been done in two cases: 1- the form and material of the container, 2- the decorations used on the cup. The results of the research indicate that the way of thinking and beliefs of the artists had a significant impact on the use of motifs on the cup. In fact, these motifs are ritualistic and express concepts It has been like fertility. Comparable samples of Meshkinshahr golden cup; There are Marlik Winged Cow Gold Cups, Hassanlou Cups. According to the analysis of motifs and its comparison with the samples found, the results obtained from the research show that the relative chronology of the Mushkoofeh cup belongs to the end of the 3rd millennium to the beginning of the 2nd millennium BC. And the illustrations and symbols engraved on the Meshkinshahr cup are a representation of the customs of welcoming spring in Azerbaijan with the presence of the Mehri ritual.

In different regions of Iran, numerous rock arts are obtained and the large number of them have been described and studied in various magazines and books. The rock art of Aqrablu in Bokan-Shahindej and karafto cave in Divandarreh, located in West Azerbaijan and Kurdistan provinces, are the valuable petroglyphs in the west and north-west of Iran. This study was based on literature review and field surveys. In the petroglyphs of Aqrablu and karafto, four-figure of antelope, picture or symbol of the altar, rhombic pictures and horseman’s picture who are shooting in the back of his head are analogous and comparable to each other. According to this, it can be proved that petroglyphs inside the cave (at least some of them) and Aqrablu’s rock art has belonged to a common culture and engraved by the same group of old artists and have been made in common time. Thus, according to the relative chronology which inferred on karafto motifs, a part of the designs belongs to the Parthian period and after that, it can be concluded that the Aqrablu’s petroglyphs also belong to the same historical period.