JOURNAL OF IRANIAN HANDICRAFTS STUDIES
Year:2021 | Volume:3 | Issue:2 (5)|Papers Count:12

Gemology is one of the first sciences about which ancient scholars and scientists of Iran and the Islamic world have written treatises. The economic, administrative and documentary aspects of gems in Islamic governments and before them show the importance of this part of science in different periods. The main part of Jawā her-namā s (books of gems) has always been dedicated to methods of identifying and valuing gems. But in the meanwhile, the subjects of civilization, medical sciences, hadith sciences and technical aspects of stone engraving and polishing have also been considered. In Jawā her-namā s, the methods of cutting and polishing each type of gems has been specifically described. Such descriptions are sometimes accompanied with specialized or forgotten words. Therefore, understanding and discovering the knowledge of our predecessors in this regard has been remained ambiguous and in some cases, the exact meaning of the authors would not be understood. These include a variety of engraving and polishing wheels (instruments). In most gems the types of wheels used have been referred to; however there is no mention of the general structure of them, i. e. the devices used. Therefore, the main question of the present research would be as follows: What characteristics do the engraving wheels mentioned in Persian Jawaher-namas have in terms of meaning, appearance, structure and function? Looking for sources other than books on gems, and reviewing the remained examples and pictures used to describe this work in the 9th and 10th centuries AH/AD 15th and 16th centuries, an attempt has been made to give an overview of the construction of such devices and the function of each. Examining some images and tools left from the Qajar period in Iran, India and Europe, the results demonstrate that these wheels were based on relatively similar structures at that time. However, there are three types of lapidary wheels that require three different types of machines. In this article, besides having a review of such devices, other technical features and the history of each has been considered as well. These features show that each lapidary wheel applied a certain device with different function, depending on their operation. This matter proved to be decisive in the diverse production of gem stones.

Jewelry comes in a wide variety of shapes and sizes. The purpose of using jewelry, decoration and the beauty of appearance or beliefs enumerate. Men’ s rings in Iran are among the ornaments that, in addition to beauty, convey a kind of thought and character. Ring making is one of the original Iranian arts with a long history and varied uses. Ring is sometimes a stamp, a commandment message or one of the most iconic jewels and it expresses the covenant, heritage, personality, ideas, and religious beliefs. The ring centers in Iran are Mashhad and Qom. Mashhad is one of the most important ring making centers in the modern era with its active workshops. Rings made in this city have always been considered as souvenirs by neighboring countries, especially Arabic speakers. Therefore, studying such ornamental objects and their documentation in order to improve the productivity of this field seems necessary. The purpose of this article is to study the form, decoration and inscription of contemporary rings in Mashhad. The questions are as follows: What is the contemporary form of Mashhad rings? What are the themes and motifs? The research method is descriptive-analytical and the statistical population is contemporary ring makers of Mashhad, and the sampling method is purposeful. In this method, those samples were considered that could provide the most information to authors. Here, those cases with multiple differences were selected that were estimates of the statistical population. Therefore, the works have been studied at different artistic levels. The findings show that there are three types of rings in the market: First, machine-made rings which are popular and reasonably priced, with no artistic aspect. The second category is lattice rings, on which the designs are made of mesh with semi-artistic and semi-precious aspect. In this category there are some subcategories. The third category is fine, engraved rings. These rings are sold as art objects at a higher price than others and they have artistic aspect and are more laborious and elaborate in terms of quality and design. The decorations of the rings in question include designs and motifs such as animals, birds, plants, sacred places, as well as inscriptions with the theme of divine names, names of holy Imams, prayers, and verses from the Quran. These inscriptions are engraved in Nasta’ liq and Thuluth pens. Rings with agate and turquoise jewels are mostly adorned with Shiite hadiths and narrations.

Luster is an innovative decorative technique applied in the Islamic era. The imitative technique of luster glaze is the result of efforts of some potters to imitate the visual features of the earlier luster. The two techniques differ in their production methods, but have many similarities in terms of physical characteristics of the works, including color, pattern, and in some cases, form. Such similarities have led to misrepresentation of luster imitated pottery in some cases with the eralier products of this kind. This descriptive-analytical study tries to identify the characteristics of both methods and to correct misconceptions. To collect the information for the research, library method has been applied and the results show that luster imitated pottery was the result of the desire and tendency of Nishapur artists towards producing works similar to lustered pottery of the Abbasid period, however done in different ways due to the lack of access to luster production knowledge. At the beginning, potters tried to fully imitate the appearance of the original luster samples, but similarities between the works diminished over time and the imitation became limited to technique and color of the products.

