Dr Bahar Mokhtarian, Mrs Shahrbano Kameli,
Volume 7, Issue 20 (3-2012)
Abstract
The hand-woven items of Iranian clans and tribes include various motifs that have been formed according to their life-style, customs, myths and rituals and is the expression of values and beliefs of their culture. So these motifs have various symbolic meanings that they have used for expressing their needs and relationships. The present research aims at introducing one of most important hand-woven items of Turkmen tribe, namely "Namazligh" that is an applied and identity-making item used for prayer, to analyze the status of symbol in one of the main motifs of Namazligh, i.e. Kabe Naghesh which is the repetition of tree-pillar and bird motif on the top of minarets. Understanding the origin of these symbolical elements and finding their concepts and meaning in different cultures and also in shamanism, which has been what Turkmens believed in before embracing Islam, can help to understand these symbolic elements in Turkmens' Namazligh.
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
Miss Atefeh Heidari Soureshjani, Dr. Iman Zakariaee Kermani, , ,
Volume 15, Issue 36 (3-2020)
Abstract
Bird motif is a commonly used figure in the art of this country especially carpet weaving and is found in different parts of carpets and in various forms and concepts. This indicates the importance of this creature for people. Bird motif has long been widely used and in various forms in carpet weaving, this local, ancient and venerable art. Many of these bird figures have symbolic meanings and have special positions in the culture and the literature of this country. These symbolic meanings may include concepts such as victory of good over evil, luck and prosperity, spring tidings, pleading for fertility and rain, and mystic and religious concepts. There has been an inseparable connection between Persian carpets and bird motif in various forms because Persian carpets are a visualization of paradise or heaven. Bird motifs are seen as a symbol of soul, flight and freedom and this is the underlying reason behind the relation and connection between carpets and bird motifs. Most of these birds are weaved realistically or as abstract figures on tree branches in Persian carpet, sometimes flying and sometimes sitting. Chaharmahal va Bakhtiari is one of the regions which uses bird motifs realistically or as abstract figures in designing carpets. This study begins by providing a short explanation about carpets and bird motifs as well as a giving a comparative semiotic explanation on the role of bird motifs. Bird motifs designed in the art of carpet weaving in Chaharmahal va Bakhtiari are shown in a table, firstly according to their type and then their form. A classification of the bird’s positioning in the carpet of this region and its relation with the other birds and animals and also its combination with other elements is also provided. The symbolic companionship of the sacred tree and the bird and its role in the carpets of Chaharmahal va Bakhtiari are presented. Finally the studied sample in the carpet of Chaharmahal va Bakhtiari is analyzed.
