Dr Abolghasem Dadvar, Mrs Azam Rasooli,
Volume 6, Issue 15 (6-2010)
Abstract
Arab Jinni rugs, illustrate special attitude of their creators who made exceptional and mysterious hand-made weavings. In 1993, Dr. Parham ascertained the name of this tribe as well as their weavings to Persian carpet literature for the first time. Despite unfamiliarity of this tribe in Iran's literature and historical documents, it is mentioned in detail in the lineage books of Arab and Quran commentaries. Apparently in the ethnic and ideological beliefs of this tribe, believe in jinni and tendency to their mysteries is one of the factors that affect their motifs and designs. Recognition of Arab-Jinni tribes and their beliefs, plausible ancestral and ideological relation of this mysterious and unknown tribe with them, totemic tendencies of creators of such rugs, the influence of cultural reconciliation of three important western Asia, Mesopotamia, and Persia-India civilizations on the formation of their motifs are among the most important outcomes of this research.
Dr Ashraf Sadat Mousavilar, Mrs Azam Rasooli,
Volume 6, Issue 16 (9-2010)
Abstract
The study of Sun and Mehr motifs and symbols, their continuity and transformation, related religions and myths in all Iranian pre-historic cultural fields and Islamic period especially in the traditional carpet art is an inevitable necessity in order to get more acquainted with the content of the work. With the change of moon-worshipping custom to Sun-worshipping one, the elements and motifs of the past religion were realized in the elements of the new religion and left many motifs in various arts and particularly in the carpet of different regions of Iran, such as Fars area. Mithraism is the most important related religion with the sun that becomes a global religion and other related symbols with this religion are being illustrated in various Iranian fields, especially Iranian rural and tribal carpet-weaving until today. In this article, the semantic and visual motifs of Sun and Mehr in the Persian carpets and handcrafts have been analyzed by the comparative-analytical as well as library method. By studying various pictures from handcrafts with the required content in various urban, rural and tribal styles, all related motifs were examined in a three-fold categorization. Broad geographical understanding of motifs is among the findings of this research.
Mrs Azam Rasooli,
Volume 10, Issue 26 (3-2015)
Abstract
One of aspects of the carpets which can be studied is their pattern and design, and such a study can be performed based on theoretical and scientific-artistic approaches, including symbol and sign. In fact, by studying and analyzing designs and patterns of carpets on the basis of a semiotic system, semantic signification of them can be analyzed. Accordingly, a carpet with corner-medallion pattern as well as a pictorial carpet among carpets of Hamedan is studied here. Hamedan is one of the most important areas of carpet-weaving, especially in terms of rural style. Pictorial and corner-medallion designs were selected for better manifestation of the differences between symbol and sign, since there are occasionally considered to be identical that and sometimes to be different. Based on what was said, the research question is that "Can the differences symbol and sign be studied in the pattern carpets and to obtain semantic significations in the contest of semiotics? Accordingly analytical and comparative methods as well as desk study method for data collection have been employed. First the theoretical bases of the research have been reviewed and then the selected samples have been studied regarding such theoretical criteria. The results of this research include: understanding the differences between symbols and signs in pattern of hand-made carpets, the effectiveness of semiotic system in the process of analysis of such symbols and signs as well as achieving semantic implications of patterns through conceptual abundance, based on semiotics method.
Azam Rasooli, Seyyed Reza Hosseini,
Volume 17, Issue 39 (8-2021)
Abstract
Time, its concept, and its way of perception and expression are among the topics of interest in different fields of human thought. The way of looking at the time has caused to various opinions about its nature.The carpet artists of the Qajar era, influenced by the process of transformations in different fields, acquired new experiences in designing than in previous periods. Faced with phenomena like time, artists represented it according to their subjective and objective universe and the capacities of the carpet.The problem of this research is the interpretation and understanding of time in the design and pattern of the Qajar carpet as a text medium, based on the proposition of "understanding" in Gadamer's philosophical hermeneutic approach. Based on the necessity of knowing the different aspects of carpets, including the representational capacity and implications of the meanings of the design and pattern of carpets, the purpose of this article is to identify the time, quality, and identity of its types in Qajar carpets.
The main questions for this research are: What does the representation of time look like in the Qajar rug? How to explain the understanding of time and the identity of its types in the carpet of Qajar based on the philosophic hermeneutic of Gadamer? To get answers to the research questions, the five samples of the Qajar carpet pattern were selected by a non-probability method and studied based on the content analysis method. The nature of this research is basic in terms of qualitative research. The method of data collecting is the documentary- library and artworks observation, and the means of collecting information are research sheets and pictures. Based on the findings, time on the Qajar carpet was recorded qualitatively and quantitatively with related signs.Ritual events, mythological thoughts, and traditions, different writings, creating movement and time sequence using spatial contrast, visual elements, reading writings, leveling the work, narrative and its elements, using symbols referring to time, They are one of the generative preconceptions of time.and with denotation and connotation signification and the re-reading of texts absent from the work, they cause mental association and intuitive understanding of the types of time on the carpet. In addition, the dominant discourses in the Qajar period were effective in the way that society and the carpet artist faced the times and its types.King power and authority, nationalism, traditionalism, modernism, myth and religion are among the most significant of these discourses.
