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Showing 4 results for Pictorial Rugs
Rug as Icon Iconographical Analysis of Case Study: Pictorial Rug of "Madonna and Jesus Christ"
Mr Mehdi Keshavarz Afshar, Dr Samad Samanian,
Volume 3, Issue 8 (3-2008)
Abstract
A new trend of weaving pictures in Qajar era is considered to be a revolution in the art of carpet-weaving whether from viewpoint of form or concept. These pictorial rugs were intended to be spread on the floor no more, but they were woven for visual satisfaction, exactly as pictures. These pictures are like an encyclopedia of the cultural life of that era, which covers beliefs, culture and life of the people and can be employed for discovering unknown aspects of their culture and outlook. This paper has amid to understand and find the meaning of one of these rugs, namely "Mary and Jesus Christ" by analyzing it using Erwin Panofsky's iconographic method for finding different meaning layers. The paper concludes that the above-mentioned rug has the function of an icon and for fulfilling its "monumental" and "didactic" objectives makes use of Islam doctrine, Qoran's verses and Iranian mystical art and literature. At the end, in search of deep and concealed meanings of this icon hidden beneath its different meaning layers and for finding its "artistic desire" and cultural reasons for its creation, this article shows the votive objective of this rug as a means of obtaining offspring and conforms the public's belief in miraculous power of the icon.

Studying Archetypes in the Carpet of "Rostam and Akvan the Demon” Based on Jung's Ideas
Mrs Raheleh Erfanmanesh,
Volume 8, Issue 22 (3-2013)
Abstract
 Depicting the stories of Shahnameh is an issue that has attracted the attention of artists in different periods. Among these artists, rug designers can be named. In Qajar era, images of Shahnameh abundantly can be seen on pictorial rugs. Rostam's battles and epic tales are the stories that are highly regarded by such artists. The battles of Rostam and his battle with the Akvan the demon have attracted much more attention. We will analyze a carpet in which the war is shown within an altar. The question that arises here is: Is the objective of the image of such tale is more than just depicting a battle, since it is located inside an altar? And if the answer is affirmative, what are the reasons? To give a suitable answer based on Jung's ideas, first we have to try to introduce the archetype, and then derive such archetypes out of the carpet. This article is a descriptive - analytic study. We want to offer a different analysis according to the psychology of Jung's archetype.

The Discourse of Archaism in Persian Pictorial Rugs during Qajar Era
Mrs Elahe Imani, Dr Mahmod Tavoosi, Dr Amirhosein Chitsaziyan, Dr Ali Sheykh Mehdi,
Volume 11, Issue 28 (3-2016)
Abstract

Iranian hand-woven carpet is a national art rooted in the ancient civilization, culture and history of Iran. In history, carpet designs have been transformed, due to changes in society and at times subjects, designs, shapes and combinations are brought in or taken out. For example, during Qajar Era, new social transformations resulted in the invention of new motifs in rugs in contrast to former abstract motifs; with simulated or imagined images of kings.

 This paper studies pictorial rugs of Qajar period with a sociological approach and with Laclau and Mouffe discourse analysis beside the semantic structure of Syntagmatic and Paradigmatic axes of Ferdinand de Saussure. It aims at finding the answer for the question of what discourse signifiers were affecting those rugs and the reason behind the popularity of the images of mythical ancient Iranian kings at that era.

Descriptive-analytic approach is used in this study and library documents were applied as data source. Ten samples of pictorial rugs, with Iranian kings as their subject, were selected randomly as the sample. The findings of this study reveal that since a willingness to find an Iranian identity right against other nations was to emerge at that era, people who travelled to Europe tended to find the reason behind Iran’s underdevelopment. As a result, they introduced mythical kings and the pre-Islamic era as the ideal kings and the golden age, which was being reflected in the rugs of that period. The structure of motifs’ companionship seem to be replaced by images of kings in order to emphasize the hegemony of their divinely spiritual legitimacy and political power in the world.


Hictorical recognition of aspects of nationalism in pictorial carpets of Pahlavi era
Seied Mohamad Reza Tabasi, Iman Zakariaee Kermani,
Volume 17, Issue 40 (9-2021)
Abstract
Abstract
Pictorial carpets in the Qajar era are of the important sources that have shown their capacity to reflect various aspects of modernity, including the concept of nationalism, in the Pahlavi era also reflects other aspects of this concept. This paper explores the various aspects of the concept of nationalism in the pictorial carpets of the Pahlavi period. The main question is what are the characteristics and implications of the nationalist aspects reflected on the pictorial carpets of this period? The research method is qualitative and of historical-comparative. As a result, the concept of nationalism in the body of studies is influenced by the three complex aspects of geography, archeology and remedial issues, the written aspect is influenced by poems and slogans, and the identity background influenced by celebrities of science and literature that the first two cases are directly related to the concept of king, monarchy and sometimes religion, and its royal aspect is highlighted, and in the latter case, this link is more patriotic. elements are sometimes mixed together and sometimes presented independently. On second thoughts, it is clear that some of the combinational aspects of these elements in the carpets promote a kind of monarchical nationalism that can be called royal nationalism. On the other hand, the findings indicate the impact of new educational and cultural institutions in the study; It also represents the use of the lion and sun emblem as a nationalist symbol that has identity, governmental and popular aspects in pictorial carpets. An honor that can be given global effects by writing the inscription introducing the memorial in English language. Other findings of this paper is the existence of a relationship between the pattern and inscriptions of carpets with nationalistic concepts, Synchronized with the changes had occurred in the Pahlavi era and with the developments of the Qajar era are diachrony. it can be said that the historical recognition of nationalism in the pictorial carpet depends on understanding the intertwined relationship that existed between the newly established institutions of the Pahlavi era and its social contexts
 
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