Showing 37 results for Iran
Mr Hamid Reza Mohebbi, Dr Mohammad Taghi Ashouri,
Volume 1, Issue 1 (3-2006)
Abstract
The Ziloo, as an ancient Iranian hand-woven textile, expresses its own history in its varied and rich motifs. This variation and richness are especially discernible in Mehrab (Saf) design Ziloos from Maybod, especially made as floor coverings in mosques. Because of this close connection with the mosque as a sacred and religious location, it has assumed a symbolic religious meaning and is considered a part of the mosque complex. Mehrab (Saf) design Ziloo is thus a symbol of the ranks of the faithful in collective prayer with all of its religious implications.
Mr Homayun Haj Mohammad Hosseini, Dr Habibullah Ayatollahi,
Volume 1, Issue 1 (3-2006)
Abstract
Iranian rural carpets are an important resource for studying the rural art and culture of Iran. They are also the most important area for staging the talents of, especially, rural girls and women. The common aspects of visual elements bespeak the prevailing spirit in these works under the influence of interaction with nature and lessons learned thereby. Also the availability of materials in the rural environment has the greatest influence on the physical aspects of design and texture. Rural-urban interaction and that with the nomadic population, and adapting the imported patterns to rural life is an outstanding feature of rural carpets. Adaptability of rural carpets to traditional rural applications and architecture is truly remarkable. The aesthetics of these works reveals their underlying principles, and the characteristics of their creators, and helps understand their worldview and attitude to their environment. Perhaps, that will present us with the gift of a new understanding of existence. The last point is that rural carpets are distinguishable from the urban and nomadic varieties.
Mrs Nikoo Shoja’ Nouri,
Volume 2, Issue 3 (9-2006)
Abstract
Since ancient times, “Tree” has been the focus of attention as a symbol, in works of art. In Mesopotamia and later in Iran, this symbol was known as a holy tree or tree of life as early as 3500 BC, and was delineated in different shapes. After the advent of Islam, this symbol prevailed in works of art; However, no longer as a mythological holy tree but rather standing for heavenly blessings and the paradise. This symbol has been used in different branches of art, including rugmaking. In the art of carpet patterning, the tree has prefigured a great variety of designs, notably the plant Mihrabi (prayer niche). No doubt, the predominance of the tree image in a large group of prayer rugs, is not accidental and must have an objective more than conveying mere beauty. One interpretion suggests an epitome of paradise. Given the Islamic restrictions imposed on the portrayal of human beings, a tree depicted in a prayer niche may well stand for a man in prayer.
Mrs Nazila Daryaie,
Volume 2, Issue 4 (3-2007)
Abstract
Aesthetics of Iranian Hand Woven Carpets is one of the main reasons for its eternality. Recognition of such beauties, give one such scales for his/her evaluation about this matter. These elements are qualified features which affect on aesthetics of Iranian carpets and help to its eternality. This survey takes into consideration the main cases according to their relations toward carpet aesthetics. The main aim of this study is classifying, determining and introducing the reasons of carpet aesthetics and also the relations of these factors with cultural, artistic values of the society. To know if the Iranian Hand Woven carpets have aesthetics values or not and also if it has, determining such categories, are the main questions of this survey. In conclusion we understand that Iranian carpets have aesthetics features which I classified in two categories, one is intrinsic characteristics and the other is extrinsic. Also extrinsic category is divided in two fields and design, color and size are three factors among them.
Mrs Maryam Kamyar, Dr Habib-O-Llah Ayatollahi, Dr Mahmoud Tavoosi,
Volume 4, Issue 11 (3-2009)
Abstract
This article aims at studying the geometrical proportions of five types of most outstanding designs of Safavid carpets as one of the most important styles in carpet art of Iran. This research has been conducted using geometric methods of translation of measures and finding the basic module for identifying the proportions in carpets for to determination and comparison of modules with each other. Then the findings of the research have been compared with reference geometrical proportions of the Iranian geometry. Ultimately, the findings of this paper have been compared with special proportions present in decorative arts of the Timurids, Ilkhanid, and Seljuk periods, which possess special and specific proportions according to researchers, in order for determining the origin of this system of proportions. The results indicate that the carpets have general geometrical proportions. Such proportions include certain proportions between the pattern and dimensions of carpets.
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.
