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Showing 37 results for Motif
Mrs Naimeh Jalilian, Mr Seyyed Aboutorab Ahmadpanah,
Volume 8, Issue 22 (3-2013)
Volume 8, Issue 22 (3-2013)
Abstract
Carpet is one of the oldest and most ancient traditional arts that in addition to satisfying practical needs, reflects beliefs, myths and other conceptions. These concepts are manifested in the context of rugs, with colorful and beautiful motifs informed by inspiration. In this paper, in addition to identification of animal motifs in the rural rugs of Hamadan, these motifs have been classified as quadrupeds, birds, and aquatic animals. Moreover, ritual - mythical roots of such motifs have been studied. Among animal motifs, some birds (falcon and peacock), some aquatic animals (fish and turtle and crab) and livestock (goat), all have the concept of blessing and fertility.
Mr Seyed Mohammad Mehdi Mirzaamini, Mr Daryoush Kazempour,
Volume 8, Issue 22 (3-2013)
Volume 8, Issue 22 (3-2013)
Abstract
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.
Mr Hossein Ghorbani, Mrs Khadijah Daiezadeh Ardakani, Dr Nazila Daryaei,
Volume 9, Issue 23 (9-2013)
Volume 9, Issue 23 (9-2013)
Abstract
Culturalattitudesduringdifferentperiodsare associated withmythologicalbeliefs ofthe people, however,regarding culturaldivision, each period contain a particularconcept. Hand-woven motifsand mythsinproportion to the categoriesof motifs in Persiancarpet are dividedinto several types, mostimportantly mythicfigureas plant and animalmotifs(Daryaei, 2003, 83). It cannot be saidthat such motifs oncarpetsare exactly equal to the interpretation ofthe concepts thattoday'sgreatestmythologists,sociologistsand historianspropose. Behind these motifs, there lies a written language of people who have experienced the powerto transfersuchideasin therealmofcolor andwool.One of themost importantartisticvaluesin Persian rugsis their motifs, and howwe can identifythemythic valuesof such motifs?GholtoughVillageinZanjan Province is one of the importantcarpet-weaving areas in Iran. Carpetart-industryhas prevailedin the areafor a longtime andhas survived until today,soits designs and motifscanberooted in thepastperiods.Carpetsof Gholtoughvillageasa manifestation ofthe richart and cultureof this landhave beenabandoned for years.Thus, in order torevivethis art, a closer look atthefactorsaffectingitsplasticity, its originaldrawingsanddesigns and its maincharacteristicsis necessary, so that its symbolicandmythicalconceptscan be identified, and imagination and of puredreamsofits weavercan be describedand understood.The aimisto identify themythic valuesof motifs in Gholtoughcarpetand to find needed information.This studyis historical, descriptiveandanalyticalin terms of method. Accordingly, firsta brief historyof Gholtoughvillagewill be provided and technical characteristicsandappearance ofthe carpets in the areaare studied.Finally, aestheticfactorsare describedwhich are the cultural and intellectualgrounds for mythologicalmotifson the carpet.Sample size for motifs of Gholtoughcarpethas been 9samples.
Mrs Leila Nafisinia, Dr Mohammad Taghi Ashouri,
Volume 9, Issue 23 (9-2013)
Volume 9, Issue 23 (9-2013)
Abstract
It can be said that a part of our cultural-artistic identity and even national identity is interwoven with carpet. Persian carpet history has been glorious and brilliant,and the artisans of the field, relying on rich and prolific past and the road which has been taken, can inspire innovation to keep it alive. Thus, one of the tasks of the researchers in this context is introducing the rich past of Persian carpet and its historical identity. This paper is based on desk and fieldstudyand aimed to study historical-artisticproperties and semiotics of one of the most famous motifs in carpets,i.e. Harati motif within the geography of Iranian carpets. The questions which are to be answered include: What is Harati motif? What is the origin that motif? And what are the types of Harati motif?
