فهرست مطالب سمانه کاکاوند

Abu al-Hasan Khan Ghaffari Kashani, known as Sani’ al-Mulk, was an Iranian painter and historiographer in the Zand court. Ghaffari Kashani’s visual works hold significance in multiple spheres. First, they bridge the gap in visual sources on woven products of the Zand period. Second, some of his works link the visual history of the Zand era with the visual arts of Kashan in the second half of the 12th century AH (17th century AD). Third, the combination of the written and the visual, rooted in Ghaffari Kashani’s expertise in both historiography and painting and his reason for choosing historical themes, is one of the many characteristics that highlight the significance of studying his paintings. Given that Ghaffari Kashani’s paintings are marked with raqam (signatures), studying his works can reveal an array of information on the original woven products of the Zand period. As a number of his works showcase the designs of the woven products in the Zand era, this study aims to explore the designs and motifs of woven products in the Zand period in Kashani’s artworks. Accordingly, the designs and motifs of non-clothing textiles in Ghaffari Kashani’s works were categorized and analyzed. The main research questions are: What are the designs and motifs of woven products in Ghaffari Kashani’s miniatures? How can Ghaffari Kashani’s works contribute to identifying the designs and motifs of Persian rugs in the Zand period?

This theoretical basic research sought to explore the overt and covert layers of non-clothing textiles in Ghaffari Kashani’s works in order to determine the characteristics of these woven products. In this descriptive-analytical study that a part of Zand art in its historical context was explored, the written and visual data were collected through library and documentary research. The observational field research was conducted online and at the Malek National Museum and Library in Tehran. A total of eight works by Ghaffari Kashani were selected through purposeful sampling, based on the criterion of non-clothing textiles. Accordingly, the miniatures selected for analysis were Karim Khan Zand with the Ottoman Ambassador Vehbi Effendi, Mirza Moez ad-Din, Abbas II of Persia and the Mughal Ambassador, Qazi Abd al-Mutallib, Karim Khan Zand with His Horse and Groom, Karim Khan Zand on Horseback, The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar, and Portrait de Qazi Ahmad Ghaffari.

Ghaffari Kashani’s works have a crucial role in identifying the traditional woven products of the Zand period. Designs, motifs, sizes, applications, and colors are among the characteristics that can be studied. Woven products in his works are depicted as cultural media similar to other visual elements in the paintings. The analysis revealed the following designs and motifs on woven products, excluding clothing, in the Zand period in Ghaffari Kashani’s works. There are two instances of lachak and toranj [medallion and corner] designs, befitting the theme of court. There are two instances of zarbaft jol [gold brocade cherry laurel] designs for the two high-level officials, namely Qazi Abd al-Mutallib and Karim Khan Zand. There is one instance of a ghayesheh with arabesque design, appropriate for the historical context of Naqsh-e Jahan Square and Rashti-style crochet, and Hamedan rug design in The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. Finally, there is a mehrab design, fit for the mystical atmosphere, in Portrait de Qazi Ahmad Ghaffari.
Two instances of side carpets, a rug, two jols, a ghayesheh, and a prayer rug were half visible in the selected works. The woven works in miniatures of Mirza Moez al-Din and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar may have been parts of the margins of rugs.
The color of the rug in Abbas II of Persia and the Mughal Ambassador is reminiscent of the colorful pattern of Polish rugs. The yellow color on the jols in the miniatures of Qazi Abd al-Mutallib and Karim Khan Zand represents gold brocades. Moreover, the color of the ghayesheh in Karim Khan Zand and his Groom typifies the color fit for the historical context of Naqsh-e Jahan. The margins of the rug in The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar indicate the colors of Hamedan’s rugs. The prayer rug in Portrait de Qazi Ahmad Ghaffari has its natural color--i.e., its fabric is not dyed.
The themes and woven products seem interrelated. The themes were linked with the figures or the historical events illustrated in the miniatures. They demonstrate Ghaffari Kashani’s both roles as a court secretary (mustawfi) and a painter. This also indicates a meaningful relationship between the designs of the rugs and the themes of the works.
The design styles of Kashan, Rasht (crochet), and Hamedan were observed in Abbas II of Persia and the Mughal Ambassador, Karim Khan Zand with His Horse and Groom, and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. Overall, four of the selected works depict designs and motifs found on loom-made woven products: Mirza Moez al-Din, Portrait de Qazi Ahmad Ghaffari, Abbas II of Persia and the Mughal Ambassador and The Investiture of the Crown Prince Reza Qoli Mirza, by his Father, Nader Shah Afshar. From a historical viewpoint, the subject matter of these miniatures was selected from the Safavid, the Afsharid, and the Zand periods.

Like other visual elements in Ghaffari Kashani’s works, woven products function as media conveying historical concepts. In addition to the meaningful relationship of the woven products and the themes of the works, the relationship of the woven products with certain occupations in the Zand period was another finding in this study. This notion was evident in Karim Khan Zand with His Horse and Groom as the designed ghayeshe portrays the occupation of ghayeshehbari during Karim Khan Zand’s rule. The woven products depicted in the works of Ghaffari Kashani varied in designs and motifs, sizes, applications, and colors. The results showed that although Ghaffari Kashani was more reputed as the court secretary (mustawfi), he attempted to incorporate history in his paintings. The historical figures and events, as the subject matters of his works, along with addition of written descriptions on his paintings, indicated the link between his official profession (historiography) and his side job (painting). To sum up, the analysis of Ghaffari Kashani’s works revealed useful information about the designs, motifs, applications, sizes, and the colors of woven products and non-clothing textiles in the Zand period. Moreover, it shed light on the place of origin of the woven products during the Zand era: Kashan and Hamedan for loom-made products and Rasht for crochet. The Safavid, the Afsharid, and the Zand periods were the historical periods and Kashan, Isfahan, Shiraz, the environs of Kabul, and the route to the Mughan Plain were the geographical centers in the selected paintings.