Mr Hossein Abed-Doust, Mrs Ziba Kazempour,
Volume 5, Issue 12 (6-2009)
Abstract
“Life Tree” is an evergreen tree which its fruits bring eternity and immortality and is the essence of all trees. This paper is introducing different forms of sacred tree and sacred plant (life tree) on Persian carpets. In addition, through comparison of more ancient concepts of these forms, the principle of continuity of life of this symbol can be taken into consideration on these carpets. At first, this analysis is studying the relationship between life tree with altar and light symbols, an earthen jar, protector animals, lotus and phoenix. The available samples in ancient Persian art and Zoroastrian’s legends are found, then designs of life tree in accompany with these symbols on Persian carpets are introduced. Altar is the symbol of the place of relationship between heavenly world and underneath world, cresset is a symbol of light, lotus is a symbol of eternity and renewal life and earthen jar or flowerpot is a symbol of blessing and rain bringing; phoenix and other protector animals are symbols which according to Persian’s legends, they are related to the concept of tree. On the other hand, the imagination of paradise, which is the basic thought in Persian civilization, and believing in the existence of good or evil tree and life tree in paradise, is one of the effective factors in illustrating sacred tree on garden carpets. In these gardens, cypress tree, willow tree, full of flower and vine trees and also stylized forms of the tree can be found. “Ghabghabi” (frame into frame) designs (belonging to Chaharmahal and Bakhtiari area), repeated patterns of tree and medallion with repetition of tree in four symmetrical directions are also other styles of illustrating life tree in paradise.
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.
Mrs Tayebeh Sabaghpour Arani, Dr Mahnaz Shayestehfar,
Volume 5, Issue 14 (3-2010)
Abstract
It is not an exaggeration to say that Iran’s cultural, artistic and even national identity is to some extent related and tied with carpet. The history of carpet weaving is an honorable and glorious one. And today’s artists in this field would not be successful without relying on this rich and fruitful past and using their own creativity. Therefore, the scholars of this field have to closely examine and investigate patterns and motifs of carpets and introduce their findings to the carpet society. This way, they can recall us of a great identity which sometimes is being concealed in the shadow of innovations. Here the authors have tried to investigate an important part of the history of this art in the Qajar era and to introduce the especial characteristics of patterns and motifs in Carpet Museum of Iran. The method of this research is descriptive and analytical one and the data is collected by library-based and field study methods. Appearance and extension of pictorial patterns, extension of “Bandie Golfarang”, “Bandie Boteh” patterns, extension of "rose" ," Boteh" and "Mahi dar Ham" motifs, naturalism and simple and unassuming style are among the characteristics of Qajar carpets.
Dr Seyed Ali Mojabi, Mrs Zahra Fanaee,
Volume 6, Issue 15 (6-2010)
Abstract
The manufacturing of costly hand woven rugs and floor coverings during the 15th to 17th centuries represented a splendid golden age for the Iranian textile industry. Without using high-quality yarns, the productions of such woven materials were surely impossible. To analyze and identify the technical specifications of the required yarns in this industry during the aforementioned centuries, the remaining products not only could be analyzed, but they also could be examined in the great works of the paintings of that era. Examining the 15th to 17th centuries main paintings in which spinning were manifested, characteristics and technical specification of spinning handicrafts within this period have been determined. The collected data revealed that spinning, which was done by the middle-aged, elderly, and disabled as one of their daily activities, used to be very common during the 15th to 17th centuries. The painters, carefully portraying the various parts of the spindle and the spinning wheel in their works, were completely aware of the yarn source and their technical differences in spinning different yarns. This could be clearly observed in their works. According to the social situation of the painting context and with emphasis on the specific considerations of the various instruments usage, special use was made of various types of spindles and spinning wheels.
Mrs Peyvand Tofighi,
Volume 6, Issue 16 (9-2010)
Abstract
The cotton hand-woven products of Iran and India are in the category of flat and without knot wovens; Both are suitable for warm climate and some of them have same colour, pattern and composition. These cotton wovens reveal the cultural, psychical and aesthetics distinective characteristic and even climate conditions of weavers. In this study using the library and field research the hypothesis that (colour, pathern and composition in some of cotton woven of Iran and India are the same) has been tasted. In this research Iranian cotton woven "Zillo" and Indian one "DHURRIE" have been introduced. Initially we have shown both of woven, Then we have studied their similarities and differences, and finally we have shown difference between old and new ones because in recent years due to acceptance of other culture, these wovens have changed. Changes in these wovens through function traditional methods on the countinous annual were very little and straw and therefore in this study have not in mind confined time. In this article we only have studied ones that have two or three colour.
Mrs Arezoo Soltani Nezhad, Mr Hamid Farahmand Borojeni, Mr Tooraj Zhooleh,
Volume 6, Issue 17 (3-2011)
Abstract
Armani-baf (Irano-Armenian Rug) is going to be thoroughly extinct. By the settlement of Armenians in some local provinces of Iran, preserving the original features of Iranian carpet and influenced by ancient Armenian tradition of carpet weaving, such carpets were woven at the period of Shah-Abbas, the Great. Having many cultural commonalities, Iranian and Armenian people have had a long lasting history of cultural and civilizational relations. So the features of their cultural traditions is clearly reflected in their wide range of art and craft styles. Even before the emigration of Armenians to Iran, carpet weaving has been a well-known craft among both mentioned people. Despite this, rather than Armenian tradition, the Irano-Armenian Rugs mostly represent the Iranian native tradition of carpet weaving. The analysis of this hypothesis is highly dependent on comparative study of two mentioned carpet weaving traditions, considering: design, color, and weaving specifications. Indeed here with a pragmatic approach the data, gathered through field (conversation) and library research, is analyzed on a descriptive-comparative basis.
