نشریه رج شمار
پیاپی 1 (بهار و تابستان 1399)

Socks weaving is one of the handwoven products in many parts of Iran. This traditional handicraft has the historical background in Gilan Province. The texture of this fabric is very simple and does not require a special device. Weaving woolen socks is one of the oldest handicrafts and traditional arts in the central, northern, western and eastern provinces of Iran, and is woven in almost all regions. It is assumed that with the perspective of the visual arts and clothing design, we can find a significant relationship between the concepts of form and motifs and the anatomy of human foot in traditional sock weaving. The analysis of patterns based on the shape and location of the tissue according to the anatomy of the foot was considered in this study. The present study seeks to answer the following questions: What are the characteristics of socks weaving as an indigenous industry? What is the significant relationship between traditional sock patterns and the anatomy of foot? The method of this descriptive-analytical research is based on documentary and library data. The findings of this research showed there are an integration of aesthetic concepts and practical concerns in designing and fabricating in the sock weaving of Gilani people. Thus, a mix of visual variation in color and motifs with the functional design of the traditional handwoven socks was observed.

As a cultural and artistic commodity, Iranian handmade carpets have always had a special value and importance in Iranian culture throughout history. Therefore, helping the survival of this art is the duty of all the managers of this profession. Geographical weaving is one of the strategies adopted by public and private bodies for various purposes and has had many positive and negative effects. This movement has been met with numerous reactions and objections. One of the arguments of the opponents of this movement is the damage to the identity of the carpets in the process of these movements. This research has collected information qualitatively and descriptively-analytically through library and field resources. The purpose of this study is to investigate the effect of changing the geography of weaving on the identity of Iranian carpet and seeks to answer the question: What effect does the change of weaving geography have on the change of known identities in different regions of Iran? The obtained data show that during the geographical shifts of weaving, wherever one of the main components of the carpet identity is damaged, the identity of the carpet is also damaged, but in some cases the production framework of the origin has not changed. Carpets made in the region of origin are impossible even for experts. In such circumstances, the role of geography in influencing carpet identity has changed and it seems that reviewing this role is an important point that has been addressed in this research.

Farahan is a county and Saruq is a city both located in Markazi Province in Iran. Carpets woven in these two regions are characterized by the mihrabi vase rugs as the specific design, which have rooted in Qajar period. The purpose of this paper is to study the form and pattern features of the design of mihrabi vase rugs in these two regions in the Qajar period. This research concentrated on firstly, recognition the structure of the design of mihrabi vase rugs, and secondly exploration the similarity of the of mihrabi vase rugs woven in the Qajar period in Saruq and Farahan regions. The type of research is analytical with the qualitative approach. The method of collecting data was literature review, surveying the carpet museums, as well as field studies. The statistical population includes 16 samples of carpets, 8 of which from each region, selected in a purposeful manner and based on the type of design and the highest frequency. Findings indicate that the structure of form and pattern of the selected rugs is similar with a slight difference in details. Moreover, based on this exploration it can be said that this group of vase rugs is a special type of mihrabi rugs due to its composition and constituent elements. Finally, based on the special design, pattern and structure of this selected group of carpets may prove this assumption that mihrabi vase rugs were the custom-woven in the Qajar period.

There are several natural yellow colorant dyes such as Reseda, Vitis vinifera, Prangos ferulacea, Turmeric, Saffron, Sumac, Onion skin, Eucalyptus, Safflower, Chamomile, Tagetes and many other flowers in nature that can be used to obtain yellow color with different degrees on textile fibers. In this study, 10 common natural yellow colorants were used for natural dyeing of wool yarn. In order to this, the wool yarns were treated with three different concentrations of Tin (II) chloride (1, 2, 3 wt%) and then dyed with different percentages of selected natural colorants (10%, 30% and 60%) in the presence of acetic acid. The reflection spectra of the dyed samples were examined and the color strength of them was calculated based on the visible region. Due to the color strength of the dyed samples, it can be concluded that the Onion skin colorant and Sumac have the highest and lowest color strength, respectively. The dyed samples with Reseda, Prangos ferulacea, and Turmeric presented a lower light fastness in the presence of tin chloride compared to the other dyed samples.

