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Epiphany of Asma’al Hosna in Mehrabi Carpets of Safavid Era
Mr Abdollah Mirzaee, Dr Morteza Shajari, Dr Mohammad Taghi Pirbabaei,
Volume 10, Issue 25 (9-2014)
Abstract
Iranian carpets as a manifestation of Persian art, due to the capabilities of Islamic art, have been a context for epiphany of this art doctrine. Mehrabi carpets of the Golden Age of Persian carpet-waving arts, Safavid era, can br regarded as the flagship model in the manifestations of this art. These carpets often were woven with religious functions and to fulfill religious obligations. Koranic pictographs and Asma’al Hosna along with plant and geometric motifs have covered the context of this carpets. In this study, the expression of epiphany concept and position of Asma’al Hosna in Islamic art are discussed due to analysis of six samples of the Safavid Mehrabi carpets for emphasizing the epiphany of God in this hand-woven carpets. Our findings suggest that: (i) The various manifestations of the divines epiphany are hidden on Mehrabi carpets; and (ii) The calligraphies used in the Safavid carpets contain mystical and Koranic concepts for better approach of worshipers towards God. This research is accomplished with using library resources and qualitative research methods, i.e. analysis –descriptive ones.

Celebrations of Creation in Fars’ Shiri Carpets
Mrs Pashootani Zadeh Azadeh,
Volume 11, Issue 27 (9-2015)
Abstract

The common element in the Persian Shiri carpets is lion, sometimes accompanied with Sword and full or half sun. Sword is a symbol of power & war and Sun is a symbol of Imam Ali (PBUH). In addition to lion and sun, pictures of lion-cow-attack, with their ancient history in Iranian art, are represented in Fars’ Shiri carpets in other methods. For this reason, calendar, changes of seasons & Star Circuits are factors affecting on symbolism of each period.

Solar gods & goddesses or Water gods & goddesses have symbols in sky & earth, representing their divine form, in relation with concepts like movements of stars and planets (sun, Venus, Mercury, and Mars) and animals like lion and cow. The combination of lion and cow is specifically for the district of Fars (the third land); so is the combination of lion and sun for other districts of Iran (the fourth land). The combination of lion and sun as the representation of the forth land is another interpretation of the combination of lion and cow as the representation of the third land, according to astronomical and sidereal concordances.

This descriptive-analytic paper tries to find points of similarity between gods & goddesses in ancient civilizations, and illustrates & analyzes the roots of their shapes for finding common forms between Anahita, Mehr, Tir & Bahram through document and library research. The reason is that these gods & goddesses have retrospective effects and the heavenly representation of their duties were existent in celebrations of creation.


A Research on the origin of Sangsar mehrab carpet and its types
Naser Sadati, Hussein Kamandloo, Zari Panahi,
Volume 17, Issue 40 (9-2021)
Abstract

Mahdishahr (Sangsar) located in Semnan Province is the location of residence of Sangsari tribes, which are among the original Iranian tribes. The carpet weaving in the Sangsar area is very old due to the nomadic life, but the urban carpet weaving is probably about one hundred-years-old. Sangsar Rug designs have been influenced by the virtu, tastes, social and climatic circumstances of the inhabitants of the region over the past years, and indigenous and cultural concepts have played a substantial role in the evolution and diversity of the design. Despite having native raw materials and self-painted wools, one of the features of Sangsar Rug is the use of the design and pattern of carpets in reputable areas of carpet weaving that are seen in fewer clans or similar tribes. Sangsari weavers wove various designs such as four-season, lachak (a typical scarf), and bergamot, subsoil, bush, carpet tableau, etc. based on the plan or by modelling (taking patterns) of urban carpets back (tail) of other areas. One of the most diverse designs, Introducing the characteristics and identification of the types of woven altar carpets, available and available in the region in the last one hundred years.which is woven in different types and dimensions in this area, is the mehrab design.


The main question of the research is how the mehrab design is woven in Sangsar region and which geographical areas do the origin of the designs woven in Sangsar mehrab carpets go back to? This research has been carried out in a descriptive-analytical way and in the form of a field and document study, and the purpose of its implementation, in addition to getting to know the method of carpet weaving in the Sangsar region, is to introduce the characteristics and identify the types of woven altar carpets that are available and available in the region. It is the last hundred years.
The findings of the research show that local weavers have been able to design and implement a variety of altar designs such as vase-pillar altar, tree-pillar, tree-animal, vase-cedar, vase-bergamot and two-sided altar-vase with local features according to order or by copying the carpets from the areas such as Qom, Isfahan and Kashan, Hamedan, Ravar Kerman and modeling Sangsar ornaments.
 


Interpreting Color in the Mehrab Rug by Bellini Anatoly Preserved at the Metropolitan Museum (16 AD) from the Perspective of Islamic wisdom
Faezeh Khazaei, آرزو پایدارفرد,
Volume 18, Issue 42 (9-2022)
Abstract
As one of the most important visual elements in traditional art, color has special and symbolic esoteric meanings. Artists keeping in mind the Islamic wisdom have paid special attention to colors. Taking into account Sufism and Shiism and the lack of a special look at the color theory of the Mehrabi carpets, especially the Mehrabi carpet of Bellini, we can apply the implicit connection in the Islamic wisdom view to the category of color.
The aim of this article is to analyze the nature of colors in the Anatolian Bellini-Mihrabi rug from the perspective of Islamic wisdom. On this basis, this article examines the interpretation of colors in the Anatolian Bellini-Mihrabi rug, which is in the Metropolitan Museum, in the field of Islamic wisdom. One of the deep foundations on which this art rests is the understanding of mystical revelations. The research method was descriptive-analytical and based on library sources. The results show that there are all seven contradictions in the discussed carpet.
The red color is dominant on the surfaces and this feature makes the green color lighter in the center. The white and black colors on the edges enhance the effect of the colors and although the width of the carpet is small, it is also nicely visible. The validity of Islamic wisdom in the color system of the Anatolian Bellini-Mihrabi rugs metaphorically shows the reaching out to God and the spiritual journey of man, giving direction to the worshiper and drawing him to the center like a prophet or an inner imam. It means that the artist tried to show the meaning on the surface.
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