Quarterly Scientific-Research Goljaam

 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.

 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.