Quarterly Scientific-Research Goljaam

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Abstract:
Sultanabad is the name of one of the famous Iranian carpet weavers, which was later renamed Arak, and in the past produced rural-style carpets.In the Qajar period, with the provision of activities of multinational corporations such as Ziegler in this region, Sultan Abad becomes one of the carpet export and export centers of Iran.  This process changes the carpet style of the region from rural to urban and changes the mode of production from home to the workshop.  Among the women who have been responsible for the textiles of these rugs, they will have a new economic and social role as the carpet market grows. But contrary to the growth that was expected due to economic prosperity and employment and income for carpet weavers, these developments have different effects on carpet weaving in this region and as a result of the economic and social status of women of weaver of Sultanabad. This paper is descriptive -Analysis has been looking for influences and finally it is concluded that these social and economic developments have led to the lack of realization of the economic and social rights of the women of weaver in this region and the degradation of the social status of the carpentry industry, which has continued more or less so far.  

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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.
 

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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.

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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.

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There are signs of compatibility between Iranian architecture and carpet in terms of geometry and proportions that the dimensions of the interior of the house and the dimensions of the carpet are closely related. Attention to the carpet in two dimensions of design and geometric dimensions has been an important factor in shaping the dimensions of the interior of the Iranian house. This study aims to study the relationship between the system of formation of interior spaces of the house (during the Qajar and early Pahlavi in ​​Tehran) and the dimensions and geometry of the Iranian carpet to be deciphered. In this regard, descriptive-analytical method based on data analysis technique as well as field-library studies has been used. The statistical population identified the proportions of carpet indices in different parts of Iran, then they were evaluated in the proportions of house plans. Using Cochran's formula, 30 samples of Qajar and Pahlavi houses in Tehran in the historical context of Tehran have been randomly selected that can answer the research questions with the desired degree of reliability or possible accuracy. Geometric grammars are generative systems that lead to a design based on a set of geometric rules and work on geometric rules. The methodology of the laws is the phenomenological interpretation of the houses of the Qajar period with the method of Max Wennemann. Therefore, the quality of Qajar houses in this article as a phenomenological research is based on the experience lived in the house. The results of the analysis of case studies of houses of the Qajar and Pahlavi periods in Tehran show that in most houses in Tehran, the dimensions of the rooms of the houses are based on (Iranian and Greek golden proportions), (proportions based on the roof decorations). (Proportions based on the common dimensions of the carpet, with the floor enclosing the dimensions of the carpet) was predominant. In the early Qajar period, the formation of rooms was based on the golden proportions of Iran, then in the late Qajar and Pahlavi periods The title of the main criterion for the formation of houses has been influential.

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The aesthetics of the Iranian handmade carpet is based on the aesthetic belief and understanding of the Iranian man from the system of existence. In the collection of small handbags in the Bakhtiari nomads, the pillars are considered as valuable for fibers and applications. Patterns of these handcrafts are subjective and based on the beliefs and beliefs of tribes with the help of nature. These motifs of the tribes of the Bakhtiari tribes have specific features and visual values based on the use of nature and its beauty in terms of design and color. Since the function of no pre-prepared maps and not customized, the superior position to Have allocated themselves. The purpose of this article is to explain the features and beauties that are inherent in the motifs of these handcuffs. This feature and the motifs of beauty, part of the features and the beauty of the collection (hand-woven back, woven, woven, woven, and other woven) Nomad is. The main question of the article is that the motifs of the nomadic handcrafts reflect what are the visual features, and where is the place of nature and its beauty in terms of design, color and composition in the creation of subjective motifs in the tribal pockets of the Bakhtiari region, and how are the motifs of the pods from The nature of the region has been affected or abstracted and abstracted. The research data were collected using a field, interview and library methodology to discover and extract what is considered by the nomadic weaver according to the ethnic background and the nature of its life environment, and then recorded and categorized. In another glance, the proper and unconsciousness of the correct relationships of visual elements in the beautiful composition of the embroidered designs of the tribes of the Bakhtiari region has demonstrated the creativity of the knights of the region with an emphasis on the look of nature. As a result of this research, the achievement of a complete range of types of plant, animal, geometric and visual designs has been achieved taking into account the widespread dimensions of the culture and lifestyle of the Bakhtiari tribal elders. Also, the percentage and rate of use of tribal knitters in the region from native and traditional fibers were obtained from factory fibers. Concerning the use of Bakhtiari tribal weavers from traditional and herbal colors compared to chemical paints, this research has yielded significant results Has brought along.

