Showing 28 results for Pattern
Dr Ali Asghar Shirzai, Mr Davood Shadlou,
Volume 5, Issue 14 (3-2010)
Abstract
Regarding the design, pattern and color of Timurid carpets, although no sound and safe one of such period has been survived, there are so many paintings addressing the carpets that most probably have been produced in that time. These paintings are mostly accessible from various manuscripts that have been developed by Timurid princes and patrons. We can even reproduce a whole carpet by analyzing these paintings. One of such manuscripts was created in Harat in the royal library of Baysonghor Mirza under supervising of Ja’far Tabrizi and is dated back to 1429, namely “Shanameh-ye-Baysonghori”. In this paper we are going to analyze six paintings of the manuscript, and to determine the design, pattern, color and even designers of Timurid carpets. This research is descriptive-analytical in nature and its necessity is due to understanding the carpets of the past eras and introducing them to designers and artists of nowadays carpet industry.
Mrs Tayebeh Sabaghpour Arani, Dr Mahnaz Shayestehfar,
Volume 5, Issue 14 (3-2010)
Abstract
It is not an exaggeration to say that Iran’s cultural, artistic and even national identity is to some extent related and tied with carpet. The history of carpet weaving is an honorable and glorious one. And today’s artists in this field would not be successful without relying on this rich and fruitful past and using their own creativity. Therefore, the scholars of this field have to closely examine and investigate patterns and motifs of carpets and introduce their findings to the carpet society. This way, they can recall us of a great identity which sometimes is being concealed in the shadow of innovations. Here the authors have tried to investigate an important part of the history of this art in the Qajar era and to introduce the especial characteristics of patterns and motifs in Carpet Museum of Iran. The method of this research is descriptive and analytical one and the data is collected by library-based and field study methods. Appearance and extension of pictorial patterns, extension of “Bandie Golfarang”, “Bandie Boteh” patterns, extension of "rose" ," Boteh" and "Mahi dar Ham" motifs, naturalism and simple and unassuming style are among the characteristics of Qajar carpets.
Mr Abdollah Mirzaei,
Volume 5, Issue 14 (3-2010)
Abstract
Iran’s carpet owes its basic part of artistic aspect to its own patterns and motifs. The transference of these patterns on woven carpets is done in different methods including “plan handkerchiefs”. Plans handkerchief acts as a mediator between the mind of the designer artist and the hands of the weaver artist. These patterns which are placed on cloths, besides their innate role as models for carpet weaving, increase the weavers’ designing and imaginative faculty and by giving variety to carpet productions of the region, play an important role in preservation and continuance of motifs as worthwhile heritage. The extension of new checkered plans has reduced the appearance of plan-handkerchiefs in Heris carpet weaving culture, and it has intensely reduced the variation of carpets’ patterns and motifs.
Dr Qobad Kiyanmehr, Dr Hossien Mirjafari, Mrs Azadeh Pashootanizadeh,
Volume 6, Issue 15 (6-2010)
Abstract
There is a spiritual & intellectual power in Persian carpets which connects to the terrestrial world. Plant patterns that make gardens not only symbolize paradise in the heart of carpets; but also the patterns in the borders which sometimes are decorated by angels represent the spiritual world. Maybe the position of angels indicates the initial stage before paradise gate (in the middle of the carpet) and Judgment Day, which our acts will be evaluated by angels and God will visit us, or it comes from other Persian archetype that has intellectual power, known as Farvahr. This research is tried to find and analyze roots of the angel shape by the form of Farvahr archetype, and we use holy Verses and religious stories as documents for proving the cause of its human shape with two wings. Writers try to prove that the Angel pattern is connected conceptually with the symbol of Farvahr
Mrs Peyvand Tofighi,
Volume 6, Issue 16 (9-2010)
Abstract
The cotton hand-woven products of Iran and India are in the category of flat and without knot wovens; Both are suitable for warm climate and some of them have same colour, pattern and composition. These cotton wovens reveal the cultural, psychical and aesthetics distinective characteristic and even climate conditions of weavers. In this study using the library and field research the hypothesis that (colour, pathern and composition in some of cotton woven of Iran and India are the same) has been tasted. In this research Iranian cotton woven "Zillo" and Indian one "DHURRIE" have been introduced. Initially we have shown both of woven, Then we have studied their similarities and differences, and finally we have shown difference between old and new ones because in recent years due to acceptance of other culture, these wovens have changed. Changes in these wovens through function traditional methods on the countinous annual were very little and straw and therefore in this study have not in mind confined time. In this article we only have studied ones that have two or three colour.
