Identifying the Visual Structure of Rhombus Geometrical Signs in Elamite Inscriptions and on Contemporary Persian Textiles with Emphasis on the Theory of Evolution

The present study seeks to answer the question that what are the Rhombus geometrical signs in ancient Persian inscriptions and how they are similar to their reflections in contemporary Persian textiles. An attempt is made here to analyze the evolution of inscription signs by emphasizing the theory of evolution in the field of art anthropology. The purpose of the research is to express a part of the continuity of ancient Elamite linear signs on Persian rugs. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review and data analysis was done qualitatively. The statistical population of the study is Elamite tablets and Iranian nomadic and tribal rugs. Sampling method is optional. Linear specimens of pre-Elamite and Elamite inscriptions and visual specimens of woven artifacts have been collected by library methods. A comparative form has been used to express the similarity of the works, and the readings of linear symbols are based on Walter Hintz’s theories. A total of 10 linear Signs have been compared with similar motifs in 26 woven pieces. According to the results of the research, geometric motifs are the basis of the formation of many signs in the pre-Elamite and Elamite ancient inscriptions. The continuity of these signs is evident in contemporary Persian rug designs in that some of the rhombuses are motifs represented in the structure of rugs, while some appear with slight modifications. The relation of the composition of the inscriptional signs seen in the ancient writings and the contemporary Persian rugs can also be studied. The difference between the linear signs and the rugs’ motifs is that the rhombus signs are arranged on the basis of the structure of Elamite script in the inscriptions, but in contemporary Persian rugs these motifs are regular. Sequential or periodic iterations on the rugs background and margin have emerged, or their proportions have changed in such a way that sometimes a writing sign constitutes the whole rug design. Like framing designs or three-rhombus designs, the badges sometimes fill in the form of periodic and duplicate units of background and margin, and in some cases the single roles are accompanied by addition to similar badges on the lines.