Showing 9 results for Color
Mrs Zahra Hossein Abadi, Dr Zahra Rahnavard,
Volume 2, Issue 4 (3-2007)
Abstract
The pattern and the colour used in Sistan carpets is influenced by the climatic, cultural, historical, and image-weaving conditions of the region. In view of their conception, beliefs, culture and the historical antiquity of the region, the artists and weavers of such images choose peculiar patterns and colours bearing their overt and covert understanding that are depicted in their weaving works. This research after studying the patterns and colours used in them, takes into account those factors whose appearance has been truly effective in their formation and style. These pictorial phenomena that associate their rank and status with the degree of demand and selection of the masses enjoy varied meanings and concepts and the effect of the natural inspiration in them attains, at times, such an abstraction that their place in the surrounding phenomena could hardly be recognized. Visual qualities and values in the colour and the pattern of Sistan carpet are varied and extensive. One most significant of them is the value of in unity multiplicity portrayed in the Sistan carpet more prominently in two elements of color and pattern. Keeping in view the past history and the epic of the people of Sistan and the mode of beliefs and mores prevailing over the region, similarly the peculiar temperament of the land, the patterns and colours used in the hand-woven and other artifacts are a sort of symbolism and an association of events and incidents that are in fact a linkage between self-conscious rational world and the instinctive world; the weavers of this style resort to patterns and colors in order to express natural elements and their own ideals.
Dr Amir Hossein Chitsazian, Dr Habib-O-Llah Ayatollahi, Mrs Dorsa Sazgar,
Volume 5, Issue 13 (9-2009)
Abstract
European tapestries and Persian kilims are the most useful types of flat and non-pile textiles in both regions bearing differences in terms of appearance such as: design, motif and color and texture and also in terms of specific functions which have been assigned to them. This study, therefore, has been conducted with the aim of identifying and comparing these valuable handmade textiles so that it may provide some grounds for improvement and development of Persian kilims while preserving their artistic identity. Although Iranian kilims and European tapestries use similar tools and materials and weaving technologies, but due to certain cultural and spiritual characteristics of Iran and Europe, they are different in terms of designs and patterns, color compositions, sizes as well as functions. Library-based and documentary studies were performed for achieving the aim of the paper and reviewing and comparing these types of Iranian and European handmade textiles revealed many similarities and differences
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.
Mr Mohammad Reza Shahparvari, Dr Seyed Jalal-Eddin Bassam,
Volume 7, Issue 19 (9-2011)
Abstract
Every year, during rose water extraction a huge amount of damask rose residue is produced. The transportation and disposal of these waste materials create some problems including an increase in the price of the produced rose water. In this study the use of damask rose residues in dyeing wool is assessed and a method for its use as a colorant in natural dyeing is offered. Dyeing was carried out by using the material along with some mordants such as alum, copper sulphate, iron sulphate, chlorine and tin and also without mordant by adopting pre-mordanting technique. Various amounts of mordants and colorants were used. Comparing the obtained color hue with those from other traditional colorants, it was observed that the color hue obtained from damask rose residues was greatly similar to the color hue gained from pomegranate peel. These two color hues were analyzed and compared using the carpet weavers’ views as well as measuring wash and light fastness properties using experimental methods. The results indicate that damask residues can be used as a new natural colorant particularly in carpet production. This can provide a new colorant with minimum expenses, reduce the price of rose water extraction, and prevent environmental pollution.
Mrs Afsaneh Ghani,
Volume 7, Issue 20 (3-2012)
Abstract
Peacock is one of the most prominent animal motifs which can be seen as abstract or geometric shapes in kilims woven by nomadic tribes, especially Shahsavan and Qashqai. The diversity of this motif in hand-woven kilims of these two tribes led the author to introduce, classify and then analyze it from different viewpoints such as color and shape. This paper tries to answer the question: What are the most important similarities and dissimilarities of peacock motifs woven by Qashqai and Shahsavan tribes? And which tribe shows more ethnic diversity? The hypothesis suggests that peacocks woven by Qashqai tribe enjoy more variety of form and color than those by Shahsavan tribe. The research method is field study (especially by finding of peacock motif) and library-based one, and this is of analytical-descriptive research. Two-heads peacocks of Shahsavan tribe which have been transferred to the kilims of Qashqai tribe and the Khamse Arab tribes such as Arab Jenni tribe via migration and other communications are seen as the most important findings of this study.
