Mrs Afsaneh Ghani,
Volume 7, Issue 20 (3-2012)
Abstract
Peacock is one of the most prominent animal motifs which can be seen as abstract or geometric shapes in kilims woven by nomadic tribes, especially Shahsavan and Qashqai. The diversity of this motif in hand-woven kilims of these two tribes led the author to introduce, classify and then analyze it from different viewpoints such as color and shape. This paper tries to answer the question: What are the most important similarities and dissimilarities of peacock motifs woven by Qashqai and Shahsavan tribes? And which tribe shows more ethnic diversity? The hypothesis suggests that peacocks woven by Qashqai tribe enjoy more variety of form and color than those by Shahsavan tribe. The research method is field study (especially by finding of peacock motif) and library-based one, and this is of analytical-descriptive research. Two-heads peacocks of Shahsavan tribe which have been transferred to the kilims of Qashqai tribe and the Khamse Arab tribes such as Arab Jenni tribe via migration and other communications are seen as the most important findings of this study.
هما Mousanejad,
Volume 18, Issue 41 (9-2022)
Abstract
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.
