Showing 8 results for Khorasan
Mr Daryoush Kazempoor, Mr Mohsen Soleimani,
Volume 8, Issue 21 (9-2012)
Abstract
Logo designing is one of basic and scientific topics of graphics which interconnects to other parts of graphics by its own intrinsic characteristics. Instant and visual relationship of these logos with addressees conveys their spiritual and concise interior behind attractive exterior. Mysteries hidden in Persian carpet make it last and eloquently depict the cultures, traditions, cheers and tribulations of people who created it. Iranian hand-weavings and designs applied to them are various and ponderable from region to region and add to rich, mysterious and ancient art of this land; especially designs applied to Northern Khorasan weavings, which are rich. It is obvious that these characteristics provide graphic designer with the formation of a meaningful connection in the form of a favored art, like a multi-directed medium, by using symbolic motifs. The above research is of applied one, in which the possibility of logo designing inspired by carpet designs, regarding spiritual and intrinsic characteristics of Northern Khorasan weavings, is studied.
Dr Mohsen Alizade Sani, Mr Amir Shojaian,
Volume 10, Issue 25 (9-2014)
Abstract
The carpet industry dates back thousands of years, as the country's cultural heritage, creating hundreds of jobs. But researches show that in recent years the industry has faced significant challenges. This paper will discuss incremental improvements will not achieve any results. Carpet industry requires a systems approach In the context of modern management systems and Correctly prioritized.while improving Elements, , more and more emphasis on improving relations and building components of the carpet industry and synergies between them . This paper introduces the literature of industrial clusters and factors affecting their success and so identifying and prioritizing success factors for carpet cluster in North Khorasan at the Status quo and ideal condition.The population is consist of all the experts(40 Specialist) in carpet cluster in North Khorasan. Data is collected through paired comparisons questionnaires with elements derived from the literature and interviews. The results showed in the Status quo, physical Infrastructure, government support and suppliers and in an ideal condition, internal network, access to skilled labor and marketers have greater priority to the success of carpet cluster in North Khorasan.
Mrs Akram Bakhshi, Dr Ali Vandshoari,
Volume 12, Issue 29 (9-2016)
Abstract
Kurds of Khorasan regions live in its northern regions and are called kurmanj. During the rule of the Safavid dynasty, Kurds of Turkey, Syria and Caucasus in west Azerbaijan were moved to Khorasan to evade invasions of the Ottomans and were settled there. This movement of Kurds from Western Iran to northern Khorasan and their adjacency with Balooch and Turkmen people influenced their carpet weaving traditions. The present paper attempts to investigate the structure of designs and motifs and diversity of genuine Kurdish rugs in Khorasan region. This descriptive analytical study takes a qualitative approach to study the elements like Medalion, corners, field and border motifs in designs and motifs of Kurdish rugs of both Northern and Razavi Khorasan provinces. The statistical population of the study was both Northern and Razavi Khorasan provinces and its main concentration is on Kurdish provinces. As a result, our towns and 13 villages in Razavi Khorasan province were investigated along with 6 towns and 21 villages in northern Khorasan. The data for the study were collected through library studies on the history of this ethnic group and rug samples were collected via field studies conducted by the authors. it was concluded that designs and motifs in Kurdish rugs of Khorasan are highly varied; yet, the structure of designs and motifs are similar. Motifs used in these rugs are taken from everyday objects, plants, flowers and, in some cases, even abstract concepts of human nature. The study also revealed that some of the designs and motifs in Kurdish rugs of Khorasan region are genuinely unique products attributed to specific individuals and their motifs are geometrical and mental shapes modeled after nature and beliefs. However, these motifs have changed compared to Kurdish rugs from northwestern regions of Iran.
Aigin Mardani, Sadredin Taheri,
Volume 16, Issue 37 (9-2020)
Abstract
After a survey on one hundred and thirty samples of Kurmanji Kilims and extraction of their natural motifs, this study is trying to propose a typology of this motifs and characterize their methods of composition. The data reviewed in this article, have been gathered in a field and documentary research. The patterns of the Kurmanji Kilim can be categorized into four groups: 1. Natural motifs, 2. Motifs derived from tools of everyday life, 3. Abstract motifs, 4. Geometric motifs; which natural motifs are the most numerous and diverse group among them. Due to the Kormanjs dependency on geographic and environmental factors, nature has become a tremendous and mythical power in their minds. Natural motifs in Kurmanji Kilim are classified into three groups: 1. Animal motifs, represented in figurative, imaginary or symbolic styles (such as peacock, duck, chicken, cock, eagle, camel, deer, ram, dog, goat, butterfly, sparrow, fox, etc.); 2. Plant motifs (such as dandelion and different kinds of flowers, trees or herbs); 3. Motifs taken from natural phenomena (such as: star, spring and mountain). Relationship with nature is also obvious in the composition of these motifs on a Kilim. Most of the context patterns are more directly related to the weavers’ everyday life, while margin patterns are usually inspired by the nature around their tribal life or their symbolic and imaginary thoughts.
