Kalmakra Cave is located 20 kilometers northwest of Poldokhtar city in south of Lorestan. The unique location of this city has always played an important role in the relationship between the inhabitants of Suziana Plain and the Central Zagros Mountains from the past. The two mountain courses of the Meadow and the Great Mountain are one of the most important mountains in the city. Kibir Kouh along the right bank of the Seymareh Sea, with its 260 km stretch, formed a high wall whose areas are located east and northeast of the Pishkhouh, and the areas in the west and southwest of it are called Noskouh, and disappear along the southern shore of the Shosh valley. 2 Also, the two major rivers of Seymareh and Kashkan, which had been pre-historically important in the life of the inhabitants of Lorestan, were in a place called Cham Mehr in the southwest of Poldokhtar, crossing the valley of the present-day city, and from it So it’s just the name of Seyyar.
Classification of Kalmakra objects according to their shape and application
- Simple and no role play
- Cups and Cups
- Livs and cytols (drinkers)
- Containers
- Amphoraea
- Rhytons
- Human and animal sculptures
- Zombie sculptures
- Jewelry
- Ceremonial instruments
- Decorative and symbolic objects
Classification of the objects of Kalmakra on the basis of their concepts and their mythological features:
- Symbolic figures (king and hero)
- The concepts and symbols of the symbolic and mythological creation
- Mythological Beings (Supernatural Beings and Animals)
- Elements of nature (plants, plants, and water)
- Miraculous ceremonial instruments and mythological motifs on objects
The Treasures of the Kalmakra Cave are royal dishes with a ceremonial ritual application, which is a manifestation of an aristocratic and feudal rule of the Elamite Iranian culture, which reveals the ideology, power and glory of the kings of Samathara. Based on the available documents, identification of the components of the motifs, the combined relationship and in general, their narrative interpretations were addressed as much as possible, and in the analysis of the imprinting of objects from written documents, information about the diversity of plant and animal species, species Dishes, a variety of threads and ingredients on the dishes. The artistic style of Zagros, which emerged in the late 2nd millenium, peaked in the first millennium BC. Kalmakra’s artistic style relies on a richly-based system of symbols, and the role of animal beings has been used abundantly. By studying this role, the social rank and ideology of the owners of this treasure can be determined. Calmacre’s art is neither elementary nor simple, these objects have an art style that, in addition to the artistic rituals of the local, influences the influence of several influences, and it may be possible to explain the contribution of each of the alien methods that the Assyrian And Ilam had the greatest influence on the art of Calmacre.
The art of the Kalmakra Lorestan is an innovative institution in which one combines elements derived from aliens. It shows the effects of cultural exchanges and exchanges between different regions. The art of Kolmacor Lorestan is the result of the ethnic and cultural combination of the Iranian and Elamian immigrant peoples and the integration of different cultures and religions. As next to the works Artistic composition, the arts and religions of different ethnic groups remained relatively independent and preserved. These objects were sometimes made simple with a decorative role and sometimes as a very beautiful artwork with different designs. The creation of these motifs has greatly influenced the attitudes, beliefs, customs and customs of this people. They believed in various gods, and each God was considered a factor of nature, which would have displayed it on their own objects.
Mangaloo Forest Park “Tang Shabikhon”
Although the understanding and interpretation of Lorestan artwork is not an empty one, it is a great contribution to following the old traditions of Iran, because without the works of Lorestan it can not be interpreted the works of the great civilizations of the historical period, such as the Medes and Achaemenids. The major feature seen in these objects is the same use of animal shapes. Faith and belief in animals and their metaphysical power are the primary element of primitive religions, a type of totemism. This worship has been due to the value of animals in human life. The followers of the rights in Lorestan still believe in the transfer of spirit from the human body to the animal body and vice versa, to reincarnation, and believe in the giants and the demons and the like, sometimes as animals and sometimes as human beings.
Most of mythological concepts in Calvary art are the creation of the battle of light and dark. Their light and darkness and their marvelous qualities in neglect of each other inspired myths, myths, poems and beliefs of ancient Persia. Light is a good symbol of knowledge and generosity and darkness is a symbol of evil, ignorance, theoretical narrow, and darkness. This thought has been rooted in believing Zoroanism in Lorestan.
The god of Zervan is the father and mother of light and darkness, whose most ancient role on the bronze vowel of the first millennium (L) was discovered in Lorestan. Also, in the symbolic art of Kalmaka Bin-e-Mai, efforts to achieve eternal life are quite visible, and the trace of my thoughts, myths and myths can still be seen in the myths and myths of Lorestan. Myths are the intuitive vision of primitive societies and the first man’s interpretation of the world and nature. The paintings of the Mirmolas and the Lorestan dash indicate that humans have been helped to express my thoughts and emotions of mythology. So myths have nothing to do with narrative but metalworking, painting, sculpture, pottery, and even ritual dances all have some sort of mythological aspect.
Sources
Dr. Seyyed Mehdi Mousavi, Faculty Member of Tarbiat Modares University, Tehran, Unknown Unknown rulers of Ilam New era in Lorestan (first millennium BC). Journal of Scientific and Research of History. third year . No. eighth
Dr. Javad Nivandi, Faculty Member of Tarbiat Modares University, Tehran, Unknown Unknown rulers of Ilam New era in Lorestan (first millennium BC). Journal of Scientific and Research of History. third year . No. eighth
Leila Khosravi, Ph.D. Student, Historical Archeology (Pre-Islamic), Tarbiat Modares University, Tehran, Unknown Unknown rulers of the Ilam New era in Lorestan (first millennium BC). Journal of Scientific and Research of History. third year . No. eighth
Leila Khosravi, Assistant Professor of Historical Research Group of Basta Research Center, Institute of Cultural Heritage and Tourism, Tehran, Iran. An Analytical Study of Symbolic and Mythological Symbols in the Art of Calvary Lorestan. Journal of Fine Arts – Visual Arts Volume 20, Issue 2, Summer 2013.
