Showing 10 results for Bakhtiari
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 Hamid Sadeghian, Mrs Leila Madani,
Volume 5, Issue 12 (6-2009)
Abstract
The motif of tree is one of the most important and original motifs of decoration and mysticism in human’s art. Different kinds of plants and trees that may be considered as the symbol of “the prayer human” can be found in many historical works in Iran and other parts of the world; each expressing a special meaning and sometimes multiple meanings. “Weeping willow” is one of these motifs that can be found in art works and miniatures of our country, especially in hand-knitted carpets of some areas. Accordingly, the Chaharmahal & Bakhtiaris’ carpets which are classified among tribal and rural categories present such motif especially in carpets with “Kheshti Design”. In this paper the different kinds of such motif have been introduced and their formal and semantic aspects have been studied in Kheshti carpets of different areas of Caharmahal & Bakhtiaris Province.
Dr Abolghasem Dadvar, Mrs Farnaz Moazen,
Volume 5, Issue 13 (9-2009)
Abstract
The textile of the Bakhtiarian's nomadic have many changes during of periods .This alterations will have continued, but some of that ,have a collection of designs that come from the mind of Bakhtiarian woman ,who teach them from her deceased, these study tried to collect the motifs that have many unknown meanings. The aim of this research is to introduce these motifs and try to field study. But the main purpose of this study is to reviving the traditional Bakhtiarian motifs and avoid of its separating and abandoning and also the use of these motifs in new art works and the life of people
Mrs Faranak Kabiri,
Volume 5, Issue 14 (3-2010)
Abstract
During collecting information regarding “kilims” in Chaharmahal-va-Bakhtiari province, it was understood that whatever we recognize under the general term of “Khorjin” can be divided into three categories: small, normal and big ones as described below. (1) Small Khorjins (50×25 cm) which are weaved in both parts of province, i.e. Chaharmahal & also Bakhtiari. They are used for keeping expensive things and objects, documents and also women personal things. (2) Normal Khorjins (100×50 cm) which are weaved for caring foods, things and usual tools which are related to person's job. These Khorjins are produced by Chaharmahalies and Ghashghaies. (3) Big Khorjins (150×100 cm) which are weaved to displace large amount of loads, dresses and light beds. Just Bakhtiari people produce them. Most of these hand-woven items are produced with simple Kilim method, but for weaving some of them, people use pile techniques and some special and important weaving methods special to this province and known as “Rendi” and “Soozani”. From viewpoint of designing, these beautiful products have some designs which are originated from the beliefs and customs of these people or are produced by these tact weavers in the case of being impressed by surrounding environment, or by using geometrical drawings. Apart form ownership issue, safe-keeping and producing something that meet human's needs, the most important thing regarding them is their beautiful coloring schemes and wonderful drawings which delights their viewers.
Mrs Peyvand Tofighi, Mr Mohammad Ali Espanani,
Volume 8, Issue 21 (9-2012)
Abstract
Rugs in Chaharmahal va Bakhtiari have a great variety of design patterns and colors. One of these patterns is the "frame" design pattern that has its own variations. Frame design patterns are created in two ways: brick and Qabqabi. This paper will try to study the Qabqabi design pattern and its variants in rural area rug and its evolution. Variations of Qabqabi design pattern include simple frame, ring frame (cypress pine), Hassan Khani frame, bow frame, samovar frame and rose frame. The research questions include: When the frame design pattern was used for the first time in the area? What are the types of frame design patterns? What are the differences of filling motifs, structures and frame connections in different part of the province? How their evolution has been accomplished? The most diverse samples belong to which area? It has been also tried to use library-based and field study methods for classification and analysis of Qabqabi carpets of the area. For this purpose, the form of the frame, decorations of walls, connections, coloring of the frames, decorations within the frames within frames and the distribution of frames will also be examined.
Mrs Neda Fakhr, Dr Amir Hossein Chitsazian, Dr Elyas Saffaran,
Volume 8, Issue 21 (9-2012)
Abstract
Bird motif has always had an important place in Iranian artworks. Various patterns of birds have been presented in all types of Persian art like carpets. Bird motifs, both in abstract and naturalistic forms, can be found in Iranian carpet design. This paper, after studying the role of bird motif in Iran's art and literature, introduced the formal and conceptual aspects of the motif in "Kheshti" design pattern. For this purpose, some images of Kheshti carpets of Chaharmahal and Bakhtiari have been illustrated. This is a descriptive research and data collection has been accomplished using library-based studies, written literature and images
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.