The multivarious cultural contact of the Mughal dynasty and the Iranian coeval dynasties is historically traceable. Although the Indo-Iranian close relations were political on the surface, they were substantially influential in cultural fields. Golestan design combines a reticular layer and a layer of bunched flowers in horizontal rows. The main purpose of this study is to analyze the high frequency of this design in the light of the Indo-Iranian cultural relations. What are the contributing factors to the prevalence of the use of the Golestan design in Iran during the 18th century? The available pictorial evidence throughout the history of Iranian art indicates the acceptance of the patterns belonging to the “other” and their indigenization within the cultural framework of the “self”. Paisley floral design (gol-o-boteh in Persian) is one of the instances where the Iranian and Indian cultures meet. The assumptions are that first, Ghiyath al-Din ʿAli-yi Naqshband’s (Ghiyath) textiles that were offered to Indians transformed the designs of Indian machine-made woven products and then, the paisley floral pattern was popularized when Indian textiles were imported to Iran in the Naderi period. This is a qualitative descriptive-analytical study, adapting a desk-based method in data gathering. Findings suggest that the paisley floral pattern was sent to India during the Safavid period via Ghiyath textiles and then returned to the cultural context of Iran. To put it in the terminology of garden carpets, the bird’s point of view was replaced by the observer’s point of view. It is believed that the first time, the donation and sending of pieces of Ghiyath Naqshband cloths to India changed the design of Indian woven fabrics, and the second time, with the arrival of Indian textiles in the Nadir era, the "flower and bush" pattern gained a significant boost. The findings indicate the return of the "flower and bush" pattern from the Safavid era to India through the "Ghiyath" textiles and then return to the cultural context of Iran in a rare era. From another point of view, the point of view has been transformed from the bird's view in the garden carpet to the observer's view. The fact that after the various patterns of carpets in the Safavid era, the examples and pictures of the 18th century represent the repetition of a frame pattern, it is questionable what factors have made this happen? The author considers the main reason for the entry of the "flower and bush" design into the domain of Iranian textiles in that period after the conquests of Nadir Shah Afshar, the war of Karnal and the spoils of North Indian textiles. But the study of the life and artistic productions of Ghiyath opened a new project and refuted the previous hypothesis.

Studying the common features and characteristics of garden rugs in order to understand the similarities of the design is the subject of leading research. The analogy principle in garden rugs indicates the repetition of old themes in new samples. The purpose of this article is to identify the common visual elements in the margins of garden rugs. Examples of garden rugs from the tenth to thirteenth centuries remain. The prevailing artistic pattern in each historical period has influenced the structure and motifs of garden rugs. But there are cases where it is possible to include all the specimens in one category called the "four garden" or "garden" design. How can common visual elements in the margins of garden rugs be studied and analyzed? What is the common pattern in the design of garden rug borders and its placement in the garden design category? In this article, by studying and observing 20 samples of garden rugs, the margins are examined and the similarity of its design and center of gravity is discovered. The present article is a kind of qualitative research and falls into the category of analytical-descriptive research. The method of study and analysis is derived from the term similarity rule in the Panofsky iconography method. Samples were selected non-randomly and in this regard, design diversity was an important component for selection. The information is collected in the form of documents. The results of the study indicate structural similarities in the design of the garden rug margin and the existence of similarity in all 20 selected samples. Garden rugs have always been in harmony with other examples during the time of popularity and prosperity, despite the variety of designs in different periods.Chaharbagh or garden design is one of the various types of Iranian carpet designs. This design was relatively successful between the tenth and thirteenth centuries AH and was produced by weavers. Coordination between the garden carpet design and the Iranian garden map as a model of cosmic paradise is one of the reasons for promoting the design. Many components of the Persian garden such as trees, plots and small gardens, water canals, streams and springs and birds, ponds and pavilions can also be seen in the garden design carpet. There are many differences in the components of the garden design in the remaining carpets. But the question is, despite the differences, what features in the structure of the garden design put the existing specimens in one floor? In this study, the authors try to explain this rule by discovering a similar relationship in the structure of the garden design.Garden rugs in various dimensions have been the focus of attention in various articles. Many researchers have worked in this field based on their worldview and the tools and methods at their disposal.

Proving the influence of the Chinese pictorial tradition on Iranian art after the rule of the Mongol patriarchs has become an undeniable theory among researchers. The existence of dragons, ivy and ivy forms have been attributed to the Chinese; But this article adopted a different approach. Based on the belief that this world is the world of texts, he intends to read a sub-text of the large text of the Safavid rug. It seems that it is necessary to rely on transtextual capacities to study the manifestations of Iranian art and the previous ideas urgently need to be revised. With this aim, the hypothesis is that the role of "Simorgh and Arqam's encounter" in the Metropolitan  museum carpet is not a reference to the reality of the invasion of Chinese culture, but it refers to the world as a sign of the writing system of popular literature, a part of Samnameh. Limitation of the hypothesis to clarify the analysis of the role can be proposed in this way that the designer artist drew the design of the carpet based on the Samnameh and the present can be interpreted on the same basis. The type of this reference is a sign (simosis) which makes the role of "Simorgh and Arqam's confrontation" in the Qabi or latic design carpet not explicit and single-layered, but implicit and multi-layered. By using the text of Sam nameh (preface and previous text), the role of "the encounter between Simorgh and Arqam" of the rug can be deciphered. In order to avoid a one-dimensional and one-meaning reading, the present article has turned to intertextual analysis to recover the fluid meaning of the role. The Sam nameh writing system is considered as a reference for the Safavid carpet visual system. Qualitative research is one of the basic theoretical research types. It is descriptive-analytical in terms of method and nature. A study example of a carpet board from the collection protected in the Metropolitan Museum belongs to the Safavid era of Shah Tehamasab. The findings are the product of writing slips from library sources and recording observations of museum images that have been analyzed in the context of intertextuality. The result is that the role of "Simorgh and Arqam's confrontation" is not an extracultural (Chinese) reference and refers to the story of Sam's battle with Arqam the dragon in Sam nameh.

The qābi design, also known as the lowzi-bandi, was a recurring, crisscross design in Persian art in the second half of the 18th century. It was widely used, across a variety of mediums, during the Zand dynasty, adapting to the medium in which it was employed. Although it maintained its overall dual structure of a unifying grid and inner decorations, the design manifested itself differently across different artworks. This study examines the relationship between the recurring qābi design and various art mediums in the Zand period, aiming to identify the many varieties of the design (“soft sign”) and understand how they were adapted to different mediums (“hard signs”). Conducted as qualitative, descriptive-analytical research, the study reviewed the literature as well as Zand-era museum objects featuring the qābi design, and analyzed the data from a semiotic semantics perspective. It found that the design took different forms across different mediums—including glass, textile, lacquer painting, and plaster—adapting to the limitations of each medium. For instance, on loom-woven textiles, the design was more elaborate, whereas on lacquerware, it was almost simplified into its grid. In general, the design and the medium complemented each other.