Hodud al-Ā lam (Boundaries of the World), a geography book from the 3rd century AH/ AD 9th century is the first source that refers to the act of weaving carpets in Tabarestan, northern Iran. This book regards the Tabari carpet as a product of that region to the court of the Abbasid caliphs; however the oldest carpet of Tabarestan known is the Kelardasht carpet. There are four theories about the formation of Kelardasht carpet. Some consider it as the Tabari carpet mentioned in Hodud al-Ā lam. Others consider the formation of this carpet as a result of migration of Kurdish tribes to the region in the 13th century AH/ AD 19th century, hence being independent of the Tabari carpet. There is still another theory suggesting that Tabari carpets have been influenced by Kurdish ones and what observed today is the Kurdish carpet with an origin of Tabari carpets of the early Islamic centuries. The last theory in this regard introduces the origin of Kelardasht carpet as a blend of different cultures of the western regions of Iran brought to Kelardasht through the immigrants. Accordingly, this research is conducted to examine the mentioned theories and to question how much the designs, motifs and colors in Kelardasht carpet match with the Senneh Kurdish carpet? Adopting a comparative and analyticaldescriptive methodology, the present article seeks to answer the abovementioned question on the basis of field study in Kelardasht carpet, and to make a comparison of which with the original samples of the Senneh carpet on the basis of library sources. The purpose of this study is to compare the design and structure of Kelardasht carpet with Senneh carpet. The study shows that the general structure and design of Kelardasht carpets are similar to those of the Senneh carpets. Incidentally, some of the designs of Kelardasht and Senneh carpets are similar to each other as well. These two carpets have significant similarities in terms of number of margins, symmetrical structure, arrangement of motifs and number of colors used on the main surface and margins.

Qā li Paru is a kind of carpet which can be categorized as a household artifact woven out of unused fabrics by rural women in Vali-e-Asr Village, Poldokhtar region, Lorestan province. This product is now less noticeable despite having aesthetic and functional aspects. The present study seeks to find ways to revive and optimize the production and supply of Qā li Paru. For this purpose, the research initially deals with existing damages the artifact have suffered from, and then it tries to answers the following question: How can we revive Qā li Paru carpets as a domestic artifact? What are the benefits of such an action? The strategies of this research are based on introducing the product to the market, standardizing the workshops’ criteria, and defining new applications for this fabric. All these are considered very effective for generating employment. In the present research, a descriptive-analytical method is applied and the information has been collected from library sources. Analyzing the data qualitatively, the obtained solutions are reviewed and modified in three branches, i. e. production, distribution and consumption.

Gerehchini (latticework) is one of the most prominent patterns used in Iranian handicrafts and buildings. It should not be considered as a mere visual pattern, but in principle as a solution to solve executive challenges. Carpentry latticework is a type of geometrical pattern used in making fences, doors and most of all latticed windows. Due to the vulnerability of wood material, especially owing to its proximity to the open air, as serious study of such structures have to be carried out. An analysis of latticework and the tradition of making such works can now be done by present masters and the few images and examples remained from the traditional Iranian architecture. In this article, an attempt is made to explain the strategic reasons for using this type of pattern by examining the various aspects of the factors affecting the formation of this type of lattice. The purpose of this study is to identify the factors affecting the carpentry latticework used in latticed windows and to explain the reasons for the difference between such a lattice and other related types. Defining the nature of carpentry latticework depends upon understanding the way it is made. The function of windows, features of wooden constructions and construction methods, basic knowledge of flat geometry, visual aesthetic development of artists and architects are among the factors influencing the formation of carpentry knots. Reviewing these cases by field and library studies with a descriptive-analytical and modeling approach, this article is done with the purpose of having an accurate representation of the carpentry latticework and making an analysis of the feature of this type of lattice. One of the results of this research explains three factors, i. e. function, appearance and technology in the formation of the mentioned lattice. Incidentally, the role of different factors in the formation of this type of lattice is examined by looking through a detailed study of its construction.