 

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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.

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Hunting and animal’s combat design of animals in the Safavid era has been reflected in various compositions of carpet designs as they are combined with Floral, Medallion, and Corner and Medallion patterns. One of the significant examples of a hunting ground corner and Medallion carpet are the ones held in the Poldi Pezzoli Museum, Milan. In this carpet, hustling hunting scenes have been depicted. The present study aimed to explain the design method of this carpet. The research method was descriptive-analytical and the data were collected from library. The data were analyzed qualitatively using structural analysis method and based on the existing standards governing the design of Iranian carpets in the Safavid era.  The results of the research indicated that this carpet has had a two-layer design. The first layer, designed in form of Corner and Medallion, has been performed by ¼, and by making minor changes, it becomes ½ and in the second layer the hunting scene added to design through ½. The elements used in this carpet's patterns include: Medallion, inscription, Upper-Medallion[1], corner, background, borders and hunting scene, as the latter plays a prevailing role on the carpet. The Medallion-bound line [2]is designed by way of 1/16, turning ¼ after three repetitions. The Medallion design was recessed or built-in. After the Medallion-bound line is completed, the inscription and the Upper-Medallion added as ½, with the same part used as the carpet corner and the background is decorated with Khatai motifs. This carpet has four rows of borders. The outer border and the main border are designed by reflective method and the two inner borders are designed by transfer method.

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The carpet "Bahram Gour and Haft Gonbad " in the Carpet Museum of Iran is one of the pictorial carpets of the Qajar period, which tells one of the stories of "haft peikar (Seven Figures)" by Nezami Ganjavi, about Bahramchr('39')s marriage to the princes of seven climates. This carpet has been studied from different angles, but the connection between this carpet and Qajar architecture has not been considered. In this article, we try to extract the architectural elements and arrays in the carpet and answer the question: What are the manifestations of the common architectural style of the Qajar period in the carpet of "Bahram Gour and Haft Gonbad"? The method of this research has been descriptive-analytical and historical, and the collection of materials and documents has been in a library method. In this research, after examining the story of Bahram Gour and Haft Gonbad, some architectural features of the Qajar era are expressed and then, the architectural elements of this era are compared with the painted images of the mentioned carpet. Many stylistic features of Qajar architecture such as: narrow minarets, onion-shaped domes, ornate columns, sash windows, windbreaks, pavilions and inscriptions, are artistically drawn in this carpet and the designer of this work has been able to show the noble Qajarchr('39')s way of thinking and lifestyle. Probably were the customers or customers of this carpet, to show and show the social, cultural and artistic conditions of its era in the form of carpet fabric. In general, the carpet of "Bahram Gour and Haft Gonbad" can be considered as an intermediate link between lyrical literature, painting, carpet weaving and architecture.

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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:

1. How can the relation of rug inscriptions with its central image be read?
2. What is the main theme of the story from the perspective of iconographic analysis?
3. What is the irony of the collection of animal species that make up the body of "Layla’s camel"?
4. What do the presence of the angel-harpy and the red-winged dragon symbolically mean in the rug?

Poetic inscriptions in the margin of the rug, in harmony with the pictorial elements of the text, refer to the story of Layla’s wedding with Ibn-Salam and her farewell to Majnun, quoting "Maktabi_e Shirazi". But the main meaning of the story at this stage is the victory of good (Majnun) over evil (Ibn-Salam) by the animals.
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.