Visual documents are significant as first-hand illustrated sources in any period and express thought patterns and thought in different periods. From this point of view, the remaining wall paintings from the Zendiyeh era in the Hafttanan building of Shiraz are important and show special information about the common literary and mystical themes and foundations of the mentioned period. This research tries to read two pictures, one of the artworks in Hafttanan's Building, from the perspective of mystical cryptology. It seems that the two pictures of the mentioned mansion refer to the houses of the seven stages. Dervish tools, accessories and clothes in the pictures help guide the research. This article explores the mystical themes of young and old two picture Dervishes, which are also attributed to Saadi and Hafez or Saadi and Shah Abbas in some texts, in the context of reflection theory. The aim of this research will be an approach to the image system of two images of old and young dervish in relation to the authorities of mystical behavior. It seems that signs and symbols in the form of Sufis' customs and instruments can be seen in the paintings, which are related to their position in the path of their conduct. How are the bag, hand stick or mantasha, kashkul and tabarzin, many Turkish hats and special robes effective in explaining their position in the way of conduct? The explanation of the position of Kashkul and Tabarzin, Mantasha and Pashak have a significant relationship with their position in the path of the Seluk. Dongareh, one of the wall paintings of the Hafttanan monument in Shiraz, from the works of the Zendiyeh period, are the study examples of the present research. The research is descriptive and analytical from the point of view of its nature and method, and considering the purpose of the research, it belongs to the category of theoretical research. The collected information is the result of library studies and recording field observations, and the theoretical framework is inspired by Victoria Alexander's reflection theory. The result of the article reflects the stages of seeking, knowledge, poverty and annihilation in the researched paintings. Mentsha, Chante, Kashkul and Tabarzin are important signs in conveying meaning. In other words, the mentioned objects and tools indicate the belonging of the seekers to the way of walking. Many similarities between signs and symbols can be seen in each two pictures, with the difference that Mantsha, horn and ring are not seen in the image of the elderly dervish, and they are not present in the image of the young dervish of Tabarzin. The presence of old and young dervishes, as well as their specific building and mansion (the Hafttanan mansion), as well as the travelogues, narratives and stories in popular culture, are proof of the improvement of the status of this class in the twelfth century of Lunar Hijri. In this article, their clothes, tools and equipment were studied. Some signs point to the position of two dervishes, old and young, on the path of pilgrimage. They are symbols of their poverty, contentment and remembrance. Even in the image of a young dervish, the use of a ring in the ear refers to belonging to a Heydari dervish. Many Turkish hats, sticks or canes, kashkul and ax, wind instrument and ring (earring) are the most important symbols known in every picture, which express deep concepts of the situation of dervishes in the Zandiya era. Artworks are superstructures that provide detailed information about the society's infrastructure to the audience and researchers.

In addition to a decorative role, the traditional (folk) arts of Iran have significant roles in the transmission of cultural tradition. In the meantime, carpets, as well-known Iranian underlay, manifest Iranian identity; however, their non-applicability has been less desired. Exploring the status of carpets in the ritual of Carpet Wshing (Qali Shouyan)in Mashhad Ardehal is the main aim of this article. In this research, an attempt is made to address the cultural function of carpets in a religious ceremony with Islamic Iranian roots. In the ritual of Qali Shouyan, the carpet is considered a symbol of a pure body and a holy coffin for Sultan Ali (a grandson of Prophet Mohammad). Thus, it has taken a significant distance from its role as anunderlay. As cultural elements and traditional products, carpets have physical agency in Kashan and provide a platform for the manifestation of meaning from an anthropological point of view. In other words, carpets are means of conveying meaning and play roles in documenting an identity. This research is qualitative, or to put it differently, developmental. The research method is descriptive and analytical, and the data are collected though library studies and the observation of relevant documents and images having taken a cultural, anthropological perspective. The questions posed in this study include: what results can be drawnfrom the cultural analysis of the carpet in Qali Shouyan Ritual? How are the functions and special role of the carpet, as a cultural element, explained? The findings showed that carpets, from an anthropological view, include different semantic, functional, and emotional dimensions in Qali Shouyan Ritual. On the other hand, the drawing of the outer (first), the middle (second), and the inner (third) semantic layers of the analysis of the cultural function of the carpet indicated the existence of variety of roles such as weaving, the figure of Prophet’s grandson, coffin, rain-seeking tool.

Statement of the Problem:

 The research in Zand rugs has faced questions and missing links. During the historiography of the art of this period, the lack of resources had convinced the researchers that it is not possible to extract a text related to the rugs in this era. Although the author started to find rugs, over time, the repetition of the images of weavings and rugs with a "Latticework (Band-Lozenge)" design created a more important question: Can the "Latticework (Band-Lozenge)" design be introduced as a common design of the second half of the 12th century? If this is the case, then a more basic question is raised: What components played a role in the formation and prosperity of the Latticework pattern in the Zand period? What are the theoretical and formative foundations in Latticework design as a common structure?

The aim of this research is to shed light on the dark part of Iran's rug history, deal with the Latticework (Band-Lozenge) design as a frequent pattern in the Zand period, and discover the factors influencing the prosperity of the mentioned pattern.

This research is qualitative and, based on this purpose, it falls into the category of basic theoretical research. The primary information and analysis materials were collected using a library-based method and virtual observation of samples in national and international museums, and then conclusions were drawn using descriptive and analytical methods.

The achievement of this research, in the first step, was to identify the Latticework (Band-Lozenge) design at the first place of the patterns used in the weavings of the Zand era. Then, following the four elements of history, mythology, mysticism, and post-Sadraei philosophy and popular culture, the discovery of five components of Indian and Kashmiri motifs in Afsharid art, the ancient pattern of the garden pattern, the flower school of the second half of the 12th century, and ethnic and decorative art as the foundations that form the Band-Lozenge design, were identified.

