Mr Hassan Azizi, Mrs Mahnaz Navaie,
Volume 4, Issue 11 (3-2009)
Abstract
Motifs pass through the mental filters of different people. The time and mind canals govern key roles in forming the designs. Most of the carpets’ designs and motifs are the products of the cultural exchanges among different nations and races. Cultural and social products such as stories, dialects, traditions, customs etc. are exchanged among different nations and races, meanwhile get local characteristics; motifs are also not apart from this formula. They are also modified and changed in the process of movement from one location to another one. Each motif can be considered as the offspring of the social needs of its community in a certain period of time. The cursive designs of Heris also follow such formula. The organic and urban designs (i.e. Shah Abbassi medallion design) have been changed into a geometrical design by the carpet weavers and consequently innovative visual models have been introduced to visual culture of the carpets as the result of gradual mental-oriented changes and modification of those designs. The relationship between some motifs in Heris carpets such as: “Gobak”, “Lalak”, “Toosbagha” etc. and mythological elements is significant. The mental-oriented weavers of this field have created a collection of new motifs by utilizing simile and abstraction.
Maryam Sheikhzade, Mohammad Azamzadeh,
Volume 16, Issue 37 (9-2020)
Abstract
Ghelimche Metkazin village in addition to the abundance of role, mentally woven and of a simple structure. The variety of animal and plant designs and understandable geometric shapes and the creation of creative design during the drawing of motifs on the margin and the text and the way weavers adapted from the nature and environment of life and the re-imaging of images has led to a variety of designs in the pattern of drawing, while The visual and internal lines and actions add to its visual value. The purpose of the research is to achieve design methods in the process of recreating motifs and visual values.In the direction of research, the following questions have been answered: how is the process of recreation of motifs in Metkazin Ghelimche, how have different design techniques been carried out, and what are the visual values of these motifs? To study and study, eight samples were selected from original Ghelimche and analyzed by descriptive-analytical method and field study and interview. The results of the research indicate that in the direction of recreation of motifs, two realistic and abstract methods have been revealed. Realistic motifs, due to the direct adaptation of nature, are free of any creative recreation and visual value, however in an abstract way, the designs have been drawn in two ways abstracting and pure abstraction. In the abstracting method, the simplification of the motifs is observed and with little reflection and thought for the audience is understandable, and of course the visual value of the quality and promotion of the designs are effective. In a pure abstraction (elaborate), the role of the objects in the process of recreation, in a fundamental way, is based on the inner essence of the forms, and the visual value lies in the designs based on a kind of aesthetics and is not simply conceivable.
