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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.
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.
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
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
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
Leila Farahbod, Abolfazl Davodiroknabadi, Tooraj Fashandaki,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
Abstract
Simple geometric drawings were among the first forms used in Iranian art and architecture. Iranian artists have been driven by different forms of thoughts, concepts and beliefs. In works of art, geometric shapes have many variations. The creation of diverse species in the forms of the pond is a symbol of semantic and aesthetic efforts for good water efficiency and has a special aesthetic reflection in Iranian buildings. The purpose of this research is to investigate the structural aspects of different forms of ponds in carpets, painting and landscape architecture of Iran. The above research has been done by descriptive-comparative method and by using documentary sources (library).
The findings show that architecture has sometimes been a source of inspiration for carpet and painting motifs and designs, so geometry is one of the main common aspects between these three arts. Also, there have been common symbols between architecture, carpets and painting from the past until now, each of which had special and special meanings.
The results of this research show that the shape and element of the pond in most of the carpets are derived from the architecture of the Iranian garden and are mostly seen in the form of a square and a central circle. The Iranian painter has also exhibited an important and valuable document and unique facades of the Iranian garden. As a result, the shapes of the pond in Iranian paintings and carpets emphasize the centrality of the pond, the water supply network, symmetry, naturalism, harmony between the elements in architecture, and separation of spaces.
هما Mousanejad,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
The patterns used in Iranian arts were very common and widely used since the ancient time until now. Each of these patterns has conveyed a specidic meaning to the viewer. One of these motifs is the peacock. The motif of peacock is one of the most used symbolic motifs in the art of Iran and even the world. During the years, this motif has had a special place in the literature, art and beliefs of the Iranian people. This motif was present In Kerman carpets of the Safavid and Qajar period. The purpose and necessity of this research is to understand the role of the peacock motif in Kerman carpets of the Safavid and Qajar periods, and study some related features such as the appearance of the peacock, its location, number, direction, role, mythological elements. Such elements will be investigated and expressed, and the differences in the appearance and meaning of the peacock in the two mentioned periods would be compared. According to the mentioned cases, the main question of the research are as follows: 1) Did the visual form and semantic status of the peacock figure in Kerman rugs change from the Safavid period to the Qajar period, and did this change creat a difference between the visual form and semantic meaning of this figure? The research method is use of library materials and photo sources, images from reliable websites of carpet collectors, and the way of expressing the content is descriptive in the form of text, images and tables. 22 samples of carpets have been examined. The carpets were selected via a purposeful manner, all of them are related to the two special periods of Safavid and Qajar periods and the full presence of the motif of the peacock, has been considered in selecting them. 9 samples are related to the Safavid period and 13 samples are related to the Qajar period.The appearance of the peacock in the Safavid and Qajar periods has undergone some changes in comparison to each other. In the Safavid period, it is abstract and present in closed spaces, and in the Qajar period, the patterns are close to the natural state of the peacock that we see in nature and the peacocks are presented in freer spaces. But this free space has not affected the main role of the peacock, which protecting and guarding the heaven.
, Farhad Babajamali, ,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
Most of the obstacles to development as well as the decrease in the production and export of handwoven carpets in the economic dimension are attributed to factors such as lack of marketing, exchange rate instability, international sanctions, wages and cost of production raw materials, and lack of government support. In this research, while accepting these factors in handwoven carpets and their significant effects, the very important issue of the functioning of organizations based on the economic-institutional approach has been addressed in this field. The purpose of this research is to investigate the functioning of organizations based on the theory of Douglas C. North, the economist of institutionalism, in the hand-woven carpet, is the period of the Islamic Republic of Iran. Collecting materials using library method (documents) and collecting data using in-depth interview method and then using qualitative analysis method with a thematic approach and trying to identify the components, especially influential institutions, and then analyze them. . Also, theoretical saturation has been used to measure the number of interviewsAnd the interviews continued until a new idea was not discovered. The interviewed samples were compiled based on the necessary expertise and the questions were compiled accordingly, which were coded, categorized, and analyzed using maxQDA software, which yielded significant results. Has been achieved. The investigations of this research show; One of the important institutional challenges is the absence of a powerful civil society, and the inactivity of the organizations, A: increases the cost of exchange (the lack of national cohesion of handwoven carpet guilds and :union:s to solve their problems). B: It leaves the rights of different sections of the society, which are realized based on bargaining, to political groups or the wishes of politicians. A: In an open access society, access to productive economic rent is for everyone and not only Faradistan, which is the important need for legal equality and freedom and independence of independent organizations and organizations, and if this powerful civil society does not exist Open access will not be possible.
