GOLJAAM
Year:2009 | Volume:- | Issue:14|Papers Count:8

Various Persian traditional arts can be understood as different aspects of a unique concept. All of them represent substantial meanings which root in both Islamic and Iranian beliefs. The symbolic language of these arts and the ability of being expressed in various arts let artists to choose proper methods for their work. Rug and architecture are the most important Persian arts and two aspects of Persian symbolic design methods. This paper tries to focus on Mihrabi rugs as a direct reflection of one of architectural components of mosque architecture in rug design as a suitable carpet for praying time. The paper intends to show how ancient and Islamic architectural symbols affect symbolic expression of these rugs and how these different arts show a homogeneous idea in terms of their own capacities. This study uses a descriptive method and a comparative semiotic approach from historical and iconographical viewpoint and traces the mosque architecture elements and symbolic plant designs of Mihrabi rugs. Paradigmatic process shows some evidences regarding designers’ efforts to represent triple structure of ancient Mithraism altars in the form of mosque space structures and heaven on the limited space of rugs by replacing a triple division of floral patterns instead of architectural structure of mosques in a symbolic way, so the middle tree represents the ancient tree of life and recalls the main dome and two cypresses with their roots in ground and their heads up to the sky are the symbols of minarets. This fulfills artist’s objective to demonstrate such rugs as mosques and linkage between heaven and earth.

Regarding the design, pattern and color of Timurid carpets, although no sound and safe one of such period has been survived, there are so many paintings addressing the carpets that most probably have been produced in that time. These paintings are mostly accessible from various manuscripts that have been developed by Timurid princes and patrons. We can even reproduce a whole carpet by analyzing these paintings. One of such manuscripts was created in Harat in the royal library of Baysonghor Mirza under supervising of Ja’far Tabrizi and is dated back to 1429, namely “Shanameh-ye-Baysonghori”. In this paper we are going to analyze six paintings of the manuscript, and to determine the design, pattern, color and even designers of Timurid carpets. This research is descriptive-analytical in nature and its necessity is due to understanding the carpets of the past eras and introducing them to designers and artists of nowadays carpet industry.

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.

Ethno-archaeology is one of the main approaches that could help archaeologists to reconstruct the past behaviors, including social, cultural, economical and political behaviors. It is interesting to state that the most important aim of ethno-archaeology is to understand the past through observation of modern conservative societies. On the other hand, based on this framework, archaeologists attempt to make a bridge between the past (static) and the present (dynamic). In fact, via this approach, archaeologists are able to clarify background of traditional arts of modern societies. Better understanding of background of these arts enables scholars to represent worthy scientific methods to protect the traditions. Handmade carpet, which has two distinguished characteristics, namely genuineness and innovation, has developed in the Persian cultural region and has its roots in the ancient arts of this vast region. The objective of this paper is two folded, firstly to present a worthy scientific method to detect process of derivation of designs and patterns on the handmade carpets, and secondly to understand “how” and “why” of human past behaviors. In fact, the present paper will present suggestions to exploit past human behaviors of this vast region. Consequently, scholars who are studying handmade carpets will be able not only to derivate designs and patterns of carpets, but they will also be able to support this deep rooted art.

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.

Iran’s carpet owes its basic part of artistic aspect to its own patterns and motifs. The transference of these patterns on woven carpets is done in different methods including “plan handkerchiefs”. Plans handkerchief acts as a mediator between the mind of the designer artist and the hands of the weaver artist. These patterns which are placed on cloths, besides their innate role as models for carpet weaving, increase the weavers’ designing and imaginative faculty and by giving variety to carpet productions of the region, play an important role in preservation and continuance of motifs as worthwhile heritage. The extension of new checkered plans has reduced the appearance of plan-handkerchiefs in Heris carpet weaving culture, and it has intensely reduced the variation of carpets’ patterns and motifs.

This paper investigates and analyses geometry in Mihrabi carpet design in Safavid period. These carpets are very important group of Persian carpets in Safavid era. Analysis method is based on the main disciplinary lines in frames. The ultimate objective of this analysis is achieving principal and dynamic points in design composition and suggesting sound geometrical patterns underlying these designs. The conclusion was made that the past designers have turned to geometry as a principal base in carpet designing, and have drawn the designs on the basis of geometry. In designing Mihrabi carpets in Safavid period, just like other arts, special proportions were used in dimensions and some patterns were applied in designs.