Showing 20 results for Weaving
Mr Homayun Haj Mohammad Hosseini, Dr Habibullah Ayatollahi,
Volume 1, Issue 1 (3-2006)
Abstract
Iranian rural carpets are an important resource for studying the rural art and culture of Iran. They are also the most important area for staging the talents of, especially, rural girls and women. The common aspects of visual elements bespeak the prevailing spirit in these works under the influence of interaction with nature and lessons learned thereby. Also the availability of materials in the rural environment has the greatest influence on the physical aspects of design and texture. Rural-urban interaction and that with the nomadic population, and adapting the imported patterns to rural life is an outstanding feature of rural carpets. Adaptability of rural carpets to traditional rural applications and architecture is truly remarkable. The aesthetics of these works reveals their underlying principles, and the characteristics of their creators, and helps understand their worldview and attitude to their environment. Perhaps, that will present us with the gift of a new understanding of existence. The last point is that rural carpets are distinguishable from the urban and nomadic varieties.
Dr. Ahmad Akbari,
Volume 2, Issue 2 (6-2006)
Abstract
New nanofiltration membranes were produced in the form of unfilled fibers through the photopolymerization method. Parastyrene sodium sulfonate was used as the vinyl monomer to reform the polysulphone ultra-filtration membranes. The modified membranes were used to purify colored solutions of three different pigments consisting acidic, reactive and direct (suitable for dyeing pile yarns and warps), in order to refine and reuse the pigment solutions. The effect of various parameters like pressure, electrolyte, time, and the kind of pigment on the extent to which the pigment is confined and the flux of the membrane outflow was assessed. Results showed that besides the effective function of bleaching, the problem of barred pores observed in most commercial membranes built of polyamide also reduced significantly in the new membranes.
Dr. Farideh Talebpour,
Volume 2, Issue 2 (6-2006)
Abstract
A study of various deficiencies observed in the process of pile carpet weaving in the Province of Kashan has revealed that the most important defects are: unevenness, crimpled sides and erroneous application of the cartoon. Improving weavers’ skills will have a significant effect on reducing these defects. Therefore, weavers should be given educational advice on recognizing the capabilities of looms and other rug weaving equipment, the quality of raw materials and their harmonious use, the correct way of weaving flatwoven rugs, the manner of interlacing the wefts, and daftin-zadan (pounding an iron comb on the weft).
Dr Mohsen Niazi, Dr Amir-Hussein Chitsazian,
Volume 3, Issue 6 (9-2007)
Abstract
Carpet weaving is an indispensable part of artistic, economic, social, and cultural heritage of Iranian civilization. This industry has been long associated with the name of Kashan. In this study the role of attitude change in job culture and tendency to work outside home and do office work in carpet weaving industry in Kashan is investigated. A sample of 926 families participated in the study. Two instruments were used for data collection; a questionnaire and an interview. A significant correlation was observed between change in attitude towards working outside and several variables of carpet weaving (r=.289/ Sig. .01).
Dr Ebrahim Hajiani, Dr Soleiman Pakseresht,
Volume 3, Issue 8 (3-2008)
Abstract
The aim of this research is assessing carpet weaver’s health needs and designing a model for meeting them. A sample of 1688 carpet weaver in 8 provinces (Azarbijan, Fars, Kerman, Markazi, Kordestan, Golestan, Mazandaran and Khorasan) has been interviewed for collecting research data. Findings show that a Persian carpet weaver in Iran is typically a thirty-one aged, married woman with three children who works seven hours a day. She has not another paid work and says that she weaves out of necessity. Regarding health habits, the research shows that 51% rest between work times, 14% exercise, 13% brush, 17% wash their hands with soap before dine and after going to toilet and only 6% use masks. Other results of the research indicate that health and medical facilities available for the population is not satisfactory in comparison to national rates. The carpet weavers' accesses to health and medical possibilities are as: 65% to physicians and medical centers, 79% to water supply, and 85% to bath. Also, 10% of them have social security insurance and 50% have rural medical insurance. 48% of respondents have attended health education programs and their information about issues of workshops' health needs and meeting them were satisfactory. 60% of workshops have other uses too, for example as kitchen, dining or guest rooms.