Autonomy and authority are two factors in Iran that has brought wealth and prosperity to the governmental treasury with a great amount of jewels, precious stones and coins in different periods. Even at the time of weak and incompetent rulers, such jewels and coins were to such an extent that they amazed viewers and travelers having them admire and feel astonished. Such wealth and property in the Iranian courts have always accounted for authority, power and financial backing of the state. Hence, the Iranian have attempted to preserve and protect their treasures. The Treasury of National Jewels of Iran is an exhibition of priceless, sparkling jewels collected during different eras, particularly the Qajar dynasty, attracting any viewer’ s eyes by its glory and beauty. The most exquisite objects in this treasury include swords studded with jewels each with surprising attractiveness. The present research is carried out by using library sources and through observing the real objects. It aims to examine six swords and attempts to study their artistic and symbolic features as well as to answer the following question: Were these swords with such decorated and aristocratic features been used in battles or they have just been a symbol of power and glory of rulers and their kingship? The results indicate that the swords of this era are of extraordinary value and preciousness made by the craftsmen as well as enjoying ritual symbols relating invocations and prayers all derived from the religious beliefs, particularly those of the Shiites.

By studying works of art remained from the past, various fields of study such as cultural, anthropological and artistic domains can be understood more clearly. These works can be found in national or private museums and examined in detail. A relativrly large collection of such ancient works has been compiled by Javā d Samā vi (1954-2015), which includes vessels and artifacts from the prehistoric and Islamic period with a variety of works of glass, silver, bronze, stone, pottery and bronze. The research methodology of the present article is historical-analytical in nature. The method of collecting information is based on library sources and field studies. To prepare the samples, functional bronze and earthenware vessels have been selected by visiting Mr. Samā vi’ s private collection. The research population and the available samples of the works in this place were 324 items of functional pottery and 243 of bronze functional vessels, respectively. These works belong to the first millennium BC. Among the research population, 15 samples of functional pottery and 11 samples of bronze functional vessels were analyzed as the sample size. After selecting the samples, functional pottery and bronze wares were examined and analyzed in a combined way, quantitatively and qualitatively, with the aim of analyzing thier formal features. The questions of this research are as follows: What were the functions of bronze and earthenware vessels in the first millennium BC, according to the items now preserved at the Samā vi collection? What are the forms of pottery and bronze wares in this collection in terms of function? The results of the present study show that the functional bronze wares in the first millennium BC from this collection are 144 vessels in 77 different forms. The number of pottery wares from the first millennium BC in the collection is 324 in 130 different forms. In the present article, 11 forms of bronze vessels from the first millennium BC were examined. These vessels come in the form of large star-shaped plates, small handled pitchers, needle-shaped bowls, footed cups, small stone pots, jugs, grooved tubs with handles and foots, tubular teapots, beak-shaped cups, mortars and their handles. Incidentally, 15 forms of earthenware examined, including those of handled drinking jug, tubular earthenware, footed vessel, drinking cup, fotted bowl, perforated bowl, sebo, small handled pitcher, handled pitcher, long-necked scent bottle, earthenware, tubular earthenware and almond-shaped bowl.

In Buyid period textiles became fairly valuable artifacts as a result of silk fabrics production in Iran. Royal textiles were produced from silk and the inscriptions were either embroidered or woven on them in Kufic or Naskh scripts. The main question in this research is that how the Buyid culture exerted influence on this kind of textile. Incidentally, it is aimed to see how the Buyid period culture affected the textile production in all aspects including motifs, inscriptions, contents as well as their function. The present research has been carried out on the basis of studying 26 inscribed textiles discovered from the tombs in Ray. The data of the research has been collected from library sources. The analysis method in here is both quantitative and qualitative. Adopting a descriptive methodology, the present study has attempted to analyze the dual view in the mentioned period. According to documents, the textiles were used as shrouds and also to cover the tomb and in some cases as a material buried with the deceased. Some of the literature documents also confirm that in the Buyid period aristocracies were buried with silk textiles. The relation between the content of textile inscriptions and their motifs is another issue to be discussed here. Furthermore, it is attempted to see how such elements were related to the function of textiles as shroud and as a material buried with the deceased. According to the evidence, one of the clear factors affecting the Buyid textiles is the combination of both ancient Iranian features and those of the Islamic culture. In Ray textiles, motifs would be classified into four main subjects, including trees, birds, riders, human beings. Most of the motifs have symbolic meanings to the human values, afterlife, the eternity of human and the next world. Most of the inscriptions have religious contents. The motifs reflect the attention to the ancient Iranian culture while the inscriptions show the religious view of the Buyid governors. The result shows that the contrast between the pre-Islamic visual motifs and religious contents could be considered as a result of cultural and religious combination which was dominant in the Buyid period.

