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Showing 8 results for Persian Carpet
Persian Carpet: A New Look From a Different Angle
Dr Khosrow Sobhe,
Volume 1, Issue 1 (3-2006)
Abstract
The Textile Museum & The International Hajji Baba Club
Washington D.C. June 19, 2004
Introduction
Handmade carpet production in Iran goes back to the history, of which is not the subject of this short paper and presentation. Carpet production and in general carpet culture especially in rural areas is combined and mixed with every-day life of many people. In rural places, almost all the women know how to make carpets. They learn this from their mother and grow up with it. Many of them weave the carpets to take to their new homes when they get married. In Iran, carpet is not a mere commodity. It has different cultural, artistic, and historical heritage attached to it.
National Statistics
The population of Iran is about 65 million. In Iran, there are around 1,200,000 looms scattered in 27,000 villages and 210 cities, on which 2,200,000 weavers work. Roughly, 300,000 people work in the related fields such as artistic work, wool preparing and spinning, dyeing, repairing, washing, exporting, transporting and etc. In the year 2002, the export value of handmade carpet was USD 517,000,000, which showed almost 1% decrease to the year before which was USD 522,000,000. In this year, 5,920,000 square meters of handmade carpets were exported from Iran. One square meter of exported Iranian carpet was priced USD 83.00. In the year 2003, the export value of handmade carpet was USD 573,000,000 which showed almost 11% increase compared to the previous year. In 2003, 5,728,000 square meters of handmade carpets were exported from Iran. One square meter of exported Iranian carpet was priced USD 100 in 2003. Table 1 shows the value of Iranian carpet export in US Dollar for the past few years. After oil, handmade carpet is the highest source of foreign exchange earning for Iran. The most important aspect is not the value, but the employment which carpet sector provides as a job, and in most of the cases as a complementary income for the housewives and the families.

the Angel Pattern on Persian Carpets
Dr Qobad Kiyanmehr, Dr Hossien Mirjafari, Mrs Azadeh Pashootanizadeh,
Volume 6, Issue 15 (6-2010)
Abstract
There is a spiritual & intellectual power in Persian carpets which connects to the terrestrial world. Plant patterns that make gardens not only symbolize paradise in the heart of carpets; but also the patterns in the borders which sometimes are decorated by angels represent the spiritual world. Maybe the position of angels indicates the initial stage before paradise gate (in the middle of the carpet) and Judgment Day, which our acts will be evaluated by angels and God will visit us, or it comes from other Persian archetype that has intellectual power, known as Farvahr. This research is tried to find and analyze roots of the angel shape by the form of Farvahr archetype, and we use holy Verses and religious stories as documents for proving the cause of its human shape with two wings. Writers try to prove that the Angel pattern is connected conceptually with the symbol of Farvahr 

A Study on the Symbolic Significance of Medallion in Persian Carpet
Mr Seyed Mohammad Mehdi Mirzaamini, Dr Seyyed Jalal Eddin Bassam,
Volume 7, Issue 18 (6-2011)
Abstract
 Among various Persian carpet designs, medallion and medallion with spandrels designs have special status due to their both aesthetic and frequency of use in carpets. It seems that the medallion in Persian carpet has not achieved this significance only for its aesthetic aspects. In this paper, the significance of this pattern is investigated from symbolic point of view using library-based survey and content analysis. Medallion in the carpet has reached such maturity and aesthetic climax from both conceptual and appearance aspects that this can hardly be seen in other arts. Medallion pattern has developed from mythical beliefs and it symbolizes garden and pool; but its evolution to today's state is in fact the manifestation of the beliefs, thoughts and dreams of the Iranian Muslim artists that are manifested in a heavenly garden and spiritual space. On the other hand, visualizing heavenly concepts in the medallion departs from mortal and earthly state, and seeks introducing a holy space by using abstract patterns. In this way, an eternal world, which cannot be depicted in any mortal form, is portrayed by applying a symbolic rendition. For realizing all of its connotations, the designer and/or weaver chooses the center of the carpet to stimulate this prominent concept.