Mrs Afsaneh Tahbaz,
Volume 4, Issue 10 (9-2008)
Abstract
Persian carpet is a manifestation of all of our national arts. There are thousands of people working in this trade. These carpets are produced by efforts of so many workers and artists. Obviously, it is necessary to gain a good knowledge of precious carpets these days because due to good foreign market for them, unfortunately, these weavings with their exceptional designs have been exported abroad and there is almost no indication of them in Iranian artistic centers. Precious carpets are only presented in exhibitions and carpet shops and so often their artists and weavers fade into obscurity. Only few merchants and a number of particular persons know these people and even there can be no attempt to introduce them to art societies. This paper, beginning with a brief review of the history of Tabriz accompanied with the history of carpet-weaving in this area, introduces some designing and coloring techniques used for precious and high quality carpets of Tabriz and also their designers. Then it proceeds to present some characteristics of these carpets including: weaving method, used materials, colors and son on.
Mr Abdollah Mirzaei,
Volume 5, Issue 14 (3-2010)
Abstract
Iran’s carpet owes its basic part of artistic aspect to its own patterns and motifs. The transference of these patterns on woven carpets is done in different methods including “plan handkerchiefs”. Plans handkerchief acts as a mediator between the mind of the designer artist and the hands of the weaver artist. These patterns which are placed on cloths, besides their innate role as models for carpet weaving, increase the weavers’ designing and imaginative faculty and by giving variety to carpet productions of the region, play an important role in preservation and continuance of motifs as worthwhile heritage. The extension of new checkered plans has reduced the appearance of plan-handkerchiefs in Heris carpet weaving culture, and it has intensely reduced the variation of carpets’ patterns and motifs.
Dr Abolghasem Dadvar, Mrs Azam Rasooli,
Volume 6, Issue 15 (6-2010)
Abstract
Arab Jinni rugs, illustrate special attitude of their creators who made exceptional and mysterious hand-made weavings. In 1993, Dr. Parham ascertained the name of this tribe as well as their weavings to Persian carpet literature for the first time. Despite unfamiliarity of this tribe in Iran's literature and historical documents, it is mentioned in detail in the lineage books of Arab and Quran commentaries. Apparently in the ethnic and ideological beliefs of this tribe, believe in jinni and tendency to their mysteries is one of the factors that affect their motifs and designs. Recognition of Arab-Jinni tribes and their beliefs, plausible ancestral and ideological relation of this mysterious and unknown tribe with them, totemic tendencies of creators of such rugs, the influence of cultural reconciliation of three important western Asia, Mesopotamia, and Persia-India civilizations on the formation of their motifs are among the most important outcomes of this research.
Mr Daryoush Kazempoor, Mr Mohsen Soleimani,
Volume 8, Issue 21 (9-2012)
Abstract
Logo designing is one of basic and scientific topics of graphics which interconnects to other parts of graphics by its own intrinsic characteristics. Instant and visual relationship of these logos with addressees conveys their spiritual and concise interior behind attractive exterior. Mysteries hidden in Persian carpet make it last and eloquently depict the cultures, traditions, cheers and tribulations of people who created it. Iranian hand-weavings and designs applied to them are various and ponderable from region to region and add to rich, mysterious and ancient art of this land; especially designs applied to Northern Khorasan weavings, which are rich. It is obvious that these characteristics provide graphic designer with the formation of a meaningful connection in the form of a favored art, like a multi-directed medium, by using symbolic motifs. The above research is of applied one, in which the possibility of logo designing inspired by carpet designs, regarding spiritual and intrinsic characteristics of Northern Khorasan weavings, is studied.
