جستجوی مقالات مرتبط با کلیدواژه « طرح و نقش » در نشریات گروه « هنر و معماری »

Southern Khorasan Province is one of the most important regions in Iran for weaving carpets. Studies on the patterns used in this region suggest that the patterns are developed influenced by the geographical location were the carpets are woven and that they can be divided into three categories: urban, village and nomadic. The purpose of this paper is to study the design patterns, provide a formal analysis on the urban carpets, and present a classification of the contemporary patterns in this province in order to introduce collective information on the local and original design patterns having been used in carpets.This study is descriptive-analytical and the data are analyzed using detail-oriented (inductive) approach. The data a on literature and history were collected via library research and, for the main part of the study, the sample images of the carpets from several regions in Southern Khorasan Province were gathered using field research. The statistical population of the urban carpets in Southern Khorasan includes 208 carpets out of which 16 were studied. Besides presenting a classification of the carpets, the analysis of the data on the design patterns indicates the prevalence of carpet weaving in all the regions in the province except Sarayan.Studies show that hand-woven carpets of the individual regions display unique design patterns including medallion corner, multiple-panel, vagirei, straipped, kheshti and wall-to-wall. Moreover, some of the patterns used in different regions share the same style - khesti, although being attributed to a specific region, is seen to be the same as the one in the other regions in Southern Khorasan Province. One may refer to medallion corner as an another example which contains repetitions of twisted fish patterns and Sa'adi pattern.

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.

Considering the many problems and forgetting the original design and pattern of carpets in Kermanshah, it is necessary to pay attention to the background and local culture and recognize the originality of the design and pattern of carpets in this province. The aim of present study was to Study and analysis of the design and pattern of contemporary carpets in Kermanshah. In this research, 50 contemporary carpets were collected using field and library data, and the design and pattern of them were assessed. The results showed that the types of designs of contemporary carpets in Kermanshah are mainly of the broken type in terms of components and motifs execution way, and the one-fourth and global types in terms of design divisions (number of knots between 20-45). Designs commonly used in these carpets include ship anchor, pergola, Quranic frame of Paveh Mosque, Berchluark, Taranja curtain of Paveh Mosque, samovar, bergamot of Lanjab, fusion, two flowers of Akbar Abad, altar vase, hunting ground, Hossein Abad Keliai, Seyed Abdullahi, one-bergamot Kiveh Nani, one-flower, skewer, Dargol, armband, combination, and coffee tray. Also, the most commonly used colors in these carpets were crimson, cream, pink, lacquer, blue, green, and gray. The most common sub-patterns used in these carpets were also included turtle, mirror, lamp, small flower and sparrow (in the place of bergamot), bear, handkerchief and salt shaker (in the place of Lachak), and pond (in the place of texture). It seems that the contemporary carpets of Kermanshah, which are mainly found in the area of Songhar Keliai, have a high originality in terms of color; however, due to the proximity of other important cities in the field of carpet weaving (such as Bijar or Sanandaj), there exist some non-original designs and patterns in return. Knowledge of the results of this study can be useful for administrative and production organizations related to carpets to produce the best and original quality carpets in Kermanshah.

Tombstones in areas where people are famous for their industrialism and artistic taste, as well as ancient civilization and culture, are worthwhile to be examined from several aspects. The designs and motifs on the tombstones, with a theme related to the category of life and death, are a treasure house of codes and symbols. In this regard, " Bozelar Hefshjan" and "Aramene Sirak" cemeteries are such exemplary.The carved motifs on the graves of " Bozelar " cemetery in Hefshjan and the Armenian village of "Sirak" located 4 km away in Chaharmahal and Bakhtiari province, are important in terms of artistic values, influencing each other.Analytical and comparative study of these two sites is done concerning both contemporary Islamic and Christian attitudes towards the category of art on graves, and the influence of native visual art and culture. Not many researchers claim that cemeteries and the shapes and patterns of their tombstones are affected by dominant idealogy.This research with a descriptive-analytical approach, focuses on the nature of the artistic values contained in the tombstones of above-mentioned areas, especially botanical and animal motifs (which have a wide symbolic connection to the category of life and death) and their interaction. Despite their two different religions, these cemetries are valuable examples for sociological studies in the cultural exchanges between Iranians and visiting immigrants. The method of data collecting is mainly based on fieldstudy.This research shows that despite the very basic differences in looking at the category of life and death (as the most important categories of religion) contained in different religions; where art and beauty come together, barriers and color distinctions disappear and beyond religious identity distinctions, the language of art and beauty as the common language of humans prevails over other language and identity distinctions. It also shows that Iranian culture has no resistance of its own in dealing with the cultural values of others, where beauty and art are involved.A kind of inherent artistic feature in the gravestones and the historical sequence of these changes that have lost their linguistic meanings with the passage of time and left behind an ethereal form of technique and industry combined with art and beauty, has caused the cemeteries to tempt tourists to visit them. Not so long ago, the idea of spending free time and exploring the cemetery was impossible or considered as a sick hobby. But now that artistic sparkles and symbolic forms, from the shape of the tombstone to the variety of designs on the stones, have become the face of the image and landscape of the cemetery; A special visual-tourist function has been given to these collections.

