Showing 8 results for keshavarz afshar
Mr Mehdi Keshavarz Afshar, Dr Samad Samanian,
Volume 3, Issue 8 (3-2008)
Abstract
A new trend of weaving pictures in Qajar era is considered to be a revolution in the art of carpet-weaving whether from viewpoint of form or concept. These pictorial rugs were intended to be spread on the floor no more, but they were woven for visual satisfaction, exactly as pictures. These pictures are like an encyclopedia of the cultural life of that era, which covers beliefs, culture and life of the people and can be employed for discovering unknown aspects of their culture and outlook. This paper has amid to understand and find the meaning of one of these rugs, namely "Mary and Jesus Christ" by analyzing it using Erwin Panofsky's iconographic method for finding different meaning layers. The paper concludes that the above-mentioned rug has the function of an icon and for fulfilling its "monumental" and "didactic" objectives makes use of Islam doctrine, Qoran's verses and Iranian mystical art and literature. At the end, in search of deep and concealed meanings of this icon hidden beneath its different meaning layers and for finding its "artistic desire" and cultural reasons for its creation, this article shows the votive objective of this rug as a means of obtaining offspring and conforms the public's belief in miraculous power of the icon.
Phd Mehdi Keshavarz Afshar,
Volume 11, Issue 27 (9-2015)
Abstract
Dr Alireza Khajeh Ahmad Atari, Dr Mohammad Taghi Ashori, Bijan Arbabi, Dr Mehdi Keshavarz Afshar,
Volume 11, Issue 28 (3-2016)
Abstract
Regardless of its architectural features, garden is one of the key concepts in Persian art history from the ancient times to the Islamic period with a significant role in different arts, especially in architecture, from conceptual, formal and also contents-based points of view.
The main aim of this research is a comprehensive study of garden concept and its significant role in Safavid art and culture.
This paper is to question the status of garden in the role of epistemology and thought concept in forming many of movements and artworks of Safavid period, esp. in the art of carpet weaving.
This Historic, descriptive and analytic research with its library-based data collection method practices Michael Foucault’s discourse theory and ideas of Laclau and Mouffé to analyze the gathered information.
Results show that regarding its conceptual, determinant and regulative characteristics, the concept of garden is an epistemological discourse in forming the configuration, concept and context of Safavid art. Accordingly, garden is a dominant discourse in art and rugs of Safavid period.
Mrs Maryam Soltani, Dr Mehdi Keshavarz Afshar,
Volume 12, Issue 29 (9-2016)
Abstract
The French elements and motifs have been entered to Iran art through building moldings. Meanwhile, importing postcards and chocolate boxes having European stencils ,have had important role at stencils of carpet .At the period of Gublan in Kerman province ,by the request of America for using French Golfrang and Gublan,the structure and elements of Kerman carpet was influenced by Aubusson and Savonery carpets.
In this article , by study these two types of carpet, we try to show the relationship between French carpet stencils and the Gublan period carpet in Kerman and by comparing the resemblances and differences to show: How much the Kerman carpet has been influenced by the French carpet, whether the designers copied the designs or incorporated them.
To achieve a precise and accurate result,56 samples of Gublan Period carpet in Kerman were collected by field study .Also 70 samples of French carpets were photographed by library method .By comparing these designs through descriptive, analytical and comparative methods ,their different and common aspects were surveyed and specified that no copy has been done and at the Gublan period ,the Kerman designers have been influenced by French carpet design. In some cases adaptations used ,have resulted to innovation of new designs.
With regard to the similarities between the composition and structure of these two types of carpet, in spite of French carpet ,the colour used in Kerman carpets are bright and opaque.
Though the basis of French carpet design has been originated from the East ,but in comparison to Kerman carpet, less porportions have been observed.
Dr Alireza Khajeh Ahmad Attari, Dr Mohammad Taghi Ashouri, Mr Bijan Arbabi, Dr Mehdi Keshavarz Afshar,
Volume 13, Issue 31 (spring & summer 2017)
Abstract
Despite the fact that many branches of art and craft were affected by the ideas of Western modernity in the Qajar era including painting, architecture, poetry, literature and handicrafts, carpet-weaving art preserved its cultural traditions and mainly represented its traditional motifs and designs. The present paper aims to study the economics and the situation of carpet-weaving in the Qajar era, to understand how production relationships and the presence of foreign companies affected the development of the traditional carpet weaving of Qajar era, and also to know what the role of consumer markets of the West was in the preservation of traditional design and motifs of carpets in this epoch. This research is a historical-descriptive- analytical research in terms of nature and method, where desk study method has been used for data collection. The research reveals some results which show that an increase in the exports of Qajari carpets as well as the presence of foreign investments in the carpet-weaving areas of Iran, resulted from the impact of the Western consumers markets, were decisive factors in maintaining and the preservation of traditional designs and motifs of Qajari carpets.