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Iranian art had its own special and unique features before the beginning of relations with Western countries. Various factors were influential in the creation of visual designs and adaptations of Western art. The invention of the camera, printing presses, and the printing of picture books were among the factors that introduced imagery into art, especially carpets." Dance of Nymph " carpet is one of the examples of pictorial carpet and works of Hassan Khan Shahrokhi Some of its designs are adapted from the tapestry belonging to Nasser al-Din Shah in the Golestan Palace Hall, related to the period of Louis XIV. This study aims to answer the following questions with the aim of understanding the structure and form of the figures and the methods used by the designer in drawing the statues in the " Dance of Nymph " carpet :                                                                    
1-What are the structural features of the figures in the " Dance of Nymph " carpet?
2-What principles and methods did Hassan Khan Shahrokhi use and follow to draw the statues in the   " Dance of Nymph " carpet?
The present research is descriptive-analytical and collects information through documentary studies, library resources and observation of museum works. This article is fundamental in terms of purpose and qualitative in terms of what it is. The target community is the "Dance of Nymph" rug in the Iranian Carpet Museum. The result shows that the figures are in a triangular composition in the carpet composition and one of the figures is placed at each angle  . There is visual balance, the existence of proportion and harmony between the various elements of a composition and the existence of a harmonious relationship of the components with the whole and with the subject of the work. Hassan Khan Shahrokhi, the designer of the " Dance of Nymph " video carpet, is one of the most prolific and stylish people in Kerman carpet design, who sometimes had to follow the current and common    customs in Western countries due to the acceptance of custom and custom carpets.

 
Keywords : Structural analysis ,pictural carpet, Dance of Nymph, Kerman's Carpet, Hassan Khan Shahrokhi                                                                                                                                                   
 

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Patterns in Iranian art should be called message painting and expression painting, which sometimes manifests itself directly and sometimes in symbolic language. One of the places of expression and emergence of symbols in Iran is the "carpet". In addition to the traditional and local aspects, these patterns and expressions can express the creative mind influenced by the environment around the carpet weaver. According to researchers, although little is known about Kurdish weaving before the nineteenth century, many garden officials and flower carpets from the 17th to 18th centuries identified northwestern Iran as Kurdish. In every general book of carpets, there are two well-known and famous types of "Saneh" and "Bijar", but these two can not be considered the most Kurdish carpets left because at least two other types of Kurdish carpets, called "Mosul" (In Iraqi Kurdistan) and "Savojbolagh" have ceased to exist and be produced in the category of contemporary Kurdish carpets. The purpose of this study is to retrieve the history, introduce the location, and location of the carpet attributed to Savojbolagh in the Mokrian region, northwestern Iran. For this purpose, the authors try to recover the position of the carpets attributed to "Savojbolagh" with a descriptive-analytical method and with the aim of development, and its qualitative data as documents. The result contained the following findings: Savojbolagh carpets were not produced before the First World War and for reasons we are unaware of, and this type can be considered the best carpet, with natural plant colors and a moderate price in the market of that time. Traces of these carpets are often found in the collections of European countries. Due to the lack of introduction of this type of carpet in Iran and the importance and necessity of reviving and addressing it or even recovering such designs and colors, for carpet weavers, it can lead to the continuation of the production of such exquisite carpets.

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Time, its concept, and its way of perception and expression are among the topics of interest in different fields of human thought. The way of looking at the time has caused to various opinions about its nature.The carpet artists of the Qajar era, influenced by the process of transformations in different fields, acquired new experiences in designing than in previous periods. Faced with phenomena like time, artists represented it according to their subjective and objective universe and the capacities of the carpet.The problem of this research is the interpretation and understanding of time in the design and pattern of the Qajar carpet as a text medium, based on the proposition of "understanding" in Gadamer's philosophical hermeneutic approach. Based on the necessity of knowing the different aspects of carpets, including the representational capacity and implications of the meanings of the design and pattern of carpets, the purpose of this article is to identify the time, quality, and identity of its types in Qajar carpets.
The main questions for this research are: What does the representation of time look like in the Qajar rug? How to explain the understanding of time and the identity of its types in the carpet of Qajar based on the philosophic hermeneutic of Gadamer? To get answers to the research questions, the five samples of the Qajar carpet pattern were selected by a non-probability method and studied based on the content analysis method. The nature of this research is basic in terms of qualitative research. The method of data collecting is the documentary- library and artworks observation, and the means of collecting information are research sheets and pictures. Based on the findings, time on the Qajar carpet was recorded qualitatively and quantitatively with related signs.Ritual events, mythological thoughts, and traditions, different writings, creating movement and time sequence using spatial contrast, visual elements, reading writings, leveling the work, narrative and its elements, using symbols referring to time, They are one of the generative preconceptions of time.and with denotation and connotation signification and the re-reading of texts absent from the work, they cause mental association and intuitive understanding of the types of time on the carpet. In addition, the dominant discourses in the Qajar period were effective in the way that society and the carpet artist faced the times and its types.King power and authority, nationalism, traditionalism, modernism, myth and religion are among the most significant of these discourses.
 

