THE COMPARATIVE STUDY OF CONTEMPORARY MARQUETRY IN BASIC CENTERS OF MARQUETRY IN IRAN ABADEH, SHIRAZ, ISFAHAN, GOLPAYEGAN AND SANANDAJ

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SHEIKHI ALIREZA; SAMANIAN SAMAD; ASHOURI MOHAMMAD TAGHI

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Journal: Motaleate-e Tatbiqi-e Honar Year:2013 | Volume:2 | Issue:4 Page(s): 1-16

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Title

THE COMPARATIVE STUDY OF CONTEMPORARY MARQUETRY IN BASIC CENTERS OF MARQUETRY IN IRAN ABADEH, SHIRAZ, ISFAHAN, GOLPAYEGAN AND SANANDAJ

Author(s)

SHEIKHI ALIREZA | SAMANIAN SAMAD | ASHOURI MOHAMMAD TAGHI | Issue Writer Certificate

Keywords

WOODEN ARTSQ2

MARQUETRYQ2

ABADEHQ2

SHIRAZQ2

ISFAHANQ2

GOLPAYEGANQ2

SANANDAJQ2

Abstract

This article begins with the study of MARQUETRY in Islamic period, especially about its artistic and technical features. Comparing with metalworking, miniature and plaster-moulding, techniques of marquetery are divided to flat, convex, concave, network and volume. Contemporary MARQUETRY art has various shapes and techniques in special regions of Iran. Cultural, artistic and climate backgrounds are clear and evident. In ISFAHAN, the role of local elements and national identity, including designs of Safavi and Qajar periods, and the impact of tourists overtime are undeniable. Besides this, thumbnail elements of Golpaygan have been carved on textured background with primary tools and using local elements, simplified designs and flowers with Qajarid style. SANANDAJ climate’s influence with walnut and pears jungles can be seen in the artists’ excellent choice of this nature. Iranian MARQUETRY variety can be seen in smooth and graceful marquetries of ABADEH. Daffodil, rose and willow leaves are the original designs of this region executed by Nish style. Local elements and cultural symbols of SHIRAZ are usually shown in the designs of SHIRAZ artists like Lotfali Souratgar, while ABADEH designs have influence on it. The use of various tools and designs has been coordinated with MARQUETRY style and shows the traditional art in these regions.In these areas, designs, styles, tools, common materials and innovations have been discussed and the elements are compared in separate tables. Due to studying a single variable in this research, the main research questions are about different styles of MARQUETRY, coordination of form and technique and original designs in each region.The overall method in this research is descriptive and comparative-analytic. With regard to use it is fundamental and with regard to approach it is qualitative. Gathering data is based on library studies and, especially, field studies including interview, questionnaire and photo provided by author. In ISFAHAN and SHIRAZ, the statistical population consists of experienced workshops with sufficient skill whereas in ABADEH, Golpaygan and SANANDAJ all active workshops are considered as statistical population.

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APA: Copy

SHEIKHI, ALIREZA, SAMANIAN, SAMAD, & ASHOURI, MOHAMMAD TAGHI. (2013). THE COMPARATIVE STUDY OF CONTEMPORARY MARQUETRY IN BASIC CENTERS OF MARQUETRY IN IRAN ABADEH, SHIRAZ, ISFAHAN, GOLPAYEGAN AND SANANDAJ. MOTALEATE TATBIGHI HONAR, 2(4), 1-16. SID. https://sid.ir/paper/205454/en

Vancouver: Copy

SHEIKHI ALIREZA, SAMANIAN SAMAD, ASHOURI MOHAMMAD TAGHI. THE COMPARATIVE STUDY OF CONTEMPORARY MARQUETRY IN BASIC CENTERS OF MARQUETRY IN IRAN ABADEH, SHIRAZ, ISFAHAN, GOLPAYEGAN AND SANANDAJ. MOTALEATE TATBIGHI HONAR[Internet]. 2013;2(4):1-16. Available from: https://sid.ir/paper/205454/en

IEEE: Copy

ALIREZA SHEIKHI, SAMAD SAMANIAN, and MOHAMMAD TAGHI ASHOURI, “THE COMPARATIVE STUDY OF CONTEMPORARY MARQUETRY IN BASIC CENTERS OF MARQUETRY IN IRAN ABADEH, SHIRAZ, ISFAHAN, GOLPAYEGAN AND SANANDAJ,” MOTALEATE TATBIGHI HONAR, vol. 2, no. 4, pp. 1–16, 2013, [Online]. Available: https://sid.ir/paper/205454/en

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