GOLJAAM
Year:2006 | Volume:- | Issue:1|Papers Count:8

Ammonia is a weak base that can be used as a swelling agent on wool fibers before dyeing. In this study the pretreatment of wool with ammonia in different percent solutions (5, 10, 15, 20) is carried out, and its effect on dye-ability of wool by natural dyes such as madder, walnut shell, pomegranate peel, vine leaf, white and red onion skin, is analyzed. Also the effects of temperature, length of time, and concentration of ammonia on dye-ability of wool fibers were considered. Colorimetric data, and measurements of light and washing fastness were carried out, and the results of color change under ammonia treatment are reported.

The arts are born out of the artist's mind within the milieu of the culture of the period and the social environment. The craft of carpet weaving is no exception, as it is influenced by intellectual and cultural trends. Certain arts such as the art of the carpet have a very long life and have gone through the ages, while they are still alive. Such arts have obviously been influenced by various approaches and beliefs of each period, or have collaborated with various cultures due to the prevailing conditions. Symbolism is an integral part of Oriental art, and Iranian art and the art of the carpet, but at times we come across naturalism also. Therefore, the influence of naturalism on the art of the carpet is worthy of study. In this study using the library research method the hypothesis that "a kind of naturalism has been influential on the art of the carpet" has been tested. This study of the art of the carpet of the Islamic period has analyzed the available texts and pictures of carpet motifs and has confirmed the above hypothesis. The trend of naturalism in the Iranian carpet of the Islamic period has developed through the art of the royal courts since the Safavid period. It continued its development on the basis of Islamic ethics and culture through the Qajar period. However, since the Pahlavi era Western naturalism has influenced the art of the carpet also. In recent years, due to acceptance of Western culture as a result of the open door policies of the second decade since the revolution, as well as the propaganda programs of Western culture targeting Eastern countries, manifestations of Western naturalism in various arts including the carpet has increased.

Love of beauty and perfection is an inherent characteristic of human beings. The principle of "need" complements the sense that brings artistic creation in him to a peak, resulting in the formation and permanence of culture. The "carpet" may not represent a pure form of art, but it there is no doubt that its artistic and visual qualities put it beyond a mere commercial commodity and elevate it to the position of a work of art that embodies taste, thought, beliefs and a special custom. It presents the intellectual and cultural potentials of a people in the form of esoteric motifs and symbolic forms. The elementary motifs and patterns that are especially found in rural carpets and small carpets usually embody a purer content from the point of view of symbolic concepts that deserve a thorough investigation.

The Ziloo, as an ancient Iranian hand-woven textile, expresses its own history in its varied and rich motifs. This variation and richness are especially discernible in Mehrab (Saf) design Ziloos from Maybod, especially made as floor coverings in mosques. Because of this close connection with the mosque as a sacred and religious location, it has assumed a symbolic religious meaning and is considered a part of the mosque complex. Mehrab (Saf) design Ziloo is thus a symbol of the ranks of the faithful in collective prayer with all of its religious implications.

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.

Handmade carpet production in Iran goes back to the history, of which is not the subject of this short paper and presentation. Carpet production and in general carpet culture especially in rural areas is combined and mixed witf1every-day life of many people. In rural places, almost all the women know how to make carpets. They learn this from their mother and grow up with it. Many of them weave the carpets to take to their new homes when they get married. In Iran, carpet is not a mere commodity. It has different cultural, artistic, and historical heritage attached to it.