Hozdar city is one of the historical areas of Sistan, which despite the destruction of most of its historical buildings, special decorations and brickwork can still be seen in the remains of its buildings and this shows the presence of impressive decorations in these buildingsThe decorative elements in these buildings have designs and patterns that were specific to the architecture of this region, which are now in danger of destruction. So, the purpose of this research is as follow: Recognizing and analyzing different types of decorations in the historical monuments of Hozdar city; In order to recognize and revive these foundations in today's architecture and try to preserve them, and also revival of valuable historical decorative patterns of Hozdar city of Sistan. Research question is: What types of decorations are there in the historical monuments of Hozdar city? To answer the research, question this research has been done using inductive research strategy and descriptive-analytical method. Data collection has been done by using authentic document sources in the theoretical foundations section and conducting field studies using observation and interview. Finally, the research results showed that in terms of design and pattern, certain types of geometric motifs have been used in the decoration of the historical monuments of Hozdar city and the dominant decorations used in these buildings are made using the pattern and pattern index, and most of the decorations used in these buildings are done by using design and pattern, and color has the least impact among the examined components.

The Safavid Era is one of the most significant periods in the promotion of Iranian art, especially in the design and production of carpets. During this Era, carpet weaving flourished and attention to the structure, size and composition of carpet designs caused a unique diversity in the design and motif of Iranian carpets, the effects of which continue to this day. One of the common types of carpets in the Safavid period is Medallion carpet, which is a function of the 1/4 method in terms of map structure. The structure of carpet maps and their design methods form the main shape of the carpet and other stages of carpet production are based on the map. The carpet map specifies where to place what pattern and what color this pattern should have and in what order its knots should be tied. However, the structural part of carpet maps has not been paid enough attention in recent years and more attention has been paid to the symbolic features of patterns in carpet maps, which is of course a proper and appropriate thing to do, but it should not lead to neglecting the principles governing the design of the map. Because this will cause irreparable damage to the structure of carpet designs over time. One of the important periods in the elevation of carpet maps in Iran is the Safavid period. In this period, the government's attention to carpet weaving led to the prosperity and expansion of this art in such a way that the carpets produced in the mentioned period are now the adornment of most museums in Iran and the world, and by referring to them, the map principles and the designs and motifs of Iran's carpets during the Safavid era can be understood and extracted, so they can be employed in the design of new maps. Medallion maps are one of the types of carpet maps in the Safavid period, which created a wide range of different compositions based on the decorations made in their context. In terms of the structure of the design and composition, these maps have five main parts of medallion, inscription, cartouche, field and border, which are divided into different types according to the characteristics of medallion and decorations used in the carpet field. In the initial survey and cursory look, the maps of Safavid era, in terms of the structure of the map and the design method, appear to be ¼, but with a closer look, it is clear that it is contrary to what is currently common, these maps have subtleties in design and composition that make their design method out of the ¼ structure. A medallion carpet known as Anhalt, which was produced in the early Safavid period, has a medallion design and the general structure of the map is 1/4. Considering that, this carpet has remained intact so far, it can convey useful information about the design method of Safavid carpets. This research has been done with the aim of explaining the structure and design method of Anhalt Medallion Carpet and seeks to reveal the hidden layers in the composition of the design of this carpet. The  research questions are: 1. What is the structure of Anhalt medallion carpet map? 2. How is the map of this carpet designed? The current research is a type of developmental research that was carried out using a descriptive-analytical method. The method of collecting information is literature review . The statistical population is the medallion carpets of the Safavid period in