Showing 11 results for Carpet Design
Mr Amir Hossein Chitsazian, Dr Habibullah Ayatollahi,
Volume 1, Issue 1 (3-2006)
Abstract
The arts are born out of the artist’s mind within the milieu of the culture of the period and the social environment. The craft of carpet weaving is no exception, as it is influenced by intellectual and cultural trends. Certain arts such as the art of the carpet have a very long life and have gone through the ages, while they are still alive. Such arts have obviously been influenced by various approaches and beliefs of each period, or have collaborated with various cultures due to the prevailing conditions. Symbolism is an integral part of Oriental art, and Iranian art and the art of the carpet, but at times we come across naturalism also. Therefore, the influence of naturalism on the art of the carpet is worthy of study. In this study using the library research method the hypothesis that “a kind of naturalism has been influential on the art of the carpet” has been tested. This study of the art of the carpet of the Islamic period has analyzed the available texts and pictures of carpet motifs and has confirmed the above hypothesis. The trend of naturalism in the Iranian carpet of the Islamic period has developed through the art of the royal courts since the Safavid period. It continued its development on the basis of Islamic ethics and culture through the Qajar period. However, since the Pahlavi era Western naturalism has influenced the art of the carpet also. In recent years, due to acceptance of Western culture as a result of the open door policies of the second decade since the revolution, as well as the propaganda programs of Western culture targeting Eastern countries, manifestations of Western naturalism in various arts including the carpet has increased.
Dr Amirhosein Chitsazian,
Volume 2, Issue 4 (3-2007)
Abstract
Symbolism and love of beauty are two fundamental particulars of human kind having special effects on his works of art. Carpet, particularly in Iran, has been one of the grounds of manifestation of symbols and carpet patterns represent symbolic designs. This study is an effort to study this issue, especially in the Safavid and Ghajrid eras which are considered to be the flourishing age of Iranian carpet. Written references as well as 80 pictures of carpets of that period of time constitute the main resources of this study and confirm our hypothesis of great effect of symbolism on Iranian carpet designing. In this study, I have introduced the theoretical grounds of carpet patterns symbolism and for the first time a classification is drawn up which may be used as a starting point for other studies.
Mr Abbas Akbari,
Volume 3, Issue 6 (9-2007)
Abstract
variety of western carpet designs such as Bahaus School are characterized as different from the traditional designs and forms and are basically based on principles of visual arts. This variety pops up questions about the origin, causes, and relationship with oriental carpets. This paper is an attempt to answer some of these questions. To this end, history of western carpet by looking at art movements such as “William Morris Movement”, “Bauhaus School”, “Art Deco”, “Art Noveau”, and “Post-modern art”.
Mr Alireza Khajeh Ahmad Attari,
Volume 4, Issue 10 (9-2008)
Abstract
Design, color and pattern, which are of the carpet overriding esthetic elements, create identity for a carpet. Designers have been depicting the most beautiful and attractive pictures as the carpet design for the past centuries. The history of incorporating computer-based designs into carpets does not exceed three decades; therefore, it is a present-day technology adopted: In the similar vein, it has provided us with a wide range of possibilities. However, due to lack of interest in the widespread use of computer in many carpet-manufacturing procedures, it seems to have been faded into insignificance; therefore, an attempt should be made in order to overcome the challenges between traditional designing atmosphere by hand & that of computer. There are some unanswerable questions as follows: 1) does computer ruin the carpet design genuineness?; 2) is the presence of computer fundamentally necessary in this field?, and 3) will the relationship between an artisan and an apprentice break down when there are countless patterns & designs saved in the computer and there is no need for these manually-designed patterns to be learned & handed down. The method of research adopted here is a case study. In order to recognize each of the above-said methods in designing carpets, it was deemed necessary to study the history of formation of manual designing and the impact of computers in speeding up the production of carpet drawings. In addition, a comparison has been made between computer-aided drawings with that of manual ones. To do this, appropriate data was collected via library resources & interviewing great masters. The research revealed that each one of the manual & computer-aided carpet drawings have special specifications which have been contributed to their similarities & differences. Between them nevertheless, the computer-software stem from manual designing. The distinctive characteristic of computer in speeding up the production is that it is regarded important in both drawing and other fields related to carpet such as approximate calculations, weaving & marketing. It seems that the disinterest of traditional carpet designers in making use of computer has nothing to do with using a computer as a tool; in the other hand, another convincing reason shall be uncovered. It is of paramount importance to describe computer in carpet drawing correctly.