Mr Javad Avishi, Dr Zahra Hosseinabadi, Dr Alireza Taheri,
Volume 8, Issue 22 (3-2013)
Abstract
Prayer rug is one of hand-woven products which have been common in Sistan & Baluchestan from ancient times till now, and it has deep spiritual meanings in addition to visual beauty, which has attracted the researchers to itself, especially native experts of this province in the recent two decades. In order to study the prayer rugs, we will classify them into adoptive, half–adoptive, native and original, new and intuitive groups according to people's authentic beliefs and significant motifs which are used in them. The most common and beautiful ones of these samples are the native designs, which include Mehrabi, frame, domical-minaret and prayer rugs. Questions which are asked in this research are as follows: How is general structure of rug prayer rugs of Sistan & Baluchestan? Which are the most important designs and motifs of Sistan & Baluchestan prayer rugs which have caused their durability? Designs and colors used in rug prayer of Sistan & Baluchestan are affected by nature, people's wishes and regional culture. Generally, prayer rugs' structure and motifs are closely similar in most areas of the regions and they have the some visual and meaningful roots, and the most part of these prayer rugs have geometric shapes. Features of native weaving and common raw materials of the province also have been reviewed in this study. The research methodology is analytic and descriptive, and data collection is done with referring to written and unwritten sources in addition to documented studies. Observation results are obtained from field studies and investigation and analysis of data and pictures is a criterion for identifying prayer rugs and hand-woven products of this province, and can helps for reclamation and protection of native art of this region.
Dr Seyed Ali Mojabi, Mrs Zahra Fanaie, Mrs Maryam Feizollahi,
Volume 9, Issue 23 (9-2013)
Abstract
One of the most important fields of research in Iran is investigation of the characteristics of the Iranian carpet designs and motifs, especially in geographical areas in which the carpet patterns are woven imaginarily. Understanding, preserving and planning for revival of the original carpet patterns can be enhanced significantly through categorization, reformation and determination of the applied proportions in these mental patterns, which have been transferred from one generation to another through continuous years. One kind of such carpets is Vist’simaginarily-woven carpet which has been woven in the central areas of Isfahan, southwest of Khansar by nomads who came from Hamedan and left nomadic life 400 years ago and decided to reside in Vist village. Forms and patterns of the imaginarily-woven carpets of Vist have been uniform and distinct from one carpet to another with only minor change during these years. In this study, local experts selected 50 Vist carpets with more than six square meter size having all the features of Vist's patterns. They were nearly 100 years old and could be found in Vist village and the neighboring villages. Then the largest vertical and horizontal dimensions of each feature of the pattern were measured. Afterwards, different hypotheses were proposed among dimensional proportions as designing structure in Vist carpet and were tested by use of a numerical software program. Based on these findings, it was found that 16 structures were one-dimensional and these were woven imaginarily and carefully without any kind of carpet designing. The weavers of Vist carpets observed 5 determined proportions among features of Vist imaginary patterns while weaving in harmony with other characteristics in specific parts of the carpet. This study shows that other six hypotheses of researchers about proportion and determined structures among elements of imaginarily-woven carpets of Vist were not true. It is also possible to help to clarify the position of thesestructures by determining two-dimensional proportions among elements of pattern. This research presents categorized and analyzed proportions which were found for arrangement of Vist carpets.
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?
Mrs Shokufeh Mesbahi,
Volume 11, Issue 27 (9-2015)
Abstract
Amoo’oghli brothers are the founders and revivals of contemporary carpet weaving in Mashhad. Their carpets are very famous because of their unique and outstanding characteristics. This study introduces, examines and categorizes patterns and designs used in the field’s and on the borders’ of their various carpets, in addition to their most concurrent patterns, the mostly used structure in design, harmony of carpet parts, motifs etc. and also Amoo’oghli and Amoo’oghli 110 brands.
Designs of Amoo’oghli carpets are either adoptive, like Sheikh Saffi, Chelsi etc. or innovative, like Kouzeh Kannani. Both of them have been affected by original North-Eastern Iranian design and Harrat style.
This article also studies very precious carpets with high densities and delicate complicated motifs in amongst their products, at the same time with common carpets with large and even geometrical motifs, simpler designs and lower densities.
It also introduces some of designers who cooperated with Amoo’oghli brothers and played important roles in their fame, Taher Behzad Zadeh or San’atnegar, so to speak.
Mr. Rasoul Parvan,
Volume 13, Issue 31 (9-2017)
Abstract
Twist-weaving of kilim over the past centuries is preserved among the nomadic tribes of Kerman province, especially in Afshar tribe in Sirjan area and it has been used in decorating sofreh and salt bag. In recent decades, some changes are occurred in method of kilim weaving in this area and the "twist weaving" is used in all parts of kilim and has been famous as "Shirikipich Kilim". After rising "twist weaving" as an independent method, was combined with carpet weaving and in this way, was formed a kind of "Shirikpich Kilim" that it name is "kilim-carpet". Also the species of "twist weaving" were called “suzani kilim"; because of these kind have not been combine with "carpet weaving". The questions being raised; what kind of raw materials and weaving tools are used in "Shirikipich Kilim"? How are Technical Specification of warp plumbing and weaving? And what changes has happen in method of "Twist-weaving" in recent decades?