Iran, among which three items that are more similar in terms of external structure have been selected in a purposeful way, and after a brief review, a medallion carpet known as Anhalt is used as an example, has been further analyzed. The analysis of the research data was done qualitatively using the carpet map structure analysis method. In this method, first, the structure and various components of the carpet map are specified and each of these components is described. Then, the design method of each of these parts has been analyzed separately and the different layers of the design have been revealed.The concept of structure in Medallion carpetsThe term structure in the current research refers to the arrangement and arrangement of the elements in the carpet. Structure analysis in this research is examined from two perspectives. The first concept refers to the external structure of the work and means the format and the general body of the design. From this point of view, the studied carpets are placed in the group of medallion carpets of the Safavid period. In the second concept, the internal structure is intended and it examines and analyzes the placement and arrangement of elements and micro-motifs. In the definition of structure, Jean Piaget said: "Structure is the expression of a whole, that is, its parts have internal coordination and correlation". The structure of medallion carpets is also like a text, which its motifs and visual elements have a coherent system and internal correlation. The samples studied in this research are three of the medallion carpets woven during the Safavid period in Iran, which are currently kept in the Metropolitan Museum in New York. The external structure of these carpets is similar to each other and consists of border, field, medallion, inscription, and, cartouche, so all these carpets can be included in the group of medallion rugs. But they are different in terms of internal structure and other motives. Anhalt Medallion Carpet was woven in the early Safavid period (the first half of the 16th century) and measures 419.1 x 792.5 cm. Its warp and weft are made of cotton and silk, and its pile is made of wool. This carpet is currently kept in the Metropolitan Museum of New York. Before its sale by Joseph Duveen to Samuel Kress, the carpet is reputed to have belonged to the Anhalt princess of Dessau, whose ancestors may have acquired it through military campaigns against the Ottoman Turks in the late seventeenth century. The structure of Safavid period medallion rugs can be examined from two point of view. A: The external structure of the carpet, which includes the overall composition of the design, and based on this, the external structure of these carpets consists of parts such as the border, the field, the border, the inscription, and the cartouche. B: The internal structure of the carpets, which includes other motives that are used to design and decorate the interior of the aforementioned sections, and are made of elements such as flowers, leaves, buds, arabesque, and pictures of birds and animals. The external structure of medallion rugs has a multi-layered composition. In the first layer, the general composition of the map is defined as ¼, and the location of borders, field, inscriptions, and cartouches is determined by using peripheral lines and color separators. In the second layer, the inner space of each component of the map of these carpets is decorated separately. The results of the research showed that the design and production of carpets in the Safavid period received the attention of the government and many carpets in different sizes and designs were produced in this period. One of the factors of diversity in the design and size of carpet maps in the Safavid period, in addition to the patronage of the court, is the collaboration of painters from royal workshops in preparing maps. Currently, most of the carpets related to this period are adorning the great museums of the world, and medallion carpets are one of the prominent examples that are decorated using curved maps and simple motifs. The map structure of medallion carpet, known as Anhalt, like the other two carpets, has a two-layer design. In the first layer, the overall composition of the map is done by ¼ method, and then in the second layer, each component of the carpet map is designed separately with a specific layer structure and is placed in the form of the overall composition of the map. Although the map of this rug looks like ¼ in general, but by analyzing the details of the design, including the medallion, inscriptions, cartouches, the field and the corners of the rug's edge, it was found that the details of each of the elements in the longitudinal direction of the carpet map, there are few differences and this has caused the map to go out of ¼ state and become ½. Therefore, it can be concluded that the weaving of this carpet, like other medallion carpets of the Safavid period, was done by the ½ method.