Mrs Peyvand Tofighi, Mr Mohammad Ali Espanani,
Volume 8, Issue 21 (9-2012)
Abstract
Rugs in Chaharmahal va Bakhtiari have a great variety of design patterns and colors. One of these patterns is the "frame" design pattern that has its own variations. Frame design patterns are created in two ways: brick and Qabqabi. This paper will try to study the Qabqabi design pattern and its variants in rural area rug and its evolution. Variations of Qabqabi design pattern include simple frame, ring frame (cypress pine), Hassan Khani frame, bow frame, samovar frame and rose frame. The research questions include: When the frame design pattern was used for the first time in the area? What are the types of frame design patterns? What are the differences of filling motifs, structures and frame connections in different part of the province? How their evolution has been accomplished? The most diverse samples belong to which area? It has been also tried to use library-based and field study methods for classification and analysis of Qabqabi carpets of the area. For this purpose, the form of the frame, decorations of walls, connections, coloring of the frames, decorations within the frames within frames and the distribution of frames will also be examined.
Mrs Neda Fakhr, Dr Amir Hossein Chitsazian, Dr Elyas Saffaran,
Volume 8, Issue 21 (9-2012)
Abstract
Bird motif has always had an important place in Iranian artworks. Various patterns of birds have been presented in all types of Persian art like carpets. Bird motifs, both in abstract and naturalistic forms, can be found in Iranian carpet design. This paper, after studying the role of bird motif in Iran's art and literature, introduced the formal and conceptual aspects of the motif in "Kheshti" design pattern. For this purpose, some images of Kheshti carpets of Chaharmahal and Bakhtiari have been illustrated. This is a descriptive research and data collection has been accomplished using library-based studies, written literature and images
Mrs Somayeh Abdi, Phd Seyed Jalal Eddin Bassam, Mr Abdollah Mirzaei,
Volume 11, Issue 27 (9-2015)
Abstract
Ahar is one of the carpet weaving regions in Eastern Azerbaijan. This paper is to document the designs of carpets of this area. Data is collected through surveying, using methods of observation and interviewing weavers, merchants and scholars. Six carpet designs of six villages of this area including Qunigh, Cheshme Vazan, Qurchi Kandy, Haj Abedin Mazre'eh, Kaghalagh and Kalhur are studied and analyzed. The composition found in village carpets of Ahar is rectilinear medallion-spandrel. The carpets follow a pattern and design, which have some similarities, since the villages are in a same vicinity. But they not only differ in general design, but also they are different in some motifs. At the end, the elements of the design; i.e. medallion, pendant, spandrel and borders of these six carpets are compared.
Mrs Shokufeh Mesbahi,
Volume 11, Issue 27 (9-2015)
Abstract
Amoo’oghli brothers are the founders and revivals of contemporary carpet weaving in Mashhad. Their carpets are very famous because of their unique and outstanding characteristics. This study introduces, examines and categorizes patterns and designs used in the field’s and on the borders’ of their various carpets, in addition to their most concurrent patterns, the mostly used structure in design, harmony of carpet parts, motifs etc. and also Amoo’oghli and Amoo’oghli 110 brands.
