تحلیل عناصر نمادین گیاهی و هندسی سنگ قبرهای سفید چاه بهشهر

Introduction: Sefidchah Cemetery, located in Yaneh-Sar, is a part of the Hazarjarib mountain region, which is located in the southeast of Mazandaran province. The date of the oldest tombstone of this cemetery is related to the 9th century AH, which is attributed to the period of Timurid rule in Iran. In this cemetery, each deceased person has two tombstones. A vertical and standing tombstone above the head and a stone below the feet are intended to identify the graves. Usually, designs are carved by the artist on both sides of the stones. This cemetery is considered to be due to the presence of white soil. The name of this cemetery has been attributed to the white soil of Sefidchah village due to the abundance of lime. The tombs of this cemetery are distinguished by the shape and motifs carved on them and the type of grave. The history of the cemetery dates back to the Timurid period. The combination of motifs carved on the graves has given a unique quality to these works.  The patterns carved on the graves and the forms on the raised gravestones have given this cemetery a unified and exciting visual effect. These motifs are closely related to the ancient history and culture of this land and Persian beliefs.
Question: The main problem of the research is to know the symbolic concepts of plant, geometric, and animal motifs carved on the tombstones of Sefidchah Behshahr cemetery, one of the oldest tombs in the north of Iran.
Objectives: It has been noted that there are similarities and differences between the symbolic motifs of SefidChah Behshahr tombs with the ancient works of the north and south of Persian and the meaning of these symbols according to Syntagmatic relations of symbols and what is the relationship with the category of death شrsiane symbolic motifs of Sefidand they have life. The symbolic aspects of the tombstones of this cemetery and its comparison with the ancient works of the south and north of Iran have been paid less attention so far. In this article, an attempt is made to conduct a comprehensive study in this field and to examine the symbolic concepts of these motifs. The research aims to describe and study the semantics and historiography of the symbolic motifs of Sefidchah Behshahr's tombs. A more accurate reading of motifs based on their similarity with Elamite motifs makes the semantics of symbols easier and more logical.
Background: Based on the studies conducted, the plant, animal, and geometric motifs of Sefidchah cemetery have yet to be studied. The motifs of Sefidchah graves have not been compared with those of ancient monuments in north and south Iran. The neighborhood of the motifs in question has yet to be mentioned.
Discussion and analysis: Sefidchah cemetery contains a treasure of unique motifs. Patterns that are unique in terms of diversity, coexistence, and arrangement. Sefidchah tombstones display a series of interconnected and repeating motifs in special formats and combinations that are still recognizable despite erosion. The art of Iranian stone carving artists has provided the basis for the emergence of local and Iranian symbols. These motifs can be divided into geometric, plant, human, and tool motifs. The results of the research show that, despite the crude hand-painted style of these graves, the motifs are comparable to some Elamite motifs in the south of Iran belonging to the 3rd millennium BC, as well as the examples discovered from the north of Iran belonging to the 2nd millennium BC. Among the motifs carved on the graves, the cypress tree symbolizes eternal life, surrounded by a zigzag line symbolizing life-giving waters. The circle is a celestial symbol that can symbolize the rotation and movement of the era. Water is carved on graves in concentric circles with wavy lines drawn. Water has become a symbol of light and purity with the use of geometric signs on eternal graves. The symbol of the life-giving sun is illustrated as a dotted circle, a multi-pointed star, or a radiant sun, a symbol of rebirth, resurrection, and life-giving power. Flowers are reminiscent of ancient rosettes or lotuses, a sign of living in water and connection with light. The bird symbolizes the soul and the sky; it is seen on the graves. The square and rhombus symbol of the earth are also depicted on the graves. The earth, which, according to ancient beliefs, is the mother of creatures, is illustrated with a rhombus and a square symbol. The motifs are arranged side by side under the coexistence system) Syntagmatic relations( In this coexistence system, each role has an independent identity, and the representation of some of them in the center and larger sizes shows the visual and semantic importance of the symbol more. The collection of geometrical and plant motifs of Sefidchah graves has displayed earthly and heavenly symbols, and trees are depicted as a bridge between the earth and the sky. Surrounding the central motifs with the sign of water in the form of a zigzag line or zigzags that irrigate some points reminds us of the importance of water in burial rituals. Therefore, the set of symbolic motifs engraved on the graves illustrated the belief in life and the resurrection of the dead by associating meanings derived from the critical forces of nature, and these symbolic concepts are in harmony with religious beliefs that consider death as a bridge to eternal life and the afterlife.