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.
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.
سیران چوپان, ,
Volume 16, Issue 38 (2-2021)
Abstract
Patterns in Iranian art should be called message painting and expression painting, which sometimes manifests itself directly and sometimes in symbolic language. One of the places of expression and emergence of symbols in Iran is the "carpet". In addition to the traditional and local aspects, these patterns and expressions can express the creative mind influenced by the environment around the carpet weaver. According to researchers, although little is known about Kurdish weaving before the nineteenth century, many garden officials and flower carpets from the 17th to 18th centuries identified northwestern Iran as Kurdish. In every general book of carpets, there are two well-known and famous types of "Saneh" and "Bijar", but these two can not be considered the most Kurdish carpets left because at least two other types of Kurdish carpets, called "Mosul" (In Iraqi Kurdistan) and "Savojbolagh" have ceased to exist and be produced in the category of contemporary Kurdish carpets. The purpose of this study is to retrieve the history, introduce the location, and location of the carpet attributed to Savojbolagh in the Mokrian region, northwestern Iran. For this purpose, the authors try to recover the position of the carpets attributed to "Savojbolagh" with a descriptive-analytical method and with the aim of development, and its qualitative data as documents. The result contained the following findings: Savojbolagh carpets were not produced before the First World War and for reasons we are unaware of, and this type can be considered the best carpet, with natural plant colors and a moderate price in the market of that time. Traces of these carpets are often found in the collections of European countries. Due to the lack of introduction of this type of carpet in Iran and the importance and necessity of reviving and addressing it or even recovering such designs and colors, for carpet weavers, it can lead to the continuation of the production of such exquisite carpets.
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.