Mr Mohammad Reza Rahideh, Mr Meysam Aghighi Hatamipour,
Volume 10, Issue 25 (9-2014)
Volume 10, Issue 25 (9-2014)
Abstract
Glancing through the works and the images inherited from the past civilizations in Iran, we will find out that ibexes have always been valuable animals among Iranians. Not only because they provide human with a good source of food and clothing, but also since they had always special sanctity among Iranians as a symbol for making wishes, praying for water, productivity, fertility as well as protective angel. That is why its images have been used in a variety of ways such as images used on potteries, mental works, stamps, cave paintings and hand-woven works in people’s lives throughout history. Ibex’s motif is one of the most important images used in Kermanshah’s felts. This ancient motif is considered as the main characteristic of this area’s felts and makes it different from other felts. In this paper, the authors have conducted a study on the ibex’s motif on Kermanshah’s felts to answer that questions that "What are the types of this motinf on the mentiond felts?" and "What are their concepts?" The main purpose of this paper is to conduct a study on the concepts of ibex’s motif in the Kermanshah’s felts and provide a typology of this motif on Kermanshah’s felts. A descriptive-analytic approach and field study-library based data collection were the research methods used in the present study. The most important result obtained from this study is that the Ibex’s motifs on Kermanshah’s felts have a deep relationship with the notions of water and the tree-of-life, because of the semantic relationships of them in mythology.
Mrs Elham Shamsaei,
Volume 10, Issue 26 (3-2015)
Volume 10, Issue 26 (3-2015)
Abstract
An influencing idea finally develops and gain fame, if not in its own time, certainly in a short period of history. Likewise Suhrawardi's philosophy, within less than a century, has had such an influence in various areas of philosophy, literature, art, culture, etc. in Islamic world especially Iran. "The mediatory world" (Ālam-e Methāl) and "the eighth territory" (Eqlīm-e Hashtum) is the very point of intellectual strength in Suhawardi's philosophy which has made it influential. Suhrawardi's mediatory world (a subtle mediator between spiritual and material worlds) and its cities can be considered in associate with the mythical city of Kang Dej to help us in finding out how symbols, in the sacred art of carpet-weaving, are in a way related to this mediatory world. But, why rug? Simply because no other art like carpet weaving has kept its ancient motifs till now without losing its popularity. Although rug is used to cover a ground but it represents a celestial earth, and makes a place sacred, as it is subject of traditional science of sacred geography. The symbols which are in common between the mediatory world, structure of a traditional house and rug have the same spiritual concepts for traditional human. Toranjs (medallion) and Shamsas (roundel) as symbols of rugs are representation of sun and ultimately remind us of the metaphysical notion of center. Lachaks (ecoincon) are entrance gates, hashiyas (border) are fort of the spiritual city, and guls (flower) and buttas (arabesque) and all other symbols have their own role in representation of this subtle city. In this paper we will see how philosophical and mythological point of view can assist one to interpret rugs. Whatever man makes shows his approach to the reality and determines his intellectual power and social circumstances under which he has grown. Kang Dej is an Iranian vision of "the ideal city" and refers to the state of paradise in traditional ideas. Kang belongs to mediatory (or subtle) realm of existence; the tradition, representing it on earth and material realm, illuminates a sacred place in urban planning, architecture, and art. One of these illuminated forms is the art of carpet weaving along with its motifs and symbols.
Phd Elyas Saffaran, Mrs Fatemeh Ameli, Mrs Tayyebeh Sabaghpoor,
Volume 10, Issue 26 (3-2015)
Volume 10, Issue 26 (3-2015)
Abstract
Birjand is located in the east of Iran and is the center of South Khorasan province. Birjand's carpets have its own characteristics in terms of motifs, coloring and structure that are outlined in this paper. Tiny fish is among the most widely used and popular motifs on the carpets of Birjand. This original and old motif is woven now in more than half of such carpets and can be seen on approximately ninety percent of exported carpets from Birjand. This paper attempts to study changes and developments in these carpets, in terms of design, motif, coloring, size and number of knits during recent decades of the present century using a descriptive method. Data collection for the study was conducted using desk study as well as interviews, observation and photographing some samples of tiny fish carpets. Tiny fish is a motif consisted of a central square with a eight-leaf flower and two leaves (abstracted fish) around it that has been evolved over several decades in the form of continuous, adobe-shaped, as well as corner-medallion. Over time, the original structure of the motif has remained unchanged, but its size has been reduced. Change of color from dark colors like blue and red to bright ones such as white and pale yellow is another change occurred in recent decades in tiny fish carpets of Birjand. These changes are mostly due to market demand, i.e. to meet the expectations of the customers, and sometimes due to the tendency of the weavers to weave more simple and economical designs, which in turn has led to change or persistence of some of the forms of tiny fish.
