Quarterly Scientific-Research Goljaam

 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.

Carpet is one of the oldest and most ancient traditional arts that in addition to satisfying practical needs, reflects beliefs, myths and other conceptions. These concepts are manifested in the context of rugs, with colorful and beautiful motifs informed by inspiration. In this paper, in addition to identification of animal motifs in the rural rugs of Hamadan, these motifs have been classified as quadrupeds, birds, and aquatic animals. Moreover, ritual - mythical roots of such motifs have been studied. Among animal motifs, some birds (falcon and peacock), some aquatic animals (fish and turtle and crab) and livestock (goat), all have the concept of blessing and fertility.

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