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Safavid ruling dynasty may be considered as a founder of the social government which caused the establishments and social, political, economic and religious offices were active under the protection of a relatively centralized administrative structure. They had already no any formal position in governments and courts. In this period, appropriate cultural policy-makings and relative security of cities and villages provided necessary bases in order to thrive many arts and techniques. Carpet weaving was one of these most significant arts. The main purpose of this article is to analyze the various aspects of the importance of carpets for the Safavid court and, consequently, to identify the different types of relationship between the central government and the production of this product. The research uses a historic approach and an analytic-descriptive method. To achieve the purpose of the research, in addition to valid historical and research sources, samples of carpets of that period have also been studied.
In the process of conducting this research, the importance of the activities related to the production and supply of carpets and the reasons for supervising them were examined from four aspects: religious and social, commercial, tax and artistic income.. Then, a direct and indirect role of the officials like Bashi and Moshrif  became clear in this process. Furthermore, by studying remained documents, it is possible to reconstruct the existence of professional relations between artists active in the field of writing and book decoration with the society that produces court carpets.

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Aesthetics is one of the important topics in the evaluation of works of art and can be examined from two aspects, objective and subjective. Rural and Tribal ruges in Iran are the result of the taste and mental creativity of weavers and designers who, despite being mentally woven, have a lot of harmony. The purpose of this study is to analyze the visual aesthetics of such carpets and due to their diversity and to avoid the breadth of the subject, studies the two designs from the region Yalmeh and Minakhani with this question: How are the principles of objective aesthetics reflected in the designs of Medallion and Brick-shaped Yalmeh and Minakhani? This qualitative research has been done by descriptive-analytical method and using library resources and based on Mikel Dufrenne's objective view of aesthetics and Ocvirk's view and visual principles, which is one of the main sub-branches of the objective aesthetic view. The results show that the correct structure of visual principles in rural carpet motifs as an art object leads to aesthetic perception of these works by the audience so that seven factors of Ocvirk approach including harmony, proportion, balance, motion, hegemony and brevity in the design and color of the studied samples are evident and only in Minakhani rugs, the principle of design diversity is less due to the repetition of patterns. Also, maintaining geometric proportions and observing visual and symbolic principles in form and color are other components of aesthetics in them
 

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Some years after the Qajar attack to Kerman, Ibrahim Khan Zahir al-Doleh was elected governor of the city. With the beginning of Ibrahim Khan's rule in Kerman, the construction of useful buildings and the improvement of people's livelihood were on his agenda. After that, arts such as carpet weaving, which had lost their prosperity, were revived. The buildings were decorated with colorful tiles and the houses were decorated with handmade carpets. Therefore, these arts had a special place. Due to the prosperity of these arts, the question arises whether there are similarities in the decoration of the tiles used in the buildings of this period, including Ebrahim Khan School and Kerman carpet designs, and assuming similarities, this effect and effects up to How much has it been? The answers to these questions show the evolution of motifs and how they function in different arts. The method of this research is analytical-comparative and by studying library sources and examining images, it tries to identify, classify, analyze and adapt patterns. Finally, evaluating the elements and motifs used in the designs, in these two branches of Art shows the similarities and differences in the use of patterns.