نشریه گلجام
پیاپی 38 (پاییز و زمستان 1399)

The aesthetics of the Iranian handmade carpet is based on the aesthetic belief and understanding of the Iranian man from the system of existence, the Iranian carpet has grown over the centuries of technology and beauty to the feet of Iranian culture and civilization, the element of beauty can be most prominent Handmade carpet found that other elements, including quality, efficiency, reputation and reputation, are all based on it. In the collection of small handbags in the Bakhtiari nomads, the pillars are considered as valuable for fibers and applications. Patterns of these handcrafts are subjective and based on the beliefs and beliefs of tribes with the help of nature. These motifs of the tribes of the Bakhtiari tribes have specific features and visual values ​​based on the use of nature and its beauty in terms of design and color. Since the function of no pre-prepared maps and not customized, the superior position to Have allocated themselves. These mental designs are considered as the best document for the study and search of tribal beliefs and beliefs in the Bakhtiari region in this research, which they inherited from their predecessors or influenced the nature of the region. The purpose of this article is to explain the features and beauties that are inherent in the motifs of these handcuffs. This feature and the motifs of beauty, part of the features and the beauty of the collection (hand-woven back, woven, woven, woven, and other woven) Nomad is. The main question of the article is that the motifs of the nomadic handcrafts reflect what are the visual features, and where is the place of nature and its beauty in terms of design, color and composition in the creation of subjective motifs in the tribal pockets of the Bakhtiari region, and how are the motifs of the pods from The nature of the region has been affected or abstracted and abstracted. The research data were collected using a field, interview and library methodology to discover and extract what is considered by the nomadic weaver according to the ethnic background and the nature of its life environment, and then recorded and categorized. In another glance, the proper and unconsciousness of the correct relationships of visual elements in the beautiful composition of the embroidered designs of the tribes of the Bakhtiari region has demonstrated the creativity of the knights of the region with an emphasis on the look of nature. As a result of this research, the achievement of a complete range of types of plant, animal, geometric and visual designs has been achieved taking into account the widespread dimensions of the culture and lifestyle of the Bakhtiari tribal elders. Also, the percentage and rate of use of tribal knitters in the region from native and traditional fibers were obtained from factory fibers. Concerning the use of Bakhtiari tribal weavers from traditional and herbal colors compared to chemical paints, this research has yielded significant results Has brought along. The point is more important than the results of the research on these handcrafts, the effect of their dimensions and their application on handcrafts.

The carpet "Bahram Gour and Haft Gonbad " in the Carpet Museum of Iran is one of the pictorial carpets of the Qajar period, which tells one of the stories of "haft peikar (Seven Figures)" by Nezami Ganjavi, about Bahramchr('39')s marriage to the princes of seven climates. This carpet has been studied from different angles, but the connection between this carpet and Qajar architecture has not been considered. In this article, we try to extract the architectural elements and arrays in the carpet and answer the question: What are the manifestations of the common architectural style of the Qajar period in the carpet of "Bahram Gour and Haft Gonbad"? The method of this research has been descriptive-analytical and historical, and the collection of materials and documents has been in a library method. In this research, after examining the story of Bahram Gour and Haft Gonbad, some architectural features of the Qajar era are expressed and then, the architectural elements of this era are compared with the painted images of the mentioned carpet. Many stylistic features of Qajar architecture such as: narrow minarets, onion-shaped domes, ornate columns, sash windows, windbreaks, pavilions and inscriptions, are artistically drawn in this carpet and the designer of this work has been able to show the noble Qajarchr('39')s way of thinking and lifestyle. Probably were the customers or customers of this carpet, to show and show the social, cultural and artistic conditions of its era in the form of carpet fabric. In general, the carpet of "Bahram Gour and Haft Gonbad" can be considered as an intermediate link between lyrical literature, painting, carpet weaving and architecture.

