Showing 5 results for Goljaam
Expert Goljaam, ,
Volume 18, Issue 42 (9-2022)
Abstract
Iranian pictorial carpets, beyond their decorative function, embody narrative, cultural, and political dimensions. A prominent example within this artistic tradition is the pictorial carpet of Mirza Kuchik Khan Jangal, which features a heroic depiction of Mirza at its center, accompanied by marginal inscriptions. These inscriptions consist of poems in a local dialect with epic themes that, in terms of both style and content, are associated with the Kashan region and reflect the discourse of national resistance.Adopting an intertextual and semiotic approach, this study examines the interaction between calligraphy, the marginal poems, and the central image in this carpet, analyzing the meaning-making role of the Nastaʿlīq script in shaping the work’s visual message. The research is based on a descriptive-analytical method and content analysis of the artifact.The findings indicate that calligraphy in this piece functions not merely as a decorative element but as a conceptual and narrative agent that guides the viewer’s perception of the image and reinforces the social, political, and ideological messages of the work. From this perspective, the Mirza Kuchik Khan carpet can be regarded as a successful instance of integrating traditional art with the discourse of national resistance.
Expert Goljaam,
Volume 18, Issue 42 (9-2022)
Abstract
The Persian carpet is one of the most prominent cultural, historical, and economic symbols of Iran, holding a distinguished position in the country's history and national identity. This unparalleled art form, with deep roots in Iranian culture and history, is recognized not only as an artistic and functional commodity but also as an integral part of everyday life and a symbol of national identity across various cultures. The central research question of this article is: “How has the Persian carpet been able to simultaneously shape national identity, social values, and economic impacts within Iranian society as both an art form and a cultural commodity?”
Adopting an interdisciplinary approach, this article examines the historical development of the Persian carpet, from the Pazyryk carpet as the oldest known example to the flourishing of carpet weaving during the Safavid era, and its influence on Iran’s economy and cultural interactions in the contemporary period. From a sociological perspective, the study analyzes the role of carpets in reflecting the beliefs, values, and cultural symbols of Iranian society. Persian carpet motifs, such as boteh jegheh, Shah Abbasi floral designs, and arabesque (eslimi) patterns, embody religious, mythological, and natural themes that reveal the profound Iranian worldview toward nature, culture, and history.
In traditional societies, carpets were not only regarded as essential household items but also served as indicators of families’ social, economic, and cultural status. From an economic standpoint, the Persian carpet has been one of Iran’s most significant export commodities, playing a crucial role in foreign exchange earnings and job creation, particularly in rural areas. The carpet-weaving industry, largely centered on home-based workshops, has contributed to the empowerment of women and the intergenerational transmission of skills, thereby supporting the sustainability of local communities. However, in recent years, this industry has faced several challenges, including competition from low-cost products, shifts in global consumption patterns, and reduced governmental support.
The findings of this study indicate that the Persian carpet, beyond being an artwork or a commercial product, is a cultural heritage that has played a vital role in shaping and consolidating Iranian identity. Emphasizing the historical and social values of this art, alongside supporting the carpet-weaving industry, can contribute to its preservation and promotion at both national and international levels. This research highlights the necessity of revising supportive policies and improving the global introduction and marketing of Persian carpets.
Expert Goljaam, ,
Volume 18, Issue 42 (9-2022)
Abstract
Carpet bags, as both artistic and functional expressions within the realm of handicrafts, possess deep cultural roots across various societies and have gained particular prominence in Iran. These products represent a fusion of traditional weaving techniques and modern design, serving not only as utilitarian items but also as carriers of cultural, aesthetic, and historical significance. Globally, several studies have explored the transformation of old carpets into new products such as bags, shoes, and interior decorations, reflecting the globalization of handicrafts and their redefinition in modern contexts.
Nevertheless, a research gap remains in the historical analysis of carpet bags in Iran and other countries, particularly regarding their cultural, stylistic, functional, and formal dimensions. This qualitative, descriptive-historical study conducted without a hypothesis—aims to investigate the historical and cultural trajectory of carpet bags in Iran and worldwide. Data collection was carried out through library and documentary methods, and the research adopts an interdisciplinary approach to analyze the intersection of traditional art and modern design throughout the historical development of this product.
The study begins with a review of bag design history across various cultures, followed by an exploration of the global evolution of carpet bag design. It then focuses on the Iranian cultural and social context to examine the transformation of carpet bags in terms of utility, aesthetics, and performance. Key factors such as lifestyle, the role of women in handicraft production, ethnic and cultural dynamics, and the impact of commercial and cultural exchanges on stylistic diversity and form are central to this analysis.
Findings indicate that carpet bags are not merely consumer goods but symbols of cultural and artistic identity. The most vivid representation of their historical transformation can be found among Iran’s nomadic tribes, where these items reflect daily life and cultural beliefs.
Expert Goljaam,
Volume 18, Issue 42 (9-2022)
Abstract
Iranian hand-woven carpets are an ancient art and a living legacy of Iranian culture, nature, and taste. The quality and authenticity of this art largely depend on the type of raw materials and traditional dyeing methods, which have their own characteristics in each region of the country. This research aims to scientifically and descriptively investigate the raw materials and natural dyes used in Iranian hand-woven carpets and analyze their role in preserving the authenticity and economic development of this art. The research method is a combination of library studies and field observations in several weaving regions, including Azerbaijan (Maragheh), Kashan, and Khorasan. The findings show that natural wool with colored dyes is used, pure silk and vegetable dyes such as ronas, indigo, sperak, and walnut shells, which provide high brightness, durability, and stability to traditional dyed carpets. In addition to artistic value, the continuation of indigenous dyeing methods can be used as a strategy for creating interior space and sustainable development of local communities. This article, along with current traditional challenges, provides solutions for its revival and standardization.
Expert Goljaam, ,
Volume 18, Issue 42 (9-2022)
Abstract
Handwoven carpets have maintained their position among the arts of Iran from ancient times to the present day and possess considerable value. Iranian artists have played a significant role in preserving this art and, through creativity in design and motifs, have enabled carpets to embody numerous concepts in addition to their aesthetic aspect, concepts that may originate from beliefs, convictions, and myths. One of the important designs that became widespread during the Qajar period was pictorial designs, outstanding examples of which can be observed in the Hushang Shah and Prophet Solomon carpets. This research was conducted using a descriptive–analytical approach and by utilizing library sources and reliable websites. Four examples from Safavid Shahnameh manuscripts and twelve carpet panels were selected in order to analyze the Hushang Shah and Prophet Solomon carpets and answer two questions: (1) How is the depiction of demons, from the perspective of design and color composition, represented in Qajar-period carpets? (2) What similarities and differences exist between demons in carpets and those in Safavid-era manuscript paintings? Regarding the design of demons in Qajar pictorial carpets, they are depicted as semi-nude, spotted, unspotted, and with either small or large bodies, and are predominantly white in color. Through the examination and comparison of demons in pictorial carpets with Shahnameh illustrations, it was determined that, in terms of clothing, they wear skirts (in contrast to Shahnameh illustrations, in which both nude and semi-nude demons are present), and they are generally rendered in a more angular and geometric manner, while ornaments are rarely observed. In terms of color composition, the most common color found in both carpets and Shahnameh illustrations is white, although diversity of colors can be observed in both categories (carpets and Shahnameh manuscripts).
