Showing 6 results for Museum
Mrs Tayebeh Sabaghpour Arani, Dr Mahnaz Shayestehfar,
Volume 5, Issue 14 (3-2010)
Abstract
It is not an exaggeration to say that Iran’s cultural, artistic and even national identity is to some extent related and tied with carpet. The history of carpet weaving is an honorable and glorious one. And today’s artists in this field would not be successful without relying on this rich and fruitful past and using their own creativity. Therefore, the scholars of this field have to closely examine and investigate patterns and motifs of carpets and introduce their findings to the carpet society. This way, they can recall us of a great identity which sometimes is being concealed in the shadow of innovations. Here the authors have tried to investigate an important part of the history of this art in the Qajar era and to introduce the especial characteristics of patterns and motifs in Carpet Museum of Iran. The method of this research is descriptive and analytical one and the data is collected by library-based and field study methods. Appearance and extension of pictorial patterns, extension of “Bandie Golfarang”, “Bandie Boteh” patterns, extension of "rose" ," Boteh" and "Mahi dar Ham" motifs, naturalism and simple and unassuming style are among the characteristics of Qajar carpets.
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.
Mrs Leila Darvishi Koloor, Dr Zoya Abam, Dr Jalal Basam, Dr Masoumeh Masoumeh Karbal Aghaie Kamran,
Volume 13, Issue 32 (3-2018)
Abstract
This study is to identify and evaluate elements that were used in the Identity document of museum objects to describe and manage the information of museum’s carpets. This study is an applied study which implemented by documentary study method. The data were gathered by analysis of identity document of carpets in museums inside and outside the country. The results can help in integrating and facilitating the organization of information and documentation of museum carpets. More over, they can be applied to better management of the carpets in the museum, preservation and protection of carpets in communicating with other museums, carpet exhibitions, integrity in information their dissemination. It provides with perfect conditions for studying carpets and shares science and knowledge as well.
Sasan Samanian, Sareh Bahmani,
Volume 15, Issue 35 (9-2019)
Abstract
The greatest reputation of Iranian handmade carpets is after the beauty of its design, its brightness, its durability and its longevity. Some of these carpets, which are a valuable treasure of the art of this border, are kept in museums and collections that are surrounded by conditions Non-normative acts cause serious damage, and sometimes even damage to them.
Air pollutants are very numerous in terms of their origin and health effects, and it is virtually impossible to check all of them. Therefore, a group of air pollutants, called carbon monoxide, ozone, particulate matter, nitrogen dioxide and sulfur dioxide, are commonly studied. Therefore, considering the importance and necessity of controlling pollutants and their essential role in managing environmental conditions, it is necessary to identify major pollutants in the museum and how their effective control in the environment is the main objective of this research. . Important factors such as dust, carbon oxides, sulfur oxides, nitrogen oxides should be analyzed instantaneously and permanently in order to control compliance with standard standards in the carpet museum environment.
This research is a descriptive cross-sectional study carried out with environmental studies, statistical and sampling methods as well as library and laboratory studies. To identify and introduce atmospheric contaminants and to study, measure and monitor these factors in the museum to identify the most practical And the most appropriate carpet and carpet maintenance method. Therefore, the carpet museum in Tehran has been selected to implement these methods. Finally, it was determined that the pollutants in the Persian carpet museum were in the year 1395; in the summer, it was more than the winter season. Which was the most infected months of the year in the summer of August (due to the highest occurrence of dust phenomena) and January-December (due to the most invasive phenomenon). March was the most desirable month of the year due to the increasing volatility of atmospheric conditions and the reduction of urban traffic volumes.
Sasan Samanian, Sareh Bahmani,
Volume 15, Issue 36 (3-2020)
Abstract
The Iranian Carpet Museum collection contains the most valuable specimens of rugs from the ninth century AH to the contemporary period and is a rich source of research for researchers and art friends. Carpet Museum carpets and carpets, according to their quality and antiquity and taking into account the characteristics of carpet in terms of color, design, role, texture and variety of carpet weaving areas are preserved. The museum is built on two floors, the first floor of which is a permanent display of 150 pieces of carpet and the second floor is intended for specialized and seasonal exhibitions.
In this empirical-analytical study with environmental studies, sampling as well as library and laboratory studies, we have identified and introduced appropriate light levels for the storage of museum carpets with natural fibers, thus In order to perform tensile strength test of museum carpets because it is not possible to perform tests on museum rugs and it is necessary to fabricate rugs in accordance with the statistical population studied, weave samples of natural fibers of wool, cotton and Silk is done. Finally, according to the data obtained from the test of tensile strength of carpet in line with the length and width of the samples, analysis of variance, Toki and LSD tests can be concluded that light has a destructive effect on the carpet and reduces the tensile strength of the carpet and It has a significant effect on the tensile strength of carpets.
Sahel Erfanmanesh,
Volume 17, Issue 39 (8-2021)
Abstract
IIn the country of Turkey, in the city of Hereke, at the end of the 19th century, rugs known as Mihrabi became popular, which were inspired by the rugs of the Safavid era and kept in the Topkapi Palace Museum. In these rugs, which are reproduced in royal workshops on a large scale, some changes have been made in the verbal text and incorporated visual elements. Among the rugs that seem to have had a great impact on the rugs of this period in terms of appearance, there is a rug from the Safavid era that is kept in the Topkapi Palace Museum. This rug has been reproduced in large numbers in Herke with slight changes in the verbal text and its visual elements. An example of this reproduction is the rug designed by "Zare". In the verbal text of the "Zare" rug, Persian words have a special place; also, the existing rug has a signature. Meanwhile the verbal text of the Safavid rug is in Arabic and has no signature. Since these rugs were woven in two different cultures and times, the question is: What role did the dominant discourse in the society play in the changes made in the verbal texts and visual signs in the reproduction of the rug kept in Topkapi Palace Museum? In order to achieve a suitable answer using the analytical-comparative method, the mentioned rugs were compared with each other in both periods and the dominant discourse was examined. According to the comparison, it was concluded that the rug of the Safavid era expressed the mystical thought of that period. Meanwhile, in its reproduction by "Zare "and its minor changes, attention has been paid more to the rug not as a handwoven product for conduct and worship, but as a product to express humanist and nationalistic ideas and to represent the golden age of the Ottoman Empire.
