Showing 6 results for Shirazi
Mr Ali Vandshoari, Dr Ahmad Nadealian, Dr Aliasghar Shirazi,
Volume 6, Issue 17 (3-2011)
Abstract
Globalization as a part of modern economy has been of huge controversies in different countries including Iran. Since Iran is attempting to increase its non-oil exports and its presence in global markets. Enduring in this competitive worldly market necessitates evaluation of tastes and creation of new markets for the products. Accordingly Iranian hand-woven carpets are among the top exports of the country is looking for a proper position in global trade. Traditional production and concentration on out-dated designs beside blind-weaving and neglecting the customers taste in target markets are the main reasons of the recession in its trade that are in an urgent need of reconsideration. Although carpet is of a great artistic value, its commercial value ought to be kept in mind as well. Studies show that there is a huge gap between carpet production in Iran and its marketing and evaluation of potential customers' taste around the world. It seems as if lack of interest in utilizing modern information technology tools among Iranian carpet traders abroad has caused them not receive enough information about customers' taste and as a result fail in relating the tastes and domestic production. This survey type descriptive study attempts to collect data through field, libraries and internet.
Dr Ali Asghar Shirazi, Mr Hesam Keshavarz,
Volume 7, Issue 20 (3-2012)
Abstract
In the late of the Qajar era, a Persianized Iranian royal family of Azerbaijani Turkic origin which ruled Persia from 1785 to 1925, the Isfahan carpet design was revived by some of the artists such as Mirza Aqa Emami and Mohammad Hossein Mosavver Al-Molki. One of the leading artists in the late of the Qajar period and the early of the next period, Mohammad Hossein Mosavver Al-Molki, known as Haj Mossaver, was an innovator whether in painting or carpet design. However, the traditions of the Safavid painting and design are dominant in his works. He revived the hunting design which belonged to the previous periods specially Safavid era in the Isfahan carpet. In this paper, the Mosavver Al-Molki’s hunting designs is studied with a descriptive-analytical method and the paper’s data is collected through an observational and library-based research. The study revealed that his works were not a mere imitation. He changed the horizontal composition of the Safavid hunting carpets to the vertical composition. As a result, a high horizon was created in the hunting scene. Haj Mosavver had a realistic perspective in his designs and so, he solved the problem of the separation between the nature of the field and the elements of hunting scene in traditional hunting carpets via converting the vines and palmettos to the small bushes and shrubs. In fact, his work was a logical relationship between the contemporary carpet design and the Safavid’s.
Mrs Mahmonir Shirazi, Mrs Mina Talaei,
Volume 8, Issue 22 (3-2013)
Abstract
As a result of expansion of relationships between Gurkanian (Indian Muquls) and Safavid Kings, we can see some impacts of Iran on Indian carpets, illustrations, architecture and related arts. Some of the motifs in carpets were spread to India during Gurkanian Era. This paper tries to find out the direct or indirect influences of depicted carpets’ motifs in Persian paintings on Indian arts. So the questions are: What is the reason for the representation of Persian carpets in Indian miniatures during Muqul era? What are the represented motifs from Persian carpets in Indian miniatures? The applied research method is descriptive- analytical via library data collection. The results show that, Indian kings’ interest in arts, the relationship with Safavid Kingdom, and immigrations of Iranian artists to India in Shah-Tahmasb’s Era, are the reasons for representation of Persian carpets’ motifs in Indian miniatures. The represented carpets’ motifs in Indian miniatures besides the influence Iranian artists' exercise represent the nativity of vegetative motifs in either abstract or natural forms depicted by Indian artists
Dr Aliasghar Shirazi, Mr Hesam Keshavarz, Dr Habibollah Ayatollahi,
Volume 9, Issue 24 (3-2014)
Abstract
Arab tribe in Fars,which is a branch of Khamse :::::union:::::,enjoys ancient carpet-weaving tradition. All weavers of this tribe belong to Arab Jabbare :::::union:::::. It haslearnt Fars tradition of carpet-weaving sinceadoption of Islam by Iran and has transformed it accordingly. Because of the pastoral and nomadic life, some kinds of bag weavings have been woven by them. Carpetbag is the most important and current crafts of Arab tribe. This kind of weaving is the same as carpet and it is made in one or two leaves in square form for carrying loads. This paper tries to study the features of color, motifs and texture of carpetbags of Arab Jabbare in Fars. The research method is descriptive-analytical one and data collection is conducted in a combined way by desk study and fieldwork research. The findings show that weaving method consists of symmetrical knot number 3, twofold woof and colorful binding. Also dyeing method is “dark in the dark” which is the tradition of this Arab tribe and is used more or less in carpetbags. The motifsare divided into two groups: the first group which is based on small or large motifs organized to form a regular or irregular patternscontaining two birds, tree or all birds’ motifs. The second group contains a general pattern - often a regular one –where all other motifs are arranged in that framework and contains urban motifs of Fars and other regions. Arab weavers have also used patterns like Four-Fishes, Soori Flower, Bush, Bracelet pattern and Moharamat in their special tribal method for these carpetbags.