In the Safavid period, along the growth of other arts, carpet was manufactured as a valuable product, by support of the patrons, while the period was known as the golden age of design, pattern, color and carpet production. Above all, the Persian painting, applying the illustration of dominant literary subjects, is constantly known as one of the fields, suitable for an artistic challenge. Shah Tahmasb’s Shahnameh is a highly influential issue in the realm of painting of Iranian historical periods which has been performed by the most professional artists. The present illustrated versions of Persian painting embody different concepts that have been elaborated by taking advantage of prevalent elements of the daily life. Shah Tahmasb’s Shahnameh which is known as one of the jewels of Persian painting of the mentioned period, having an expanded variety of unique features, is a proper domain to represent the artistic issues in a gorgeous way, and besides, the carpets play an important role in the composition and decoration. As a conclusion, the Persian carpets in the different versions of shahnameh, are considered as part of subjects, applied by artists in order to make relevant illustrations and are alike the elements of their own periods. However, it seems that illustrations of some existent illustrated carpets in the Shah Tahmasb’s Shahameh have their own principles in Iranian paintings.Shah Tahmasb’s Shahnameh is considered as a magnificent art work of early Safavid Miniature School (Tabriz II).  Interwoven by the two main miniature schools of Herat and Turkmens, this masterpiece includes 258 illustrations. The main design elements of each illustration in Shah Tahmasb’s Shahnameh include natural scenery, battle and festivity scenes, mythical tales, Iranian architectural buildings and carpets.Abundance of the carpets that are figured and illustrated in the mentioned version of Shahnameh, and also the historical period of it, which are supreme factors in the production of handmade carpets, demonstrate the importance of them. Therefore, the main issue in the present research is to conduct a study on the total pattern of illustrated carpets in Shah Tahmasb’s Shahnameh and to scrutinize on the figures and elements used in it which have been performed in order to reach a collection of categorized data about the carpets in terms of the structural aspects of design and illustration in Iranian carpets. At last, it will present a possibility to have a comparison on the outcomes of this research, on the carpets of the Safavid period. Thus, these are the main questions of the research:What are the features of illustrations and elements in the represented carpets of Shah Tahmasb’s Shahnameh?How are the diversities and categorizations of designs in the represented carpets of Shah Tahmasb’s Shahnameh?The research method is descriptive-analytical with the pattern and design morphology approach and the data are analyzed qualitatively. The information about the identification and historical background of the illustrations of Shahnameh is gathered through library research. The study cases totally include 80 samples, out of which 14 samples in five categories (3 samples in the category of Overall Flower carpets, 2 samples in the category of Lachak Medallion, 3 samples in the category of Medallion, 3 samples in the category of Panel patterns and 3 samples in the category of patternless field designs) have been purposively selected for the analysis.   According to the general categorization and features of each rank, the details and compounds have been considered and analyzed in the whole studies, and analyses are based upon the rules and principles of Iranian carpet which is adherent to the traditional designing principles of Iranian art. To have more understanding and observation about the mentioned carpets, the linear patterns of all the samples have been prepared and all the analyses are based upon them. The results demonstrate that the carpets available in the Shah Tahmasb’s Shahnameh are under the effect of a desire to fantasy and enthusiasm of the Turkmens school (which appears in Overall Flower carpets) and the original and meticulous style of Herat (demonstrated itself in framed carpets and Kufic margins). Generally, the carpets illustrated in the Shah Tahmasb’s Shahnameh are the fruits of imagination of the artists who their main concern was to represent the chief concept that they were focusing on, which is to illustrate different topics of Shahnameh beside the reflection of magnificence of the art protectors. Above all, the general construction of carpets conforms to those that remained from that period. The value of the carpets is so predominant, beside the other arts like music, architecture, handicrafts and etc. The illustrations are committed to the carpet weaving traditions of Iran and they construct significant parts of the illustrations, related to the dexterity of the artist, as if they have a decorative function and they cannot be assumed as remained carpets from the Safavid era.

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.

Problem Definition: 

Sarouk rugs are one of the most crucial rug brands in Iran and one of the most famous rugs among the world audience, which were produced from the middle of the 19th century until the beginning of World War II under the management of French companies, especially Ziegler. There are samples of these rugs with Corner and Medallion designs and a unique structure in the Claremont collection, which differ from common samples regarding the type of design pattern. The limitation of comprehensive and salient research resources about Sarouk rug and its exquisite and export samples that were produced in the past reveals more of the necessity of research on this issue. The main research question is "What are the features, visual qualities, and structural elements of Claremont Collection rugs?"

