Iranian Journal of hand woven carpet

Technology as a Challenge for Hand-woven Carpet

Feisal Mardasi

Hand-woven carpet is among the most important manufacturing product of Iran that is produced mainly for export, and due to its exceptionally strong and artistic aspects, it is very popular around the world, especially in Western countries. The artistic components mixed with culture, customs, traditions, religion and architecture of Iran combined with a high diversity of designs and motifs, patterns and colors, have made Persian carpets not commercial flooring but a valuable brand. For this product, like other products, different technologies are used during the time to meet the manufacturers' needs, although the penetration of technology in carpet is significantly slow. The topic of this paper is the use of technology for weaving in the context of the supply chain that is associated with much controversy. In other segments of the supply chain, including spinning, dyeing, design and painting, payment, promotion, marketing, sale and export, the technology is used with different sensitivities. Here, different view regarding the use of technology in weaving phase of the supply chain has been evaluated. Obviously, due to differences of opinion in this regard, the author finally proposes his recommendation

Classification and Study of the Changes of Qabqabi Design Pattern in Rural Rugs of Chaharmahal and Bakhtiari Province

Peyvand Tofighi

Rugs in Chaharmahal va Bakhtiari have a great variety of design patterns and colors. One of these patterns is the "frame" design pattern that has its own variations. Frame design patterns are created in two ways: brick and Qabqabi. This paper will try to study the Qabqabi design pattern and its variants in rural area rug and its evolution. Variations of Qabqabi design pattern include simple frame, ring frame (cypress pine), Hassan Khani frame, bow frame, samovar frame and rose frame. The research questions include: When the frame design pattern was used for the first time in the area? What are the types of frame design patterns? What are the differences of filling motifs, structures and frame connections in different part of the province? How their evolution has been accomplished? The most diverse samples belong to which area? It has been also tried to use library-based and field study methods for classification and analysis of Qabqabi carpets of the area. For this purpose, the form of the frame, decorations of walls, connections, coloring of the frames, decorations within the frames within frames and the distribution of frames will also be examined.

"Bird" Motif in "Kheshti" Design Pattern Carpets of Chaharmahal and Bakhtiari

neda fakhr

Bird motif has always had an important place in Iranian artworks. Various patterns of birds have been presented in all types of Persian art like carpets. Bird motifs, both in abstract and naturalistic forms, can be found in Iranian carpet design. This paper, after studying the role of bird motif in Iran's art and literature, introduced the formal and conceptual aspects of the motif in "Kheshti" design pattern. For this purpose, some images of Kheshti carpets of Chaharmahal and Bakhtiari have been illustrated. This is a descriptive research and data collection has been accomplished using library-based studies, written literature and images

Studying Graphic Capacities of Northern Khorasan Hand-weavings' Designs

Daryoush Kazempoor

Logo designing is one of basic and scientific topics of graphics which interconnects to other parts of graphics by its own intrinsic characteristics. Instant and visual relationship of these logos with addressees conveys their spiritual and concise interior behind attractive exterior. Mysteries hidden in Persian carpet make it last and eloquently depict the cultures, traditions, cheers and tribulations of people who created it. Iranian hand-weavings and designs applied to them are various and ponderable from region to region and add to rich, mysterious and ancient art of this land; especially designs applied to Northern Khorasan weavings, which are rich. It is obvious that these characteristics provide graphic designer with the formation of a meaningful connection in the form of a favored art, like a multi-directed medium, by using symbolic motifs. The above research is of applied one, in which the possibility of logo designing inspired by carpet designs, regarding spiritual and intrinsic characteristics of Northern Khorasan weavings, is studied.

The Study of the Evolution of the War Rugs in Afghanistan

Hesam Keshavarz

One of the outcomes of the long wars in Afghanistan is the emergence of "war rugs". In this paper, the evolution of the war rugs in Afghanistan has been studied using a descriptive-analytical method and the data has been collected using field study and library-based research. The results of the research indicated that from the beginning to the present time, the war rugs in Afghanistan could be categorized into three distinguished generations. In the first generation of the war rugs, which is related to the time of Mujahidin-Soviet war, we still observe continuance of the Afghan rugs conventions. However, from 1990s onward, the traditional motifs are not commonly displayed in these rugs. In the second generation of the war rugs, often woven by Afghan refugees in Pakistan, gradually the motifs of weapons and military equipment along with the traditional motifs became dominant, whereas, the larger portion of the spaces of the rugs was allocated to the military motifs. Finally, the third generation of the war rugs displayed the patterns and motifs of the events of September 11, 2001 in the United States and their consequences. This generation includes the designs and motifs with the intense political manifestations followed by deterioration of quality for the war rugs.

A Comparative Study of Motifs of the First-century Carpets of the Safavid Era with the Painting in the Same Period Case Study: Comparison of two Certain Carpets

Samad Najarpour Jabbari

One of the prosperous periods of Persian commercial carpet industry is the Safavid era especially the 10th and 11th centuries (A.H.). Governments’ attention to arts and artists and expanding the facilities on the one hand, and willingness of other artists such as illumination artists and Persian painters’ to beautiful designs for carpets, along with the progress of the dyeing industry, provided carpet weaving with a special place in the field of art and industry. The main question of the present study is: Who were the carpet designers at different geographical locations and in different times for various woven products? The main hypothesis in this paper is that in Safavid era, some of carpets were designed by famous Persian paintings artists. For this purpose, a comparative method has been used for comparing two survived carpet samples with the paintings of that era. It can be seen that the most of the arts, including traditional arts and architecture, were closely related at that era which indicate the existence of a unified artistic management in the cultural system of that period, and such responsibility was undertaken by the prominent painters and architects. The comparison of motifs of paintings and carpet may indicate that some of the carpets have been designed by some great painters such as Kamal al-Din Behzad and Aghamirak Isfahani and Soltan Mohammad Iraqi, etc and there are some valuable carpets woven directly under the supervision of these masters. On the other hand, some carpet designers were trained who followed their masters and this indirectly influenced the development of carpet motifs, so that the carpet designers were mostly inspired by these masters in manufacturing workshops.