Showing 3 results for Qajar Period
Dr Hasan Akbari, Mrs Helen Nakhustin Khayat, Mr Armin Nakhustin Khayat,
Volume 13, Issue 32 (3-2018)
Abstract
In Islamic culture, "garden" is a manifestation of heaven in appearance, So the carpet and garden are the mirrors of heaven. In this research, the design patterns of Iranian garden and garden carpets in Safavid and Qajar period are identified and compared with each other. The goal of this research is to investigate the interactions of form, geometry and patterns of design in garden carpet and Iranian garden. In this research, the effects of the dominant elements and characcteristics such as architectural and natural elements, motifs, forms and design principles, in Isfahan “Chehelsoton” garden", Kashan "Fin” garden, Mahan "Shahzadeh” garden" and Shiraz "Jannat” garden" are surveyed and compared with 12 samples of garden carpets belonging to the 16th , 17th and 18 th centuries. The result of the research is that, the design of Iranian gardens and garden carpets have some principles in common, inspiring and affecting each other. Gardening pattern in "Fin" ," Shahzadeh" ,"Chehelsoton" and "Jannat” gardens are closely similar to each other. Based on the results of the research, the most indices of Iranian Gardens are found in "Fin" with 81.5 percent, "Chehelsoton" &,"Shahzadeh" with 74 percent and "Jannat" with 66.6 percent which accordingly have the most effects on garden carpet design patterns. Also, "Bage Behesht" carpet (carpet No. 3) has the most accordance and "Garden Rug" (carpet No. 12) has the least harmony with characteristics and indices of Iranian gardens.
Toktam Jallalian Rad, ,
Volume 18, Issue 41 (9-2022)
Abstract
In the city of Tehran, especially in its suburbs, carpets were produced in the Qajar period in centralized and semi-centralized workshops. Carpets that are mostly made by master craftsmen and immigrant weavers from the cities of Yazd, Isfahan, Tabriz and Kerman. Carpets that are woven following the weaving techniques of the mentioned cities and the quality raw materials available in the city of Tehran with the conditions, facilities and tastes of this city, and it shows that there are links between the carpet style of Tehran and the mentioned cities in the design, pattern and coloring has been.
The main goal of the research is to identify the plan and map of Tehran carpet in the Qajar period. The main question of the article is: What was the basis of Tehran carpet design and what are its appearance characteristics? This research is a descriptive-analytical qualitative research approach and its statistical population is selected samples of carpets available in museums, Tehran bazaar and personal collections of people and images available in reliable sources, whose authenticity and age have been verified by experts. has been Considering the limited sources and brief written information about Tehran carpets, this research has been conducted by field, interview and observation method.
The results of the research indicate that the immigrant weavers living in Tehran and its suburbs, in addition to the productions of their main and native areas, have carpet designs from cities such as Isfahan, Tabriz, Kerman and other areas of style that have brought relative and general acceptance. They are also woven. Also, the examination of the few existing carpets from that period shows that the end of the Qajar period was associated with the prosperity of urban carpets in Tehran.
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.