 In the present research, the structural elements of Sarouk rugs of the last quarter of the 19th century, which are preserved in the Claremont Collection, will be analyzed. This article's structural and aesthetic elements include the background space, Medallion (Toranj) and space above Medallion (Sar Toranj), Corner, Margins, and the colors used.

 This research is qualitative and fundamental, and the research method is descriptive-analytical. The method of collecting data is library-based in addition to searching the websites.

 The Sarouk rugs produced in the late 19th century, which were woven for export, are all of the Corner and Medallion design and are unique in their design pattern and color. They are often produced on large scales with vegetable dyes. The color of the Margin and background change between red, navy, and ivory colors. In some rugs, the color of the central Medallion is the same as that of the Margin and Corner. All these rugs are various in Corner and Medallion design, and the central Medallion forms the structure and identity of Shakhe Shekasteh motifs (cursive-curve). The structure of the designing pattern, the logical color scheme and the visual order of the motifs are the differences between Sarouk rugs and other Iranian rugs.

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.

Sani-al-Molk’s One thousand and One Nights is consideredan ethnographic source that can give the readers an insightinto the cultural delicacies of the era of Nasser al-Din ShahQajar. Yet, there is little research on the common nonclothing textiles of the Qajar era. This study explores thepatterns and motifs of these textiles based on the illustrationsof One Thousand and One Nights, which certainly provideclues as to how the textiles were made. With this in mind,the question is: “Based on the illustrations of One Thousandand One Nights, what patterns and motifs were used in thenon-clothing textiles of the Nasseri era? It is hypothesizedthat the Vagirei (repeated in length and width) and Paisleypatterns were the most widely used patterns in the textiles ofthe Early Nasseri Era. However, the results of a descriptiveanalytical desk-based study conducted using the stratifiedprobability sampling method based on eighteen illustrationsof One Thousand and One Nights reveal that : non-clothingand applied in household consumption textiles such ascurtains, furniture, cushions, underlays, quilts, tablecloths,wall coverings, etc. were used in a variety of patterns andmotifs including the simple pattern and Vagirei, Ghabi(frame-based), Moharramat (striped), Afshan (scatteredflowers), Mehrabi (praying cloth) and Toranjdar (Bergamot)with natural and abstract plant-based motifs such as Paisleyand arabesque patterns during the early Nasseri era. Thus,contrary to the first hypothesis, the patterns and motifsused during this era had a broader range than the inducedpatterns. Among the patterns, simple fabrics were used morefor curtains and furniture. However, the Vagirei pattern withthe plant-based design was also rarely used in these textilesas well, but the Vagirei and Ghabi designs with natural andabstract plant-based motifs (especially the Paisley) wereused more often in the production of bed covers. SimpleGhabi patterns in checkered forms were also sometimesused in bed-clothes wrappers. The illustrations show thatthe Moharramat pattern was a common pattern duringthe early Nasseri period. The Afshan pattern with smallflowers was rarely used on tablecloths, cushions and bedcovers. Regarding the Mehrabi patterns with the abstractmotif of cypress as well as the Toranjdar patterns witharabesque motifs, they have been used on wall coveringsand curtains, types that are formally reminiscent of ikat andGhalamkar fabrics. The illustrations not only give us cluesas to patterns and motifs, but also convey the message thatthe simple fabrics were something like velvet or satin, andthe Moharramat types were woven with the simplest textilemachines or the ikat technique were made of cotton andsilk depending on their use. Termeh fabrics used to makebed covers had a woolen material and were of the ikat,silk or cotton types. It seems that Mehrabi and Toranjdarfabrics were also produced using the Ikat weaving methodor by additional operations such as printing and embroideryon cotton fabrics. Finally, regardless of the material andproduction method, Moharramat types such as Termehwere the most widely used types of all.