Mehri Taherei Moghaddam Noghabei, Alireza Sheikhi,
Volume 16, Issue 37 (9-2020)
Abstract
Pillows are small fluffy woven fabrics that are prepared (filled with fibers such as cotton or rug fluff) and after that the fabric is used for leaning in the parties. Due to lack of comprehensive research on woven works in Gonabad town, this article aims to investigate and classify the motifs of Gonabad pillows and their meaning and implications, in a descriptive way, in order to achieve the categorization and recognition of motifs. After conducting library and field research, it has been attempted to find an answer to these question that: what can be categorized for local woven works? What is the role of culture, customs and common traditions on these works? The findings show that in addition to Baluchi, Arab and Turkmen motifs that are the result of migration, invasion or immigration to this part of Khorasan, local motifs derived from the customs and beliefs of the region play an important role in these textures. Local motifs can be found in the vegetation of climate such as wild flowers, Mohammadi, saffron and tulip, wheat and barley. Among the trees Cedar, Pine and Majnoon (insane) Willow could be pointed out and all the plant motifs are a symbol of endurance, beauty and desire for blessing and ailment. The animal motifs in the form of goats, deer and rams symbolize hardiness and perseverance, and lion is a symbol of the Ashura religious ceremony. Among birds, roosters and pigeons can be seen as being an early bird, and a messenger in the desert for people, although quail, pheasants, sparrows, and others are also found. Human motifs have played a role in the position of the business and the work of people, beliefs and the desire for happiness are the motifs for newly wed brides.
Meysam Ebrahimi, Abbasali Rastgar, Mohsen Shafiee Nikabadi,
Volume 17, Issue 40 (9-2021)
Abstract
both The art of keeping it all in the And increase staff productivity The art of imitation by competitors is Model is based on industrial cluster. The aim of this study is That with the study of participants perceptions and beliefs To identify barriers factors to the formation of industrial clusters should Khorasan Carpet. In this study, Q methodology was used as an integrated approach. Participants in this study is 10 cases of managers, and producers of Khorasan Carpet. Were positively associated with research. This discourse space Have been collected from various sources After evaluating and summarizing the discussion Among the 134 Meter 52 For example, the following SQL statements (batch Q) The opinions of experts were. After collecting data from SQL sorting The data were analyzed using Q factor analysis. Distribution analysis showed that Paradigm can be 3 Distinct (Lack of appropriate infrastructure support and Lack of support and supplementary units, Terms weavers) Participants in the study Barriers to the formation of industrial clusters in North Khorasan Carpet Identified Approximately 62.8% of the total Of the total variance explained. Importance and priority barriers identified Patterns were obtained in based on subjective pattern and finally proposed some ways for omitting Identified pattern In order to implement the model of industrial clusters in the carpet industry
Omid Vahdanifar, Ladan Daneshvari,
Volume 17, Issue 40 (9-2021)
Abstract
The most common art of the Kormanj nomads is the weaving of a type of carpet called "Kormanj table" which tells the story of the life or beliefs of that people. This art is specific to the Kermanj-speaking people of North Khorasan and is popular in the cities of Bojnord, Farouj, Mane and Samalghan, Shirvan and Esfrain. Although the Kurdish table has lost its main use today and is used as a floor covering or has a decorative aspect, its primary use in the past was to place bread. The present study was written in a library method with the aim of examining the symbols in the table cloth motifs of the Kormanj tribe of North Khorasan in order to keep alive the old motifs and symbols that are subject to being forgotten and obsolete. The findings of this research indicate that the motifs used in the Kurdish table of the mentioned people have a high semantic diversity and importance and include four geometric, plant, human and animal groups, of which animal motifs are the most used; Because it is influenced by the nomadic life of the Kormanj people. Among the human motifs, the figure of a girl is seen more often; Because the main weavers of the Kurdish table are women and girls. The tree motif is the most frequent plant motif due to its sanctity and being a sign of life and blessing. Abstract and geometric patterns also have a symbolic and decorative aspect.
Anahita Moghbeli, Zohre Asadpour,
Volume 18, Issue 41 (9-2022)
Abstract
Woven fabrics produced by women in qaenat city in South Khorasan province are very valuable in terms of originality, quality, patterns and application. Meanwhile, the existence of a hand-woven fabric called Plus attracts the attention of anyone interested in this field. The designs of this underlayment are not a function of a predetermined plan and are in the mind of the plus weaver. The purpose of this article is to first introduce this valuable hand-woven and the beauties hidden in its designs, and to find answers to these questions: What are the hand-woven plus designs of qaenat city? What are the factors influencing the creation of hand-woven patterns in Qaenat city? This research, which was carried out by a descriptive-analytical method, extracted, recorded and categorized what was reflected from the mind of the weaver on the field of Plus by using the field method, photographing samples, interviewing artists and studying library documents.The results of the research show that the designs and patterns on the carpets of Qaynat city are classified into three categories: plant, animal and geometric. In the heart of the carpet (carpet) designs, which are mixed with life, the impact and importance of daily life, climate and nature can be seen. Studies show that the carpets had a kind of amulet-like function and were a place to record and record the visual symbol of the evil eye and ward off evil forces. The impact of migration, ethnic diversity and cultural interactions with neighboring regions including the provinces of Sistan and Baluchestan, Kerman and Khorasan Razavi is also clearly evident in the designs.