Mrs Akram Bakhshi, Dr Ali Vandshoari,
Volume 12, Issue 29 (9-2016)
Volume 12, Issue 29 (9-2016)
Abstract
Kurds of Khorasan regions live in its northern regions and are called kurmanj. During the rule of the Safavid dynasty, Kurds of Turkey, Syria and Caucasus in west Azerbaijan were moved to Khorasan to evade invasions of the Ottomans and were settled there. This movement of Kurds from Western Iran to northern Khorasan and their adjacency with Balooch and Turkmen people influenced their carpet weaving traditions. The present paper attempts to investigate the structure of designs and motifs and diversity of genuine Kurdish rugs in Khorasan region. This descriptive analytical study takes a qualitative approach to study the elements like Medalion, corners, field and border motifs in designs and motifs of Kurdish rugs of both Northern and Razavi Khorasan provinces. The statistical population of the study was both Northern and Razavi Khorasan provinces and its main concentration is on Kurdish provinces. As a result, our towns and 13 villages in Razavi Khorasan province were investigated along with 6 towns and 21 villages in northern Khorasan. The data for the study were collected through library studies on the history of this ethnic group and rug samples were collected via field studies conducted by the authors. it was concluded that designs and motifs in Kurdish rugs of Khorasan are highly varied; yet, the structure of designs and motifs are similar. Motifs used in these rugs are taken from everyday objects, plants, flowers and, in some cases, even abstract concepts of human nature. The study also revealed that some of the designs and motifs in Kurdish rugs of Khorasan region are genuinely unique products attributed to specific individuals and their motifs are geometrical and mental shapes modeled after nature and beliefs. However, these motifs have changed compared to Kurdish rugs from northwestern regions of Iran.
Mrs Habibeh Sharif, Mr Parviz Eskandarpour Khorami, Dr Asghar Fahimifar,
Volume 12, Issue 30 (3-2017)
Volume 12, Issue 30 (3-2017)
Abstract
The design of rug and carpets (kilim) have artistic values and capacities which are not known enough for the artists and scholars. As some of such motifs belonging to the carpets of the city of Jiroft have been extracted by the creative mind of artist without any direct connection with the nature, this paper focuses on such motifs which are similar to natural elements in their visual representation and names. This article aims to study the degree of influence and inspiration, obtained by these motifs from nature through a historical, descriptive and analytic approach.
As a conclusion it could be said that all of the motifs and colors belonging to such carpets have been attached with the cultural traditions and beliefs of the local artists. In addition, the usage of abstract motifs of animals and plants of Jiroft reveal the high influence of the environment on Jiroft weavers.
As a conclusion it could be said that all of the motifs and colors belonging to such carpets have been attached with the cultural traditions and beliefs of the local artists. In addition, the usage of abstract motifs of animals and plants of Jiroft reveal the high influence of the environment on Jiroft weavers.
Mrs Mahla Mirzaei Baghini, D.r Mehdi Keshavarz Afshar,
Volume 13, Issue 32 (3-2018)
Volume 13, Issue 32 (3-2018)
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.
Shahdokht Rahimppour, Abolghasem Nemat Shahrbabaki,
Volume 14, Issue 34 (3-2019)
Volume 14, Issue 34 (3-2019)
Abstract
Tablecloths are used to make bread and tinned food, which is woven by women in numerous rural areas and nomadic tribes. Sistan and Baloochestan province is one of the important areas of plafond in terms of texture and design. The decline in the production of tablecloth, which is affected by the environmental, economic, life-changing and neglected indigenous capacities of women's art in this region, Forgiveness has been part of the cultural and social identity of the art of this region. Therefore, this study was conducted for the first time with the aim of studying the texture structure and table tiling of Sistan and Baluchestan. Data collection was done by field study and library, and descriptive-analytic research method. The results show that the texture structure of the tables is simple, combined, and rolled in three ways. The layout of the tablecloths of Muharramat, Katshad, Terrani, and Infected, and the fifteen columns of the Tablets was identified. The most used images are used in the sense of immortality and rainworship.
