Volume 4, Issue 3, May 2016, Page: 31-35
An Archaeological Study of Petroglyphs in Chapaqan, Meshgin Shahr, Azerbaijan
Mohammad Mirzaei, Department of Archaeology, University of Sistan and Baluchestan, Zahedan, Iran
Ali Karimi Kiya, Department of Archaeology, University of Tehran, Tehran, Iran
Nasrin Alizadeh, Departman of Art, Islamic Azad University of Ramsar, Ramsar, Iran
Siyavash Abdollahi, Department of Archaeology, University of Mohaghegh Ardebili, Ardebil, Iran
Vahid Ebrahimi, Department of Archaeology, Islamic Azad University of Miyaneh, Miyaneh, Iran
Received: May 17, 2016;       Accepted: May 30, 2016;       Published: Jun. 14, 2016
DOI: 10.11648/j.ija.20160403.12      View  3383      Downloads  100
Abstract
Rock arts can be considered as the most ancient representation of human communities’ artwork. Studying petroglyphs is a new research trend among the anthropologists, archeologists, ecologists and decorative arts researchers. Chapaqan complex is located in the northwest of Iran in the east part of Meshgin Shahr, a city near a famous river named ‘Qarasu’. This complex is divided into two sections in Northern and Southern flanks. The discovered petroglyphs in Chapaqan contain goat (Ibex), deer, grooves and cupules. These petroglyphs are created by a stroking method and located nearby the permanent river of ‘Qarasu’. The petroglyphs in Chapaqan have been examined in field and library-based studies and the motifs are categorized into two animal and geometric groups.
Keywords
Azerbaijan, Meshgin Shahr, Petroglyphs, Chapaqan
To cite this article
Mohammad Mirzaei, Ali Karimi Kiya, Nasrin Alizadeh, Siyavash Abdollahi, Vahid Ebrahimi, An Archaeological Study of Petroglyphs in Chapaqan, Meshgin Shahr, Azerbaijan, International Journal of Archaeology. Vol. 4, No. 3, 2016, pp. 31-35. doi: 10.11648/j.ija.20160403.12
Copyright
Copyright © 2016 Authors retain the copyright of this article.
This article is an open access article distributed under the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/) which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Reference
[1]
Fərəcova, Məlahət, 2007, «Qobustan Çalaları», Azerbaycan dövlət nəşriyyatı, bakı.
[2]
Hurshid, Shaghayegh, 2007, Introducing Shahar yeri Petroglyphs (Arjaq Castle), Ancient Studies Journal. 3.
[3]
Izadpanah H. 1969. Prehistoric paintings in caves of Lorestan. Iranian Archeology and Art Journal 4: 6–14 (in Persian).
[4]
Karimi, F, 2012. Arasbaran Petroglyphs. M. A Dissertation of Art History, Islamic Azad University, Shabestar Branch, Eastern Azerbaijan.
[5]
Kazempur. M, Eskandari. N, Shafizade A, 2011, The petroglyphsof Dowzdaghi, Northwestern Iran, Documenta Praehistorica XXXVIII, Pp 383-387.
[6]
Laura Goran, Andre. Known and unknowns in art history. Translated by Nourladin Farhikhte. Pousheh, Bija, Bita publication.
[7]
Naseri Fard, Mohamad, 2007. Stone Museums, rock arts (Iran’s petroglyphs). Arak: Navay-e Danesh Publication.
[8]
Nurullahi, Ali, and Sara Alilou, 2011, Shepherding in the northwest: The petroglyphs of Gery Kouh (two horses) at the foot of Zanjan Mountain, The Culture of Zanjan Journal, The Culture and Islamic Guidance Organization, Issue no. 31-32, pp 73-103.
[9]
Rafiefar, J, 2002, Arasbaran Petroglyphs (Sungun). Anthropology Journal. 1 (1). P 44-75.
[10]
Rafiefar, J, 2005, Arasbaran Petroglyphs. Tehran: Anthropology Research Institute publication.
[11]
Rafiefar, J, 2009, Rock Art in Northwestern Iran, Hurans (Laqlan) Petroglyphs. Archeology, Research Institute publication.
[12]
Rüstəmov C. (1994), Qobustan dünyası, Azərnəşr, Bakı, s. 173.
[13]
Sinay, Sue, Anne, 2001, «Rock Art Native American Indians Southern California», Manhattan Beach. California, USA.
[14]
Tolstoy, Leo, 1977, What’s Art? (Trans. Dehgan, K). Tehran: Amirkabir.
Browse journals by subject