Mr Seyed Mohammad Mehdi Mirzaamini, Dr Fariborz Seddighi Arfa’ei,
Volume 7, Issue 20 (3-2012)
Abstract
Handmade carpet is considered to be one of most important exporting commodities which enjoys a special place in international markets. However, it has not found such importance in domestic markets and, as a result, today handmade carpets are found much less than machine-made ones in Iranian homes. It comes to mind that such weak usage of handmade carpet can be mainly attributed to its high cost. In this survey research, different affluent and middle class districts of four cities, i.e. Tabriz, Ghom, Tehran and Isfahan, have been studied via four steps. The findings show that high cost of handmade carpets is not the only major factor of low usage of these carpet by the affluent classes of the society, but there are other factors which refer to the unawareness of these classes regarding the special properties of handmade carpets compared with the machine-made ones
Mr Seyed Mohammad Mehdi Mirzaamini, Mr Daryoush Kazempour,
Volume 8, Issue 22 (3-2013)
Abstract
The Safavid Era is considered as the golden age of Iranian carpet history, which in addition to beauty of pattern, motif and color, has yielded worthwhile concepts on its carpets. The lion motif is one of those motifs on carpets of Safavid Era which have been depicted as both a prey and a hunter. Repetition of, and emphasis on this motif, which contains diverse concepts and senses in Iranian and Islamic cultures as well as gnostic viewpoints, raise this question that what concepts are manifested by the motif of lion. Mowlana regards the lion as the symbol of God, God's names and traits, the symbol of fate, people of virtue and saints as well as symbol of Mohammad Prophet, Hazrat Ali, wisdom, thinking and even sensuality. However, in his view, the concept of the lion is further interpreted to be human and perfect human rather than other symbols. A meaningful relationship, in the visual and conceptual studies, can be seen among lion motif in the view of Mowlana and on Safavid carpets. In more than 10 samples of the carpets, where the lion motifs studied in different situation and diverse positions, it was observed and implied that the lion, after unwieldy and difficult struggle, reaches to the center of the universe, i.e. the medallion of the carpet, and finally attain human-like lion degree. This concept also is reflected in the ideas of Mowlana. This study has been performed using library method, as well as the case study of carpets of Safavid using content analysis method and by comparison of samples.
Mr Gholamreza Tousian Shandiz, Dr Amir Hossein Chitsazian, Dr Mehrnaz Azadi, Mr Fathali Ghashghaeefar,
Volume 9, Issue 24 (3-2014)
Abstract
Iranian carpet is a valuable and applied art treasure among the human arts that has been representative of Iranian culture and potentials since ancient times. Over the ages, this glorioushand-woven artwork has been subjected to damage and risks that sometimes have leads to destruction of some of its finest samples.Subsequently, some people have started repairingthe damaged carpetssometimes for earning their livelihood and some due to their passion for art. However, these repairs aren’t always correct and scientific, and lack of proper understanding of damage, damaging elements and lack of required skills in rug restoration have led to accelerated carpet destruction. In this research, damages, extent of damagesas well as scale of damagesare studied in Iranian carpet. So, at first major damaging factors, i.e. human, physical, biological and chemical factors have been studied and then the scale of damages including naps, knots, woofs, and cordshave been dealt with.Subsequently, they are groupedintoinner-structural,outer-structural and marginalgroups. Such classification is more detailed comparing former researches and also presents a new way to grouping the damages. In the field study section, some samples of these three groups along with the reasons for such damages are presented. Research findings show that many of inner-structural damages are related to the phase prior to weaving and during the weaving.Sound perception of the damagingelements and types and level of damage can be used for appropriate restoration without destroying the originality of the carpets.
Dr Tahmoures Hasangholipour, Mrs Fatemeh Abbasi Bani, Mr Saeed Abbasi Bani,
Volume 10, Issue 25 (9-2014)
Abstract
This paper discusses how branding process of Persian carpet in the U.S. market does work and finally a model based on the performance of Persian carpet exporters has been derived. The population for this study consisted of Iranian exporters; about 130 exporters participated in this survey. A questionnaire including 59 questions was used to collect data and finally the data was analyzed using LISREL and the conceptual model was derived. The results show that Iranian exporters believe that they have control over the international branding activities in the U.S. Market; this has improved their level of brand orientation and international commitment to market development. The Persian carpet exporters view themselves as committed to the needs and requirements of the United States market and they perceive themselves totally brand oriented. In the Iranian exporters' opinion, marketing strategies used in the U.S. market, are working properly and these exporters are satisfied with the results of Persian carpet brand's financial performance in this segment. Finally, the model that emerged shows briefly the factors affecting performance of Persian handmade carpet brand in the U.S. market.