Woven fabrics are one of the first human textiles that are often created as the most diverse products in the field of design, role and consumables. Tablecloth weaving or flour tablecloth is one of the traditional woven fabrics that is produced from spun fibers of camel or sheep wool. This artifact product is woven on the ground-based loom. In the visual design of this functional product, motifs such as goats, rams or geometric shapes are used in the middle and margins of the artifact. These shapes are mentally designed and mostly taken from the surrounding nature. Tablecloth weaving is common in some villages of Ghayenat in South Khorasan and also in some cities of North Khorasan. This art has a similar name and application in both mentioned areas. It seems that these two region of producing the flour tablecloth have not been studied comparatively with each other so far. Therefore, in this research, which was benefited from the comparative method and data collection in the form of library and field studies, an attempt has been made to investigate the differences and similarities between these two types of hand-woven flour tablecloth.

The design is always regarded as the principal feature of the carpet. One of the important and determining factors in the design of the carpet is the significance of the border and its role in the overall composition. The border is one of the consistent, traditional and original elements of the carpet which plays an indispensable role in creating a visually appropriate space in the carpet design. The variety of borders in the historical periods of carpets’ design has always been considered by carpet designers. Thus, extensive needs and different tastes in the field of carpet design require review and revision of existing designs and plans. In the Safavid period, which was one of the most brilliant periods of Iranian art, special attention was paid to the carpet weaving. Accordingly, in this study, the authors focused on the prominent exemplars of Safavid carpets with a special attention on recognizing the types of border designs and the elements which were used. The research as the fundamental and qualitative study has been carried out by the analytical and descriptive methods. The main data was collected through the library studies, and the results were presented through the proper tables and diagrams. The results of this study demonstrate that the borders of the Safavid carpets were mostly designed in the form of triple margins. Furthermore, the borders were wider than the principal design, and the small outer edge was visibly wider than the small inner edge. While the use of inscription designs was more popular than other ones, most of the designs used in the borders of this period included Shah Abbasi, arabesque, and framing which were ornamented with motifs of animals, humans, angels and mythical creatures.

In the past two decades, worldwide interest in the natural dyes obtained from plants has rapidly increased, and a diversity of health and environmental benefits were found or argued for the practice. Cloves are the aromatic flower buds of a tree in the family Myrtaceae, Syzygium aromaticum, which their chemical compounds makes them suitable for the application in dyeing process. The important essential chemical constituents of clove include acetyl eugenol, beta-caryophyllene, vanillin, crategolic acid, gallotannic acid, and methyl salicylate. In this study, clove as the plant-derived dyestuff was used for dyeing the wool yarns to be investigated the effects of the different dyeing parameters including dyeing methods, acid and mordant type, and concentration and dyeing temperature in the yielded dyeing. The dyeing capability of the samples at different concentrations and temperatures was investigated using the spectrophotometer method and Beer–Lambert law. The results show that applying high concentrations of dyestuffs resulting the maximum dyeing ability of the samples at 60 °C. At the low amount of dyestuff concentrations, the increase in temperature from 30 to 80°C showed no significant difference in the dyeing ability of the samples. The use of different mordant created different shades such as yellow, brown, and dark gray. Furthermore, it was proved that using the 80% (weight of dye/weight of wool yarn) dyestuff through the Metachrome process would yield the optimal conditions for dyeing the wool yarn with the clove dyestuff. Finally, although the type of acid used did not affect the resulted shade, it affected the amount of exhaustion the wool yarns.

The Herat school of painting is often regarded as the apogee of Persian painting. Owing to the fact of the glory of the Iranian miniature in the Timurid period this study focused on the recognition of the evolution of Khorasan women's clothing in the Timurid paintings. Due to the importance of the Timurid illustrations in the recognition of the culture of clothing in the historical context, the author tried to fill the scientific gap in this field by inquiring about the evolution which has been taken place in the clothing of Khorasan women of the Timurid era. In addition, the principal and decorative elements of clothing in this period were investigated. The methodology of this research was descriptive-analytical methods, and the data was gathered through the library studies. The results of this study demonstrated that in all three periods (Shahrokh, Baysunghur, and Sultan Husayn Bayqara Mirza) of the Timurids, female's clothing has retained its function of coverage, but in terms of form and design as well as functional decorations has undergone many changes in each period. These evolution included changes in the layers of the cap, the shape of the cap, and the more attention to the decorative elements in the cap.