Maryam Ranjbar, Amir Hossein Chitsazian, Esmaeil Mazroui Nasrabadi,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
In recent years, hand-woven carpets have lost their global status. Several problems have caused this issue. One of the important things is the uncertainty of the productivity of handwoven carpet production workshops. Existing productivity measurement methods are quantitative. In this industry, obtaining quantitative data is either not possible or hardly possible. So far, no research has been done for the qualitative evaluation of productivity. As a result, this research has been conducted with the aim of providing a qualitative method for evaluating the productivity of concentrated workshops for the production of handwoven carpets. The statistical populations and sampling methods in the first and second stages was: the experts of handwoven carpets, judgmental method; and the producers of handwoven in Isfahan, randomly method. To determine productivity evaluation indicators, the Delphi method was used, and one-sample t-test was used to evaluate productivity. In this research, a method for evaluating productivity was presented. Two dimensions of effectiveness and efficiency have been considered for productivity. Capital, materials, equipment, methods, management and human resources are indicators of efficiency, and achievement of goals and customer satisfaction are indicators of effectiveness. The results of the t-test show that its productivity, dimensions and components are more than the average but less than the ideal. In order to improve productivity, while reducing the amount of consumables and manpower costs that make up a high percentage of the costs of handwoven carpets, it is necessary to increase outputs by improving work methods and using appropriate tools.
Azam Rasooli,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
The expressive features of handmade carpets are defined as the most prominent Iranian traditional arts in the context of collective traditions. The carpet with this intrinsic component, has been used by many Iranian and non-Iranian artists in contemporary art that has an individualistic character. The manner of representation of the carpet as text in contemporary artworks and its referential, semantic and functional implications, is the issue of this research. Therefore, the transtextual approach of Genette has been used to read these works, which is text-oriented and based on intertextual relationships. The purpose of this study is to introduce the capacities and expressive capabilities of the carpet in contemporary art. The works of two artists who have characteristics related to the subject of research have been selected and studied based on a descriptive-analytical method. The nature of this research is developmental and in the form of qualitative research. The data collection method is a library - documentary, observation of works and tools for data collection are research paper and using modern scanning tools. Based on the results, carpet as a text in combination with texts and new branches of contemporary art, is used in a completely individualistic expression, visual function and concepts beyond the carpet itself.The carpet is in service of the artist's ideas and concepts and not as carpets, but it has become a work in contemporary art itself. It was also found in the study of the samples, Hypertextualite, Paratextualite and Intertextuality of Transtextualiet Types, allowed and guided the interpretation and reception of the semantic and expressive implications of carpet and understanding the existing relationships with other textual, linguistic and artistic (visual) systems, and they are considered a good approach to carpet study.
Maryam Motafakkerazad, Shahryar Shokrpour, Reza Afhami,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
In this research, the aesthetic features of Tabriz altar carpets have been introduced and studied. This research tries to answer the basic question that what are the aesthetic features of altar rugs and especially Tabriz altar rugs according to the samples in the Iranian Carpet Museum? Deals with the aesthetic principles and foundations of altar rugs and introduces them.
The results indicate that the aesthetic structure of altar rugs, despite the aesthetic elements and the combination of factors such as design, role and color, have been expressive of symbolic and symbolic concepts. According to the motifs used in this type of carpets such as altar, chandelier, column, vase, etc., the common concept in the Iranian carpet can be achieved, which ultimately ends in the eternal paradise and a place to display the essence of transcendence. In these carpets, despite adhering to the traditional elements of Iranian carpets and the proper use of patterns according to their concepts, diversity and innovation in design and color are also evident. In the studied samples, the use of abstract motifs such as Islamic rotations and khatai flowers in different parts of the carpet such as text and margins and their appropriate combination with symbolic motifs such as columnar altar, lamp, vase, etc. are important. This research is a historical research in terms of time and descriptive-analytical in terms of purpose. The method of collecting information is library and documentary. In this research, 8 samples of Tabriz altar carpet images of Iran Carpet Museum have been studied in a descriptive-analytical manner.