So, meanwhile to study the method of "twist-weaving" of Sirjan's kilim of Kerman province, the entire process of kilim weaving has given in the text. Due to the short notes in some resources about techniques and factors of "Shirikipich Kilim" weaving, In this paper, techniques of sirjan kilim and it's changes of weaving was studied that have occurred in the past decades. This study is done by descriptive research with using of specialized carpet resources and field researches.
Mr. Ashkan Rahmani,
Volume 13, Issue 32 (3-2018)
Abstract
Qashqai tribe is from the southern states of the country that the main profession of livestock and their women to be engaged in weaving. Depending on their nomadic life, some container weaving such as “mafrash” (bedding bag), saddlebag, “chante” (small bag), “joval” (storing sack), “tobre” (bag), “gashiglig” (bag for spoon) and “duzlug” (bag for salt) are woven by them. Among these weavings, mafrash is a biggest in which only three-dimensional woven kilim, jajim and bedspreads can be placed. All used motifs are geometric and abstract. In terms of design composition; horizontal panel and diagonal can be seen. Mafrash is woven with “supplementary alternative weft” technique. Regarding heddling and weaving; they are divided into two groups that so called “new technique and old technique”. Research method is descriptive. The data obtained through library and field research visits to Shiraz, Firoozabad, Farashband tribes and villages. The results of the field research are based on a survey of 45 pieces; 5 pieces from Shiraz, 7 pieces from Firoozabad nomads, 5 pieces from Farashband nomads, 20 pieces from Firoozabad, 6 pieces from Jahadabad, 2 pieces from morjshahrak are researched and analyzed.
Fariba Yavari, , ,
Volume 14, Issue 33 (9-2018)
Abstract
In the carpet weaving system of Iran, in some cases, weavers have written weaving; these texts, which often include numbers and names, are from weaver extensions during the texture and can be distinguished from the carpet map, so it can be called " memorials weave " named. Although the memorial weaving is not limited to a particular region and geography, it is still visible in nomadic and rural carpets in Iranian carpet weaving. Traditional carpet of Kermanshah province, which is in the style of nomadic and rural tribal and under the category of Kurdish carpets, includes a considerable number of "memorials weave". According to the dates of the memorial weaving in the samples, the action is started at a certain time and gradually ends. Considering the characteristics of traditional carpet as a native and local cultural phenomenon on the one hand, and structural changes in the carpet weaving system of Kermanshah, on the other hand, the question arises as to how "memorials were affected by social, cultural and economic conditions”. What was the relationship between the trends and the insights of weavers in Iran in general and in carpet weaving in Kermanshah in particular? The purpose of the present research is to present a sociological explanation of the action of a memorial weaving based on the Victorian Alexander diamond culture approach. The research method is descriptive-analytic and based on library and documentary studies. Research results indicate the role of supportive systems and distributors, consumption of art. The community of audiences and cultural changes of the community of carpet weavers in the emergence and decline of the action of memorial weaving.
Reza Sehhat Manesh,
Volume 15, Issue 35 (9-2019)
Abstract
Carpet weaving constituted the most important industry of Kerman province in the end of Qajars period. This industry attracted a large number of manpower and allotted itself the highest digit of export. There were many factories in flourishing carpet weaving of Kerman. The most effective factor in the prosperous of the industry was outer investing and foreign demand. In this investigation, the author on the bases of historical documents, texts and using descriptive-analytical method set out to discuss about weaving of carpet in Kerman and want to response to the question; What was the association between the capitalist system and the global market with carpet industry of Kerman during the Qajar period? Findings of the study shows growth of carpet weaving ensued by a type of global division of labor and on the bases of it, Iran had placed on the edge of international business system. Concentration in carpet weaving declined partly the other industries and attracted manpower of other manufacturing. Therefore carpet weaving was placed in the pinnacle industries of Kerman and even Iran. Rate of carpet trade between years of 1906-1907/1324-1325 embraced 53/21 percent of the whole of Kerman’s export. This digit in the years 1909-1910 increased to over 99/5 percent and on the eve of WWI, in 1913-1914 export of Iranian carpet and shawl to Europe and America by Bander Abbas outlet elevated to 97/78 percent of Kerman’s trade.