Maryam Mohammadisani, Esmaeil Mazroui Nasrabadi, Fathali Ghashghaeifar,
Volume 15, Issue 36 (3-2020)
Abstract
Customer satisfaction is essential for the survival of the organization. In recent years, Iran's hand woven carpet market has been occupied by rivals. This position is due to the lack of attention to customer satisfaction; hence, in this research, the identification and prioritization of the effective factors on the satisfaction of hand woven carpets customers is discussed. This research is done in two stages. In the first step, Delphi was used and in the second step, the Topsis method was used. The statistical population of this research in the first stage is handmade carpet experts and in the second step is hand carpet customers in Chaharmahal and Bakhtiari province. The first sample size is 15 people and the second sample size is 400 people using the Morgan table. The results of the research showed that the factors affecting the satisfaction of handmade carpets customers classified into 9 categories that are pre-sale, sales, after sales services, quality features, process characteristics, distribution system, economics, valuation, and artistic features. By using the Topsis method, the characteristics of the arts are all the more important and, in comparison with the whole of the factors, the component of the originality of the carpet is all the more important. As a result, it is proposed to work to preserve the originality of the handmade carpet, through the design and production of original carpets in accordance with the needs of today's customer and the prediction of its future needs.
Behzad Vasigh,
Volume 16, Issue 37 (9-2020)
Abstract
Carpet is one of the most important textiles man-made. The rug represents the aspirations and interests of the people who weave it. Therefore, recognizing the image in carpets can be a window into recognizing these ideals. In this research, Bakhtiari rug is investigated. Bakhtiari rugs (toranji, yalameh and cetral) are textiles produced by Bakhtiari people of choharmahal-o-bakhtiari province. The research method is based on the combined theory of grand theory and case study. A model was developed to investigate carpets by combining Kaplan and Gestalt methods. The Gestalt concept is based on perceiving reality in its simplest form. The various laws are called laws or principles, depending on the paper where they appear but for simplicity's sake, this article uses the term laws. These laws took several forms, such as the grouping of similar, or proximate, objects together, within this global process. These laws deal with the sensory modality of vision. Attention restoration theory or kaplans model asserts that people can concentrate better after spending time in nature, or even looking at scenes of nature. Tasks that require mental effort draw upon "directed attention". People must expend effort to achieve focus, to delay expression of inappropriate emotions or actions, and to inhibit distractions. That is, they must concentrate on the higher task, avoiding distractions. Performing the actual task also requires other knowledge and skills. Based on this model, carpets are examined. The results show that Bakhtiari carpets do not use one method of expression and differ significantly. However, in cases such as symmetry, overlap and similarity, they have used the same approach.
Ardeshir Boroujeni, Alireza Khaje Ahmad Attari, Mohamad Taghi Ashoori, ,
Volume 16, Issue 38 (2-2021)
Abstract
The aesthetics of the Iranian handmade carpet is based on the aesthetic belief and understanding of the Iranian man from the system of existence. In the collection of small handbags in the Bakhtiari nomads, the pillars are considered as valuable for fibers and applications. Patterns of these handcrafts are subjective and based on the beliefs and beliefs of tribes with the help of nature. These motifs of the tribes of the Bakhtiari tribes have specific features and visual values based on the use of nature and its beauty in terms of design and color. Since the function of no pre-prepared maps and not customized, the superior position to Have allocated themselves. The purpose of this article is to explain the features and beauties that are inherent in the motifs of these handcuffs. This feature and the motifs of beauty, part of the features and the beauty of the collection (hand-woven back, woven, woven, woven, and other woven) Nomad is. The main question of the article is that the motifs of the nomadic handcrafts reflect what are the visual features, and where is the place of nature and its beauty in terms of design, color and composition in the creation of subjective motifs in the tribal pockets of the Bakhtiari region, and how are the motifs of the pods from The nature of the region has been affected or abstracted and abstracted. The research data were collected using a field, interview and library methodology to discover and extract what is considered by the nomadic weaver according to the ethnic background and the nature of its life environment, and then recorded and categorized. In another glance, the proper and unconsciousness of the correct relationships of visual elements in the beautiful composition of the embroidered designs of the tribes of the Bakhtiari region has demonstrated the creativity of the knights of the region with an emphasis on the look of nature. As a result of this research, the achievement of a complete range of types of plant, animal, geometric and visual designs has been achieved taking into account the widespread dimensions of the culture and lifestyle of the Bakhtiari tribal elders. Also, the percentage and rate of use of tribal knitters in the region from native and traditional fibers were obtained from factory fibers. Concerning the use of Bakhtiari tribal weavers from traditional and herbal colors compared to chemical paints, this research has yielded significant results Has brought along.
