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Showing 270 results for Type of Study: Research
Bentolhoda Yaghoobi, Mohammad Khorasanizade,
Volume 16, Issue 38 (2-2021)
Volume 16, Issue 38 (2-2021)
Abstract
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.
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.
Mahnoosh Mohebbi, , , ,
Volume 16, Issue 38 (2-2021)
Volume 16, Issue 38 (2-2021)
Abstract
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
سیران چوپان, ,
Volume 16, Issue 38 (2-2021)
Volume 16, Issue 38 (2-2021)
Abstract
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.
Azam Rasooli, Seyyed Reza Hosseini,
Volume 17, Issue 39 (8-2021)
Volume 17, Issue 39 (8-2021)
Abstract
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.
Majid Reza Moghanipour, Ashkan Rahmani, ,
Volume 17, Issue 39 (8-2021)
Volume 17, Issue 39 (8-2021)
Abstract
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.
Alireza Shiri, Gholamreza Hashemzadeh Khorasgani, Nasrin Akhoundi, Fazlollah Jamalou,
Volume 17, Issue 39 (8-2021)
Volume 17, Issue 39 (8-2021)
Abstract
The hand-woven carpet industry has faced many challenges due to internal and external factors. The use of scientific and pre-planned methods through which the impacts of these factors can be mitigated or eliminated can lead to the prosperity of this influential industry on culture, economy, and social life. Presenting a model for product development is one of these scientific methods. The product development model is used to ensure the realization of customers' demands and satisfaction regarding the product and procedures, increase quality and reduce the wastage from the phase of collecting customers' requirements to the production phase and delivery of the product to the end-user, and even supervision over after-sales services and collection of the feedback, patterns, standards, procedures, and methods. On the other hand, the process of development and production of the new products has undergone great changes due to the increase in global risks, the fast changes in customers' needs and wants, and the increased risk-taking, which has focused the attention on agility strategies in production procedures. The present study seeks to present an exclusive product development model for the Iranian hand-woven carpet industry adopting an agility approach. The study first conducts desk research to investigate goods and service development models and agile production models and proceeds to filter the indicators extracted from the studied models using expert opinions and fuzzy Delphi technique, the result of which is the compilation of 47 indicators selected by the experts out of the 147 total indicators. Afterward, measures were taken to achieve specific indicators since hand-woven carpet production is different from most other industries in nature. For this purpose, open-ended interviews and theoretical saturation (snowball technique) were used to collect new data through interviews with experts. The interviews continued to the point of theoretical saturation. In the next stage, the grounded method was used to extract codes from the open-ended interview transcripts, the result of which was the compilation of 31 new indicators. Eventually, the indicators obtained from the two methods were integrated and the exclusive model for this industry was developed using the Atlas. ti v.8 software. The final model is made up of eight main dimensions, seven sub-dimensions, and 47 sub-indicators.
Elahe Imani, Maryam Foroughinia,
Volume 17, Issue 39 (8-2021)
Volume 17, Issue 39 (8-2021)
Abstract
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
Seied Mohamad Reza Tabasi, Iman Zakariaee Kermani,
Volume 17, Issue 39 (8-2021)
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.
Comparative study of the tiles of Ebrahim Khan School with Kerman carpet designs in the Qajar period
Mahdieh Ziaadini Dashtkhaki, Mahboobeh Eslamizadeh, Sakineh Tajaddini,
Volume 17, Issue 39 (8-2021)
Volume 17, Issue 39 (8-2021)
Abstract
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.
Sahel Erfanmanesh,
Volume 17, Issue 39 (8-2021)
Volume 17, Issue 39 (8-2021)
Abstract
IIn the country of Turkey, in the city of Hereke, at the end of the 19th century, rugs known as Mihrabi became popular, which were inspired by the rugs of the Safavid era and kept in the Topkapi Palace Museum. In these rugs, which are reproduced in royal workshops on a large scale, some changes have been made in the verbal text and incorporated visual elements. Among the rugs that seem to have had a great impact on the rugs of this period in terms of appearance, there is a rug from the Safavid era that is kept in the Topkapi Palace Museum. This rug has been reproduced in large numbers in Herke with slight changes in the verbal text and its visual elements. An example of this reproduction is the rug designed by "Zare". In the verbal text of the "Zare" rug, Persian words have a special place; also, the existing rug has a signature. Meanwhile the verbal text of the Safavid rug is in Arabic and has no signature. Since these rugs were woven in two different cultures and times, the question is: What role did the dominant discourse in the society play in the changes made in the verbal texts and visual signs in the reproduction of the rug kept in Topkapi Palace Museum? In order to achieve a suitable answer using the analytical-comparative method, the mentioned rugs were compared with each other in both periods and the dominant discourse was examined. According to the comparison, it was concluded that the rug of the Safavid era expressed the mystical thought of that period. Meanwhile, in its reproduction by "Zare "and its minor changes, attention has been paid more to the rug not as a handwoven product for conduct and worship, but as a product to express humanist and nationalistic ideas and to represent the golden age of the Ottoman Empire.