Glasswork of the Islamic era in the 5th and 6th centuries AH/AD 11th and 12th centuries in Islamic lands reached its peak of growth and prosperity and was accompanied by innovations in the field of production and decoration. After this period this industry inspired glassmaking of the whole world. Studying the features of Islamic glassmaking in its heyday with the aim of introducing and classifying the innovations made in the methods of manufacturing and decorating glass products, this research seeks to find out technical development in the field of manufacturing and decorating glass products in the 5th and 6th centuries AH/ AD 11th and 12th centuries. The present research is based on the nature of descriptive-analytical methodology. The method of collecting data is based on library sources and the recording of observations was made by the authors. In the results obtained from this study, it can be said that Islamic glasswork in the 5th and 6th centuries AH/ AD 11th and 12th centuries in Islamic lands had suitable bases for creating change and innovation, and can be divided into four groups: color and raw materials of glass, form and methods of construction, decorations and the application of designs. Studying the glass works attributed to this historical period at the same time with improving the quality of glass raw materials and color diversity demonstrates diversity in forms and methods of making works, decorations and innovations. In general, it can be claimed that Islamic glassmaking in Iran, Iraq, Syria and Egypt had distinct technical characteristics compared to previous periods, and stopped by the Mongol invasion in the 7th century AH/AD 13 century in Iran and transmitted to other glass centers. Glassmaking industry then moved to Iraq, Syria, and Egypt, and later reached the West from these lands, merging with the experience of Western glassmaking.

Despite the advent of mechanization in modern life, there are still men and women who create unique handicrafts that are the result of their taste and initiative. For a long time, jewelry has been of special importance among different ethnic groups in Iran, because such artifacts have come out of their creative and innovative minds and they reflect their culture, customs and traditions. Perhaps it is possible to take a step towards the promotion of this art by comparatively studying the ornaments of different ethnic groups in Iran and examining the similarities and differences between them, as well as by deciphering the ornaments that evoke certain concepts. Expressing and introducing the special concepts of ornaments of these tribes can be the most effective way to revive this forgotten art for Turkmen, Baluch and even other tribes. The present research has been done by historicalanalytical method and has used library and field methods to collect data. The purpose of the study is to investigate the symbolic meanings of Turkmen and Baluch ornaments as well as the jewelry that women, girls and even men use very much. This research is based on the assumption that the beliefs of the Turkmen and Baluch tribes have always been involved in the manufacture of their ornaments. The question also arises that despite the geographical distance of these tribes from each other, can the similarities obtained be related to the influence of their beliefs on each other or not? This research has studied the ornaments of the Turkmen and Baluch ethnic groups of Iran and has tried to examine and apply the ornaments of these two ethnic groups with a Symbolic approach. From the research results, we can recognize similarities of these two cultures in beliefs as well as the significance of using jewelry with ritual reasons.

The world pottery history is replete with different shapes and designs as well as various technical ways of firing and decorating. The purpose of this study is to evaluate the effect of this reducing firing on different color oxides in two alkaline-boron and lead-boron glaze bases. The question raised in this study is that what effects do the different bases of lead-boron and alkali-boron glaze have on the type of color obtained from the selected color oxides, including copper, iron, antimony, tin, zinc and their composition? This study is practical in purpose and experimental in the method. Data collection has been done through library sources and documentary and in the main sections of the research by experimentation and observation and qualitative analysis. Here, tested samples of the same composition (Chinese ceramic) were examined adjacent to the same fuel (Saw dust) at 650° C. The results demonstrate the effect of the base enamel type on the level of reduction and type of obtained color. At the lead-boron base, we see that almost all the samples reduce uniformly forming metallic compounds on the surface of darker and more mature glaze and staining, while there is a difference in the amount of surface polishing due to the additives. Results in an alkaline-boron base appeared as wavy colors effects and brighter colors. The results also show that the presence of lead in the lead-boron glaze is a contributing factor to faster reduction of metals on the glaze surface, while raising the furnace temperature and adding fuel help further reducing the alkali-boron glaze surface. In general, the type of color, transparency and uniformity of the glaze can be affected by the type of base glaze and the type of dyes.