Mr Seyyed Mohammad Hossein Rahmati,
Volume 4, Issue 10 (9-2008)
Abstract
One of the most important factors resulting in outstanding qualities of Persian carpets is their designs. In designing a carpet, the important challenge is to strike a balance between preserving the cultural and artistic values of the design and it’s innovative. Using principles of visual arts, in this paper an attempt has been made to analyze genuine carpet designs and to identify their major features. These principles may guide designers to create new designs as genuine as the past masterpieces. The principles also may be used in evaluating the innovative designs, currently being used in Persian carpets. Applying these principles to some innovative carpet designs reveals that most of the unsuccessful designs suffer from lack of cultural values, and poor designing, composition and positioning. The paper also recommends some what-to-do and not-to-do for those carpet designs that are meant to be innovative.
Mrs Afsaneh Tahbaz,
Volume 4, Issue 10 (9-2008)
Abstract
Persian carpet is a manifestation of all of our national arts. There are thousands of people working in this trade. These carpets are produced by efforts of so many workers and artists. Obviously, it is necessary to gain a good knowledge of precious carpets these days because due to good foreign market for them, unfortunately, these weavings with their exceptional designs have been exported abroad and there is almost no indication of them in Iranian artistic centers. Precious carpets are only presented in exhibitions and carpet shops and so often their artists and weavers fade into obscurity. Only few merchants and a number of particular persons know these people and even there can be no attempt to introduce them to art societies. This paper, beginning with a brief review of the history of Tabriz accompanied with the history of carpet-weaving in this area, introduces some designing and coloring techniques used for precious and high quality carpets of Tabriz and also their designers. Then it proceeds to present some characteristics of these carpets including: weaving method, used materials, colors and son on.
Dr Ali Asghar Shirazi, Mr Hesam Keshavarz,
Volume 7, Issue 20 (3-2012)
Abstract
In the late of the Qajar era, a Persianized Iranian royal family of Azerbaijani Turkic origin which ruled Persia from 1785 to 1925, the Isfahan carpet design was revived by some of the artists such as Mirza Aqa Emami and Mohammad Hossein Mosavver Al-Molki. One of the leading artists in the late of the Qajar period and the early of the next period, Mohammad Hossein Mosavver Al-Molki, known as Haj Mossaver, was an innovator whether in painting or carpet design. However, the traditions of the Safavid painting and design are dominant in his works. He revived the hunting design which belonged to the previous periods specially Safavid era in the Isfahan carpet. In this paper, the Mosavver Al-Molki’s hunting designs is studied with a descriptive-analytical method and the paper’s data is collected through an observational and library-based research. The study revealed that his works were not a mere imitation. He changed the horizontal composition of the Safavid hunting carpets to the vertical composition. As a result, a high horizon was created in the hunting scene. Haj Mosavver had a realistic perspective in his designs and so, he solved the problem of the separation between the nature of the field and the elements of hunting scene in traditional hunting carpets via converting the vines and palmettos to the small bushes and shrubs. In fact, his work was a logical relationship between the contemporary carpet design and the Safavid’s.
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.
Abdollah Mirzaee, Dr Mohammadtaghi Pirbabaei, Dr Azam Ravadrad, Dr Mohammad Abbaszadeh, Dr Ali Vandshoari,
Volume 12, Issue 29 (9-2016)
Abstract
The purpose of this article is sociological explanation of Iran's contemporary carpet designing system to recognizing of the evolution or the stability in its carpet designing schools. For this aim, first we selected and compared 20 sample carpets among the woven carpets of Tabriz and Esfahan in the past 10 years with the same number of Tabriz and Esfahan carpets that are woven at 40 to 60 years ago. With these compare probabilistic caused changes in design, pattern and color of this carpets had shown. The results show that deflection from traditional designing bases in Tabriz contemporary carpets is visible and fast. Versus changing of these bases in Esfahan carpets is according to rules and course frame of Iranian traditional design and is continuing its natural proses.
