جستجوی مقالات مرتبط با کلیدواژه « hunting » در نشریات گروه « علوم اجتماعی »

Dogs have been depicted in various scenes and situations in the rock art of the Middle Zagros. Rock art reflects the mentality of our ancestors towards various phenomena and shows their life style. Therefore, due to the various motifs of dog, this animal has been of great importance in the lives of past people and that is why it has been engraved in the petroglyphs and pictographs of most areas of Middle Zagros. The main questions of this study based on these motifs are: What status and value did this animal have in ancient societies? and, in which scenes and subjects are the motifs of dog often depicted? The data of this research have been collected via field and liberary methods and analyzed by descriptive-analytical method. The results show that the dog is depicted as monograph, symmetrically, in groups, in front of the wolf, with other animals, next to human, in hunting scenes and ritual ceremonies. These motifs not only show the predatory nature of dog, but also indicate to its role in improving the human living conditions by participating in hunting, flock protection, companionship in different situations and taking care of its owner in the face of any threat even after his death.

The hunting icon is one of the first function's that mankind has always tried to depict throughout its history. In ancient Iran, hunting has a religious role and has an important place. In the meantime, Mithraism is one of the religions that has perpetuated the notion of hunting through images. One of these images is the scene of Mithra hunting in the altar of Dura-Europos. We see the repetition of this image in Taq-I Bustan and in the hunting scene of the king. To study the continuity of the hunting scene image (the hunter Mithra to the hunter king), we have used the iconography approach of Erwin Panofsky.Continuity and repetition is somehow implied in the image-icon and is the internal logic of iconology, Iconology is one of the most important approaches that has been used in the study of image. That’s why we use this approach in the present study. The main question of the present article is why the bas-relief of the hunter-king in the Taq-I Bustan is the continuation or conceptual continuation of the same idea of the hunter Mithra on the wall painting of Dura-Europos? The research method of this article is descriptive-analytical and the materials have been collected through documents and libraries. According to the two images studied, it can be said that the idea of practical hunting is to show the struggle between Mithra-Shah and the forces of evil, in order to show the victory of good over evil, and in this way practices such as teaching the principles of aristocracy, passing stages of youth-practice,  sacrifice, killing the boar and its associated symbol, etca are continuaously accompaniments of hunting action. The iconology of the idea of hunting shows that the concept of hunting has gone beyond hobby and its mere meaning and has taken on historical, cultural and religious-political values. Moreover it has continued over time and has been repeated and preserved in images like in Taq-I Bustan.

Although the rhino has never been a native animal of Iran, Iranians have long been familiar with it due to their proximity to India and their connections to China and North Africa, which were the main habitats of the animal. Signs of this familiarity can be found in various texts, including geographical and zoological texts as well as Persian poetry. However, due to the small number of rhinos, the distance of its habitats and the few direct observations of the animal, we are faced with different narratives about rhinos in different sources. This diversity sometimes causes the figure of the animal to be drawn as if we are dealing with a creature other than a rhino. Variety in denominations has also been associated with and reinforced this multiplicity. In this article, we try to examine the depiction of this animal through ancient scientific and Persianate literature. One of our main findings is that, as evidenced by several texts and images, some Iranians in some eras considered rhinos to be huge birds. We have tried to demonstrate the process of formation this belief according to the biological characteristics attributed to the rhino to show which ideas played a role in the emergence of this belief. For this purpose, in addition to Persian sources, we have also used texts written in Arabic but in the field of Iranian culture. We have also pointed out that some of the literary depictions of rhino in ancient Persian poetry, such as its fight with elephant, are not made by the creators’ imaginations, but are taken from animal-related sources in ancient cultures, and by searching these sources, one can retrieve the background of such depictions and show their antiquity. It can also be shown to what extent ancient zoological ideas have been the result of a combination of texts with different origins and scientific and cultural exchanges among previous civilizations

Cheetahs are of the endangered species of Iran. Not only are they a part of the natural history of this land, but they play a role in our culture and civilization. Therefore, the present study, using historical sources and references, intends to study the position of cheetahs in the history of Iran and to answer the fundamental question of what position and functions this animal has had in Iranian history. The findings of the study suggest that in Iran’s history, the cheetah has been used as a hunting animal and in some cases was sent to the kings as a precious gift. Even during the Mongol era, a fixed tax was obtained from the provinces where cheetahs lived. In addition, our poetry and prose have been influenced by the cheetah so that many references to it can be found in our literature.

Different types of music in accordance with different human characters and emotions have always been made and performed. Similarly, there have been various music types suitable for diverse wild and domestic animals such as quadrupeds, poultries, and even insects. To put it simply, the behavior of these animals would stay somehow under control through different melodies appropriately-chosen for the nature of each of them. Hunting was one of the activities which music had become integrated with. In the course of hunting, the music by various instruments, either martial or festive (lyric), was played in different purposes. One of the purposes procured by the performed melodies was controlling animals’ movements of the hunter’s volition, which would ease the act of hunting. The hunters had very well understood that a group of animals were attracted to the soft tuneful music they hear, so they would try to approach the sound source; besides, another group hearing the strident sound of ear-splitting musical instruments like horn and drums would become terrified and then leave their places fearfully, which would provide their more exposure to the hunters. Thus, employing musical influence, the hunters would make animals leave their nests and guide them to a desired area for hunting them much more easily and in a reassured way. This paper revolves around the existence of the above-discussed awareness of such an influence together with the pieces of advice and recommendations being made to the hunters in this regard.