In most cases, the study of the designs and motifs of historical Iranian textiles is made possible with the examination of visual arts as the dominant mode of textiles fade away over time. The Zand era in Iran has not been sufficiently studied in terms of arts perhaps because the Zand Dynasty’s rule was short-lived and less heritage remains from the time compared with the preceding (the Safavid) and the succeeding (the Qajar) eras. The purpose of this study was to analyze the designs and motifs of textiles used in the courtier men’s outerwear during the Zand era in Iran. The study question was posed as follows: how could we recover the designs and motifs of textiles used in Zand courtier men’s outerwear with the help of figurative paintings of the Zand era and their comparison with textiles remaining from the 18th and 19th centuries? It was anticipated that following the art of the Safavid era or as an introduction to the Qajar art, the designs and motifs of the textiles could be defined in a wide range. With the help of library research, this descriptive-historical study included random sampling of seven Zand royal figurative paintings and comparison with nine pieces of textiles. In contrast with the study hypothesis, the results indicated that the courtier men in the Zand era used a combination of “Moharamat” and simple textiles in their turbans and cummerbunds. Moreover, they used simple or copying patterned textiles with vegetal motifs in their qabās, Katebis (waistcoats), and abās (cloaks). Therefore, it seems that unlike the variety of designs and motifs found in the men’s garments in the preceding and succeeding eras, they adopted a more limited mode to which they adhered.

The present article, intends to investigate the extent of changes in the traditions and the original features of the design, the motif and color of the handmade carpet in Mashhad region. Also, this study investigates the factors influencing the developments in handmade carpet concerning f traditionalism and untraditionalism. In this regard, the main aim of the present study to find the answer to the following questions: What is the contrast between tradition and modernity in the design, motif and color of Mashhad 's handmade carpet? What are the developments made by the modernity wave in motifs and colors of Mashhad 's handmade carpet? What are the strengths and weaknesses caused by modernity on the dominant traditions of motif and color of Mashhad 's handmade carpet? The method of research in this study is descriptive, analytical, and comparative. In order to gain better results, information and samples from Mashhad's carpet have been selected in the form of library and field methods from three periods of Qajar, Pahlavi and contemporary. Using the comparative method of design and motif of each of the three periods in relation to each other, the extent of adherence and lack of adherence to the preservation of carpet traditions in this field is determined. lso, by investigating the course of evolution and development of the design, we can determine the motif and color of Mashhad's carpet and the way the consumers’ tastes have . The results show that the urban carpet in Mashhad has undergone the slightest changes in the original features of its carpet up to now and has tried to continue almost the same style and traditional style.

 In the early years of Naser al-Din Shah Qajar’s reign, textiles used for women’s and men’s clothing were embellished with various motifs. Created in the same historical period, Sani ol-Molk’s anachronistic illustrations for One Thousand and One Nights are a good source for research on the era’s clothing, as they realistically depict how Persians lived at the time. The present study attempts to answer the following question: “Based on Sani ol-Molk’s One Thousand and One Nights illustrations, what designs and motifs were prevalent in textiles used for women’s and men’s clothing in the Naserian era?” The assumption is that in this era, just as in the previous periods, there were different clothes patterning styles and gender had some influence on the choice of fabrics for clothing.

The study aimed to explore early-Naserian-era fabric designs and motifs by examining the illustrations of the Qajar version of One Thousand and One Nights.

In this descriptive and analytical research, 24 book illustrations, selected through probability sampling, were examined.

Findings show that for women, textiles patterned with floral motifs were used for clothing that was worn in andaruni (the private, women-only quarter in traditional Persian houses; similar to the harem), and plain textiles for those worn out in biruni (outside both the andaruni and the house); for men, plain textiles were preferred, Termeh fabrics (patterned with Botteh Jegheh/ Paisley’s) were only used for Qaba’s, and the use of other patterned fabrics was limited to embellishments.

Hodud al-Ālam (Boundaries of the World), a geography book from the 3rd century AH/ AD 9th century is the first source that refers to the act of weaving carpets in Tabarestan, northern Iran. This book regards the Tabari carpet as a product of that region to the court of the Abbasid caliphs; however the oldest carpet of Tabarestan known is the Kelardasht carpet. There are four theories about the formation of Kelardasht carpet. Some consider it as the Tabari carpet mentioned in Hodud al-Ālam. Others consider the formation of this carpet as a result of migration of Kurdish tribes to the region in the 13th century AH/ AD 19th century, hence being independent of the Tabari carpet. There is still another theory suggesting that Tabari carpets have been influenced by Kurdish ones and what observed today is the Kurdish carpet with an origin of Tabari carpets of the early Islamic centuries. The last theory in this regard introduces the origin of Kelardasht carpet as a blend of different cultures of the western regions of Iran brought to Kelardasht through the immigrants. Accordingly, this research is conducted to examine the mentioned theories and to question how much the designs, motifs and colors in Kelardasht carpet match with the Senneh Kurdish carpet? Adopting a comparative and analytical-descriptive methodology, the present article seeks to answer the abovementioned question on the basis of field study in Kelardasht carpet, and to make a comparison of which with the original samples of the Senneh carpet on the basis of library sources. The purpose of this study is to compare the design and structure of Kelardasht carpet with Senneh carpet. The study shows that the general structure and design of Kelardasht carpets are similar to those of the Senneh carpets. Incidentally, some of the designs of Kelardasht and Senneh carpets are similar to each other as well. These two carpets have significant similarities in terms of number of margins, symmetrical structure, arrangement of motifs and number of colors used on the main surface and margins.

