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Dr Seyyed Rasoul Mousavi Haji, Mr Ali Piri,
Volume 5, Issue 13 (9-2009)
Abstract

Sistan rug is one of the most genuine native artifacts of the region which is closely linked to the spirit and substance of the people of this land, since in these years less attention has been paid to this original art and it has been less frequently studied by the relevant experts and researchers, day by day changes has been made in its design and color that has resulted in the deterioration and disappearance of the genuine regional designs and there is a concern that the figure origins, employed in them, would be forgotten by the elapse of time. So in order to preserve and restore figures of this valuable cultural and artistic heritage, it is necessary to detect the genuine figures and use them in providing new sketches having genuineness and this cannot be accomplished but by seeking to find the origin of the figure origins of the Sistan rug. In this investigation, the efforts of the authors has been exerted on that through studying the Sistan rugs, using the survey as well as library methods and their comparison with the figures on the buff pottery in the shahr-e-sookhte (burned city) we would be able to acknowledge the originality and precedence of the Sistan carpet figures and by linking the Sistan rug with its past glory, we would pave the way to provide original figures of the Sistan rugs. Undoubtedly, the buff pottery of shahr-e-sookhte, with regard to its thousands of years of records, play an important role in identifying again the original figures of Sistan, so the collection and analysis of the Sistan rug and their comparison with the buff pottery of shahr-e-sookhte which would result in giving identity to them, can be considered a big step forward in generating original and standard figures of the rug and reproduction of this immanent art would provide the missed loop in the claim of the present pictorial culture of Sistan to complete the link with its past which is a pride

Mrs Maryam Soltani, Dr Mehdi Keshavarz Afshar,
Volume 12, Issue 29 (9-2016)
Abstract

The French elements and motifs have been entered to Iran art through building moldings. Meanwhile, importing postcards and chocolate boxes having European stencils ,have had important role at stencils of carpet .At the period of Gublan in Kerman province ,by the request of America for using French Golfrang and Gublan,the structure and elements of Kerman carpet was influenced by Aubusson and Savonery  carpets.

In this article , by study these two types of carpet, we try to show the relationship between French carpet stencils and the  Gublan period carpet in Kerman and by comparing the resemblances and differences to show: How much the Kerman carpet has been influenced by the French carpet, whether the designers copied the designs or incorporated them.

To achieve a precise and accurate result,56 samples of Gublan Period carpet in Kerman were collected by field study .Also 70 samples of French carpets were photographed by library method .By comparing these designs through descriptive, analytical  and comparative methods ,their different and common aspects were surveyed and specified that no copy has been done and at the Gublan period ,the Kerman designers have been influenced by French carpet design. In some cases adaptations used ,have resulted to innovation of  new designs.

With regard to the similarities between the composition and structure of these two types of carpet, in spite of French carpet ,the colour used in Kerman carpets are bright and opaque.

Though the basis of French carpet design has been originated from the  East ,but in comparison to Kerman carpet, less porportions have been observed.



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