Mr Gholamreza Thosian Shandiz, Dr Amir Hossein Chitsazian,
Volume 11, Issue 27 (9-2015)
Abstract
Renovating carpets is done in a seating position on the floor, using simple tools. To improve the seating position of Iranian carpets renovators and reduce ergonomic problems, and to repair the connection of damaged carpet to frame, this three-phase study is carried out on 72 menders of 12 mending workshops in Shiraz, their way of working and their tools. The first phase studies symptoms of musculoskeletal disorders. The second phase studies connection of carpet to the support during mending. A proper work station was designed, based on the findings and needs of target population with simultaneous inclusion of the outcomes of the first two phases. The result of the first phase showed that most diseases or complaints are related to the knees, back and waist. It was concluded that amendments can be focused on the removal of undesirable situation of mentioned areas through design and construction of workstation. The results of the second phase show that the method of using some mending tools during mending interventions can lead into damages to the carpet and mender. The third phase of the study is based on the physical dimensions of the Iranian menders and correct connection type of rug to the support for mending designed and built workstation. Assessment of working situation is done before and after the intervention and final scores are compared in both cases. Results show that working on the designed table improve the situation of trunk and legs, but it worsens the forearm and upper arm situation. This revealed the effectiveness of corrective action. Meanwhile, using general arms to latch carpet onto the support prevented new damages to carpet
Mr Hussein Kamandloo,
Volume 11, Issue 28 (3-2016)
Abstract
Iranian artists and craftsmen have been interested in decorations for a long time. Geometric, animal and plant motifs and sometimes a line in various combinations adorned all or part of their handmade works. The art of carpet weaving hasn't been excluded. Carpet designers have created beautiful and sometimes unique designs by the influence of religion, politics, culture and other common arts during the course of history and the master weavers have also recorded it.
One of the most important applied designs in carpet-weaving art which became universal by the arrival of the Islam is the design of prayer rugs, the carpets with small dimensions that were designed and woven to perform the most important religious practices; saying prayers. Probably, performing congregational religious ceremonies including Congregational Prayers, Friday or Eid (Islamic Feast) prayers were enough to create a unique design in the art of carpet-weaving in Islamic Iran with the title of a Niche Prayer Rug (saff).
In these kinds of carpets, a row of altar arches is woven on the length or width of the carpet to determine the position of a single person who says prayers. This attractive design that can be a symbol of unity of the Islamic nations, has been gradually adapted by Muslims of other Islamic countries such as Turkey, India and Eastern Turkestan. Considering the culture and common decorative motifs of that area, the native weavers produced different and sometimes beautiful carpets that are rooted in original Iranian art.
This descriptive-analytic investigation is to study the history of the Niche Prayer Rug (saff) design in Iranian carpet-weaving art. Regarding the library based state of the research, it’s tried to introduce the reason of weaving these kinds of carpets and also the areas that produced them.
Mohammadreza Shahparvari , Dr Jalaledin Bassam ,
Volume 12, Issue 29 (9-2016)
Abstract
Carpet is one of the Iranian arts that is shaped in direct interaction with designers and weavers and therefore is a visual expression of their beliefs and ideas. This statement of beliefs, originates from the artist’s mentality influenced by culture, customs and religious teachings of society which is then traced on the vertexes of the carpet in different arrays and in the form of various designs. For this reason, various issues have been incorporated in carpet with a symbolic expression and each imply a cultural and religious concept. In the mist of this, numbers have a deep root in the culture of this country and was divided into two types: quantitative and qualitative. Qualitative aspect, or in other words, the symbolic and meaningful dimension of numbers has long been in consideration and the application of numbers in the arts of this country can be considered as a sign of the grand position of the symbolic aspect of numbers in different eras.
This article reviews the place and symbolic use of numbers in carpet with analytical method and library data collection. The results show that the numbers one, three, four, five, six, seven and eight have been symbolically used in different carpet designs. This application implies that the organization of images and designs has been based on the symbolic meanings of these numbers. Furthermore, it can be been seen that some carpet patterns and designs have been named based on their numerical format, thus strengthening the role of numbers in carpet and conveying the symbolic meaning they possess. These patterns, which are influenced by the cultural and religious teachings of the society, have been employed by designers and weavers and have been the source of inspiration for their designs.
