Showing 3 results for Pictorial Carpet
Mr Hojatolah Rashadi, Dr Mohsen Marasi,
Volume 7, Issue 20 (3-2012)
Abstract
The extensive developments of Iranian arts in Qajar era eventually led to pictorial representation in almost all forms of art. Carpet weaving was no exception too and during this era the so-called pictorial carpets emerged. Although the images of these carpets mostly appeared in the central field, the borders of the carpets also underwent drastic developments. The findings of this essay indicate that despite weakening of the borders, they have never been removed and were always as an indispensible part of such carpets. In some of the carpets, one can see that the proportions of borders are not right but their provenance is identifiable. The methodology of this research is descriptive-analytical one. The statistical population consists of 79 pictorial carpets of Qajar era and the data have been collected using both desk and field studies.
Expert Goljaam, ,
Volume 18, Issue 42 (9-2022)
Abstract
Iranian pictorial carpets, beyond their decorative function, embody narrative, cultural, and political dimensions. A prominent example within this artistic tradition is the pictorial carpet of Mirza Kuchik Khan Jangal, which features a heroic depiction of Mirza at its center, accompanied by marginal inscriptions. These inscriptions consist of poems in a local dialect with epic themes that, in terms of both style and content, are associated with the Kashan region and reflect the discourse of national resistance.Adopting an intertextual and semiotic approach, this study examines the interaction between calligraphy, the marginal poems, and the central image in this carpet, analyzing the meaning-making role of the Nastaʿlīq script in shaping the work’s visual message. The research is based on a descriptive-analytical method and content analysis of the artifact.The findings indicate that calligraphy in this piece functions not merely as a decorative element but as a conceptual and narrative agent that guides the viewer’s perception of the image and reinforces the social, political, and ideological messages of the work. From this perspective, the Mirza Kuchik Khan carpet can be regarded as a successful instance of integrating traditional art with the discourse of national resistance.
Expert Goljaam, ,
Volume 18, Issue 42 (9-2022)
Abstract
Handwoven carpets have maintained their position among the arts of Iran from ancient times to the present day and possess considerable value. Iranian artists have played a significant role in preserving this art and, through creativity in design and motifs, have enabled carpets to embody numerous concepts in addition to their aesthetic aspect, concepts that may originate from beliefs, convictions, and myths. One of the important designs that became widespread during the Qajar period was pictorial designs, outstanding examples of which can be observed in the Hushang Shah and Prophet Solomon carpets. This research was conducted using a descriptive–analytical approach and by utilizing library sources and reliable websites. Four examples from Safavid Shahnameh manuscripts and twelve carpet panels were selected in order to analyze the Hushang Shah and Prophet Solomon carpets and answer two questions: (1) How is the depiction of demons, from the perspective of design and color composition, represented in Qajar-period carpets? (2) What similarities and differences exist between demons in carpets and those in Safavid-era manuscript paintings? Regarding the design of demons in Qajar pictorial carpets, they are depicted as semi-nude, spotted, unspotted, and with either small or large bodies, and are predominantly white in color. Through the examination and comparison of demons in pictorial carpets with Shahnameh illustrations, it was determined that, in terms of clothing, they wear skirts (in contrast to Shahnameh illustrations, in which both nude and semi-nude demons are present), and they are generally rendered in a more angular and geometric manner, while ornaments are rarely observed. In terms of color composition, the most common color found in both carpets and Shahnameh illustrations is white, although diversity of colors can be observed in both categories (carpets and Shahnameh manuscripts).
