Mrs Shokufeh Mesbahi,
Volume 11, Issue 27 (9-2015)
Abstract
Amoo’oghli brothers are the founders and revivals of contemporary carpet weaving in Mashhad. Their carpets are very famous because of their unique and outstanding characteristics. This study introduces, examines and categorizes patterns and designs used in the field’s and on the borders’ of their various carpets, in addition to their most concurrent patterns, the mostly used structure in design, harmony of carpet parts, motifs etc. and also Amoo’oghli and Amoo’oghli 110 brands.
Designs of Amoo’oghli carpets are either adoptive, like Sheikh Saffi, Chelsi etc. or innovative, like Kouzeh Kannani. Both of them have been affected by original North-Eastern Iranian design and Harrat style.
This article also studies very precious carpets with high densities and delicate complicated motifs in amongst their products, at the same time with common carpets with large and even geometrical motifs, simpler designs and lower densities.
It also introduces some of designers who cooperated with Amoo’oghli brothers and played important roles in their fame, Taher Behzad Zadeh or San’atnegar, so to speak.
Dr Seyed Ali Majabi , Dr Zahra Fanaie ,
Volume 12, Issue 29 (9-2016)
Abstract
The present article is a kind of field and historical research accomplished based on available historical and imagery sources aiming at clarifying the changes that have been taken place in patterns and designs of mentally-woven mazlagan carpet and its patterns and motifs categorization in recent century. In addition to the historical investigation based on written and unwritten sources, a field study was also conducted in Mazlagan village, to find out old carpets, take their picture and interview with the old and famous people in Saveh and Tehran market and finally by comparing the information and pictures, the changes in patterns and designs of mentally-woven Mazlagan carpet were determined. Then, based on the obtained results, an attempt has been made to categorize and classify patterns and designs of this mentally-woven carpet. The results indicated that the patterns and designs of Mazlagan carpet can be classified with regard to two perspectivess which are forms and motif models; visual and physical nature of motifs as well as application of these motifs in the body or in the borders into four categories of plants and forms or models. The plant category can be divided into single flowers, leaf, leaf and flower band, three leaf flowers and incoming flowers and the last category to three subcategories of multi-angles including three, four, five, six and ehight angles and forms consisting of panes and arrows ,toothed and elbows. Borders in Mazlagan carpet can be divided into four types of two dostkomi and first until third type Harati.
Azam Rasooli, Seyyed Reza Hosseini,
Volume 17, Issue 39 (8-2021)
Abstract
Time, its concept, and its way of perception and expression are among the topics of interest in different fields of human thought. The way of looking at the time has caused to various opinions about its nature.The carpet artists of the Qajar era, influenced by the process of transformations in different fields, acquired new experiences in designing than in previous periods. Faced with phenomena like time, artists represented it according to their subjective and objective universe and the capacities of the carpet.The problem of this research is the interpretation and understanding of time in the design and pattern of the Qajar carpet as a text medium, based on the proposition of "understanding" in Gadamer's philosophical hermeneutic approach. Based on the necessity of knowing the different aspects of carpets, including the representational capacity and implications of the meanings of the design and pattern of carpets, the purpose of this article is to identify the time, quality, and identity of its types in Qajar carpets.
The main questions for this research are: What does the representation of time look like in the Qajar rug? How to explain the understanding of time and the identity of its types in the carpet of Qajar based on the philosophic hermeneutic of Gadamer? To get answers to the research questions, the five samples of the Qajar carpet pattern were selected by a non-probability method and studied based on the content analysis method. The nature of this research is basic in terms of qualitative research. The method of data collecting is the documentary- library and artworks observation, and the means of collecting information are research sheets and pictures. Based on the findings, time on the Qajar carpet was recorded qualitatively and quantitatively with related signs.Ritual events, mythological thoughts, and traditions, different writings, creating movement and time sequence using spatial contrast, visual elements, reading writings, leveling the work, narrative and its elements, using symbols referring to time, They are one of the generative preconceptions of time.and with denotation and connotation signification and the re-reading of texts absent from the work, they cause mental association and intuitive understanding of the types of time on the carpet. In addition, the dominant discourses in the Qajar period were effective in the way that society and the carpet artist faced the times and its types.King power and authority, nationalism, traditionalism, modernism, myth and religion are among the most significant of these discourses.