Vase Motif on Rural Brick-shaped Rugs of Chaharmahal and Bakhtiari (With Emphasis on Chaleshtor, Shalamzar and Boldaji Areas)
Mr Mohammad Ali Espanani, Mrs Peyvand Tofighi Borujeni,
Volume 7, Issue 18 (6-2011)
Abstract
 The ancient motif of vase, whether individually or in combination with other motifs, is one of the most basic patterning motifs in visual culture of Iran and is among the manifestations of eternal verdancy. Multiplicity of its types, its various forms, flexibility of its structure and its combination with other motifs have caused that the vase motif become a basic and guiding elements for other motifs. Nomadic and rural hand-woven textiles manifest the power and value of vase motif fully and obviously and the motif has become a model for urban artifacts and styles. Abundance, variety and especially innovative presence of vase motifs observed in the rural brick-shaped rugs of Chaharmahal and Bakhtiari raise many questions, for example: How is the variety of vase motif on brick-shaped rugs? What are their main components (form and structure)? What are the causes of changes of this motif? This research has been conducted using descriptive-analytic method and data collection has been performed using library-based and field studies. Keywords: Vase motif, Rural brick-shaped rugs, Chaharmahal and Bakhtiari, Form, Figure, Structure.

The Image and Concept of Talking Tree on Handmade Carpets
Mrs Mahla Takhti, Dr Reza Afhami,
Volume 7, Issue 18 (6-2011)
Abstract
The Persian carpet has invariably been a means for expression of the beliefs and traditions of various people of this country. Among various plant and animal motifs, the carpets with the motif of the "Talking Tree" which are also known as “vaq vaq”, have replaced the allegorical and symbolic representation of the decorative designs of carpets with anecdotal motifs due to their pictorial characteristics. The present research aims at achieving the visual qualities and concepts of this tree by means of a comparative study among the present works in three civilizations, i.e. Persia, India, and Middle Asia. This research was conducted on the concepts and within the field of pictorial tradition, relying on the remaining records in the culture, literature, and pictorial tradition of the carpets of Persia, India, and Middle Asia. The result obtained indicates that vaq vaq has its roots in the ancient Indo-Iranian culture. It has however adopted different meanings through the separation of the branches of this civilization. From a conceptual perspective, this tree is an image of the tree of knowledge and a picture of Kelileh va Demneh, as wisdom uttered by animals. However, as it enters eastern regions, this conceptual aspect is retained and in northwestern regions of Iran, a part of fertilization rituals and the haven of the residence of spirits create its present shape, due to a connection with the roots of shamanism remained from the Middle Asia. This decorative motif is gradually manifested in various manners since sixth AH/ twelfth AD century, as the Middle Asian tribes enter the homeland of Iran. This research was conducted using descriptive/analytical approach.

Harati "Mixed Fish" Motif within the Geography of Iranian Carpet
Mrs Leila Nafisinia, Dr Mohammad Taghi Ashouri,
Volume 9, Issue 23 (9-2013)
Abstract
It can be said that a part of our cultural-artistic identity and even national identity is interwoven with carpet. Persian carpet history has been glorious and brilliant,and the artisans of the field, relying on rich and prolific past and the road which has been taken, can inspire innovation to keep it alive. Thus, one of the tasks of the researchers in this context is introducing the rich past of Persian carpet and its historical identity. This paper is based on desk and fieldstudyand aimed to study historical-artisticproperties and semiotics of one of the most famous motifs in carpets,i.e. Harati motif within the geography of Iranian carpets. The questions which are to be answered include: What is Harati motif? What is the origin that motif? And what are the types of Harati motif?

