Showing 8 results for zakariaee kermani
Mr Seyed Mohammad Mehdi Mirzaaamini, Dr Iman Zakariaee Kermani, Dr Mohammad Reza Nili Ahmadabadi,
Volume 13, Issue 32 (autumn and winter 2018)
Abstract
Handmade Carpet has very importance roles in economics of the country and resilient economy. This importance by of features the artistic, economic and other characteristic. In this time, Academic education plays an important role in the growth of this arts-industries. Therefore, it is essential to accurate assessment of the course. In this study post graduate course in carpet was evaluate at based on CIPP model. The research methodology has been quantitative-qualitative and statistical Society are master Students, graduates and professors in course study. This research was carried out with questionnaires of 219 samples in four dimensions of necessity, infrastructure, purposes and needs. A randomized sampling method was selected from the administrated universities. The validity of the questionnaire was 816/0 by alpha Cronbach. In additional to statistical population 23 experts were interviewed. The interview by social snow ball method and sample saturation. The result shows the necessity this course is confirmed. But cultural and labor market infrastructure have not been considered of this course and needs review. There is also a significant difference between the view of the labor market and academics needs to substantial in both.
Dr Iman Zakariaee Kermani, Badri Hakimian,
Volume 14, Issue 34 (3-2019)
Abstract
Artistic guild systems can be considered as one of the most important factors in the formation and survival of traditional arts, that is the continuation of the system of master and apprenticeship. In structure of traditional arts, artistic families are one of the components of these guild systems. Hence, we could to consider artistic families as a potential for the preservation and excellence of traditional arts. If we have a passing overview to artistic families, it will be clear that many artistic experiences and secrets pass from one generation to the next. Kerman can be considered as one of the cultural regions in the southeast of Iran from the millennia; therefore, the contexts for the growth of traditional arts has been provided in this cultural ecosystem throughout history. The rug and carpet waving is one of the most important traditional arts in Kerman. An important part of the cultural tradition of Kerman carpet is dependent on the dynamics and richness of artistic families and among the numerous artistic families in history of Kerman’s carpet, Shahrokhi's family has a significant position.
In this research, the main purpose is to answer this question: what is the role and position of artistic families in Kerman carpet with emphasis on Shahrokhi's family? Therefore, in order to achieve the main goals of the research, qualitative research method (interpretive) has been used and the data of this research have been gathered by documentary and field method (interview and observation). The results of this study have been derived from the conventional content analysis of informal interviews with 10 informed individuals in this field.
One of the most important results of this research is that the artistic families are cultural-socio-economic capacities that can boost the cultural and artistic levels of handmade carpet in Kerman. In addition, the strengthening of artistic families will strengthen the cultural values and identity of the community. The role and position of the Shahrokhi family artists in society of Kerman carpet is dependent on value systems and cultural field. In this field, economic and cultural capital causes changes in the social degree of artists and changes social degrees shape the dynamic position of them in the cultural systems. The role of artists also depends on their positions; therefore, degree, position and role are three components that are continuous and related to each other in relation to the role and position of the Shahrokhi family artists.
Mr Seyed Mohammad Mehdi Mirzaaamini, Dr Iman Zakariaee Kermani, Dr Mohammad Reza Nili Ahmadabadi,
Volume 15, Issue 35 (9-2019)
Abstract
Handmade Carpet education at the university was based on the requirements for bachelor in 1996 and was approved the master course in 2010. One of the Carpet supporters concerns about creating and development this course, was curriculum, faculty, students and resources science. This research is aimed at studying the inputs of the carpet master according to the CIPP model, quantitative and qualitative method with researcher and interview. Also, statistical society in quantitative section is students, graduations and professors at universities. This section possible sampling method was 264 selected. Also quantitative section statistical experience carpet 46 sampling. Incremental analysis the result of qualitative used by thematic analysis and results of qualitative used by descriptive, inferential and statistical. This results show this inputs master if the carpet is low level and needs are review this fields in the meantime, the variable is in four the ranking. Evaluation and review curriculum on based with changes in society and students. Also, attraction of a specialist carpet expert is on of the research propose.
Miss Atefeh Heidari Soureshjani, Dr. Iman Zakariaee Kermani, , ,
Volume 15, Issue 36 (3-2020)
Abstract
Bird motif is a commonly used figure in the art of this country especially carpet weaving and is found in different parts of carpets and in various forms and concepts. This indicates the importance of this creature for people. Bird motif has long been widely used and in various forms in carpet weaving, this local, ancient and venerable art. Many of these bird figures have symbolic meanings and have special positions in the culture and the literature of this country. These symbolic meanings may include concepts such as victory of good over evil, luck and prosperity, spring tidings, pleading for fertility and rain, and mystic and religious concepts. There has been an inseparable connection between Persian carpets and bird motif in various forms because Persian carpets are a visualization of paradise or heaven. Bird motifs are seen as a symbol of soul, flight and freedom and this is the underlying reason behind the relation and connection between carpets and bird motifs. Most of these birds are weaved realistically or as abstract figures on tree branches in Persian carpet, sometimes flying and sometimes sitting. Chaharmahal va Bakhtiari is one of the regions which uses bird motifs realistically or as abstract figures in designing carpets. This study begins by providing a short explanation about carpets and bird motifs as well as a giving a comparative semiotic explanation on the role of bird motifs. Bird motifs designed in the art of carpet weaving in Chaharmahal va Bakhtiari are shown in a table, firstly according to their type and then their form. A classification of the bird’s positioning in the carpet of this region and its relation with the other birds and animals and also its combination with other elements is also provided. The symbolic companionship of the sacred tree and the bird and its role in the carpets of Chaharmahal va Bakhtiari are presented. Finally the studied sample in the carpet of Chaharmahal va Bakhtiari is analyzed.