Karim Mirzaqee, Ali Asghar Shirazi, Mohammad Ali Rajabi,
Volume 15, Issue 35 (9-2019)
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.
Miss Atefeh Heidari Soureshjani, Dr. Iman Zakariaee Kermani, , ,
Volume 15, Issue 36 (3-2020)
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.
Aigin Mardani, Sadredin Taheri,
Volume 16, Issue 37 (9-2020)
Volume 16, Issue 37 (9-2020)
Abstract
After a survey on one hundred and thirty samples of Kurmanji Kilims and extraction of their natural motifs, this study is trying to propose a typology of this motifs and characterize their methods of composition. The data reviewed in this article, have been gathered in a field and documentary research. The patterns of the Kurmanji Kilim can be categorized into four groups: 1. Natural motifs, 2. Motifs derived from tools of everyday life, 3. Abstract motifs, 4. Geometric motifs; which natural motifs are the most numerous and diverse group among them. Due to the Kormanjs dependency on geographic and environmental factors, nature has become a tremendous and mythical power in their minds. Natural motifs in Kurmanji Kilim are classified into three groups: 1. Animal motifs, represented in figurative, imaginary or symbolic styles (such as peacock, duck, chicken, cock, eagle, camel, deer, ram, dog, goat, butterfly, sparrow, fox, etc.); 2. Plant motifs (such as dandelion and different kinds of flowers, trees or herbs); 3. Motifs taken from natural phenomena (such as: star, spring and mountain). Relationship with nature is also obvious in the composition of these motifs on a Kilim. Most of the context patterns are more directly related to the weavers’ everyday life, while margin patterns are usually inspired by the nature around their tribal life or their symbolic and imaginary thoughts.
Maryam Sheikhzade, Mohammad Azamzadeh,
Volume 16, Issue 37 (9-2020)
Volume 16, Issue 37 (9-2020)
Abstract
Ghelimche Metkazin village in addition to the abundance of role, mentally woven and of a simple structure. The variety of animal and plant designs and understandable geometric shapes and the creation of creative design during the drawing of motifs on the margin and the text and the way weavers adapted from the nature and environment of life and the re-imaging of images has led to a variety of designs in the pattern of drawing, while The visual and internal lines and actions add to its visual value. The purpose of the research is to achieve design methods in the process of recreating motifs and visual values.In the direction of research, the following questions have been answered: how is the process of recreation of motifs in Metkazin Ghelimche, how have different design techniques been carried out, and what are the visual values of these motifs? To study and study, eight samples were selected from original Ghelimche and analyzed by descriptive-analytical method and field study and interview. The results of the research indicate that in the direction of recreation of motifs, two realistic and abstract methods have been revealed. Realistic motifs, due to the direct adaptation of nature, are free of any creative recreation and visual value, however in an abstract way, the designs have been drawn in two ways abstracting and pure abstraction. In the abstracting method, the simplification of the motifs is observed and with little reflection and thought for the audience is understandable, and of course the visual value of the quality and promotion of the designs are effective. In a pure abstraction (elaborate), the role of the objects in the process of recreation, in a fundamental way, is based on the inner essence of the forms, and the visual value lies in the designs based on a kind of aesthetics and is not simply conceivable.