Tabriz, one of the most important cities in production and export of carpets in Iran, which is developed in the diversity of designs and colors based on the market demands, has been a leader in the carpet manufacturing centers in Iran. Factors such as geographical location, historical experiences and connoisseur human resources, underlie Tabriz’s position as the most innovative and influential platform in the visual components of Tabriz’s carpets. In recent decades Variation in design and painting of patterns and motives of carpet designs is the main aspects of Tabriz's carpets. This extensive innovations in the design and coloring of Tabriz contemporary carpet designs have led to the formation of wide criticism in describing of Tabriz contemporaneous carpets.  The main issue of this research is the critical description from design and coloring status of Tabriz contemporary carpets in researches of related scholars. The purpose of the research is to identify and evaluate the status of designing and coloring of Tabriz contemporary carpets in order to measure of the scientific validity of the views and criticisms raised about the deviation of Tabriz carpets from the traditional foundation of Iranian carpet designs. For this aim, 100 samples of woven carpets of Tabriz in the last four decades were selected by random sampling among 300 carpets and were studied in accordance with the research objects. The surviving of qualitative and quantitative data revealed a wide deviation in the visual components of Tabriz contemporary carpets. The results showed that in recent decades, on one hand, the expanding changes have occurred in Tabriz contemporary carpet designs in conflict with the well-known principles of Iranian carpet. Some of the most important alteration components in Tabriz contemporary carpets are, disarraying in composition and coordination of design and structure of carpet borders, utilization of equivalent mono-color tonality in design contexts, miss clarity in decorative motives, neglect to mirroring of motives, utilization of colored tonalities in context instead of decoration. On the other hand, extensive variety in traditional and original designing structures of Tabriz carpets is going to be bounded to just medallion structure in contemporary carpets. The results show the process of these alterations is ascending. Regarding these results, it can be found that continuing this trend will cause a cultural and traditional breakdown in Tabriz’s ongoing carpets. Overall it can be said that realism in the designing and coloring of motifs in various forms is emerging phenomena in Tabriz carpet designs that have caused disarray in style and identity of Tabriz contemporary carpets. This study is applied research, which uses both qualitative and quantitative methods for specifying and analyzing data.

The Iranian carpets, relative to clime and culture of the productive societies, have accepted various visual and technical characters. Scientific and Methodological study of this character and their formative principles is one of the permanent debates among researchers. The main issue of this research is to consider the diversity and individuality of research and analyze methods in carpet studies. This pluralism has caused some problems such as evaluation and confirmation of research data. According to capability of stylistic knowledge at study and typology of art species, researchers continually have asserted the necessity of stylistic knowledge’s utilization for carpet studying’s. The first aim of the study is terminological redefinition of stylistic knowledge’s concepts related to handmade carpet characters and the second aim is offering a scientific methodology to stylistic researches on carpet designs and motifs. By paying attention that recognition of stylistic elements and their evolution are the main axis of stylistic studies, the questions of this research are concentrated on, 1-recognition of specific concepts of stylistic keywords in carpetology, 2-the process of methodological research on carpet designs and motifs from a stylistic point of view, 3-recognition of affective factors in evaluation of carpet designing styles. Results have shown, specific concepts and terminology of stylistic knowledge have the capability of adapting with different aspects of carpet designs and motifs. Thus the methodology of stylistic knowledge and its various approaches can be used for stylistic designinng of carpets or recognition of affective factors in the appearance or the decadence of various designing styles. This study is done using of library sources and field experiences and methodologically it has used descriptive - analytical method.