Toktam Jallalian Rad, ,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
In the city of Tehran, especially in its suburbs, carpets were produced in the Qajar period in centralized and semi-centralized workshops. Carpets that are mostly made by master craftsmen and immigrant weavers from the cities of Yazd, Isfahan, Tabriz and Kerman. Carpets that are woven following the weaving techniques of the mentioned cities and the quality raw materials available in the city of Tehran with the conditions, facilities and tastes of this city, and it shows that there are links between the carpet style of Tehran and the mentioned cities in the design, pattern and coloring has been.
The main goal of the research is to identify the plan and map of Tehran carpet in the Qajar period. The main question of the article is: What was the basis of Tehran carpet design and what are its appearance characteristics? This research is a descriptive-analytical qualitative research approach and its statistical population is selected samples of carpets available in museums, Tehran bazaar and personal collections of people and images available in reliable sources, whose authenticity and age have been verified by experts. has been Considering the limited sources and brief written information about Tehran carpets, this research has been conducted by field, interview and observation method.
The results of the research indicate that the immigrant weavers living in Tehran and its suburbs, in addition to the productions of their main and native areas, have carpet designs from cities such as Isfahan, Tabriz, Kerman and other areas of style that have brought relative and general acceptance. They are also woven. Also, the examination of the few existing carpets from that period shows that the end of the Qajar period was associated with the prosperity of urban carpets in Tehran.
Mojtaba Doroodi, Soheil Delshad, Zahra Golmohammadi,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
This article delves into the intricacies of two Qajar carpets in Tehran’s Carpet Museum of Iran and Chicago. These carpets, designed by Forṣat-al-Dawla Shirazi around 1897, hold significance due to their depiction of monuments explored by Forṣat-al-Dawla Shirazi during his expeditions in the Fars Region in the late Qajar period. The uniqueness of these carpets stems from their incorporation of cuneiform texts copied from Achaemenid royal inscriptions at Persepolis, thus embodying the designer’s exploration. Furthermore, these carpets possess historical value for being conceived during the Iranian constitutional revolution in the late Qajar era. Forṣat-al-Dawla Shirazi, the first Iranian cuneiformist in the late 19th century, included Old Persian cuneiform and selected Achaemenid and Sasanian monuments in these carpets. The descriptions accompanying each monument in these carpets mirror the traditional recognition of pre-Islamic kings and monuments among Iranians, bridging the gap between historical awareness and scholarly resources on Iran’s history in the early 20th century. Despite their overarching resemblance, each carpet exhibits distinct details absent in the other. This article meticulously examines the motifs, descriptions, and historical context surrounding both carpets, shedding light on the designer’s background and other pertinent aspects intertwined with the carpets and Forṣat-al-Dawla Shirazi.
Sepehr Qasemi, Majid Reza Moghanipour,
Volume 18, Issue 41 (9-2022)
Volume 18, Issue 41 (9-2022)
Abstract
Malayer County is the most important center of carpet weaving in Hamadan Province. The culture of carpet weaving in this region is intertwined with the lives of the people and has absorbed many influences from the local culture. As such, Malayer can be considered one of the significant hubs of carpet weaving in the western part of the country, as the carpets and rugs from this area feature unique and distinctive designs that often reflect rural styles. Although there are some influences from the patterns and motifs of neighboring regions such as Arak and Bijar, they can still be traced in Malayer's weavings. The main issue in this research is to identify and introduce the formal characteristics of the common and authentic designs and motifs of carpets and rugs in the Malayer region. The type of research is descriptive, and the method of implementation is descriptive-analytical, with data collection conducted through library research and fieldwork (in the form of interviews and observation cards). The results of this research revealed that the motifs of Malayer's carpets and rugs are predominantly in broken and geometric forms, featuring original design patterns such as: the fish motif, which is used in many regions with prefixes like four, dog, riverbank, standard bearer, and Herati (specific to single-ply weavings), the four-claw motif, the twisted walnut motif, the fish shawl motif (specific to double-ply weavings), the plant claw pattern, and raised motifs in color backgrounds of lacquer red, white, and navy blue.
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