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Showing 8 results for Garden
Garden Carpet: From the Picture of “A Carpet from Empyrean” To the Design of “A Empyrean on the Carpet”
Mr Hadi Mahmoodi-Nejad, Dr Mohammad-Reza Pour-Ja'far, Dr Mohammad-Reza Bemaniyan, Dr Mojbata Ansari,
Volume 3, Issue 8 (3-2008)
Abstract
Iranian carpet has an allegorical and symbolic sense of heaven and heaven-like gardens which is similar to the descriptions in the Holy Qoran, yet the existing plans and sketches in heaven-like carpets are proportionate to Iranian garden’s design and architecture (especially the Char-Bagh) in the way that it draws an everlasting picture of infinite world and heaven gardens in this world. In Islamic culture the growing path of human is from carpet to the empyrean, human beings come to the world on the carpet and fly to the empyrean and in its highest levels they lean on the best carpets made of silk in the heaven. Based on this research, it has been shown that an allegorical concept of heaven and its gardens in Iranian carpet can be found completely, which are full of Islamic gardens showing the high potentials of Iranian carpet designers in drawing and designing heaven’s spiritual concepts to weave the strings in a way that they deserve the holy concepts and remind us the everlasting heavens which ties us up to the infinite existence of it.

Rethinking of Persian Garden Architectural Order in Persian Garden – Carpet with Emphasis on the Environmental Ecological Perception Theory
Dr Azadeh Shahcheraghi, Dr Seyyed Gholamreza Islami,
Volume 4, Issue 9 (6-2008)
Abstract
In Persian culture, carpet is the most important formal image expression of “Garden”, next to its architectural manifestation. Nowadays, while the historical gardens have already been destroyed by nature or man and lack of documents is dominant, garden’s representation in garden-carpets enables researchers to study the history of Persian gardens. This paper, analyzes Persian garden-carpet in order to re-think the Persian garden concentrated order, according to the theories of environmental psychology. Main purpose of this study is to find the relationship between “Persian gardens’ architectural order”, “Garden– carpets” and “Gardens’ effects on Man’s mental health” with emphasis on the Theory of “Environmental Ecological Perception”. Recognition of “perception-conception order” in Persian garden and garden-carpets is one of the results of this study. 

Identifying Paradise in Symbolic Context of Iran’s Architecture and Carpet
Dr Amir Hossein Chitsazian,
Volume 5, Issue 12 (6-2009)
Abstract
“Garden” and “Carpet” are the most expressive Iranian artworks rooted in Iran’s culture and civilization which show beliefs, values and interests of Iranian artists, both garden and carpet designers. This paper studies the relations between these two valuable arts in Iran. At first the background of two fields has been reviewed and then the designs of historical gardens and garden carpets have been compared. On the other hand, this paper studies the status of garden and Paradise in Iranian beliefs and customs and also in carpet designing.

A Study on the Symbolic Significance of Medallion in Persian Carpet
Mr Seyed Mohammad Mehdi Mirzaamini, Dr Seyyed Jalal Eddin Bassam,
Volume 7, Issue 18 (6-2011)
Abstract
 Among various Persian carpet designs, medallion and medallion with spandrels designs have special status due to their both aesthetic and frequency of use in carpets. It seems that the medallion in Persian carpet has not achieved this significance only for its aesthetic aspects. In this paper, the significance of this pattern is investigated from symbolic point of view using library-based survey and content analysis. Medallion in the carpet has reached such maturity and aesthetic climax from both conceptual and appearance aspects that this can hardly be seen in other arts. Medallion pattern has developed from mythical beliefs and it symbolizes garden and pool; but its evolution to today's state is in fact the manifestation of the beliefs, thoughts and dreams of the Iranian Muslim artists that are manifested in a heavenly garden and spiritual space. On the other hand, visualizing heavenly concepts in the medallion departs from mortal and earthly state, and seeks introducing a holy space by using abstract patterns. In this way, an eternal world, which cannot be depicted in any mortal form, is portrayed by applying a symbolic rendition. For realizing all of its connotations, the designer and/or weaver chooses the center of the carpet to stimulate this prominent concept.

Vase Motif on Rural Brick-shaped Rugs of Chaharmahal and Bakhtiari (With Emphasis on Chaleshtor, Shalamzar and Boldaji Areas)
Mr Mohammad Ali Espanani, Mrs Peyvand Tofighi Borujeni,
Volume 7, Issue 18 (6-2011)
Abstract
 The ancient motif of vase, whether individually or in combination with other motifs, is one of the most basic patterning motifs in visual culture of Iran and is among the manifestations of eternal verdancy. Multiplicity of its types, its various forms, flexibility of its structure and its combination with other motifs have caused that the vase motif become a basic and guiding elements for other motifs. Nomadic and rural hand-woven textiles manifest the power and value of vase motif fully and obviously and the motif has become a model for urban artifacts and styles. Abundance, variety and especially innovative presence of vase motifs observed in the rural brick-shaped rugs of Chaharmahal and Bakhtiari raise many questions, for example: How is the variety of vase motif on brick-shaped rugs? What are their main components (form and structure)? What are the causes of changes of this motif? This research has been conducted using descriptive-analytic method and data collection has been performed using library-based and field studies. Keywords: Vase motif, Rural brick-shaped rugs, Chaharmahal and Bakhtiari, Form, Figure, Structure.