The monster slayer is a recurring concept repeated in art. This research was written with the aim of connecting the carpet to the chain of artworks containing the dragon pattern. In other words, the carpet is considered as a work of art and a representation of an ancient pattern. Two carpets woven in the city of Khawf contain a monster slayer pattern. The production of two similar carpets over a short period of time indicates the aforementioned pattern of prosperity in the region. Is it possible to discover the meanings and passwords hidden in the "dragon" theme? It seems that the "dragonfly" theme in the visual rug second Pahlavi era has taken the iconographic gravity points into account, and this has caused the role to be repeated over a short period of time. It is likely that "rain-seeking" is the most important concept arising from the role of "dragonfly" in both instances. The present study was a qualitative one, using the transformation of the iconography method, so that the samples were first described and then analyzed. Gathering information from library studies and carpet images is the product of imaging the works displayed at the Baluch Carpet (suffering to treasure) exhibition. Studying the role of the "dragonfly" has opened up many passwords. Of the two types of general and minor transformations, the "dragonfly" role of visual rugs had minor modifications. The study showed that the least change was at the carpet center and the role of the "dragonfly" was a recurring pattern. Rainfall is the most important meaning of the "dragonfly" pattern in the rugs.

Promoting contentment has a long history in Iranian literature and religious teachings. Environmental issues are among the most crucial human concerns in today’s world, making sustainable art works a major condition of development. Although given its geographical location and cultural position, Iran has witnessed numerous crises, wars, and calamities, it has risen like a phoenix from the ashes owing to its resisting policies and culture. Studying the life style of a community’s ancestors and adopting their instances of contentment as a model could reveal a way out of the current economic problems. With their prudent perspective, Iranian women artists have helped economic prosperity in production of handicrafts during different periods. This study aimed to introduce and analyze “sarjameh kilim” from Boshruyeh, South Khorasan, Iran and “zhendeh kilim” from Buinzahra, Qazvin, Iran as forms of recycled art. Moreover, the importance of these two weavings in sustainable development was discussed. Accordingly, the study sought to explain the recycled characteristics of “sarjameh” and “zhendeh” kilims. The data were collected through library research and direct observation of works. The comparative study of the characteristics of “sarjameh” and “zhendeh” kilims in terms of recycled art demonstrated that both types met the conditions of green and sustainable productions. These weavings could also help flourishing of rural productions and overcoming over-consumption and consumerism.

Haft Tanan Tekyeh in Shiraz, Iran is one of the public buildings built during the Zand period. Its architecture and decorations invite different studies as certain ornaments appeared in different historical periods. Accordingly, murals were among the prominent decorations of the building in the Zand period. This is confirmed by the five miniatures in the Haft Tanan mansion hall. The paintings have ritualistic-mystical themes, which correspond with the mystical function of a tekyeh, since they amplify the spiritual atmosphere. The subjects of the miniatures in the hall are, from right to left, the old dervish, Moses while shepherding, Sheikh San’an and daughter of Teresa, Abraham (Ibrahim) sacrificing Ishmael (Ismail), and the young dervish. Given that the mystical beliefs were rooted in Ishraq (Illuminationism) and no predetermined framework seemed to be applied, finding a specific theory and method as the theoretical background was the most difficult part of this study. Nevertheless, a treatise from the eighth century AH / fourteenth century AD was found in the literature review. The main purpose of the study was mystical analysis of color in the weavings of five miniatures in Haft Tanan mansion hall based on Abu al-Mafakhir Yahya Bakharzi’s views in the Fusus al-Adab. The weavings were categorized in two ways: first, “dari” (loom-made) and “dastgahi” (machine-made), and second, “clothing” and “not clothing”. Next, color was analyzed in clothes, curtains, and sacks based on Bakharzi’s theory. The main research question was: How could the colors used in the miniatures be explained from a mystical view? It seems that the colors used in the five “majlis” of Haft Tanan are influential in conveying a mystical feeling since they are among the most frequent Islamic colors. This basic qualitative study had a descriptive-analytical design, and the data were collected from direct observation, photographing, and video recording of the five paintings and indexing of library sources. The five miniatures were studied using non-probability sampling. It seems likely that the painter had chosen the colors according to the function and mystical atmosphere of the building purposefully. To prove this assumption, first, the weavings of each miniature were categorized. Then, the colors were determined and analyzed in the context of Bakharzi’s mystical notions in his Fusus al-Adab. The significance of the study was fulfilling the lacuna in research based on the views of Iranian Islamic scholars, particularly with regard to scarce resources from the Zand period. Non-courtly art and architecture in different historical periods in Iran have not been sufficiently studied. Moreover, the review of literature showed the scarcity of research on mystical meaning of colors based on the views of Iranian Islamic mystics and scholars. Several studies were found on the paintings in Haft Tanan mansion in Shiraz, Iran, but none had covered the topic and aims of this study. The results indicated that all of the colors were meaningful in Iranian Islamic mysticism according to the Fusus al-Adab. Going against the grain, Karim Khan Zand turned to non-courtly arts, which led to new approaches in art during the second half of the twelfth century AH / eighteenth century AD. When popular art that included popular and common themes were highlighted, artworks were created that were different from their predecessors. The paintings in the Haft Tanan mansion hall are among the non-courtly works that portray mystical themes from the Zand period in Iran. The colors in the weavings were analyzed in the five miniatures in Haft Tanan Tekyeh based on Iranian Islamic mystical principles, particularly Bakharzi’s views in his Fusus al-Adab. The weavings were categorized in two ways: first, “dari” (loom-made) and “dastgahi” (machine-made) and second, “clothing” and “not clothing”. The instances of traditional weavings were studied in three groups of clothes, curtains, and sacks. Centering on Bakharzi’s ideas in the Fusus al-Adab, the views of other mystics such as Najm ad-Din Kubra and ‘Ala’ al-Dawla Simnani were integrated in the discussion. Although there is a four-century break between Bakharzi’s treatise in the eighth century AH and the creation of the miniatures in Haft Tanan in the twelfth century AH, the perennial memory and dominance of the spirit of Iranian culture could explain the relative congruence of the contents of the book and the miniatures. Each one of the miniatures describe a certain level of the mystical “seyr-o soluk” (journey). According to Bakharzi, the color of clothes was among the crucial factors of identifying the state of mystics in the past. In this respect, each miniature was analyzed based on the Fusus al-Adab and the results revealed that the the old and young (Shah Abbas) dervishes, Sheikh San’an and daughter of Teresa, and Abraham and Moses were colored purposefully. The white cloak of Moses, the green robe of Abraham, the white shirt of Ishmael, the red shirt of daughter of Teresa, the blue dress of the young handmaid to daughter of Teresa, and the green and gray shades in the garments of Sheikh San’an, the old and the young dervishes. and the old servant all had mystical meanings and were according to the levels of “soluk” based on Bakharzi’s Fusus al-Adab. Future studies are recommended to use the views and works of Iranian scholars in addition to international chromotology sources in analyzing artworks as it appears that both include a common origin, memory, and historical influence.