Abdollah Mirzaee,
Volume 15, Issue 36 (3-2020)
Abstract
The geographical expand of carpet production in Iran, has caused to use of various techniques and methods in order to convert them to carpet design cartoons. Today, two distinct and inclusive methods are common in providing carpet cartoons for urban carpets weaving in Iran named Isfahan and Tabriz methods. The purpose of this research is an explanation of the causes of difference in the coloring and pointing cartoons of carpet designs in these two main carpet weaving regions. For this purpose, first, by comparative studying of the color and dotting methods of Isfahan and Tabriz carpet cartoons, the differences between them were extracted. Then, the reasons for these differences were studied with emphasis on the structural and technical factors of these two regions carpets. The results showed the common styles of design and production in each region and the level of mutual understanding of the complex human beings involved in the production system with respect to each other's actions plays a pivotal role in changing the color and dotting methods of carpet designs. Qua in Isfahan, persuasion to the existing situation and the traditionalism of producers and even audiences towards the institutional situation has led to the continued use of classic and traditional designs in carpet cartoons, and the consequently no need to invent different color schemes and design dotting. On the other hand, the intrinsic and historical orientation towards innovation and modernity among the human beings of Tabriz carpet producers has made the carpet designers to personalize their action with the tendency to use realistic motifs and hybrid flowers. Therefore, without changing the traditional color and dotting methods, these cartoons are not meaningful and readable for the majority of carpet weavers. To solve this problem, Tabriz Carpet Designers with the beforehand knowledge of the ability of well-experienced and connoisseur weavers, have invented various methods and techniques to make readable their designs to these carpet weavers.
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.
Saeedeh Rafiei, Davood Shadlou,
Volume 17, Issue 40 (9-2021)
Abstract
In the last decade, biocompatible natural dyes with antimicrobial properties have been given much attention to protect dyed fibers in handwoven carpets against microorganisms. In this research, the leaves of 6 native plants of Fars province, including Amygdalus scoparia (Arjan), Pistacia atlantica (Baneh), Carica Ficus, Shirazi thyme, Shirazi Askari grape (Vinifera) and Juglans, were used as natural dyes for wool dyeing in the presence of eight different metal mordants. The reflective spectra of the dyed samples were analyzed by a reflective spectrophotometer. In addition, the color characteristics, the brightness of the dyed samples, the variety of color shades in the presence of different mordents, washing and light fastness as well as the antibacterial properties of the dyed wool were evaluated. The results of reflection spectroscopy showed that dyed samples with the leaves of Argan, grape, thyme and fig plants had negative a* and positive b* values, which confirms their green and yellow undertones, While, dyed samples with the leaves of baneh and Juglans trees had positive a* and b* values, which proves the red and yellow undertones of these samples. Wool fibers dyed with Argan leaves, figs and thyme in the presence of different metal teeth created the most variety of colors. Ivory, cream, green, brown, olive, orange, brick and purple colors were created on wool fibers in the presence of the leaves of these plants along with different mordents. The light and washing fastness of dyed samples with all the mentioned dyes were acceptable. Wool dyed with thyme and Pistacia atlantica leaves extract showed the maximum percentage of inhibition (99%) against two types of bacteria, Escherichia coli and Staphylococcus aureus.
Samera Salimpour Abkenar,
Volume 17, Issue 40 (9-2021)
Abstract
A hand-woven rug has a language and inherits the cultural, religious, and social messages and its weaver feelings. To know the messages that a rug can offer from the past to the present needs to read the symbolic language of the designs and motifs. However, in most cases, information about the meanings of a rug as an artwork is not available; hence, a logical and systematic method should be used to get past the image and reach the real concept. This research tries to reveal the hidden messages behind the motifs of a Hadji-Djalili rug with a Mihrab design, which has two prominent features: (1) the tree of life in the middle of the rug is a hybrid type, and (2) the weaver has dyed it with special elegance in the way of a real highlight (or Abrash). These are rarely seen in other altar rugs. Based on this, the study follows to find answers to these questions: What are the symbolic concepts that are hidden behind the design, pattern, and color of the mentioned rug? And how can they be achieved? What is the final meaning of the symbolic language of these motifs? Thus, the aim of this research is to use Panofsky's iconology method to find the layers of meaning through the three stages of "pre-iconography description, iconography analysis, and iconology interpretation". This research is written with the descriptive-analytical method and uses library information and written documents. The results of the iconography analysis, which is formed by connecting the chain of meanings hidden behind the motifs, confirmed the "votive or endowment" of the mentioned rug. On the other hand, the interpretation of iconology shows that the weaver of this rug knowingly or unknowingly created an artwork, which emphasizes the need for a man (or a worshiper) to achieve spiritual evolution through the entrance to the existence circle and spiritual ascension.