Among the Qashqai tribes, what is most commonly known is the variety of handcrafts, its design, its role, and its brilliant and beautiful colors. Dharma glass is one of the dozens of beautiful Qashqai woven handcrafts and is a double-colored warp and is taught like a mother-to-child nomadic handkerchief. Unfortunately, today, due to problems such as the lack of skilled weavers, the texture of time , No texture map, no presentation, its texture is obsolete. Hence, it has been tried to restore it to prevent it from becoming obsolete and to be used with its proper introduction in everyday life. In doing this research, I tried to answer the following questions: 1. What technique is woven and its technical limitations and can it be made? 2. How can the role be corrected and mapped for that?

The art of weaving in the territory of Iran is a part of the cultural identity of it`s people. The traditional handicrafts of Sistan and Baluchestan are also considered as an important aspect of this identity. Apart from design and color, many other dimensions of carpet production in this region can be considered as their cultural-religious characteristics. Since the study of the semantic dimensions of an artwork in terms of its creator is much more recognizable, the present study aims to identify the unknown aspects of the indigenous culture and beliefs of the producers of these crafts by visiting the case study, and it also tries to answer this question that what is the correlation between indigenous rugs of Sistan and Baluchestan and their creators’ cultural traits and religious values. This research has conducted direct observation and interviews with the natives with the approach of art anthropology and the methodology of ethnography in the region, and then through data coding in three levels of open, axial, and selective coding has attempted to classify them. The results show that elements comprising the carpets in the Sistan and Baluchestan region, from their initial stages to the end, have wide semantic dimensions so that even the most trivial of them have deep roots in the culture and beliefs of its natives. Specific rituals for weaving, belief in sore eyes, composing special poems during weaving, washing ceremonies, etc. are a part of this elements. In this province, apart from its practical aspects, carpet is considered as a sacred commodity, and although there are obvious cultural differences among the people of Sistan and Baluchestan, the similarity of some beliefs regarding carpets shows the unity of the primitive roots of carpet weaving among the two main groups of inhabitants in this region.

The pictorial rug of "Layla’s camel" belongs to the Qajar era, in which the central image is occupied by the large body of an "intra-hybrid" camel; the outer shape is realistic and the inside is composed of a large number of small human and animal motifs. Creating patterns of some creatures in this way became popular in Iranian painting from the Timurid period, which reached its peak and popularity in the Safavid era. This method also was considered in the Mughal art in India at the same time as Safavid. In this article, the "Layla’s camel" rug is described and analyzed with iconographic approach and using library resources and some scientific websites. The purpose of this study is to introduce a specific example of pictorial carpet and analyze it in a scientific way. In this regard, an attempt has been made to answer these questions: How can the relation of rug inscriptions with its central image be read? What is the main theme of the story from the perspective of iconographic analysis? What is the irony of the collection of animal species that make up the body of "Layla’s camel"? What do the presence of the angel-harpy and the red-winged dragon symbolically mean in the rug? Poetic inscriptions in the margin of the rug, in harmony with the pictorial elements of the text, refer to the story of Layla’s wedding with Ibn-Salam and her farewell to Majnun, quoting "Maktabi_e Shirazi". But the main meaning of the story at this stage is the victory of good (Majnun) over evil (Ibn-Salam) by the animals. The "intra-hybrid" camel also consists of animals that Majnun was accompanied in the mountains and in the desert, but at the same time has a caravan of wedding joy. Also, the image of the angel-harpy in its ancient meaning is a symbol of victory, which refers to the battle of the animals that support Majnun with the dragon – Ibn-Salam– and kill him.