In 1930, the Etemad Carpet Company was founded in Qazvin, Iran, and by the end of its 11-year run, it had transformed the city’s long carpet-making tradition. This article explores the hallmarks of Etemad carpets in the historical context in which the company operated. Analyzing the designs of the Etemad carpets in the Qazvin Museum suggests that although the company’s weavers came from all across the country, Etemad carpets remained consistently unique and innovative in their designs. Conducted as descriptive-analytical research, the study looked at written sources as well as archival pictures of Etemad carpets, and interviewed experts and scholars. It found that variety in design, colors, and motifs was the chief characteristic of Etemad carpets. The carpet designs featured innovative floral and abstract motifs, had little empty areas, and dominated their backgrounds. The use of a diverse set of floral motifs — including round flowers, Shah Abbasi flowers, leaves, buds, and arabesques — and various design compositions brought variety to Etemad carpets. Furthermore, the designs were visibly influenced by the native climate, featuring grape leaves and pistachio flower clusters, which represented two of Qazvin’s major crops. Khataee motifs were more frequent than arabesques across all the studied Etemad carpets,

Afsharid and Zand arts have long been neglected as the artistic achievements of the Safavids and the Qajar in Iran have been under the spotlight. As the currency for business transactions among nations, coins can be studied from a cultural and artistic perspective in addition to their economic dimension. As the time passes, coins, banknotes, and other tools for transactions have gained a function beyond their initial purpose and as documents, they contain valuable information. Preliminary studies showed the difference in the shape and content of legends, framing and patterns of coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand in Iran. Accordingly, this comparative study aimed to examine the inscription, framing and patterns of coins minted during the Afsharid and Zand periods and analyze the roots of their differences. The central question was raised as follows: What were the influential elements in the formation of the legends on coins during the reigns of Nader Shah Afshar and Karim Khan Zand? In this regard, the main purpose of the study was understanding the similarities and differences of the coins in their inscriptions, framing and patterns. There is a lacuna of research on the works remaining from some historical eras although they are temporally closer to the contemporary era. As artistic texts, coins can be read within different discourses. There is an evident change in the legends, framing and patterns of coins minted during Afsharid and Zand periods in Iran. In addition to providing a social study through analysis of coins, the significance of this study lies in expanding the specialized knowledge in the neglected artistic fields of 17th century AD/12th century AH in Iran. Therefore, the analysis of legends, framing and patterns during the Naderi and Zand eras can fill this research gap. It seems that various socio-cultural aspects of the Afsharid and Zand eras were reflected in the various dimensions of the coins minted by the shahs at the time.This qualitative descriptive-analytical study was conducted through library research and observing the coins remaining from the reigns of Nader Shah Afshar and Karim Khan Zand. The writing system (legends) and the visual system (framing and patterns) were examined and the coins were studied comparatively to find the similarities and differences of the samples. The data were collected through library research and the studied samples were selected through convenience sampling. Through non-probability sampling and according to the components of the study (legends, framing, and patterns), a total of 10 coins were selected from the coins minted in Isfahan, Shiraz, Tabriz, Mazandaran, and Qazvin, Iran. The collected index cards were reliable instruments for this study.The comparative study of the legends on the coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand indicated considerable differences in the writing systems of the eras. Given Iran-India relations during the reign of Nader Shah Afshar and his military campaign reaching to the border of India, Iran’s art was influenced by Indian art and culture at that time. However, Karim Khan Zand was much more influenced by ancient Persian arts, Safavid art and even the actions of temporary rulers before him in the field of coinage than the artistic and cultural models of the Naderi era.  It seems that Nader Shah Afshar and Karim Khan Zand saw coins as tools to propagate religious rites and political beliefs. It is interesting to note the variety and development of rites in Naderi coins during his twelve-year reign. Only in the limited studied coins in five mints of Isfahan, Shiraz, Tabriz, Qazvin and Mazandaran during the Naderi era, the legends were selected variously as in the following.“Sekkeh bar zar kard nām-e saltanat-rā dar jahan/Nader-e Iran zamin o Khosrow-e giti-setan” [The Nader of the land of Iran, the sultan who seizes the world, coin in precious metal broadcast the name of this sultanate throughout the world].“Hast soltan bar salatin-e jahan / Shah-e shahan, Nader-e sahibqiran” [He is the ruler over all the rulers of the world/Nader, the king of the kings, the owner of the Qiran].“Az Khorasan sekkeh bar zar shod be toufiq-e khoda/Nosrat emdad-e shah-e din Ali-Musa Reza” [The coin was struck in Khorasan with blessing of God/With help from the king of religion Ali ibn Musa al-Reza (al-Rida)].On the contrary, only a single legend was inscribed on the similar coins during the reign of Karim Khan Zand: “Shod aftab o mah zar o sim dar jahan/az sekke-ye emam bar haqq saheb zaman” [Of the coin of Imam Zaman /Sun and the moon became gold and silver]. Selection of such a legend on Karim Khan coins is rooted in his policy. Karim Khan outwardly kept his links with Ismail III, the last of the Safavids, and the ulema. To gain the political legitimacy he needed to continue his rule, he assumed the title “Wakil-al Raʿāyā” [deputy of the people] and minted coins with the name of the twelfth Shia Imam, Muhammad al-Mahdi (Ṣāhib az-Zamān). In this way, he received the support of the clerics and the ulema to gain legitimacy. Karim Khan tried to continue the discourse of Mahdism propounded during Safavid era. His selected legend on the coins led them to be known as “Ṣāhib az-Zamān” coins. Adherence to this legend could indicate the universality and rootedness of the belief and discourse of Mahdism during the Zand era. Such an approach may have been for the revival of Mahdism, which is one of the initial principles in the formation of the Safavid government, or the need for the support of a savior after the hardships and sufferings the Iranian society went through following the fall of the Safavids. Although these causes may seem correct, lack of social, religious, and political base of the Zands within the Iranian society and Karim Khan’s attempt to gain the trust of the ulema and clerics account for him using the “Ṣāhib az-Zamān” legends on coins.The comparative study of the writing system of coins during the reigns of Nader Shah and Karim Khan showed that the legends had more variety during the Afsharid peiod. The forming principle of inscriptions on Naderi coins were representing Iranianism, displaying power, and endeavoring to eliminate Shia conflicts. However, Karim Khan sought to continue the tradition of legend selection similar to the past rulers, particularly the Safavids.The framing as the overall structure and form of Afsharid coins minted in five mints under study can be categorized into three groups including “pearl-shaped”, ‘simple circle”, and “Tughra”. On the other hand, the framing had more variety in the coins of Karim Khan’s era for which seven types were identified: “Stigma-shaped”, “pearl-shaped”, “simple pomegranate flower”, “four-armed”, “crescent-shaped pomegranate flower”, “citron-shaped with stigma”, and “epigraphic”.The patterns of the coins from both periods were pretty much similar and had no substantial difference. However, the decorations and patterning of Karim Khan coins were greater in number compared with Naderi coins. Two types of patterns, namely connected and broken, were identified in terms of the connectedness of the patterns, and in the studied coins, there were only floral and geometrical patterns. Floral patterns, particularly simple round flowers (seven-, six-, five-, four-, and three-petal flowers) and geometrical patterns such as simple small circles were the most frequent patterns observed on the coins of both periods. Arabesque pattern was observed only on a Karim Khan coin minted in Shiraz. The comparative study of the coins revealed greater variety in the legends of Naderi era coins compared with those of Karim Khan era. A single legend or maximum two types of legends were identified for the Zand period. Framing had more variety in Karim Khan coins. The coins from both periods were most similar in their patterns. The only difference was that connected and highly-decorated patterns were found more on the coins from Karim Khan’s reign. Overall, simple round flowers in floral patterns and simple small circles in geometrical patterns were the most frequent patterns found on the studied coins.

