GOLJAAM
Year:2016 | Volume:- | Issue:29 |Papers Count:9

Carpet is one of the Iranian arts that is shaped in direct interaction with designers and weavers and therefore is a visual expression of their beliefs and ideas. This statement of beliefs, originates from the artist’s mentality influenced by culture, customs and religious teachings of society which is then traced on the vertexes of the carpet in different arrays and in the form of various designs. For this reason, various issues have been incorporated in carpet with a symbolic expression and each imply a cultural and religious concept. In the mist of this, numbers have a deep root in the culture of this country and was divided into two types: quantitative and qualitative. Qualitative aspect, or in other words, the symbolic and meaningful dimension of numbers has long been in consideration and the application of numbers in the arts of this country can be considered as a sign of the grand position of the symbolic aspect of numbers in different eras.This article reviews the place and symbolic use of numbers in carpet with analytical method and library data collection. The results show that the numbers one, three, four, five, six, seven and eight have been symbolically used in different carpet designs. This application implies that the organization of images and designs has been based on the symbolic meanings of these numbers. Furthermore, it can be been seen that some carpet patterns and designs have been named based on their numerical format, thus strengthening the role of numbers in carpet and conveying the symbolic meaning they possess. These patterns, which are influenced by the cultural and religious teachings of the society, have been employed by designers and weavers and have been the source of inspiration for their designs.

The purpose of this article is sociological explanation of Iran's contemporary carpet designing system to recognizing of the evolution or the stability in its carpet designing schools. For this aim, first we selected and compared 20 sample carpets among the woven carpets of Tabriz and Esfahan in the past 10 years with the same number of Tabriz and Esfahan carpets that are woven at 40 to 60 years ago. With these compare probabilistic caused changes in design, pattern and color of this carpets had shown. The results show that deflection from traditional designing bases in Tabriz contemporary carpets is visible and fast. Versus changing of these bases in Esfahan carpets is according to rules and course frame of Iranian traditional design and is continuing its natural proses.This article is theoretically related to the field of sociology and emphasizes on Anthony Giddens's structuration theory. In Accordance with structuration theory, had studied reasons of the evolution or the stability in identical component of Esfahan and Tabriz carpets. The findings of the study indicate that, any change in the rules and resources of proceeding at each of the schools of Iranian carpet design, will caused changes in its entirety system. Therefore stability of the rules and resources of action in Esfahan causes the persistence of Iranian classical design school in this city, inverse the fluidity of the rules and resources in Tabriz causes consecutive changes in School of Tabriz carpet designing. A descriptive analytic approach and field study-library based data collection were the research methods used in the present study.

The French elements and motifs have been entered to Iran art through building moldings. Meanwhile, importing postcards and chocolate boxes having European stencils, have had important role at stencils of carpet. At the period of Gublan in Kerman province, by the request of America for using French Golfrang and Gublan, the structure and elements of Kerman carpet was influenced by Aubusson and Savonery carpets.In this article, by study these two types of carpet, we try to show the relationship between French carpet stencils and the Gublan period carpet in Kerman and by comparing the resemblances and differences to show: How much the Kerman carpet has been influenced by the French carpet, whether the designers copied the designs or incorporated them.To achieve a precise and accurate result,56 samples of Gublan Period carpet in Kerman were collected by field study. Also 70 samples of French carpets were photographed by library method. By comparing these designs through descriptive, analytical and comparative methods, their different and common aspects were surveyed and specified that no copy has been done and at the Gublan period, the Kerman designers have been influenced by French carpet design. In some cases adaptations used, have resulted to innovation of new designs.With regard to the similarities between the composition and structure of these two types of carpet, in spite of French carpet, the colour used in Kerman carpets are bright and opaque.Though the basis of French carpet design has been originated from the East, but in comparison to Kerman carpet, less porportions have been observed.

