Showing 2 results for Color.
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.
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.
