فهرست مطالب mohammadreza kheirollahi

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.

Bushrouyeh is one of the rug weaving areas in South Khorasan province. The people of this area have been engaged with weaving carpets using their own style for nearly a century. In recent decades, however, the weaving of these types of rugs has also been neglected due to various factors such as the change in the lifestyle of the local people, the prevalence of using machine-made carpets and the prevalence of weaving rugs with Naeen style. On the other hand, Bushrouyeh rug has always been marketed under the name of Ferdows carpet (neighboring city of Bushrouyeh), which has made these handwoven rugs unknown. Therefore, it is essential to study the characteristics of Bushrouyeh rugs with the aim of recognizing and introducing them. The purpose of this research is to study and identify Bushrouyeh rug in terms of historical background, design and motif, color and technical characteristics. The current study is a type of fundamental research and its method is descriptive-analytical based on field studies. The scope of the research included the city of Bushrouyeh. Moreover, statistical population consisted of genuine Bushrouyeh carpets as well as people who were active in the field of weaving and supply of Bushrouyeh carpets (weavers, producers, dealers and local intermediaries). The results of this study show that the traditional rugs of Bushrouyeh are rustic style rugs woven narrow and long. Usually, all the stages of production, including the preparation of raw materials and tools, dyeing and warp winding, and also weaving process, are done by the weaver. Due to the fact that carpet weaving is not very old in Bushrouyeh and has become popular in the region since around 1310 AD with the recession of Barak weaving (Barak bafi), the design and pattern of carpets, like Turkmen and Arabic designs, have been adapted and brought from other weaving regions. All kinds of Toranji, Turkmen, Arabic designs and designs known as Eresk can be mentioned among the common designs in the region. Meanwhile, Toranji designs are more abundant than the other ones.

The Gonbad-e Sorkh is one of the most prominent buildings of the Seljuk period belonging 542 AH. The variety of brickwork, stucco and tile-making techniques in the execution of decorative forms, Gırıh tıles and Kufic inscriptions has such a manifestation in this building that has practically overshadowed other aspects of its architecture. Therefore, it is necessary to conduct further research in this field due to the variety of techniques and decorations in architecture. The main question of this article is what are the decorative features of letters and Golandazes of brick and tile used in the Gonbad-e Sorkh epigraphs? The main purpose of this study is to recognize and rediscover the ornaments and inscriptions of the Gonbad-e Sorkh. The mentioned study is in fact a qualitative research and using photographs of the actual monument, at first the building and its ornaments and decorations have been represented and described, then the data has been carefully analyzed. Collecting the data was accomplished through library studies and also all of the photographs have been taken from the original dome. The findings show that the most technical use of brickwork in this dome are the motifs and patterns known Golandaz (and various brick ornaments such as Ragchine Golandaz or Golchin) and Jenaghi, Girih tiles, Khefteh and Rasteh Kelookband and the Ragchin inscriptions of the building. In thıs building beside the molded bricks, Pishbor, engraved and stucco, turquoise and blue tiles are also used in its body. In other words, the integration of several types of materials in the decoration of the Gonbad-e Sorkh, such as the combination of "brick and tile" and "brick and plaster" in one role, has been from the other initiatives that have been used in this building. The writing and decorative system of the inscriptions of the Gonbad-e Sorkh has been executed in three ways without additional makeup and decoration, combined with geometric motifs and with geometric and Arabesque motifs. The making of Gereh (knot) is in two ways inside the frames and independent of the inscriptions and is divided by the continuation of the inscription letters. These inscriptions made of engraved bricks, along with plaster decorations are other forms of decorative features of this building.