Designs of Amoo’oghli carpets are either adoptive, like Sheikh Saffi, Chelsi etc. or innovative, like Kouzeh Kannani. Both of them have been affected by original North-Eastern Iranian design and Harrat style.
This article also studies very precious carpets with high densities and delicate complicated motifs in amongst their products, at the same time with common carpets with large and even geometrical motifs, simpler designs and lower densities.
It also introduces some of designers who cooperated with Amoo’oghli brothers and played important roles in their fame, Taher Behzad Zadeh or San’atnegar, so to speak.
Mohammadreza Shahparvari , Dr Jalaledin Bassam ,
Volume 12, Issue 29 (9-2016)
Abstract
Carpet is one of the Iranian arts that is shaped in direct interaction with designers and weavers and therefore is a visual expression of their beliefs and ideas. This statement of beliefs, originates from the artist’s mentality influenced by culture, customs and religious teachings of society which is then traced on the vertexes of the carpet in different arrays and in the form of various designs. For this reason, various issues have been incorporated in carpet with a symbolic expression and each imply a cultural and religious concept. In the mist of this, numbers have a deep root in the culture of this country and was divided into two types: quantitative and qualitative. Qualitative aspect, or in other words, the symbolic and meaningful dimension of numbers has long been in consideration and the application of numbers in the arts of this country can be considered as a sign of the grand position of the symbolic aspect of numbers in different eras.
This article reviews the place and symbolic use of numbers in carpet with analytical method and library data collection. The results show that the numbers one, three, four, five, six, seven and eight have been symbolically used in different carpet designs. This application implies that the organization of images and designs has been based on the symbolic meanings of these numbers. Furthermore, it can be been seen that some carpet patterns and designs have been named based on their numerical format, thus strengthening the role of numbers in carpet and conveying the symbolic meaning they possess. These patterns, which are influenced by the cultural and religious teachings of the society, have been employed by designers and weavers and have been the source of inspiration for their designs.
Dr Seyed Ali Majabi , Dr Zahra Fanaie ,
Volume 12, Issue 29 (9-2016)
Abstract
The present article is a kind of field and historical research accomplished based on available historical and imagery sources aiming at clarifying the changes that have been taken place in patterns and designs of mentally-woven mazlagan carpet and its patterns and motifs categorization in recent century. In addition to the historical investigation based on written and unwritten sources, a field study was also conducted in Mazlagan village, to find out old carpets, take their picture and interview with the old and famous people in Saveh and Tehran market and finally by comparing the information and pictures, the changes in patterns and designs of mentally-woven Mazlagan carpet were determined. Then, based on the obtained results, an attempt has been made to categorize and classify patterns and designs of this mentally-woven carpet. The results indicated that the patterns and designs of Mazlagan carpet can be classified with regard to two perspectivess which are forms and motif models; visual and physical nature of motifs as well as application of these motifs in the body or in the borders into four categories of plants and forms or models. The plant category can be divided into single flowers, leaf, leaf and flower band, three leaf flowers and incoming flowers and the last category to three subcategories of multi-angles including three, four, five, six and ehight angles and forms consisting of panes and arrows ,toothed and elbows. Borders in Mazlagan carpet can be divided into four types of two dostkomi and first until third type Harati.
Mr. Ashkan Rahmani,
Volume 13, Issue 32 (3-2018)
Abstract
Qashqai tribe is from the southern states of the country that the main profession of livestock and their women to be engaged in weaving. Depending on their nomadic life, some container weaving such as “mafrash” (bedding bag), saddlebag, “chante” (small bag), “joval” (storing sack), “tobre” (bag), “gashiglig” (bag for spoon) and “duzlug” (bag for salt) are woven by them. Among these weavings, mafrash is a biggest in which only three-dimensional woven kilim, jajim and bedspreads can be placed. All used motifs are geometric and abstract. In terms of design composition; horizontal panel and diagonal can be seen. Mafrash is woven with “supplementary alternative weft” technique. Regarding heddling and weaving; they are divided into two groups that so called “new technique and old technique”. Research method is descriptive. The data obtained through library and field research visits to Shiraz, Firoozabad, Farashband tribes and villages. The results of the field research are based on a survey of 45 pieces; 5 pieces from Shiraz, 7 pieces from Firoozabad nomads, 5 pieces from Farashband nomads, 20 pieces from Firoozabad, 6 pieces from Jahadabad, 2 pieces from morjshahrak are researched and analyzed.