Dr Mehdi Kazempour,
Volume 15, Issue 35 (9-2019)
Abstract
One of the important rural and nomadic occupations in Iran, from ancient times, is the hand of tissues such as Glimm, Jajim and Varni weaving, which has very little information about them due to their raw materials. Meanwhile, there are very few ancient data that can provide information about Iran's hand-woven items. The village of Ace, with its cemetery full of gravestones, is one of the most valuable findings in this area. This cemetery plays an essential role in completing researchers' information about the warp weaving history and its related equipment during the Safavid period. Now, this paper intends to study the instruments of the wool weaving in the graveyard of Ace Kalibar using descriptive-analytical studies and based on field and library studies. This research seeks to answer the following long-term: Aucanian stone fields can provide evidence of rural walnut in the Safavid period and its related equipment? According to this research, it was found that the creation of motifs related to the deceased's occupation was commonplace in the cemetery, and handicrafts such as worn-out professions related to the occupations of this village were found in stone fields, and knitting tools such as Carpet equipment, Duffin, scissors, shoulder and knife on the deceased grave.
Dr. Ashkan Rahmani, Dr. Majid Reza Moghanipour,
Volume 15, Issue 35 (9-2019)
Abstract
Abstract
Handmade carpet as one of the most important employment industries in nomadic and rural areas of Iran has experienced many ups and downs in recent decades. A proper and sustainable planning for the preservation and development of this art-industry is to provide a clear and comprehensive picture of the status of carpet weaving and its ups and downs in each of these areas. The main question in this article is also based on this issue. In other words, the study was aimed at providing a clear and complete picture of the carpet condition of Qashqai tribes inhabited in the Firouzabad region of Fars in the past decade and seeks to answer the question of how the process of production and what product have been during the mentioned period.
This paper presents the results of research conducted in 10 villages of Firoozabad district in the period from 2007 to 2017, the majority of villages’ population is from different tribes of Qashqai. These villages including Jaidasht, Moushgan, Jahad Abad, Mord Shahrak, Baygan, Deh Bram, Nouderan, Najaf Abad, Atashkadeh and Ruzbedan, also, the carpets in this study have a maximum 40 years old.
The carpets of this region in last decades have enjoyed a special boom because of the settlement of various tribes of Qashqai, the proximity of villages to Firoozabad, and the close association between buyers and producers with weavers. Among these villages, Jaidasht and Baygan produce the most quality carpets and they are the highest in terms of quantity. The common designs of this region are Botte, Herati, stripe design, medallion, prayer design. In the mentioned villages, weaver use cartoon to weave carpets but used cartons are different from urban workshops. In this type of cartoon, the composition of the design and color is the responsibility of the weaver.
Mohammad Ali Espanani, ,
Volume 16, Issue 37 (9-2020)
Abstract
Bid Majnun( weeping willow) design is in the invaluable position because of being one of the most famous patterns among Persian rugs as well as their local varieties. Although it seems that there is not a particular region for the creation of this design , old samples have been observed in the north-west areas of Iran especially in Bidjar(Bijar). Such evidence may imply that Bidjar has been the source of this pattern. Using broken and semi-curvilinear lines and average weave cause to consider such rugs as local ones. Basic elements of these rugs are motifs such as weeping willow, cedar, poplar and fruit trees. These features in a balanced combination have made a common pattern which has been used in Chaharmahal & Bakhtiari province, the north-west areas of Iran and even in the other countries. This study attempts to reveal different varieties and the construction of the pattern of Bid Majnun through analysis of 20 samples from the main local areas in Iran. This research has been conducted by using descriptive statistics based on the comparison of the data. Data collection procedure has been accomplished by using field and library-based studies. As was briefly mentioned before, the results show that Bid Majnun design has a unique structure with a special design in different regions. Meanwhile, a little change in the construction of motifs has caused some variation in the pattern of Bid Majnun.
Key words: Bid Majnun Design, vagireh, construction of the patterns , Iranian carpet weaving , rural rugs