The motifs and patterns of Ilam rugs, like other cultural expressions, can be taken into account as the crucial and decisive factors. Obviously, historical, religious, cultural and natural components influence the formation of the art superstructure. A large number of ancient hills and historical monuments in Ilam are considered as sources of inspiration and ideas for rug motifs. The themes related to "Mihr"(Mitra) are abundant and can be traced in Iranian motifs. A lot of motifs and symbols are explicitly and implicitly associated with "Mihr". The present study attempts to investigate understanding and identifying the theme of "Mihr" in "Howz and Jamek" pattern and the motif of "birth" of Ilam rugs. Indeed, the purpose of this study is to scrutinize the theme of "Mihr" as one of the theoretical foundations of Ilam rug patterns. This research is qualitative and the findings are the result of library studies and field research. Interviews with Ilam native weavers were also carried out. The data analysis includes descriptive-analytical approach. On the one hand, myth critique paved the way to identify themes and on the other hand, to match the data with other representations in the cultural space of Ilam."Lachak" (headgear) and "Toranj" pattern with the local name "Howzi" had the greatest frequency among Ilam rug patterns. Meanwhile, the "Houz and Jamek" resulted from "houzi" pattern branches was selected as a study sample. The motif of "birth" in the margins of the "Lachak and Toranj" pattern was considered. The results showed that the theme of "Mihr" has formed the structure of "Howz and Jamek" patterns as well as the motif of "birth" of Ilam rug. Four types of analyses of the motif of "birth" were performed, all of which indicate the implicit presence of the theme of "Mihr". Despite the diversity of the four analysis dimensions; "birth" or "Woman giving birth", "Rural weaver girl", "The motif of Doskumi or Dostkami" and "Manifestation of a three-branch plant", "Mihr" is a repetition of an old pattern worthy of attention. Understanding the continuation of the life of myth in Ilam rug is one of the main results of this study. Metamorphosis has taken place in myth, but belief in the concept of basis (blessing and procreation) persists among people. First, samples are selected from the old and original rugs of Ilam, then analyzes were carried out.

Fine and perfect rugs are generally selected for preservation and weavings with distinct design and technique are seldom exhibited at the museums. Although the rug analyzed in this study has an asymmetrical and unconventional design, it is preserved at the Brooklyn Museum. The purpose of this study was understanding the interaction between the artist’s defiance of principles of perceptual organization and the audience’s perception based on gestalt theory. It seems that gestalt principles of uniform connectedness and closure justify the different and asymmetrical visual structure of the rug for the audience. The mina khani rug preserved at the Brooklyn Museum was studied based on the principles of alignment and emphasis and the principles of gestalt. The study aimed to analyze the law of prägnanz in this mina khani rug and determine which one of the seven principles of gestalt would apply to it. The findings indicated that the decentralized placement of the medallion outside the axis of symmetry signified the principle of emphasis and the principles of similarity, proximity, and closure were the most frequent. Selected through non-probability sampling, the sample was a rug from the twelfth century AH preserved at the Brooklyn Museum. This developmental study was descriptive-analytical as the principles of perceptual organization and the seven principles of gestalt were employed in the analysis. The data were collected through library research and were analyzed qualitatively. The results of the analysis of the audience’s visual perception using the principles of gestalt psychology were as follows. The principle of similarity was measured in dimensions and shape. Similarity was a powerful gestalt principle in the dimensions of vagirehs, shape of patterns, bands, and margins. The principle of proximity was used to study contact and overlap as it had a powerful field in the body of contact in the background and the contact point of the bands of every vagireh. The surrounding of the medallion and some parts of the vagirehs overlapped with the medallion. The continuity principle was most powerful in the refrains of the vagirehs. The closure principle was found most frequently at the convergence of khatai bands and the perimeter of the medallion and the convergence of khatai bands and the edges of the margins. In terms of the principle of figure-ground, the single-color context of the rug can be seen as the ground and the vagirehs or in other words, khatai bands filled with flowers, along with the medallion as the shape. The results of the study showed that based on the principles of alignment and emphasis, the magnified medallion is emphasized. In spite of the incompatibility of the viewer’s expectation and the number of structural attributes, the structure of the rug is not abnormal and the visual perception of the rug is facilitated by powerful gestalt principles such as similarity, proximity, closure, and continuity. The increased number of structural properties draws the audience’s attention, directing it towards its special use in the royal court and the deliberate replacement of the medallion.