Sogand Shabani Boroujeni, Peyvand Tofighi,
Volume 14, Issue 33 (9-2018)
Abstract
Yalameh-i-Qashqayi carpets in Borujen city of Chaharmahal and Bakhtiari province (as the main source of Yalamecarpet weaving) and some of its suburban villages are especially important. The people settled in the province of Isfahan after the migration to Ali Abad area and then settled in other areas of Isfahan province and neighboring provinces, including Borujen, in the province of Chahar Mahal and Bakhtiari. In this way, a new era of propagation and the original role of the Yilmeh tribal system emerged. Yalameh carpet is woven in three designs of a pillow, a bowl, and one that can be said that they all fall into one group, but they are combined in various shapes. In this paper, it will be tried to use the library and field method to find out the overall Yalameh carpet by separating all the components used in it (including pools, margins, patches, motifs and composition) and Then they will examine the evolution of the last 20 years and provide a better understanding of the group of carpets (somewhat unknown). The questions of this review are as follows: What are the differences in the design and role of the new and old carpets? What is the most and the least change in which group of tripartite designs and at a closer look, in which part of the components of Yalameh carpet has been applied? In this way, it will be determined that despite the same pattern of motifs in old and new samples, there are obvious differences in the way of displaying new designs and their arrangement, which are discussed in the text of the article
Mrs. Farnoosh Iranmanesh, Dr Ali Vandshoari,
Volume 14, Issue 34 (3-2019)
Abstract
In the domain of rural and nomadic carpet weaving of Fars Province, there are various common patterns and designs. One of these famous patterns is called Yeksar Nazem which, in the past, solely belonged to Qashqai and Kashkouli tribes but, at present, is popular in other areas of Fars Province as well. The main feature of this pattern is its general structure and elements which have been skeptically categorized by researchers in different contextual forms. This pattern has been studied by some researchers among Mehrabi carpets and Darghahi pattern which opens to a garden. The aim of this research is to study the main features of Yeksar Nazem pattern and to identify its main elements in Fars Province carpets so that its pattern of change from Qajar to the present period can be obtained. This study is descriptive-analytic which qualitatively analyzes the main elements of Yeksar Nazem carpets of Fars Province in two groups of old and new carpets. The method of data collection is field and library study. 50 samples of Yeksar Nazem carpets were considered as the main data pool, out of which, and based on the available frequencies, 10 carpets were purposefully (non-randomly) selected as old carper samples and 10 carpets as new ones. The results indicate that the structural form of the pattern and the main features of Yeksar Nazem carpets have observed changes in the structure and the attitude towards the content of this pattern from Qajar era to the contemporary period. This pattern has recently appeared among new carpets with diversity in overall composition and simplicity in the form of elements. Its weaving place has also been extended from a particular geographical area to wider areas in Fars Province.
Karim Mirzaqee, Ali Asghar Shirazi, Mohammad Ali Rajabi,
Volume 15, Issue 35 (9-2019)
Abstract
Although carpet has a very long history in Iran, the purpose of this article is to study one of the most important periods of Persian art history before the Safavid, Turkomani Period; and one of the most important ways to know these period carpets is the reports of European tourists, especially the Venetian merchants' from Tabriz, pointing to the beautiful rugs of the Blue Mosque and the silk-woven rugs of the Uzun Hasan courts. In addition to these reports, the pictures of carpets can be seen in the paintings of that period, a typical examples of which are Big Head Shahname, Khamse Nizami and Khavaran Neme belonging to the Turkomani period.
