Factors Affecting the Visual Principles of Motifs of Carpets Depicted in Iranian Paintings (Case Study: Works of Naderi, Zand & Qajar Eras)

Despite the existence of abstract motifs in Iranian carpets, lots of mysteries are hidden behind these designs. Various designs and patterns of each era is a reflection of the conditions of the time. Although some historical periods are close to the contemporary era, yet few carpets created in that time span have survived. Therefore, the researchers have to explore other visual artworks and find images of carpets among them. The carpets depicted in the paintings are different from those in the museums because they represent images of hand-woven carpets that are no more functional yet they could be examined in a discursive context as an artistic text. There are evident changes in the illustrated carpet designs in the paintings of the rulers and royal families of the middle of the twelfth to thirteenth century AH. Apparently, there is a direct relationship between the design of visual principles used in the carpet motifs as well as some other works of art in Naderi, Zand and Qajar dynasties with the kings’ temperaments. Doing some research on this subject, while making possible a social study through the analysis of artwork, is important because it will also contribute to the development of professional knowledge in the those areas regarding carpet design which have been neglected. Thus, given the lack of research resources in this field, especially in Afshar and Zand periods, the visual analysis of carpet motifs in paintings can help compensate part of this shortage. It seems that the various social and cultural dimensions of Afshar, Zand and Qajar periods are reflected in the application of the visual principles and design of motifs through choosing the carpets design associated with the portraits of the three main kings of these epochs. The study has been conducted through comparative, descriptive-analytical method and using reflection approach for data analysis. The data required has been collected through desk study of library sources followed by data analysis. The files collected were reliable tools for the present study. Meanwhile, this paper relies on the "reflection approach" in analyzing data because part of the findings of this paper is related to artistic works that can only be analyzed in the context of this approach. In order to analyze the data and find out the relationship between the visual principles of the carpet motifs, the social conditions and kings' temperaments in each period, several steps have been defined. At first, the carpet’s appearance has been descried through which, the hidden layer and foundation basis has been analyzed. The statistical population includes portraits of three kings from the three successive historical periods of Afshar, Zand and Qajar, which have been chosen purposefully. Single portrait painting tradition of the kings flourished during the Afshar period and reached its zenith in Qajar era, particularly during Fath Ali Shah’s reign. The comparative study of the carpets depicted in similar images from Afshar, Zand and Qajar eras illustrating portraits of kings and princes contain sociological information. The actual reflection of carpet designs in the paintings facilitates the study of the motifs’ process of evolution. The Afshar era in Iran is well known for Nader Shah and his endeavors. When Nader Shah succeeded to the throne, Iran had just been relieved of Afghan’s war and plunder. Fights and wars that happened during this time led to the emergence of a special age in Iranian art. On the other hand, Karim Khan's unique character and way of administration and ultimately, Fath Ali Shah's mental and emotional dimensions are among the important features influencing the formation of carpet motifs. All these factors put together resulted in the creation of illustrative yet different pieces of art. The comparative study of motifs in the portraits of the three kings indicates a direct relationship between the personalities and temperaments of the kings with the arrangement of the artworks’ components particularly the painted carpets. The kings’ moods and dispositions are even noticeable in their portraits: Nader Shah is sitting on firmly on his knees and is looking seriously at the painter. Karim Khan Zand is depicted informally while using hookah. The painting has portrayed his real life style and not an ideal one. Finally, Fath Ali Shah’s portrait is the reflection of his perfectionist approach and his specific temperament. As a superstructure, art represents the tastes and temperaments of the kings and the clients. Finally, in addition to decoding the analogy of the illustrated carpets, the study of the portraits of these three kings testified to the reflection theory proving that the dimensions and design of carpets are reflections of the paintings’ subjects while the motifs convey the character, tendencies and tastes of the Kings to the audience. In other words, the motifs and designs of the painted carpets reflect Nadir Shah Afshar’s interest in Hindi art and culture; Karim Khan’s tendency towards ethnic, folk culture as well as simple life and Fath Ali Shah Qajar’s love of luxurious life and self-glorification.