Mrs Mahla Mirzaei Baghini, D.r Mehdi Keshavarz Afshar,
Volume 13, Issue 32 (autumn and winter 2018)
Abstract
Kerman nomadic hand-woven carpets, woven without a detailed advance plan, is today one of the less discussed issues in the industry. Rafsanjan, Raviz carpet is among hundreds of nomadic carpets with significant authenticity and different motifs, including tree, mecca, flower pot, boteh, brick, medalion. The tree motif is one of the most beautiful features mainly seen in carpets woven in this area with different types the major one of which is cypress. By examining the structure, the present study aimed at identifying the major marginal and central motifs, their local name, and what changed over time? In which part of the carpets the changes can be found? To provide correct answers, the sample included 40 carpets woven based on the target motif collected by photography. The study was a descriptive analysis. The result indicated that the motif was first 2/1 tree, and changed over time into 2/1 medalion and 4/1 in some cases. The most visible changes are in the medalion motif of the carpet which was first cypress and changed over time into a diamond-shaped medalion. A major motif in the carpets is sini a triangular form woven at the bottom of the carpet. The motif includes plant, animal and bird motifs.
Faezeh Ghomlaghi, Iman Zakariaee Kermani, Mahdi Keshavarz Afshar, Bijan Arbabi,
Volume 15, Issue 36 (3-2020)
Abstract
Iran is an ancient country with very rich culture, art, and history. People who reside there have different cultures and religions. One of the most important and classical art in Iran is carpet which dates return to many years ago. This art has an appropriate background to presents images and symbols that show beliefs, traditions, social changes, religious thought and etc. By various images and patterns on Persian rug, it is a proper commodity for presentation and communication with individuals and societies that are different with each other in the eyes of religion and culture.
The rug that Naser al-Din Shah donated his Jewish doctor, Nur Mohammad, is one of these rugs which has religious images and symbols. Nur Mohammad was Jewish doctor of Naseri Court who survived after an attempt, then Naser al-Din Shah presented him with this rug as a gift. So, this is assumed that this carpet is able to communicate with different societies and religions. The purpose of this paper is to reading the symbols and analyzing the concepts of this rug and answer to this question: What is the relationship between existing images and Judaism principles and doctrines of this rug.
In this paper, by using of discourse analysis which has become an interdisciplinary attitude nowadays, it is endeavored to read these symbols and compare them with the Holy Bible and other available information in written sources, by talking to persons who are aware of Judaism's concepts and patterns.
The results of this research demonstrate that existing images on this rug adopted from the Holy Bible of Jewry and artist demonstrates holiness and importance by using of the Holy Bible's part or parts repeatation, or with painting greater picture of important religious persons who have special importance for Jewry.
Fateme Torkashvand, Mehran Houshiar, Mehdi Keshavarz Afshar,
Volume 15, Issue 36 (3-2020)
Abstract
The advent of digital implements and techniques in the modern world, has changed the quality of the human life and also has influenced the traditional art of the nations. The traditional design as the most important step which the artistic creation take place in, has been affected by these evolutions and specially the arts like carpet are being influenced the most. Due to the two decades passing from entrance and stabilization of digital implements and techniques in Iran carpet design, it is indispensable to study their impacts in order to identify the threats and opportunities of these new tools in traditional art. On the other hand, artists and experts of this scope are the most competent references to evaluate the quality of these impacts. Accordingly, this study has been conducted to determine the impacts of digital implements and techniques on the traditional design through analyzing the ideas of the experts working in Iran carpet design scope. This is a qualitative research and its data has been collected through the library and the field survey methods by the in-depth interview with 9 persons of carpet design experts and artists and has been organized by Delphi method. Then they have been analyzed in the framework of grounded theory. The consequences of this study show that the carpet design experts have a consensus on synthesized attitude, admission of computer as a necessity or an opportunity and using it to preserve the artistic and cultural identity.
