Showing 10 results for Tree
Mr Mehrdad Sadri,
Volume 1, Issue 1 (3-2006)
Abstract
Love of beauty and perfection is an inherent characteristic of human beings. The principle of “need” complements the sense that brings artistic creation in him to a peak, resulting in the formation and permanence of culture. The “carpet” may not represent a pure form of art, but it there is no doubt that its artistic and visual qualities put it beyond a mere commercial commodity and elevate it to the position of a work of art that embodies taste, thought, beliefs and a special custom. It presents the intellectual and cultural potentials of a people in the form of esoteric motifs and symbolic forms. The elementary motifs and patterns that are especially found in rural carpets and small carpets usually embody a purer content from the point of view of symbolic concepts that deserve a thorough investigation.
Mrs Nikoo Shoja’ Nouri,
Volume 2, Issue 3 (9-2006)
Abstract
Since ancient times, “Tree” has been the focus of attention as a symbol, in works of art. In Mesopotamia and later in Iran, this symbol was known as a holy tree or tree of life as early as 3500 BC, and was delineated in different shapes. After the advent of Islam, this symbol prevailed in works of art; However, no longer as a mythological holy tree but rather standing for heavenly blessings and the paradise. This symbol has been used in different branches of art, including rugmaking. In the art of carpet patterning, the tree has prefigured a great variety of designs, notably the plant Mihrabi (prayer niche). No doubt, the predominance of the tree image in a large group of prayer rugs, is not accidental and must have an objective more than conveying mere beauty. One interpretion suggests an epitome of paradise. Given the Islamic restrictions imposed on the portrayal of human beings, a tree depicted in a prayer niche may well stand for a man in prayer.
Mr Jamall-Aldin Toomajnia, Dr Mahmood Tavoossi,
Volume 2, Issue 4 (3-2007)
Abstract
In Islam the “Tree of Life” is named as Sedreh or Tuba and the followers of Islam believe that this tree is grown in Heaven; therefore it is an interesting subject for artistic innovative. In Turkmen terminology “tree of life” is called “Yashaish bagh”. In this study we have made an effort to evaluate the symbol of the Tree and the “Tree of Life”, with reference to the shapes of the “Tree of Life” in the ancient civilizations and compare this shapes with the patterns present in the Turkmen rugs and hand – woven pieces; and to study the hypothesis that the name “Tree of Life” could be assigned to these patterns. The carried out comparisons show that Tree and “Tree of Life” designs in Turkment carpets patterns are similar to Islamic and ancient patterns.
Mr Mahmoud Alimoradi, Dr Mohammad Taqi Ashouri,
Volume 3, Issue 6 (9-2007)
Abstract
Bakhtiari carpet has been less studied and introduced in art studies. Compared with other carpets, its rich designs and forms are overlooked by researchers. In this study an attempt is made to investigate the value and significance of trees in Bakhtiari carpets, with emphasis on variety of its designs and forms.
Mr Hossein Abed-Doust, Mrs Ziba Kazempour,
Volume 5, Issue 12 (6-2009)
Abstract
“Life Tree” is an evergreen tree which its fruits bring eternity and immortality and is the essence of all trees. This paper is introducing different forms of sacred tree and sacred plant (life tree) on Persian carpets. In addition, through comparison of more ancient concepts of these forms, the principle of continuity of life of this symbol can be taken into consideration on these carpets. At first, this analysis is studying the relationship between life tree with altar and light symbols, an earthen jar, protector animals, lotus and phoenix. The available samples in ancient Persian art and Zoroastrian’s legends are found, then designs of life tree in accompany with these symbols on Persian carpets are introduced. Altar is the symbol of the place of relationship between heavenly world and underneath world, cresset is a symbol of light, lotus is a symbol of eternity and renewal life and earthen jar or flowerpot is a symbol of blessing and rain bringing; phoenix and other protector animals are symbols which according to Persian’s legends, they are related to the concept of tree. On the other hand, the imagination of paradise, which is the basic thought in Persian civilization, and believing in the existence of good or evil tree and life tree in paradise, is one of the effective factors in illustrating sacred tree on garden carpets. In these gardens, cypress tree, willow tree, full of flower and vine trees and also stylized forms of the tree can be found. “Ghabghabi” (frame into frame) designs (belonging to Chaharmahal and Bakhtiari area), repeated patterns of tree and medallion with repetition of tree in four symmetrical directions are also other styles of illustrating life tree in paradise.
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.
Dr Bahar Mokhtarian, Mrs Shahrbano Kameli,
Volume 7, Issue 20 (3-2012)
Abstract
The hand-woven items of Iranian clans and tribes include various motifs that have been formed according to their life-style, customs, myths and rituals and is the expression of values and beliefs of their culture. So these motifs have various symbolic meanings that they have used for expressing their needs and relationships. The present research aims at introducing one of most important hand-woven items of Turkmen tribe, namely "Namazligh" that is an applied and identity-making item used for prayer, to analyze the status of symbol in one of the main motifs of Namazligh, i.e. Kabe Naghesh which is the repetition of tree-pillar and bird motif on the top of minarets. Understanding the origin of these symbolical elements and finding their concepts and meaning in different cultures and also in shamanism, which has been what Turkmens believed in before embracing Islam, can help to understand these symbolic elements in Turkmens' Namazligh.