Reflections of Chaharbagh Garden in the Persian Carpets of the West of Iran with Emphasis on Examples from Kurdistan Province
Dr Mohammad Ebrahim Zarei,
Volume 7, Issue 19 (9-2011)
Abstract
 Garden and Persian carpets of among the oldest phenomena in the course of history. There are some points which indicate that garden and carpet have been closely connected. Chaharbagh structures were important works of ancient pre-Islamic Iran, at Achaemenid and Sassanid periods and Ilkhanid era, especially in the Timurid and Safavid era. Like Chaharbagh style, Chaharbagh or Golestan motifs also are notable and impressive in carpets of some periods of Iranian history. Though there no many Chaharbagh carpets left from the late Safavid era, but the few existing examples shows the spread this carpet style that is a reflection of the Chaharbagh. Examples of the carpets with Chaharbagh design can be found in west of Iran and particularly in Kurdistan, and a number of them now adorn museums and private collections outside the borders of Iran. By examining these carpets and Chaharbagh structures in the area we will understand that this relationship is longstanding. The works reflect the continuity of design and motif of Chaharbagh carpets and Chaharbagh structures which are more stable than other parts of the west of Iran until the end of the Qajar era. Evidences for this idea is the carpets which belongs to the northwestern Iran especially in cities Bijar and Sanandaj in Kurdistan Province. The samples of such Chaharbagh structures were fully operative until five decades ago. Therefore, it is assumed that that the commissioners and patrons of Chaharbagh structures and Golestan carpets have been the same social group, and it is believed that they are among the local rulers. In this paper, the background of Chaharbagh structures, Chaharbagh carpets in Kurdistan province and the relation between Chaharbagh structures and Chaharbagh carpets has been studied.

Discourse in Safavid Rugs Garden
Dr Alireza Khajeh Ahmad Atari, Dr Mohammad Taghi Ashori, Bijan Arbabi, Dr Mehdi Keshavarz Afshar,
Volume 11, Issue 28 (3-2016)
Abstract

Regardless of its architectural features, garden is one of the key concepts in Persian art history from the ancient times to the Islamic period with a significant role in different arts, especially in architecture, from conceptual, formal and also contents-based points of view.

The main aim of this research is a comprehensive study of garden concept and its significant role in Safavid art and culture.

This paper is to question the status of garden in the role of epistemology and thought concept in forming many of movements and artworks of Safavid period, esp. in the art of carpet weaving.  

This Historic, descriptive and analytic research with its library-based data collection method practices Michael Foucault’s discourse theory and ideas of Laclau and Mouffé to analyze the gathered information.

Results show that regarding its conceptual, determinant and regulative characteristics, the concept of garden is an epistemological discourse in forming the configuration, concept and context of Safavid art. Accordingly, garden is a dominant discourse in art and rugs of Safavid period.


Comparative survey of the design patterns of garden carpet and Iranian gardens in Safavid and Qajar period
Dr Hasan Akbari, Mrs Helen Nakhustin Khayat, Mr Armin Nakhustin Khayat,
Volume 13, Issue 32 (3-2018)
Abstract

In Islamic culture, "garden" is a manifestation of heaven in appearance, So the carpet and garden are the mirrors of heaven. In this research, the design patterns of Iranian garden and  garden carpets in Safavid and Qajar period are identified and compared with each other. The goal of this research is to investigate the interactions of form, geometry and patterns of design in garden carpet and Iranian garden. In this research, the effects of the dominant elements and characcteristics such as architectural and natural elements, motifs, forms and design principles, in Isfahan “Chehelsoton” garden", Kashan "Fin” garden, Mahan "Shahzadeh” garden" and Shiraz "Jannat” garden" are surveyed and compared with  12 samples  of garden carpets belonging to the 16th , 17th and 18  th  centuries. The result of the research is that, the design of Iranian gardens and garden carpets have some principles in common, inspiring and affecting each other. Gardening pattern in "Fin" ," Shahzadeh" ,"Chehelsoton" and "Jannat” gardens are closely similar to each other. Based on the results of the research, the most indices of Iranian Gardens are found in "Fin" with 81.5 percent, "Chehelsoton" &,"Shahzadeh" with 74  percent and "Jannat" with 66.6 percent which accordingly have the most effects on garden carpet design patterns. Also, "Bage Behesht" carpet (carpet No. 3) has the most accordance and "Garden Rug" (carpet No. 12)  has the least harmony with characteristics and indices of Iranian gardens.
 
 


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