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Showing 4 results for Type of Study: case report
An analysis of the kilim designs of Koohdasht city and the factors affecting their emergence
Zahra Cheraghi, Habib Shahbazi, Seyed Mehdi Hosseyni Nia, Mohammad Eskandari,
Volume 17, Issue 39 (8-2021)
Abstract
Abstract
Kilim handicrafts are common women's craftworks in some nomadic and rural areas of Iran. These handicrafts have various textures and patterns in different parts of the country, which in some parts are representative of the culture of that region. One of the common arts in Lorestan province is kilim weaving, using traditional patterns that have undergone various changes over time. Some of the prominent features of this art in this region ar symmetry, variety, abstraction, and graphicity of the designs. The designs of Lorestan kilims have been indicants of the people's beliefs, convictions and traditions which have been passed down from generation to generation, for many years. The main purpose of this study is to investigate the patterns of Lorestan kilim and the effective factors of their emergence. The main purpose of this study is to study the most important designs used on the carpets of Kuhdasht city with the influence of the culture of the people of the region and also the effective factors in their emergence. The main questions of this research are posed as follows; How many types of hand-woven kilims are in this region? And which factor has been effective in the emergence of Lorestan kilim's patterns and designs? The research method of this study is descriptive-analytical. Data collection method of the study is library and field. This study deals with qualitative analysis of the studied samples. The results of this study indicate that the patterns woven in Lorestan kilims are as following: Ritual and mythological motifs (cypress, the tree of life (pine) along with chamois, the Mother Goddess, mountain), animal and bird motifs (chamois, horse, rooster, duck), motifs of banquets and mourning ceremonies (dance), plant motifs and motifs derived from religious beliefs (patterns of the Howz). It can also be said that most of the designs used in these handicrafts have been continually inspired by the designs of Lorestan bronze up to this day.
 
Production of Storage Bags in the Qashqai Tribe based on the Anthropology of Art
Shahdokht Rahimpour, Ashkan Rahmani,
Volume 17, Issue 39 (8-2021)
Abstract
Nomadic hands-woven are the most important manifestation of indigenous and tribal art. This is representing a set of social and cultural characteristics of nomadic life. In the Qashqai tribe, storage bags are one of the practical products of the women of the tribe. The production of many practical fabrics has become obsolete due to the change in the life structure of tribe, the settlement of nomads, the migration of a large number of nomads to rural and urban areas, the replacement of cheap goods in accordance with the needs of life. The purpose of this study is to identify the structural and functional characteristics of this type of hands-woven in the Qashqai tribe and to study these products based on the anthropology of art. The data collection of this research is based on field research and library study. The research finding is presented by descriptive-analytical method. Storage weavings in various sizes were chosen as indicators in accordance with the needs of nomadic life. Women artists and the choice of weaving technique of hand-woven fabrics are defined in accordance with their function. The index is a strong sign of the artist’s creative performance and expresses the artist’s agency and the headline expresses the artist’s position. As an indicator, these hands-woven play a central role, which is also the heritage of the tribal community and a factor for the continuation of the weaving style process that has remained to this day.
 
Investigation of the meaning the ansaiant Iranian mythical images on klim Bijar Garous
Hoda Jafari,
Volume 17, Issue 40 (9-2021)
Abstract

Bijar klim, or, garous klims, one of the most famous Iranian klim in the world. Its world-wide repution raises the question that what are the meaning, the images, portrates, mytihcals images and pattern in Bijar klim art? To answer this question, the author of the article has tried to study the design of mythological images of ancient Iran in Bijar Klim Art were teken in to consideration, archaeological, history, garfigh, researches. The purpose of the author is to investigate the mythological concepts and symbols of ancient Iran on Bijar Garous Klim
Methodology was cnonsisted of interviwers with experts  (Klim weavers, Klim Disigners and klim marketer) and literature review(articles, books,journals ) on the the meaning mythical images. The interview framework was semi-structured.
Pupulation and sampels: 200 Klim, 23 Klim experts in Bijar, were selected through convenience sampling and interviewed.
Data analysis: Data was obtained with content analysis.
Results: According to the searches investigation.it can be stayed mythical images drawn on bijar klim are flunced by the western,civilization of iranplatea,.mesepotamia, central Asia, belives, culthural creets, acceptance cermonia l and correspondent  religion, appearning in the mythical. symbold such as animals and plants.
 

A Research on the origin of Sangsar mehrab carpet and its types
Naser Sadati, Hussein Kamandloo, Zari Panahi,
Volume 17, Issue 40 (9-2021)
Abstract

Mahdishahr (Sangsar) located in Semnan Province is the location of residence of Sangsari tribes, which are among the original Iranian tribes. The carpet weaving in the Sangsar area is very old due to the nomadic life, but the urban carpet weaving is probably about one hundred-years-old. Sangsar Rug designs have been influenced by the virtu, tastes, social and climatic circumstances of the inhabitants of the region over the past years, and indigenous and cultural concepts have played a substantial role in the evolution and diversity of the design. Despite having native raw materials and self-painted wools, one of the features of Sangsar Rug is the use of the design and pattern of carpets in reputable areas of carpet weaving that are seen in fewer clans or similar tribes. Sangsari weavers wove various designs such as four-season, lachak (a typical scarf), and bergamot, subsoil, bush, carpet tableau, etc. based on the plan or by modelling (taking patterns) of urban carpets back (tail) of other areas. One of the most diverse designs, Introducing the characteristics and identification of the types of woven altar carpets, available and available in the region in the last one hundred years.which is woven in different types and dimensions in this area, is the mehrab design.


The main question of the research is how the mehrab design is woven in Sangsar region and which geographical areas do the origin of the designs woven in Sangsar mehrab carpets go back to? This research has been carried out in a descriptive-analytical way and in the form of a field and document study, and the purpose of its implementation, in addition to getting to know the method of carpet weaving in the Sangsar region, is to introduce the characteristics and identify the types of woven altar carpets that are available and available in the region. It is the last hundred years.
The findings of the research show that local weavers have been able to design and implement a variety of altar designs such as vase-pillar altar, tree-pillar, tree-animal, vase-cedar, vase-bergamot and two-sided altar-vase with local features according to order or by copying the carpets from the areas such as Qom, Isfahan and Kashan, Hamedan, Ravar Kerman and modeling Sangsar ornaments.
 


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