Baluchistan is one of the few areas in Iran that its people still using traditional costumes and clothes. It happens despite the rapid changes in modern life and globalization. The purpose of this paper is to examine the geometric features of Baloch’s needlework. These geometric patterns are unique among traditional Iranian embroideries. The research revolved around the answer to the question that what features of the geometric index can be found in the aesthetics of Baloch’s needlework? As a hypothesis and answer to this question, the shape of the triangle can be introduced as the main geometric feature of these patterns. In other words, the geometric aesthetics of the triangle dominates these patterns. This article was written by using the qualitative-descriptive and historical research methods. According to the findings, one of the most basic features of the Baloch’s needlework is that they are accomplished as the geometric pattern. The predominant geometric patterns are square, rhombus, and triangle shapes. The rhombus and the square can also be considered as the result of the joining of smaller triangles. Thus, according to the research hypothesis, the geometric foundation of Baloch’s needlework are constructed based on the shape of the triangle.

Researches on the design of Iranian handmade rugs have extremely conducted based on the regional taste of carpeting. The Iranian people select the carpet primarily based on the city of weaving. Thus, the aesthetic features of the rug correspond to the second criteria of carpet selection. This is a general question of the history of aesthetics under this broad inquiry: what is beauty and what is the beautiful commodity? In this regard, Chaleshtor’s lozenge rugs, which are world-famous textiles in terms of design, pattern, color and texture, were selected as the case studies. Given the subject matter, it was important to the authors to know: what are the characteristics of the beauty of the lozenge rugs? In other words, this question emerged: can the principles of aesthetics rule over a single piece of lozenge rug and give it a beautiful verdict? The goals of this research was to recognize the beauty of lozenge rug woven in Chaleshtor. The authors presented the different attitudes and interpretations of aesthetics from the perspective of the scholars in the field who were generally experts in the philosophy of aesthetics. The results of this study demonstrated that beauty factors in the Chaleshtor’s lozenge rugs can be divided into two groups, external (form of design) and internal (content of design). The complementary analysis of lozenge rugs which was conducted based on the theory of ‘form of design’ indicated that visual features such as unity in diversity in terms of carpet layout, unity and diversity in the color elements, color unity in the whole context of the carpet layouts, and the color compositions make the Chaleshtor’s lozenge rugs as the beautiful commodity.

Persian carpet or Iranian rug, a heavy textile for decoration or home use, is one of the main features of Iranian culture and art as well as one of the leading exports. Carpet is one of the traditional Persian arts that its plenteous and varied designs express its historical background. The motifs and colors of carpets were influenced by the climatic, cultural, and historical context of each region. Due to the existence of different criteria in this diversity, different carpet’s categories were presented from different perspectives. Accordingly, in this research, we tried to find out a new framework of carpet classification based on the critical study on the existing classifications in the design and motif of the Persian carpet. Our new recommended classification was defined as a reliable framework, a readable, and visually perceivable. This paper was conducted using the classification system based on the principles of theoretical logic as research methodology. It was benefited from library and observational studies as the data gathering method. After analyzes and studies, it was succeeded in offering a categorization titled "Seven Face" (H︡aft Rokh) that was based on two axes of design and motif, such as: Moharramat (Strips), Ghabi (Shape), Vagirei (pattern), Lechak Toranj (Medallion),  Baghi (Garden), Mahrabi (Prayer) and Afshan. The results of this critical analysis of the carpet classification indicated that the classification of “Seven Faces” system would be a comprehensive category. Seeks to express a comprehensive and expandable classification of carpet in new designs.

The purpose of modern museums is to collect, preserve, interpret, and display objects of artistic, cultural, or scientific significance for the education of the public. The Carpet Museum of Iran as an art museum located in Tehran and founded in 1976, exhibits a variety of Persian carpets from all over Iran, dating from the 16th century to the present. Despite the significant role of the national art museums in popularizing the knowledge of arts among the society, there were not conducted adequate studies on assessment the public attitudes toward the quality offered by the museums in terms of the artifact exhibition. To begin to address this gap, we studied the performance of the Carpet Museum of Iran in attracting the audience. The research was conducted by presenting 200 photographs of different types and formats of artistic exhibitions through the 240 questionnaires which were distributed among the visitors of Carpet Museum in Tehran. In addition, semi-structured interviews were conducted with the visitors and museum staff. The results suggest that the Carpet Museum had provided the positive services at the beginning years of its establishment, but the ignorance to the advancement of technology in museum standards deceased extremely its application in meeting the visitor demands. Recently, the level of visitor management has almost dropped, and its services and facilities does not meet the expectations of Iranian society.