Mr Hadi Mahmoodi-Nejad, Dr Mohammad-Reza Pour-Ja'far, Dr Mohammad-Reza Bemaniyan, Dr Mojbata Ansari,
Volume 3, Issue 8 (3-2008)
Abstract
Iranian carpet has an allegorical and symbolic sense of heaven and heaven-like gardens which is similar to the descriptions in the Holy Qoran, yet the existing plans and sketches in heaven-like carpets are proportionate to Iranian garden’s design and architecture (especially the Char-Bagh) in the way that it draws an everlasting picture of infinite world and heaven gardens in this world. In Islamic culture the growing path of human is from carpet to the empyrean, human beings come to the world on the carpet and fly to the empyrean and in its highest levels they lean on the best carpets made of silk in the heaven. Based on this research, it has been shown that an allegorical concept of heaven and its gardens in Iranian carpet can be found completely, which are full of Islamic gardens showing the high potentials of Iranian carpet designers in drawing and designing heaven’s spiritual concepts to weave the strings in a way that they deserve the holy concepts and remind us the everlasting heavens which ties us up to the infinite existence of it.
Sakine Khatoon Mahmoodi,
Volume 17, Issue 40 (9-2021)
Abstract
Afghanistan war rugs are of distinct features among the contemporary folk arts and that’s why they are considered very distinguished. Establishing a dialogue with the world about war as a catastrophe is regarded as the most significant feature of such works. Playing a major role in transferring mental ideas of artists, the extant space and rhythms in these hand-woven artifacts constantly fluctuate between two main concepts of war and life, or the imposed and the desired. The present research aims at demonstrating the representation of space and rhythm in Afghanistan war rugs on the basis of Henri Lefebvre’s theory. Accordingly, the main questions of the research would be as follows: How life and war spaces are represented in the Afghanistan war rugs? How the related rhythms of such phenomena have been demonstrated? Having been carried out in analytical-descriptive methodology and on library studies, the results of the essay show that representing the space in Afghanistan war rugs are actually considered an attempt to express self-assertion in power relations. The most important way to fulfill this purpose was offering contrast in the act of representation. While the military elements constitute the dominant rhythm in the rugs, their contrast with other motifs such as flowers, trees and plants, which are indicative of hesitation, tranquility and change in the rhythm, confronts the domination of war.