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.
Elahe Sheikhi, Iman Zakariaee Kermani, Farhad Babajamali,
Volume 16, Issue 38 (2-2021)
Abstract
The art of weaving in the territory of Iran is a part of the cultural identity of it`s people. The traditional handicrafts of Sistan and Baluchestan are also considered as an important aspect of this identity. Apart from design and color, many other dimensions of carpet production in this region can be considered as their cultural-religious characteristics. Since the study of the semantic dimensions of an artwork in terms of its creator is much more recognizable,
the present study aims to identify the unknown aspects of the indigenous culture and beliefs of the producers of these crafts by visiting the case study, and it also tries to answer this question that what is the correlation between indigenous rugs of Sistan and Baluchestan and their creators’ cultural traits and religious values.
This research has conducted direct observation and interviews with the natives with the approach of art anthropology and the methodology of ethnography in the region, and then through data coding in three levels of open, axial, and selective coding has attempted to classify them.
The results show that elements comprising the carpets in the Sistan and Baluchestan region, from their initial stages to the end, have wide semantic dimensions so that even the most trivial of them have deep roots in the culture and beliefs of its natives. Specific rituals for weaving, belief in sore eyes, composing special poems during weaving, washing ceremonies, etc. are a part of this elements. In this province, apart from its practical aspects, carpet is considered as a sacred commodity, and although there are obvious cultural differences among the people of Sistan and Baluchestan, the similarity of some beliefs regarding carpets shows the unity of the primitive roots of carpet weaving among the two main groups of inhabitants in this region.
Seied Mohamad Reza Tabasi, Iman Zakariaee Kermani,
Volume 17, Issue 39 (8-2021)
Abstract
One of the rugs of Houshang Shahi, which has some different visual elements from other rugs in this category, is a rug called Houshang Shah with Western diplomats. The simultaneous presence of the mythical king of Iran and the foreigners in a modern dress in this rug, as well as how it can be related to the active elements of this text, is an issue that has been less considered so far. The main hypothesis of the research is that the visual elements of this rug have features and meanings that by referring to the related pretexes, it is possible to read the text, understand the communication aspects of the actors and its social interpretation. The aim of the research is to gain an understanding of why the past and the present are intertwined, to identify the distinct visual elements that exist, to understand the relationships of the actors, and to identify the pretexts that have influenced the designs of this rug. Research method and theoretical framework of this research is the method of social semiotics of the image of Gunter Kress and Theo van Leeuwen. The main results of this article include changing the time of the inscription on the carpet, the impact of objects represented from the royal thrones and the architecture of the marble columns in the Qajar era, reproducing the concepts of Farah Izadi and the qibla of the world, wishing to return to the authority of mythical kings Influence of pre-texts such as ancient lithographs, Iranian painting, classical literature and Persian folk tales, recognizing the reasons for proximity and the relationship of heterogeneous actors with possible scenarios, the similarity of the emergence of elements of modernity with the court, the relationship of choosing Houshang Shah as The first legislator with the current of legalism in Iran, the inspiration of the inner border of the carpet from the margins of printed works, the importance of composition and accuracy in using colors and lines in creating meaning, classification and classification of characters, the effect of framing in showing our concept And another and the importance of representing the image in the Qajar era.
Seied Mohamad Reza Tabasi, Iman Zakariaee Kermani,
Volume 17, Issue 40 (9-2021)
Abstract
Abstract
Pictorial carpets in the Qajar era are of the important sources that have shown their capacity to reflect various aspects of modernity, including the concept of nationalism, in the Pahlavi era also reflects other aspects of this concept. This paper explores the various aspects of the concept of nationalism in the pictorial carpets of the Pahlavi period. The main question is what are the characteristics and implications of the nationalist aspects reflected on the pictorial carpets of this period? The research method is qualitative and of historical-comparative. As a result, the concept of nationalism in the body of studies is influenced by the three complex aspects of geography, archeology and remedial issues, the written aspect is influenced by poems and slogans, and the identity background influenced by celebrities of science and literature that the first two cases are directly related to the concept of king, monarchy and sometimes religion, and its royal aspect is highlighted, and in the latter case, this link is more patriotic. elements are sometimes mixed together and sometimes presented independently. On second thoughts, it is clear that some of the combinational aspects of these elements in the carpets promote a kind of monarchical nationalism that can be called royal nationalism. On the other hand, the findings indicate the impact of new educational and cultural institutions in the study; It also represents the use of the lion and sun emblem as a nationalist symbol that has identity, governmental and popular aspects in pictorial carpets. An honor that can be given global effects by writing the inscription introducing the memorial in English language. Other findings of this paper is the existence of a relationship between the pattern and inscriptions of carpets with nationalistic concepts, Synchronized with the changes had occurred in the Pahlavi era and with the developments of the Qajar era are diachrony. it can be said that the historical recognition of nationalism in the pictorial carpet depends on understanding the intertwined relationship that existed between the newly established institutions of the Pahlavi era and its social contexts
