Quarterly Scientific-Research Goljaam

“Life Tree” is an evergreen tree which its fruits bring eternity and immortality and is the essence of all trees. This paper is introducing different forms of sacred tree and sacred plant (life tree) on Persian carpets. In addition, through comparison of more ancient concepts of these forms, the principle of continuity of life of this symbol can be taken into consideration on these carpets. At first, this analysis is studying the relationship between life tree with altar and light symbols, an earthen jar, protector animals, lotus and phoenix. The available samples in ancient Persian art and Zoroastrian’s legends are found, then designs of life tree in accompany with these symbols on Persian carpets are introduced. Altar is the symbol of the place of relationship between heavenly world and underneath world, cresset is a symbol of light, lotus is a symbol of eternity and renewal life and earthen jar or flowerpot is a symbol of blessing and rain bringing; phoenix and other protector animals are symbols which according to Persian’s legends, they are related to the concept of tree. On the other hand, the imagination of paradise, which is the basic thought in Persian civilization, and believing in the existence of good or evil tree and life tree in paradise, is one of the effective factors in illustrating sacred tree on garden carpets. In these gardens, cypress tree, willow tree, full of flower and vine trees and also stylized forms of the tree can be found. “Ghabghabi” (frame into frame) designs (belonging to Chaharmahal and Bakhtiari area), repeated patterns of tree and medallion with repetition of tree in four symmetrical directions are also other styles of illustrating life tree in paradise.

 The Safavid Era is considered as the golden age of Iranian carpet history, which in addition to beauty of pattern, motif and color, has yielded worthwhile concepts on its carpets. The lion motif is one of those motifs on carpets of Safavid Era which have been depicted as both a prey and a hunter. Repetition of, and emphasis on this motif, which contains diverse concepts and senses in Iranian and Islamic cultures as well as gnostic viewpoints, raise this question that what concepts are manifested by the motif of lion. Mowlana regards the lion as the symbol of God, God's names and traits, the symbol of fate, people of virtue and saints as well as symbol of Mohammad Prophet, Hazrat Ali, wisdom, thinking and even sensuality. However, in his view, the concept of the lion is further interpreted to be human and perfect human rather than other symbols. A meaningful relationship, in the visual and conceptual studies, can be seen among lion motif in the view of Mowlana and on Safavid carpets. In more than 10 samples of the carpets, where the lion motifs studied in different situation and diverse positions, it was observed and implied that the lion, after unwieldy and difficult struggle, reaches to the center of the universe, i.e. the medallion of the carpet, and finally attain human-like lion degree. This concept also is reflected in the ideas of Mowlana. This study has been performed using library method, as well as the case study of carpets of Safavid using content analysis method and by comparison of samples.

One of the important rural and nomadic occupations in Iran, from ancient times, is the hand of tissues such as Glimm, Jajim and Varni weaving, which has very little information about them due to their raw materials. Meanwhile, there are very few ancient data that can provide information about Iran's hand-woven items. The village of Ace, with its cemetery full of gravestones, is one of the most valuable findings in this area. This cemetery plays an essential role in completing researchers' information about the warp weaving history and its related equipment during the Safavid period. Now, this paper intends to study the instruments of the wool weaving in the graveyard of Ace Kalibar using descriptive-analytical studies and based on field and library studies. This research seeks to answer the following long-term: Aucanian stone fields can provide evidence of rural walnut in the Safavid period and its related equipment? According to this research, it was found that the creation of motifs related to the deceased's occupation was commonplace in the cemetery, and handicrafts such as worn-out professions related to the occupations of this village were found in stone fields, and knitting tools such as Carpet equipment, Duffin, scissors, shoulder and knife on the deceased grave.