Manifestation of Ideal and Sacred Place among the Elements of Persian Carpet With an Emphasize on the Presence of Kang Dej in Motifs of Persian Carpet Using Symbolistic and Mythological Approach
Mrs Elham Shamsaei,
Volume 10, Issue 26 (3-2015)
Abstract

An influencing idea finally develops and gain fame, if not in its own time, certainly in a short period of history. Likewise Suhrawardi's philosophy, within less than a century, has had such an influence in various areas of philosophy, literature, art, culture, etc. in Islamic world especially Iran. "The mediatory world" (Ālam-e Methāl) and "the eighth territory" (Eqlīm-e Hashtum) is the very point of intellectual strength in Suhawardi's philosophy which has made it influential. Suhrawardi's mediatory world (a subtle mediator between spiritual and material worlds) and its cities can be considered in associate with the mythical city of Kang Dej to help us in finding out how symbols, in the sacred art of carpet-weaving, are in a way related to this mediatory world. But, why rug? Simply because no other art like carpet weaving has kept its ancient motifs till now without losing its popularity. Although rug is used to cover a ground but it represents a celestial earth, and makes a place sacred, as it is subject of traditional science of sacred geography. The symbols which are in common between the mediatory world, structure of a traditional house and rug have the same spiritual concepts for traditional human. Toranjs (medallion) and Shamsas (roundel) as symbols of rugs are representation of sun and ultimately remind us of the metaphysical notion of center. Lachaks (ecoincon) are entrance gates, hashiyas (border) are fort of the spiritual city, and guls (flower) and buttas (arabesque) and all other symbols have their own role in representation of this subtle city. In this paper we will see how philosophical and mythological point of view can assist one to interpret rugs. Whatever man makes shows his approach to the reality and determines his intellectual power and social circumstances under which he has grown. Kang Dej is an Iranian vision of "the ideal city" and refers to the state of paradise in traditional ideas. Kang belongs to mediatory (or subtle) realm of existence; the tradition, representing it on earth and material realm, illuminates a sacred place in urban planning, architecture, and art. One of these illuminated forms is the art of carpet weaving along with its motifs and symbols.


Investigating the relationship between the role and geometry of Iranian carpet and the geometry and proportions of the interior of the house, a case study: Qajar and Pahlavi houses in Tehran
Sajad Bashiri, Fariborz Dolatabadi,
Volume 16, Issue 37 (9-2020)
Abstract
There are signs of compatibility between Iranian architecture and carpet in terms of geometry and proportions that the dimensions of the interior of the house and the dimensions of the carpet are closely related. Attention to the carpet in two dimensions of design and geometric dimensions has been an important factor in shaping the dimensions of the interior of the Iranian house. This study aims to study the relationship between the system of formation of interior spaces of the house (during the Qajar and early Pahlavi in ​​Tehran) and the dimensions and geometry of the Iranian carpet to be deciphered. In this regard, descriptive-analytical method based on data analysis technique as well as field-library studies has been used. The statistical population identified the proportions of carpet indices in different parts of Iran, then they were evaluated in the proportions of house plans. Using Cochran's formula, 30 samples of Qajar and Pahlavi houses in Tehran in the historical context of Tehran have been randomly selected that can answer the research questions with the desired degree of reliability or possible accuracy. Geometric grammars are generative systems that lead to a design based on a set of geometric rules and work on geometric rules. The methodology of the laws is the phenomenological interpretation of the houses of the Qajar period with the method of Max Wennemann. Therefore, the quality of Qajar houses in this article as a phenomenological research is based on the experience lived in the house. The results of the analysis of case studies of houses of the Qajar and Pahlavi periods in Tehran show that in most houses in Tehran, the dimensions of the rooms of the houses are based on (Iranian and Greek golden proportions), (proportions based on the roof decorations). (Proportions based on the common dimensions of the carpet, with the floor enclosing the dimensions of the carpet) was predominant. In the early Qajar period, the formation of rooms was based on the golden proportions of Iran, then in the late Qajar and Pahlavi periods The title of the main criterion for the formation of houses has been influential.
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