This study examined the iconography of the  “vagirei” carpet pattern in the Rustam Khan Zand painting, which is an original visual document from the Zand period in Iran (1163–1209 AH  /  1751–1794 AD) as it is a court painting and signed by its painter. This allows studying all of the elements of the miniature in the light of the common patterns of its historical period. The main questions of this study were posed as follows: Could the patterns on the carpet be studied contextually? How could iconographic study lead to the analysis of the carpet pattern in the painting? It seems that in addition to discovering the analysis of one of the common carpet patterns of the Zand era, the iconography of its pattern can reveal the intellectual concepts and patterns of the Zand period. The hypothesis was that the painter of the miniature has painted everything that was in the surroundings realistically. However, on the presumption that Rustam Khan may have exerted his personal taste, the question arises whether selecting some of the visual elements such as the motifs in the patterns of the carpet and choosing arabesque vagirei pattern were rooted in the prince’s taste or to what degree they have been pictured in the painter’s mind? The painter of the work is Muhammad Sadiq and carpets with arabesque frame pattern can be found in his other works. The artistic virtuosity of the painter and the painting tradition of the time had more influence compared with the Zand prince’s exertion of personal taste. This qualitative study was descriptive-analytical and the data were collected by library research with indexing and recording observations. Moreover, the analysis was based on iconography theories. The results of the study showed that arabesque vagirei frame was one of the common carpet patterns in the Zand period in Iran given the subject of the miniature and Muhammad Sadiq’s signature. Despite the dominance of an exemplary atmosphere of Persian art in the painting, each one of the visual elements follows uniform practice and the tradition of Archaism can be perceived. The selection of this type of carpet was influenced by the content and is unified with the overall form of the miniature.The analyzes are also based on the iconographic theory of Ervin Panofsky. The carpet has two inner and outer edges. The inner edge consists of Islamic twist and the outer edge is one of the most common margins of Zand era carpet, the edge of the entrance. The search for the role of interventions in other works of the Zandieh period showed its widespread use. For example, in the brick decorations of Karim Khani citadel and limestone of Vakil bath, the role of intervention is also seen. Finally, recognizing Islamic contagions as one of the recurring flaws in Zandieh era rugs is important and indicates that contagious rugs, like other visual elements, have been the image of the prosperous designs of Zandieh era.Despite the reputation of Iranian carpets, little scientific research has been done in the field of weaving and many questions remain unanswered. In some periods the problem becomes more complicated with the lack of historical sources. Zandieh carpet is an example of such a claim. The problem is so complicated that many years ago it was believed that there was no carpet from the Zandi period. The paintings solve the problem to some extent and the design of the carpets in the paintings as visual sources helps to recognize the acceptable and common designs of that period. Carpet designs and designs, despite repetition in each period of evolution, have had an innovative and unique style. The article seeks to answer the question of how the study of iconography, how to analyze the design of the carpet in the image? It seems that in addition to analyzing one of the common designs of Zandieh carpets, the iconography of the mentioned carpet design shows the concepts and thought patterns of Zandieh period. The hypothesis is that the painter depicted everything that actually existed around him in the painting in question; But on the other hand, assuming the possibility of applying Rostamkhan’s taste, the question arises that in choosing some visual elements such as carpet designs in the image and choosing the design of Islamic contagious designs arising from the prince’s taste or how much is imagined in the painter’s mind? The painter is Agha Sadegh II, and in his other works, carpets with Islamic frames can be seen. The artistic taste of the painter and the tradition of embossing the time have been more influential than the tastes of Prince Zandi. Due to the qualitative approach of the research, the research method is descriptive and analytical and information is collected using library resources. Analyzes have also been performed based on the iconographic approach. The result of the research showed that due to the subject of Aqasadegh’s drawing and signature, the Islamic frame was a catchy one of the conventional designs of Zandieh period carpets. Despite the dominance of the exemplary atmosphere of Iranian art on the painting, each of the visual elements has a unity of procedure and the tradition of archeology is understandable. The choice of the type of carpet is also influenced by the content and has unity with the general form of the image.

Part of our current information about the lives of Qajar women is obtained from the Oriental travelogues. Women-centered illustrated works, including pictorial rugs as a visual document, can be helpful in this regard. For this purpose, two Qajar rugs have been selected better to understand the role of women in this era. The present study addresses how women are illustrated in two pictorial rugs, namely "Bahram Gur in Haft Gonbad (Seven Domes)". Based on Goffman's dramaturgical social theory, this research tries to remove the literary mask of the story and explore the simulated realities of women in two rugs.

This study aims to compare the various dimensions of how the identity of Qajar women appears in the two rugs of "Bahram Gur in Haft Gonbad (Seven Domes)".Research

Data collection is a library-based approach, and the method includes descriptions, miniature paintings analysis, and elements' comparison. The instrument is reliable, and non-probable samples are selected.

Given its urban texture and literary background, this type of rug seeks intentionally to illustrate powerful women from different social classes. It also intends to move upward in the strata of society to show the unreal position of women in the Qajar society.

Sufficiency in the conventional sense of symbols has prevented them from defining new concepts. On the other hand, the foundation of factors that shape the patterns leads to the decipherment and production of a new meaning. The role of the peacock has always been a symbol of pride, glory, and beauty. However, understanding the visual difference between the twelfth-century peacock motif carpet and the previous specimens doubled the need to reproduce the new meaning. Auxiliary text was needed to achieve this goal. With such an approach, Sheikh Shahab al-Din Suhrawardichr('39')s " Loghat-e-Moran seems appropriate. Itchr('39')s as if our Loghat-e-Moran for a text was an image of an altar rug peacock in the Metropolitan Museum, and as a result it was read accordingly. Understanding the meaning of the peacock motif based on the thematic application of the carpet and the above treatise is the main purpose of this article. The result shows that the peacock, in addition to its common meanings, was a symbol of longing and sorrow. This research is based on the qualitative method and developed and described based on the motif of the altar peacock carpet in the meaningful context of the text Loghat-e-Moran by Sheikh Ishraq. In terms of classification, it is descriptive and analytical study.