Mehri Taherei Moghaddam Noghabei, Alireza Sheikhi,
Volume 16, Issue 37 (9-2020)
Volume 16, Issue 37 (9-2020)
Abstract
Pillows are small fluffy woven fabrics that are prepared (filled with fibers such as cotton or rug fluff) and after that the fabric is used for leaning in the parties. Due to lack of comprehensive research on woven works in Gonabad town, this article aims to investigate and classify the motifs of Gonabad pillows and their meaning and implications, in a descriptive way, in order to achieve the categorization and recognition of motifs. After conducting library and field research, it has been attempted to find an answer to these question that: what can be categorized for local woven works? What is the role of culture, customs and common traditions on these works? The findings show that in addition to Baluchi, Arab and Turkmen motifs that are the result of migration, invasion or immigration to this part of Khorasan, local motifs derived from the customs and beliefs of the region play an important role in these textures. Local motifs can be found in the vegetation of climate such as wild flowers, Mohammadi, saffron and tulip, wheat and barley. Among the trees Cedar, Pine and Majnoon (insane) Willow could be pointed out and all the plant motifs are a symbol of endurance, beauty and desire for blessing and ailment. The animal motifs in the form of goats, deer and rams symbolize hardiness and perseverance, and lion is a symbol of the Ashura religious ceremony. Among birds, roosters and pigeons can be seen as being an early bird, and a messenger in the desert for people, although quail, pheasants, sparrows, and others are also found. Human motifs have played a role in the position of the business and the work of people, beliefs and the desire for happiness are the motifs for newly wed brides.
Behzad Vasigh,
Volume 16, Issue 37 (9-2020)
Volume 16, Issue 37 (9-2020)
Abstract
Carpet is one of the most important textiles man-made. The rug represents the aspirations and interests of the people who weave it. Therefore, recognizing the image in carpets can be a window into recognizing these ideals. In this research, Bakhtiari rug is investigated. Bakhtiari rugs (toranji, yalameh and cetral) are textiles produced by Bakhtiari people of choharmahal-o-bakhtiari province. The research method is based on the combined theory of grand theory and case study. A model was developed to investigate carpets by combining Kaplan and Gestalt methods. The Gestalt concept is based on perceiving reality in its simplest form. The various laws are called laws or principles, depending on the paper where they appear but for simplicity's sake, this article uses the term laws. These laws took several forms, such as the grouping of similar, or proximate, objects together, within this global process. These laws deal with the sensory modality of vision. Attention restoration theory or kaplans model asserts that people can concentrate better after spending time in nature, or even looking at scenes of nature. Tasks that require mental effort draw upon "directed attention". People must expend effort to achieve focus, to delay expression of inappropriate emotions or actions, and to inhibit distractions. That is, they must concentrate on the higher task, avoiding distractions. Performing the actual task also requires other knowledge and skills. Based on this model, carpets are examined. The results show that Bakhtiari carpets do not use one method of expression and differ significantly. However, in cases such as symmetry, overlap and similarity, they have used the same approach.
Rezvan Ahmadi Payam, Effatolsadat Afzaltousi, Mahdi Keshavarzafshar,
Volume 16, Issue 37 (9-2020)
Volume 16, Issue 37 (9-2020)
Abstract
The border in Iranian carpets is an embossed and decorative frame embedded around the weaving. The presence and necessity of using borders in the sales of different historical periods is a noteworthy point through which the independence of the structural elements in the most basic sales can be identified. By examining the existence of borders and their quality in the products belonging to the pre-Islamic periods, we can consider answering the following two questions:
What are the relationships between the motifs components, dimensions and size of the borders and the context of the studied carpets?
What is the position of the borders in the oldest examples, especially the tied piled samples?
The collection of information in the present study is based on library data and the research benefits from a descriptive-analytical method. By studying various resources such as written documents, image of carpets reflected in other arts, and examining a few of the surviving handwoven fragments, the existence of borders in examples (piled and flatwave) belonging to pre-Islamic periods was recorded. The proportions between the border and the context of the carpets (piled) was examined in terms of type of motifs, size and proportions in proportion with the context. The research population in this study is pre-Islamic weavings that can be studied are 6 samples piled and flatwave. Pazyryk carpet, as the oldest example, has a visual relationship and full coordination of the role in the borders and background, and this point was reduced in the products of the Sassanid period. The dimensional proportions of the border and the background of the Pazyryk carpet are far from the principles of modern border design in the carpet, but in the Sassanid examples, these principles are more closely related to the current rules.Visual qualities in the Pazyryk carpet can point to the presence of borders in artistic productions with a doctrinal and cultural theme. But in Sassanid examples, the border is reduced to the size of a decorative frame without visual qualities.