This article is theoretically related to the field of sociology and emphasizes on Anthony Giddens's structuration theory. In Accordance with structuration theory, had studied reasons of the evolution or the stability in identical component of Esfahan and Tabriz carpets. The findings of the study indicate that, any change in the rules and resources of proceeding at each of the schools of Iranian carpet design, will caused changes in its entirety system. Therefore stability of the rules and resources of action in Esfahan causes the persistence of Iranian classical design school in this city, inverse the fluidity of the rules and resources in Tabriz causes consecutive changes in School of Tabriz carpet designing.
A descriptive analytic approach and field study-library based data collection were the research methods used in the present study
Elham Ahmadifard , Dr Esmail Karamidehkordi,
Volume 12, Issue 29 (9-2016)
Abstract
Carpet design and decoration are the fundamental elements for producing carpet and they are important factors determining material and artistic values of a carpet. The access and use of innovative and demand driven designs are the crucial issues that carpet weavers face with, affecting their production, productivity and income. The purpose of this paper is to explore the supply sources and methods of access to silk carpet designs by rural weavers. The data were collected using a case study methodology through focus groups, semi-structured interviews, participatory mapping, document analysis and observation. The study was conducted with 90 rural silk carpet weaving households in 23 villages of the Zanjan Township and market actors in the cities of Zanjan, Qom and Kashan. Rural weavers produced carpet and received designs through two production approaches: a) self-employed production and b) contractual employed production for external entrepreneurs or dealers. In the self-employed approach, rural weavers got accessed to designs through two mediating chains including local and urban dealers. Access to designs in this approach was mostly indirect, in that rural weavers demanded and received designs from local dealers who in turn received the designs through the silk carpet market in the Zanjan City. In the contractual employed approach, rural weavers accessed their required designs through three mediating chains, comprising local dealers, urban dealers and urban entrepreneurs. The most frequent contact of rural weavers was related to their direct visit to their entrepreneurs or employers who were not carpet designers. In both production approaches, the provincial rural carpet :::::union::::: acted as a dealer rather than a community based organization supporting rural weavers, so it did not reflect the weavers’ interest.
Ali Piri, Mohammad Kazem Hasanvand, Morteza Farhadiyeh,
Volume 16, Issue 38 (2-2021)
Abstract
Hunting and animal’s combat design of animals in the Safavid era has been reflected in various compositions of carpet designs as they are combined with Floral, Medallion, and Corner and Medallion patterns. One of the significant examples of a hunting ground corner and Medallion carpet are the ones held in the Poldi Pezzoli Museum, Milan. In this carpet, hustling hunting scenes have been depicted. The present study aimed to explain the design method of this carpet. The research method was descriptive-analytical and the data were collected from library. The data were analyzed qualitatively using structural analysis method and based on the existing standards governing the design of Iranian carpets in the Safavid era. The results of the research indicated that this carpet has had a two-layer design. The first layer, designed in form of Corner and Medallion, has been performed by ¼, and by making minor changes, it becomes ½ and in the second layer the hunting scene added to design through ½. The elements used in this carpet's patterns include: Medallion, inscription, Upper-Medallion
[1], corner, background, borders and hunting scene, as the latter plays a prevailing role on the carpet. The Medallion-bound line
[2]is designed by way of 1/16, turning ¼ after three repetitions. The Medallion design was recessed or built-in. After the Medallion-bound line is completed, the inscription and the Upper-Medallion added as ½, with the same part used as the carpet corner and the background is decorated with Khatai motifs. This carpet has four rows of borders. The outer border and the main border are designed by reflective method and the two inner borders are designed by transfer method.
[1]- Geometric pattern similar to a bovine head.
[2]- Repeatable range of the design.
[1] Geometric pattern similar to a bovine head.
[2] Repeatable range of the design.
