فهرست مطالب بیتا بهرامی قصر

Problem Definition: 

The Lilian carpet is one of the important carpet brands of Iran and Khomeyn in the Qajar era, about which there has been little research to date. Actually, no trace of the popular Lilian carpets can be found in the domestic markets of Iran, and the popular Reyhan design is woven in a limited number in Khomeyn. Having this in mind, the present study seeks to investigate the two Lilian and Reyhan carpets from Khomeyn, Iran. The research question is: "What are the technical and aesthetic dimensions (structure, design, and color) of Lilian and Reyhan carpets?"

 This study aims to analyze Lilian and Reyhan designs in terms of technical indicators and aesthetic features for better identification of these carpets.

 This is a qualitative, developmental, and descriptive-analytical study. Data were collected using the desk-based method as well as through searches on reliable websites.

 The findings of this study show that Lilian carpets are often woven without medallions and corners with a unique structure comprising flowers and bushes, altar- and crescent-shaped wreaths as well as symmetrical and upside-down vases, and usually a wreath or a flower bush has replaced the space of the corner. Medallion-Corner and In-and-Out-Fish designs are also seen in these carpets. Lilian carpets contain plant motifs, but they have no animal (bird and non-bird) or human motifs. However, the Band-e Reyhan (Reyhan Dam) design is one design of Reyhan village with two important motifs, namely the important motif of the dam (pool) and the ibex motif, which reflects the ibex motifs found in the ancient petroglyphs of Teymareh region.

The Armenian carpet is one of the artistic products of the native culture of this country and the oldest weaving system in the geography of the Caucasus, which has had a lively life since the past in the plateau of ancient Armenia. It was woven and presented based on the imagination and taste of Armenian weavers and the use of ritualistic, mythological, and religious symbolic concepts. The motifs in this carpet have been formed and continued over time in the cultural context and fabric of Armenian clothing. On this basis, any analysis and understanding of the Armenian carpet’s functional dimensions or its aesthetic and semantic concepts should consider the context of the culture in which it was created. Therefore, to achieve such a goal, The first stage is to look upon the study of the Armenian carpet with an anthropological approach to art to identify and analyze its forms and meaning.Anthropology of art is a comprehensive approach that is desirable and value-oriented in studying and understanding the art of native societies and their cultural background. This research tries to answer the question: What characteristics and indicators do Armenian carpets have, based on the anthropological approach of art and from the aesthetic and semantic point of view? And how can one understand the meaning and symbolic and aesthetic concepts of motifs based on the cultural context of Armenian society? The summary of the findings of the research includes the existence and presence of various plants, animal motifs, various geometrical and human shapes, and calligraphy in the text of the carpets, which, in addition to being created to fill with patterns and decorate the space of the carpets, they have an implicit mission as well, that is the symbolic and meaningful aspectof motifs, reminders, and cultural and religious messages that each of them has in their existence. Some of them include the dragon, the tree of life (Yasi), the cross, the altar and the church, and the bergamot, each of which has its meaning that has been formed over time and on the cultural background of Armenian society. This research is of a qualitative and developmental type, and the descriptive-analytical research method and the data collection is through library research.

Modernity and Nihilism have an inseparable bond. Philosophy of Nietzsche is centered on criticism of formation of modernity, to the effect of criticizing the his tory of wisdom thinking. Nietzsche pursues criticizing Rationalism approach, which is the heritage of Socrates- Chris tianity in the wes tern culture. He introduces rationality with the excuse of being cold, ins tinct-free and militant life, as a disease. Nietzsche by means of s tudying the phenomenology of the outcomes of Rationalism in the culture of his contemporary society, points out that the lifes tyle created by philosophy and later on by Chris tianity which has spread over the pas t 2000 years in the European civilization, have caused a great and his toric disease in the culture and life of the humans, which is called “Nihilism”. Nietzsche by portraying new prospects in ethics like what has been said in the books of Thus Spoke Zarathus tra, Beyond Good and Evil, The Will to Power, preaches new values.Nietzsche’s approaches towards the disease of Europe and the Nihilism hidden in it, entered art through modernism as one of the paradigms of modernity to the extent that it had deep impacts on the formation and orientation of schools of thought, like Futurism, Dadaism and Expressionism. Despite being present at the heart of the modern art, Nihilism cannot be obviously seen in the initiating aspects of the modernis tic art in Iran. In 1934 in Iran, Tehran University the firs t ins titution for development of modernity was s tablished. With formation of the faculty of fine arts in 1941 at this university, the firs t s teps of teaching modernity in the art were officially taken. Eleven painters, as the firs t generation of Iranian painters graduated from this faculty between 1941 and 1945. And from amongs t them, Jalil Ziapour s tudied more than the res t about the modern art in the wes t. Through awareness and choosing from amongs t wes tern art frameworks, with an eye to the modernis tic schools, he tried to find a new framework of art in order to express the Iranian contents in his works. This paper is aimed at asking why the Nihilis tic aspects of modernism are not reflected in the modern works of art of the firs t generation of Iranian painters, with an emphasis placed over Ziapour’s works. According to this artis tic research ahead of us, with reference to the accredited sources, and explanation of modernity and the progressive artis tic movement of the 20th century like Dadaism and Nietzsche’s Nihilism, it has been tried to inves tigate the way the artis tic modernism entered Iran, and how it affected the modern painting in Iran. This paper tries to indicate that although Ziapour and other modern painters in the firs t generation of painters in Iran have been effected by modernity and its outcomes, they were not interes ted in reflecting the concepts of the wes tern art in their works. He ignored this issue that in the modern art, the form and the content are dependent on each other, and by means of separating these two, he tried to localize the modern art.