Iranian art had its own special and unique features before the beginning of relations with Western countries. Various factors were influential in the creation of visual designs and adaptations of Western art. The invention of the camera, printing presses, and the printing of picture books were among the factors that introduced imagery into art, especially carpets." Dance of Nymph " carpet is one of the examples of pictorial carpet and works of Hassan Khan Shahrokhi Some of its designs are adapted from the tapestry belonging to Nasser al-Din Shah in the Golestan Palace Hall, related to the period of Louis XIV. This study aims to answer the following questions with the aim of understanding the structure and form of the figures and the methods used by the designer in drawing the statues in the " Dance of Nymph " carpet : 1-What are the structural features of the figures in the " Dance of Nymph " carpet? 2-What principles and methods did Hassan Khan Shahrokhi use and follow to draw the statues in the " Dance of Nymph " carpet? The present research is descriptive-analytical and collects information through documentary studies, library resources and observation of museum works. This article is fundamental in terms of purpose and qualitative in terms of what it is. The target community is the "Dance of Nymph" rug in the Iranian Carpet Museum. The result shows that the figures are in a triangular composition in the carpet composition and one of the figures is placed at each angle . There is visual balance, the existence of proportion and harmony between the various elements of a composition and the existence of a harmonious relationship of the components with the whole and with the subject of the work. Hassan Khan Shahrokhi, the designer of the " Dance of Nymph " video carpet, is one of the most prolific and stylish people in Kerman carpet design, who sometimes had to follow the current and common customs in Western countries due to the acceptance of custom and custom carpets.

Patterns in Iranian art should be called message painting and expression painting, which sometimes manifests itself directly and sometimes in symbolic language. One of the places of expression and emergence of symbols in Iran is the "carpet". In addition to the traditional and local aspects, these patterns and expressions can express the creative mind influenced by the environment around the carpet weaver. According to researchers, although little is known about Kurdish weaving before the nineteenth century, many garden officials and flower carpets from the 17th to 18th centuries identified northwestern Iran as Kurdish. In every general book of carpets, there are two well-known and famous types of "Saneh" and "Bijar", but these two can not be considered the most Kurdish carpets left because at least two other types of Kurdish carpets, called "Mosul" (In Iraqi Kurdistan) and "Savojbolagh" have ceased to exist and be produced in the category of contemporary Kurdish carpets. The purpose of this study is to retrieve the history, introduce the location, and location of the carpet attributed to Savojbolagh in the Mokrian region, northwestern Iran. For this purpose, the authors try to recover the position of the carpets attributed to "Savojbolagh" with a descriptive-analytical method and with the aim of development, and its qualitative data as documents. The result contained the following findings Savojbolagh carpets were not produced before the First World War and for reasons we are unaware of, and this type can be considered the best carpet, with natural plant colors and a moderate price in the market of that time. Traces of these carpets are often found in the collections of European countries. Due to the lack of introduction of this type of carpet in Iran and the importance and necessity of reviving and addressing it or even recovering such designs and colors, for carpet weavers, it can lead to the continuation of the production of such exquisite carpets.

Hunting and animal’s combat design of animals in the Safavid era has been reflected in various compositions of carpet designs as they are combined with Floral, Medallion, and Corner and Medallion patterns. One of the significant examples of a hunting ground corner and Medallion carpet are the ones held in the Poldi Pezzoli Museum, Milan. In this carpet, hustling hunting scenes have been depicted. The present study aimed to explain the design method of this carpet. The research method was descriptive-analytical and the data were collected from library. The data were analyzed qualitatively using structural analysis method and based on the existing standards governing the design of Iranian carpets in the Safavid era.  The results of the research indicated that this carpet has had a two-layer design. The first layer, designed in form of Corner and Medallion, has been performed by ¼, and by making minor changes, it becomes ½ and in the second layer the hunting scene added to design through ½. The elements used in this carpet's patterns include: Medallion, inscription, Upper-Medallion[1], corner, background, borders and hunting scene, as the latter plays a prevailing role on the carpet. The Medallion-bound line [2]is designed by way of 1/16, turning ¼ after three repetitions. The Medallion design was recessed or built-in. After the Medallion-bound line is completed, the inscription and the Upper-Medallion added as ½, with the same part used as the carpet corner and the background is decorated with Khatai motifs. This carpet has four rows of borders. The outer border and the main border are designed by reflective method and the two inner borders are designed by transfer method.