Fathemeh Bagherizadeh, Abdollah Mirzaee,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
While taking advantage of the cultural and geographical bonds, the nomadic carpets of Fars province, which are one of the essential parts of Iran’s nomadic products resemble the tribal identity, culture, customs, literature, and local and practical tribal arts. The main subject of this study is the distance grown between the nomadic carpets of Fars province and their cultural and epistemic foundations, under the influence of marketization. This paper aims to identify the predisposing factors of cultural and identity changes in Fars nomadic carpets, in order to provide and set a suitable stage for the related authorities to apply the necessary solution for the matter. The main questions of this article are about: A. identifying the predisposing factors of marketization of the visual components, and B. identifying the consequences of marketization in the visual components of Fars nomadic carpets. This qualitative research was done by targeted sampling and analysis of 50 samples of Fars nomadic carpets, through the descriptive-analytical method and using data extracted from library sources and qualitative interviews. The results showed: in the last few decades, the implementation of the compulsory settlement plan for the nomadic tribes and individuals resulted in a change in the carpet makers’ lifestyle and production motivation, from producing for self-use to producing to sell in the markets. Among the effects of the marketization of Fars nomadic carpets, the prevalence of custom-made carpet production, the abandonment of the makers’ mental patterns and creativity, prioritizing the taste of the people and the market, and the change in production methods such as the influence of non-native patterns can be named; all of which lead to the reduction and fading of identity fundamentals and native and cultural authenticity of one-off unique nomadic carpets. These changes were conceptualized and introduced in the results, under the title of marketization.
Naser Seifollahi, , ,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
Abstract
The rapid increase in production and competition in the international arena of the carpet industry, has highlighted the competition for very sensitive manufacturers and branding as one of the competitive strategies of industry activists. The present study aims to identify a model for successful branding in the carpet industry. According to the systematic model of the data theory of the foundation, well-known experts, manufacturers and exporters with a history of carpets were selected for the statistical community. Industry experts in the statistical population were selected by Purposive sampling method and 15 in-house carpet industry experts were interviewed as an example of in-depth research, which resulted in three stages of data adequacy. Semi-structured interviews were used to collect data and data analysis was performed by Strauss and Corbin method and paradigm model and MAXQDA software. The results of the analysis of the data obtained from the interviews, during the open, pivotal and selective coding processes, led to the formation of a model of leading brand creation factors in the carpet industry based on the data processing theory of the foundation. Based on the systematic approach in data theory, the identified codes were divided into 6 core categories including causal conditions, content category, contextual conditions, interfering factors, strategies and consequences. Finally, a model for successful branding in the carpet industry was identified. Having a competitive advantage, a strong marketing position, recognizing the needs of the market and the customer, solving economic and political problems are important factors in the development of the carpet brand in domestic and international markets
Seied Mohamad Reza Tabasi, Iman Zakariaee Kermani,
Volume 17, Issue 40 (9-2021)
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
Sakine Khatoon Mahmoodi,
Volume 17, Issue 40 (9-2021)
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.
Saeedeh Rafiei, Davood Shadlou,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
In the last decade, biocompatible natural dyes with antimicrobial properties have been given much attention to protect dyed fibers in handwoven carpets against microorganisms. In this research, the leaves of 6 native plants of Fars province, including Amygdalus scoparia (Arjan), Pistacia atlantica (Baneh), Carica Ficus, Shirazi thyme, Shirazi Askari grape (Vinifera) and Juglans, were used as natural dyes for wool dyeing in the presence of eight different metal mordants. The reflective spectra of the dyed samples were analyzed by a reflective spectrophotometer. In addition, the color characteristics, the brightness of the dyed samples, the variety of color shades in the presence of different mordents, washing and light fastness as well as the antibacterial properties of the dyed wool were evaluated. The results of reflection spectroscopy showed that dyed samples with the leaves of Argan, grape, thyme and fig plants had negative a* and positive b* values, which confirms their green and yellow undertones, While, dyed samples with the leaves of baneh and Juglans trees had positive a* and b* values, which proves the red and yellow undertones of these samples. Wool fibers dyed with Argan leaves, figs and thyme in the presence of different metal teeth created the most variety of colors. Ivory, cream, green, brown, olive, orange, brick and purple colors were created on wool fibers in the presence of the leaves of these plants along with different mordents. The light and washing fastness of dyed samples with all the mentioned dyes were acceptable. Wool dyed with thyme and Pistacia atlantica leaves extract showed the maximum percentage of inhibition (99%) against two types of bacteria, Escherichia coli and Staphylococcus aureus.