Kurds of Khorasan regions live in its northern regions and are called kurmanj. During the rule of the Safavid dynasty, Kurds of Turkey, Syria and Caucasus in west Azerbaijan were moved to Khorasan to evade invasions of the Ottomans and were settled there. This movement of Kurds from Western Iran to northern Khorasan and their adjacency with Balooch and Turkmen people influenced their carpet weaving traditions. The present paper attempts to investigate the structure of designs and motifs and diversity of genuine Kurdish rugs in Khorasan region. This descriptive analytical study takes a qualitative approach to study the elements like Medalion, corners, field and border motifs in designs and motifs of Kurdish rugs of both Northern and Razavi Khorasan provinces. The statistical population of the study was both Northern and Razavi Khorasan provinces and its main concentration is on Kurdish provinces. As a result, our towns and 13 villages in Razavi Khorasan province were investigated along with 6 towns and 21 villages in northern Khorasan. The data for the study were collected through library studies on the history of this ethnic group and rug samples were collected via field studies conducted by the authors. it was concluded that designs and motifs in Kurdish rugs of Khorasan are highly varied; yet, the structure of designs and motifs are similar. Motifs used in these rugs are taken from everyday objects, plants, flowers and, in some cases, even abstract concepts of human nature. The study also revealed that some of the designs and motifs in Kurdish rugs of Khorasan region are genuinely unique products attributed to specific individuals and their motifs are geometrical and mental shapes modeled after nature and beliefs. However, these motifs have changed compared to Kurdish rugs from northwestern regions of Iran.

The present article is a kind of field and historical research accomplished based on available historical and imagery sources aiming at clarifying the changes that have been taken place in patterns and designs of mentally-woven mazlagan carpet and its patterns and motifs categorization in recent century. In addition to the historical investigation based on written and unwritten sources, a field study was also conducted in Mazlagan village, to find out old carpets, take their picture and interview with the old and famous people in Saveh and Tehran market and finally by comparing the information and pictures, the changes in patterns and designs of mentally-woven Mazlagan carpet were determined. Then, based on the obtained results, an attempt has been made to categorize and classify patterns and designs of this mentally-woven carpet. The results indicated that the patterns and designs of Mazlagan carpet can be classified with regard to two perspectivess which are forms and motif models; visual and physical nature of motifs as well as application of these motifs in the body or in the borders into four categories of plants and forms or models. The plant category can be divided into single flowers, leaf, leaf and flower band, three leaf flowers and incoming flowers and the last category to three subcategories of multi-angles including three, four, five, six and ehight angles and forms consisting of panes and arrows, toothed and elbows. Borders in Mazlagan carpet can be divided into four types of two dostkomi and first until third type Harati.

Carpet design and decoration are the fundamental elements for producing carpet and they are important factors determining material and artistic values of a carpet. The access and use of innovative and demand driven designs are the crucial issues that carpet weavers face with, affecting their production, productivity and income. The purpose of this paper is to explore the supply sources and methods of access to silk carpet designs by rural weavers. The data were collected using a case study methodology through focus groups, semi-structured interviews, participatory mapping, document analysis and observation. The study was conducted with 90 rural silk carpet weaving households in 23 villages of the Zanjan Township and market actors in the cities of Zanjan, Qom and Kashan. Rural weavers produced carpet and received designs through two production approaches: a) self-employed production and b) contractual employed production for external entrepreneurs or dealers. In the self-employed approach, rural weavers got accessed to designs through two mediating chains including local and urban dealers. Access to designs in this approach was mostly indirect, in that rural weavers demanded and received designs from local dealers who in turn received the designs through the silk carpet market in the Zanjan City. In the contractual employed approach, rural weavers accessed their required designs through three mediating chains, comprising local dealers, urban dealers and urban entrepreneurs. The most frequent contact of rural weavers was related to their direct visit to their entrepreneurs or employers who were not carpet designers. In both production approaches, the provincial rural carpet :union: acted as a dealer rather than a community based organization supporting rural weavers, so it did not reflect the weavers' interest.