And since the Turkmen era, is a prelude to one of the most important periods of the Iranian regime, the Safavids. Therefore, the emphasis on conducting research on Turkmen carpet can be the source of many ambiguities in the carpet of the later period. Therefore, one of the reasons for this research was the lack of special attention to the Turkish carpets by the researchers. Although the study of pre Safavid carpets has its own problems, the lack of carpet documentation and the lack of attention of experts in the field to Turkmen carpets are among the research problems of this section.
Despite these problems, the present article can lead to the recognition of the carpets of this period of transition and important. Other goal of this research is extraction of roles and drawings that have the essence of Turkomani carpet and are considered to be the starting of Safavid carpets. In this regard, there have been some research questions, including: What are the characteristic of Turkomani carpets' motifs? and what effects do it have on Safavid carpets? Research method is historical- analytical-descriptive in the search for fact; the collection of information is a library.
Faezeh Ghomlaghi, Iman Zakariaee Kermani, Mahdi Keshavarz Afshar, Bijan Arbabi,
Volume 15, Issue 36 (3-2020)
Abstract
Iran is an ancient country with very rich culture, art, and history. People who reside there have different cultures and religions. One of the most important and classical art in Iran is carpet which dates return to many years ago. This art has an appropriate background to presents images and symbols that show beliefs, traditions, social changes, religious thought and etc. By various images and patterns on Persian rug, it is a proper commodity for presentation and communication with individuals and societies that are different with each other in the eyes of religion and culture.
The rug that Naser al-Din Shah donated his Jewish doctor, Nur Mohammad, is one of these rugs which has religious images and symbols. Nur Mohammad was Jewish doctor of Naseri Court who survived after an attempt, then Naser al-Din Shah presented him with this rug as a gift. So, this is assumed that this carpet is able to communicate with different societies and religions. The purpose of this paper is to reading the symbols and analyzing the concepts of this rug and answer to this question: What is the relationship between existing images and Judaism principles and doctrines of this rug.
In this paper, by using of discourse analysis which has become an interdisciplinary attitude nowadays, it is endeavored to read these symbols and compare them with the Holy Bible and other available information in written sources, by talking to persons who are aware of Judaism's concepts and patterns.
The results of this research demonstrate that existing images on this rug adopted from the Holy Bible of Jewry and artist demonstrates holiness and importance by using of the Holy Bible's part or parts repeatation, or with painting greater picture of important religious persons who have special importance for Jewry.
Mohammad Ali Espanani, ,
Volume 16, Issue 37 (9-2020)
Abstract
Bid Majnun( weeping willow) design is in the invaluable position because of being one of the most famous patterns among Persian rugs as well as their local varieties. Although it seems that there is not a particular region for the creation of this design , old samples have been observed in the north-west areas of Iran especially in Bidjar(Bijar). Such evidence may imply that Bidjar has been the source of this pattern. Using broken and semi-curvilinear lines and average weave cause to consider such rugs as local ones. Basic elements of these rugs are motifs such as weeping willow, cedar, poplar and fruit trees. These features in a balanced combination have made a common pattern which has been used in Chaharmahal & Bakhtiari province, the north-west areas of Iran and even in the other countries. This study attempts to reveal different varieties and the construction of the pattern of Bid Majnun through analysis of 20 samples from the main local areas in Iran. This research has been conducted by using descriptive statistics based on the comparison of the data. Data collection procedure has been accomplished by using field and library-based studies. As was briefly mentioned before, the results show that Bid Majnun design has a unique structure with a special design in different regions. Meanwhile, a little change in the construction of motifs has caused some variation in the pattern of Bid Majnun.
Key words: Bid Majnun Design, vagireh, construction of the patterns , Iranian carpet weaving , rural rugs
سیران چوپان, ,
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)
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.
Ali Dadkhad, Bahareh Taghavi Nejad,
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
