Quarterly Scientific-Research Goljaam

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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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Artistic guild systems can be considered as one of the most important factors in the formation and survival of traditional arts, that is the continuation of the system of master and apprenticeship. In structure of traditional arts, artistic families are one of the components of these guild systems. Hence, we could to consider artistic families as a potential for the preservation and excellence of traditional arts. If we have a passing overview to artistic families, it will be clear that many artistic experiences and secrets pass from one generation to the next. Kerman can be considered as one of the cultural regions in the southeast of Iran from the millennia; therefore, the contexts for the growth of traditional arts has been provided in this cultural ecosystem throughout history. The rug and carpet waving is one of the most important traditional arts in Kerman. An important part of the cultural tradition of Kerman carpet is dependent on the dynamics and richness of artistic families and among the numerous artistic families in history of Kerman’s carpet, Shahrokhi's family has a significant position.
In this research, the main purpose is to answer this question: what is the role and position of artistic families in Kerman carpet with emphasis on Shahrokhi's family? Therefore, ‌in order to achieve the main goals of the research, qualitative research method (interpretive) has been used and the data of this research have been gathered by documentary and field method (interview and observation). The results of this study have been derived from the conventional content analysis of informal interviews with 10 informed individuals in this field.
One of the most important results of this research is that the artistic families are cultural-socio-economic capacities that can boost the cultural and artistic levels of handmade carpet in Kerman. In addition, the strengthening of artistic families will strengthen the cultural values and identity of the community. The role and position of the Shahrokhi family artists in society of Kerman carpet is dependent on value systems and cultural field. In this field, economic and cultural capital causes changes in the social degree of artists and changes social degrees shape the dynamic position of them in the cultural systems. The role of artists also depends on their positions; therefore, degree, position and role are three components that are continuous and related to each other in relation to the role and position of the Shahrokhi family artists.
 

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The patterns used in Iranian arts were very common and widely used since the ancient time until now. Each of these patterns has conveyed a specidic meaning to the viewer. One of these motifs is the peacock. The motif of peacock is one of the most used symbolic motifs in the art of Iran and even the world. During the years, this motif has had a special place in the literature, art and beliefs of the Iranian people. This motif was present In Kerman carpets of the Safavid and Qajar period. The purpose and necessity of this research is to understand the role of the peacock motif in Kerman carpets of the Safavid and Qajar periods, and study some related features such as the appearance of the peacock, its location, number, direction, role, mythological elements. Such elements will be investigated and expressed, and the differences in the appearance and meaning of the peacock in the two mentioned periods would be compared. According to the mentioned cases, the main question of the research are as follows: 1) Did the visual form and semantic status of the peacock figure in Kerman rugs change from the Safavid period to the Qajar period, and did this change creat a difference between the visual form and semantic meaning of this figure? The research method is use of library materials and photo sources, images from reliable websites of carpet collectors, and the way of expressing the content is descriptive in the form of text, images and tables. 22 samples of carpets have been examined. The carpets were selected via a purposeful manner, all of them are related to the two special periods of Safavid and Qajar periods and the full presence of the motif of the peacock, has been considered in selecting them. 9 samples are related to the Safavid period and 13 samples are related to the Qajar period.The appearance of the peacock in the Safavid and Qajar periods has undergone some changes in comparison to each other. In the Safavid period, it is abstract and present in closed spaces, and in the Qajar period, the patterns are close to the natural state of the peacock that we see in nature and the peacocks are presented in freer spaces. But this free space has not affected the main role of the peacock, which protecting and guarding the heaven.