Davood Shadlou, Phd Ali Asghar Shirazi,
Volume 13, Issue 32 (autumn and winter 2018)
Abstract
During 19th century a wave of orientalism culminated and lots of orientalists departed for the eastern lands with various motivations. They started to research and write on the eastern societies, cultures, civilizations and arts, including carpets. Historiography, study of motives and designs and weave-geography of eastern carpets were of the most important points orientalists focused on. This paper is to recognize and study on the orientalists’ resources and their approach to the Iranian carpet and also to find their faults.
This is a documentary research and its method is descriptive and analytical. The statistical population is the orientalists’ available written works (books, articles and exhibition catalogues) which are written between 1850 and 1950. The method of analysis is qualitative.
The research’s results indicate orientalists’ approaches are categorized into two basic groups (Berlin and Wien Schools), but their written works cannot be assumed as historiography, but as historical sources.
The main defects in orientalists’ studies are: their mere focus on museum carpets and library studies, inattention to empirical research, assuming their data and results as definite facts, determining false weave places for carpets, faults in dating, inattention to the carpets’ origins and cultural grounds. However, the Iranian researchers are deeply influenced by the orientalists’ researches and historiographies, and this paper focuses on these influences.
Karim Mirzaqee, Ali Asghar Shirazi, Mohammad Ali Rajabi,
Volume 15, Issue 35 (9-2019)
Abstract
Although carpet has a very long history in Iran, the purpose of this article is to study one of the most important periods of Persian art history before the Safavid, Turkomani Period; and one of the most important ways to know these period carpets is the reports of European tourists, especially the Venetian merchants' from Tabriz, pointing to the beautiful rugs of the Blue Mosque and the silk-woven rugs of the Uzun Hasan courts. In addition to these reports, the pictures of carpets can be seen in the paintings of that period, a typical examples of which are Big Head Shahname, Khamse Nizami and Khavaran Neme belonging to the Turkomani period.
And since the Turkmen era, is a prelude to one of the most important periods of the Iranian regime, the Safavids. Therefore, the emphasis on conducting research on Turkmen carpet can be the source of many ambiguities in the carpet of the later period. Therefore, one of the reasons for this research was the lack of special attention to the Turkish carpets by the researchers. Although the study of pre Safavid carpets has its own problems, the lack of carpet documentation and the lack of attention of experts in the field to Turkmen carpets are among the research problems of this section.
Despite these problems, the present article can lead to the recognition of the carpets of this period of transition and important. Other goal of this research is extraction of roles and drawings that have the essence of Turkomani carpet and are considered to be the starting of Safavid carpets. In this regard, there have been some research questions, including: What are the characteristic of Turkomani carpets' motifs? and what effects do it have on Safavid carpets? Research method is historical- analytical-descriptive in the search for fact; the collection of information is a library.