What are the relationships between the motifs components, dimensions and size of the borders and the context of the studied carpets?
What is the position of the borders in the oldest examples, especially the tied piled samples?
The collection of information in the present study is based on library data and the research benefits from a descriptive-analytical method. By studying various resources such as written documents, image of carpets reflected in other arts, and examining a few of the surviving handwoven fragments, the existence of borders in examples (piled and flatwave) belonging to pre-Islamic periods was recorded. The proportions between the border and the context of the carpets (piled) was examined in terms of type of motifs, size and proportions in proportion with the context. The research population in this study is pre-Islamic weavings that can be studied are 6 samples piled and flatwave. Pazyryk carpet, as the oldest example, has a visual relationship and full coordination of the role in the borders and background, and this point was reduced in the products of the Sassanid period. The dimensional proportions of the border and the background of the Pazyryk carpet are far from the principles of modern border design in the carpet, but in the Sassanid examples, these principles are more closely related to the current rules.Visual qualities in the Pazyryk carpet can point to the presence of borders in artistic productions with a doctrinal and cultural theme. But in Sassanid examples, the border is reduced to the size of a decorative frame without visual qualities.
Seyedeh Masoumeh Shahcheragh, Alireza Taheri, Farnoosh Shamili, Abolghasem Dadvar, ,
Volume 16, Issue 38 (2-2021)
Volume 16, Issue 38 (2-2021)
Abstract
The pictorial rug of "Layla’s camel" belongs to the Qajar era, in which the central image is occupied by the large body of an "intra-hybrid" camel; the outer shape is realistic and the inside is composed of a large number of small human and animal motifs.
Creating patterns of some creatures in this way became popular in Iranian painting from the Timurid period, which reached its peak and popularity in the Safavid era. This method also was considered in the Mughal art in India at the same time as Safavid.
In this article, the "Layla’s camel" rug is described and analyzed with iconographic approach and using library resources and some scientific websites. The purpose of this study is to introduce a specific example of pictorial carpet and analyze it in a scientific way. In this regard, an attempt has been made to answer these questions:
- How can the relation of rug inscriptions with its central image be read?
- What is the main theme of the story from the perspective of iconographic analysis?
- What is the irony of the collection of animal species that make up the body of "Layla’s camel"?
- What do the presence of the angel-harpy and the red-winged dragon symbolically mean in the rug?
The "intra-hybrid" camel also consists of animals that Majnun was accompanied in the mountains and in the desert, but at the same time has a caravan of wedding joy. Also, the image of the angel-harpy in its ancient meaning is a symbol of victory, which refers to the battle of the animals that support Majnun with the dragon – Ibn-Salam– and kill him.
Samera Salimpour Abkenar,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
A hand-woven rug has a language and inherits the cultural, religious, and social messages and its weaver feelings. To know the messages that a rug can offer from the past to the present needs to read the symbolic language of the designs and motifs. However, in most cases, information about the meanings of a rug as an artwork is not available; hence, a logical and systematic method should be used to get past the image and reach the real concept. This research tries to reveal the hidden messages behind the motifs of a Hadji-Djalili rug with a Mihrab design, which has two prominent features: (1) the tree of life in the middle of the rug is a hybrid type, and (2) the weaver has dyed it with special elegance in the way of a real highlight (or Abrash). These are rarely seen in other altar rugs. Based on this, the study follows to find answers to these questions: What are the symbolic concepts that are hidden behind the design, pattern, and color of the mentioned rug? And how can they be achieved? What is the final meaning of the symbolic language of these motifs? Thus, the aim of this research is to use Panofsky's iconology method to find the layers of meaning through the three stages of "pre-iconography description, iconography analysis, and iconology interpretation". This research is written with the descriptive-analytical method and uses library information and written documents. The results of the iconography analysis, which is formed by connecting the chain of meanings hidden behind the motifs, confirmed the "votive or endowment" of the mentioned rug. On the other hand, the interpretation of iconology shows that the weaver of this rug knowingly or unknowingly created an artwork, which emphasizes the need for a man (or a worshiper) to achieve spiritual evolution through the entrance to the existence circle and spiritual ascension.
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