Meysam Ebrahimi, Abbasali Rastgar, Mohsen Shafiee Nikabadi,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
both The art of keeping it all in the And increase staff productivity The art of imitation by competitors is Model is based on industrial cluster. The aim of this study is That with the study of participants perceptions and beliefs To identify barriers factors to the formation of industrial clusters should Khorasan Carpet. In this study, Q methodology was used as an integrated approach. Participants in this study is 10 cases of managers, and producers of Khorasan Carpet. Were positively associated with research. This discourse space Have been collected from various sources After evaluating and summarizing the discussion Among the 134 Meter 52 For example, the following SQL statements (batch Q) The opinions of experts were. After collecting data from SQL sorting The data were analyzed using Q factor analysis. Distribution analysis showed that Paradigm can be 3 Distinct (Lack of appropriate infrastructure support and Lack of support and supplementary units, Terms weavers) Participants in the study Barriers to the formation of industrial clusters in North Khorasan Carpet Identified Approximately 62.8% of the total Of the total variance explained. Importance and priority barriers identified Patterns were obtained in based on subjective pattern and finally proposed some ways for omitting Identified pattern In order to implement the model of industrial clusters in the carpet industry
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.
Omid Vahdanifar, Ladan Daneshvari,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
The most common art of the Kormanj nomads is the weaving of a type of carpet called "Kormanj table" which tells the story of the life or beliefs of that people. This art is specific to the Kermanj-speaking people of North Khorasan and is popular in the cities of Bojnord, Farouj, Mane and Samalghan, Shirvan and Esfrain. Although the Kurdish table has lost its main use today and is used as a floor covering or has a decorative aspect, its primary use in the past was to place bread. The present study was written in a library method with the aim of examining the symbols in the table cloth motifs of the Kormanj tribe of North Khorasan in order to keep alive the old motifs and symbols that are subject to being forgotten and obsolete. The findings of this research indicate that the motifs used in the Kurdish table of the mentioned people have a high semantic diversity and importance and include four geometric, plant, human and animal groups, of which animal motifs are the most used; Because it is influenced by the nomadic life of the Kormanj people. Among the human motifs, the figure of a girl is seen more often; Because the main weavers of the Kurdish table are women and girls. The tree motif is the most frequent plant motif due to its sanctity and being a sign of life and blessing. Abstract and geometric patterns also have a symbolic and decorative aspect.
Ali Dadkhad, Bahareh Taghavi Nejad,
Volume 17, Issue 40 (9-2021)
Volume 17, Issue 40 (9-2021)
Abstract
Tasheer Carpets are among Eisa Bahdori’s works in carpet designing, which enjoy special structural and visual features. These carpets illustrate a single theme havingbeen designed and woven in three different ways, which evidences the capabilities of their creative designer. Therefore, this article aims at the visual analysis of Bahdori’s trilogy through a comparative approach. The research method is descriptive-analytical, and the data have been collected through field study (interviews and photography of works) as well as library study. The purpose of the study is to answer this main question: what are the commonalities and differences of the structural features of designs and patterns in Eisa Bahadori’s carpet trilogy concerning the theme of Tasheer?
The results indicates that a repetition of a number of motifs, along partial similarities in rotation of arabesque, is common in all three carpets; among these motifs, one can note the presence of animals (ibex, deer, tigers, lions, and bears), birds (pheasants, humpbacks, and falcons),mythological animals (Simurgh and dragons), vase designs, and combat scenesbetween Simurgh and pheasant. In addition to these commonalities, the structures of carpets in terms of the presence or absence of toranj and sar-toranj as well as their shape (oval, circle), the coloring of the background and borders, and even the way the creatures and vegetal elements are pictured have their unique visual values. Such visual features distinguish each carpet from the other, despite their single theme of Tasheer, and reveal a process of growth in the designing of these three carpets
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goljaam, Academic Journal, Scientific Article, carpet, rug, carpet design, ics, Iran Carpet, Iran Carpet Scientific AssociationVote
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