The study of human religion and beliefs reveals truths from their worldview. The study of the spiritual category of "endowment" in the era of Zand (1203-1163 AH) is such facts. Prisoners did not have a unified kingdom and ruled for a short time; But like any historical period, they left a material and spiritual heritage. Scholars and historians of the endowment tradition have paid less attention to the Zand period and noted its lack of prosperity. While there is evidence and documents indicating the prevalence of endowment, endowments and the existence of the Ministry ofendowment in the era of Karim Khan Zand (1193-1163 AH). Lack of various documents is the main obstacle for researchers of this historical period. Therefore, any related document is valuable. An example of a study is the one-piece carpet inscription left over from the Zand era in the National Museum of Iran. The research problem is explicit and implicit exploration of the one-board endowment carpet inscription from the mentioned period, with the approach of enlightenment, part of the situation of endowments of Zand era. The study of the endowment statue in the carpet inscription is the most important goal of this research. The sampling method was improbable. The achievements of this article were the result of library studies and museum observations. The research is qualitative and the research method is descriptive and historical while analyzing documents. The present study was based on the documentary study of the endowment carpet inscription and led to the understanding of the endowment mechanism, components and conditions of the endowment in the mentioned work. The study of the carpet inscription showed the prevalence of the tradition of endowment, endowments and the presence of endowment in the era of Karim Khan Zand. In addition, the carpet inscription narrates the religious beliefs of  benefactor, Taqi Khan Durrani. The carpet inscription in this research is a historical document

The aim of this study was to study carpets as a historical document related to the personality of Taghi khan Durrani. Many sources have studied the history of Kerman during the Zandieh Era and due to the importance of the Taghi Khan government; attention has also been paid to it. There are various approaches to his character among these sources. Some have paid to his good behavior and others to his moral vices. In order to conduct this research, the author faced significant contradictions in introducing the character of Taghi Khan Durrani, the ruler of Kerman in the Zandieh Era. Taghi Khan Durrani in the court sources of Zandieh Era is well known, in the history books of Kerman in a different way and the endowment carpet has a clear and different message. Therefore, the issue of research is to introduce the importance of carpets as a historical document with the example of Taghi Khan Durrani's character. Understanding the reason for the heterogeneity of opinions in recognizing the mentioned person in the endowment carpet and other sources is considered. The need to address such an issue is of historical importance and leads to the development of written sources of the Zandieh Era (1163-1209 AH), which have always been neglected. Therefore, the comparative study of resources with the approach of recognizing him as much as possible is the main goal of the research. In addition, this article aims to introduce the documentary function of carpet and text analysis. Woven endowed carpet of Zandieh Era is important to recognize the character of Taghi Khan Durrani and reminding the importance that in addition to paper documents, there is a woven document in the form of carpet and introduction of a new function. It has been written under the title of "Documentary" on one hand and adapting the written sources and understanding the divergence of approaches to the ruler of Kerman on the other hand. The carpet in question is one of the woven fragments of Kerman in the Zandieh Era, which is currently kept in the registration number 20294 in the National Museum of Iran. Data collection is done by the library method and is done with a descriptive, comparative and analytical approach. In addition, research is a type of documentary study. It seems that in addition to using and enriching the sense of aesthetics, carpets can also have a documentary function. Another hypothesis is that the character of Taghi khan Durrani has a different reflection among the court texts, the history of Kerman and the inscription of the endowed carpet of Zandieh Era. The poem in the carpet inscription indicates the propaganda function. The present study seeks to answer the following questions with a comparative, historical and analytical approach: Does the carpet in question have significant documentary information in recognizing the character of Taghi Khan Durrani? Does the weaver have a kind of propaganda function and play a documentary role in introducing the good behavior of donator? What are the reasons for the difference in the approach of court sources and the text of the carpet inscription in recognizing Taghi Khan? The required data were obtained using files and notes based on library studies and the description and analysis of the information was based on the author's assumptions. Recordings and writing obtained from the observations of the mentioned carpet form a major part of the text and are the basis of the conclusion. In general, there is a contradiction in the views and personalities of Taghi Khan Durrani in the court sources of Zandieh's history and the endowment carpet. Most of the books that did not have a free prose and were commissioned by the court have introduced Taghi Khan as a rebellious person. The court clerks in each period did not adhere to a clear historiographical model, but rather focused on praising the king and gaining his approval. While the endowed carpet has a different look as a remained woven document. However, the endowed carpet is woven by the order of Taghi Khan and, like the historical texts of the court, is not empty of the praises of the ordering person. According to the poetic content of the endowment carpet inscription, Taghi Khan is an honorable, noble, brave and donator human being. Since various dimensions cause a deep insight, considering the approach of carpet inscription as a reflection of courtly features as the mirror of the vices of Taghi Khan Durrani, this makes the researcher deny the determinism of history. On the other hand, it seems that handmade fragment has had a promotional function as a mean of acceptance and popularity among people.  In this research, an attempt was made to introduce a different function from the underlayment, wall hangings and other famous uses and arrangement of carpets. Inscribed carpets can be read by having textual information and reserves in the place of the first document. Regardless of the value, judgment, and knowledge of the good and bad traits of historical figures, knowing them and knowing their thoughts, actions, mistakes, and services has been very useful. There is no significant connection between this document and the history books of the Zandieh Era.

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.

A carpet is a product of arrayed meaningful elements or arranged artistic motifs set together. The practical and spiritual applications of carpet indicate that this Persian art can deliver meanings in different aspects. Carpets have long been used in religious, rituals and funeral ceremonies. Not only are these artistic creations applied for covering various spaces, but also they are dedicated to holy places due to the strong tie they have with lives of Iranian people. Accordingly, this paper studies the carpet dedicated to the Holy Shrine of Imamzadeh Zeid that was woven by the order of Taghi Khan Dorrani, governor of Kerman. This study aims to explore the hidden layers of meaning in the text inscriptions of the carpet and find answers to the followings: What are the implicit meanings that the carpet inscriptions imply? Can we investigate the meaning of the carpet text by using a comparative study? Can we find a significant relationship between the text components and other written texts of the carpet by using an intertextual approach? Here, the research data is obtained from library researches and museum observations and studied in comparative, historical and analytical research methods. Not only does the discovery of implicit and explicit layers of the inscription describe the relation between the writing order and the pictorial order of the carpet, but also it reveals the public wisdom of the public during Zand era

Gardencarpet is one of the noteworthy designs in the history of Iranian art. In the «Zand» era (12thcentury AH / 18thcentury AD) a framework of various motifs was provided for this type of carpet. These motifs are composed in such a way that while maintaining traditional patterns, new outcomes are achieved. This research uses descriptive-analytical method to case study of an example of a Zand era garden carpet. The data were collected from library sources and field research by means of documentary sources, note taking and observation of the available carpets in the Carpet Museum of Iran and overseas museums such as the Metropolitan, Islamic Art in Berlin, Victoria and Albert, Brooklyn and Hermitage. The analysis of designs shows that the symbolic motifs imply the mythical concepts and conceptually relate to one another. Motifs of the of «Zand» erain the garden carpet are inspired by the formal and thematic elements of the past patterns. These elements, in addition to repeating the traditional motifs, were creative in composition of designs.