Mrs Mahla Mirzaei Baghini, D.r Mehdi Keshavarz Afshar,
Volume 13, Issue 32 (3-2018)
Abstract
Kerman nomadic hand-woven carpets, woven without a detailed advance plan, is today one of the less discussed issues in the industry. Rafsanjan, Raviz carpet is among hundreds of nomadic carpets with significant authenticity and different motifs, including tree, mecca, flower pot, boteh, brick, medalion. The tree motif is one of the most beautiful features mainly seen in carpets woven in this area with different types the major one of which is cypress. By examining the structure, the present study aimed at identifying the major marginal and central motifs, their local name, and what changed over time? In which part of the carpets the changes can be found? To provide correct answers, the sample included 40 carpets woven based on the target motif collected by photography. The study was a descriptive analysis. The result indicated that the motif was first 2/1 tree, and changed over time into 2/1 medalion and 4/1 in some cases. The most visible changes are in the medalion motif of the carpet which was first cypress and changed over time into a diamond-shaped medalion. A major motif in the carpets is sini a triangular form woven at the bottom of the carpet. The motif includes plant, animal and bird motifs.
Miss Atefeh Heidari Soureshjani, Dr. Iman Zakariaee Kermani, , ,
Volume 15, Issue 36 (3-2020)
Abstract
Bird motif is a commonly used figure in the art of this country especially carpet weaving and is found in different parts of carpets and in various forms and concepts. This indicates the importance of this creature for people. Bird motif has long been widely used and in various forms in carpet weaving, this local, ancient and venerable art. Many of these bird figures have symbolic meanings and have special positions in the culture and the literature of this country. These symbolic meanings may include concepts such as victory of good over evil, luck and prosperity, spring tidings, pleading for fertility and rain, and mystic and religious concepts. There has been an inseparable connection between Persian carpets and bird motif in various forms because Persian carpets are a visualization of paradise or heaven. Bird motifs are seen as a symbol of soul, flight and freedom and this is the underlying reason behind the relation and connection between carpets and bird motifs. Most of these birds are weaved realistically or as abstract figures on tree branches in Persian carpet, sometimes flying and sometimes sitting. Chaharmahal va Bakhtiari is one of the regions which uses bird motifs realistically or as abstract figures in designing carpets. This study begins by providing a short explanation about carpets and bird motifs as well as a giving a comparative semiotic explanation on the role of bird motifs. Bird motifs designed in the art of carpet weaving in Chaharmahal va Bakhtiari are shown in a table, firstly according to their type and then their form. A classification of the bird’s positioning in the carpet of this region and its relation with the other birds and animals and also its combination with other elements is also provided. The symbolic companionship of the sacred tree and the bird and its role in the carpets of Chaharmahal va Bakhtiari are presented. Finally the studied sample in the carpet of Chaharmahal va Bakhtiari is analyzed.
Saeedeh Rafiei, Davood Shadlou,
Volume 17, Issue 40 (9-2021)
Abstract
In the last decade, biocompatible natural dyes with antimicrobial properties have been given much attention to protect dyed fibers in handwoven carpets against microorganisms. In this research, the leaves of 6 native plants of Fars province, including Amygdalus scoparia (Arjan), Pistacia atlantica (Baneh), Carica Ficus, Shirazi thyme, Shirazi Askari grape (Vinifera) and Juglans, were used as natural dyes for wool dyeing in the presence of eight different metal mordants. The reflective spectra of the dyed samples were analyzed by a reflective spectrophotometer. In addition, the color characteristics, the brightness of the dyed samples, the variety of color shades in the presence of different mordents, washing and light fastness as well as the antibacterial properties of the dyed wool were evaluated. The results of reflection spectroscopy showed that dyed samples with the leaves of Argan, grape, thyme and fig plants had negative a* and positive b* values, which confirms their green and yellow undertones, While, dyed samples with the leaves of baneh and Juglans trees had positive a* and b* values, which proves the red and yellow undertones of these samples. Wool fibers dyed with Argan leaves, figs and thyme in the presence of different metal teeth created the most variety of colors. Ivory, cream, green, brown, olive, orange, brick and purple colors were created on wool fibers in the presence of the leaves of these plants along with different mordents. The light and washing fastness of dyed samples with all the mentioned dyes were acceptable. Wool dyed with thyme and Pistacia atlantica leaves extract showed the maximum percentage of inhibition (99%) against two types of bacteria, Escherichia coli and Staphylococcus aureus.
