جستجوی مقالات مرتبط با کلیدواژه « پارچه بافی » در نشریات گروه « هنر و معماری »

The first archaeological evidence of Iranian textiles dates back to the fifth millennium BC. In the Safavid period, Iranian textile weaving, like other branches of art, was influenced by the policies of the rulers of that period. One of the most important artistic characteristics of this period is the formation of art centers under the patronage of the court and the close connection between art disciplines, especially textile weaving and painting. In this research, using the comparative and analytical method, referring to the library and visual sources, the fabrics of the Safavid and Qajar periods are examined. Covering was one of the most basic human needs that the first humans, covered themselves with the leaves of plants, and little by little, in different eras, this type of cover improved in such a way that meeting its need became one of the most fundamental concerns of humans and governments and the type of cover, sex Fabrics, and motifs sometimes represented the social class of people and distinguished the rich from the poor. During the Safavid period, which had a stable government, and during the time of Shah Abbas II in Isfahan, a special way of weaving cloth was created in terms of the way of weaving and the use of motifs, and it caused the “golden age of weaving” of Iran to be registered. During the Qajar period, many traditions and customs of the Iranians in the Safavid era still existed. The motifs used in the fabrics of these two periods can be classified into the human, animal, plant, and geometric motifs. The results of this research show that the human figure was used more in the Safavid period, just like the geometric motifs in the Qajar period, sometimes they both use the figure of an angel, but sometimes Western figures adorn their fabrics. The fabric material is very similar in the two periods. Safavid silk textiles were world-famous; As the Qajar penman was unique.

Pottery and textile weaving were two art media during the Seljuk and Ilkhanid periods, which one or sometimes both were considered important according to circumstances. Numerous studies have been carried out on pottery and weaving in the Seljuk period, and in some cases the evidence left over from that time has been reviewed in a comparative method to determine to some extent how these works were influenced by other fields. In some cases, evidence suggests that artists modeled on designs used in other industries, and they embellished their work on this basis. The present study has been done by using a comparative-historical methodology and the information gathered from library sources and by referring to related data, as well as a visual study of the Seljuk pottery and a sample of brocade textile from the Ilkhanid period preserved in the David Collection, Denmark. This textile is similar in terms of form, pattern, color and geometric divisions to the mina’i ware and luster-glazed bowls produced in Kashan. This study examines such interactions by thoroughly examining the patterns and similarities of the mentioned textile sample and pottery of the Seljuk period. It is to answer the following question: Which of the arts of pottery and weaving has had more influence on the other?
There are some examples regarding the effect of textile patterns on pottery, especially in the early Islamic period, but in later centuries, pottery reached such a great place and independence that affected textiles; and its patterns and structure inspired the art of weaving. The results of this study show that with regard to the color of the Ilkhanid textile, the weaver had used gold and silver threads, i.e. brocade, to perform and manifest the beauty of luster-glazed pottery on the fabric. In observing the geometric divisions and in the general composition of the designs, the work has also been executed like pottery. It seems that the form and structure of this textile, which is circular, is taken from that of pottery medium. Using circular composition and concentric circles, as well as emphasizing on the middle section, which according to the type of the characterization and other elements of the work represents the narrative state of a particular subject, this work sounds fairly similar to the mina’i and luster-glazed ceramic plates once created by the Seljuk artisans.   
Inscriptions of invocation and those of good wishes were used in that time on ceramic ware, and in this piece of textile such inscriptions are used on the last outward section of the work. Furthermore, the presence of mythical animals such as sphinxes among other creatures and the lush nature with fish ponds are elements often depicted in the Seljuk pottery. The assertion of such influence from pottery ware is not accidental and it seems that Seljuk pottery had been a good source of inspiration for this textile.
On the whole, the general composition and use of usual patterns in luster-glazed and mina’i pottery has caused a successful adaptation in the design of the mentioned textile. Other examples of this field are less considered by researchers and should be further studied.

Safavid dynasty is one of the most important eras in history of Iran, because a powerful and central government ruled all of the country. Fabric weaving was flourished at this time and luxury fabrics were produced and used for apparel of kings, nobles and princes. In Safavid era, fabric weaving, such as other arts branches was affected by policy of the kings. Evolution in textile industry in this time had a strong relationship with court’s patron. Also fabrics were valuable commodities for export to abroad and increased government income. On the other hand, sumptuous fabrics had been used as gifts for foreign ambassadors and European kings. In this research paper the main questions are: How did Safavid rulers support fabric weaving? How did textile change in this era? And what were the main fabric designs? This research is based on the historical method. According to the library resources and documents the descriptive and comparative analysis were used.Results show that people life was affected by Safavid kings. Craftsmen and weavers were under court’s patron. Therefore, the fabrics that had been produced at this time are among the most beautiful textiles in Iranian history. Varieties of colored fabrics indicates that the art of designing and fabric weaving were on high techniques. The main reason for this situation was availability of suitable conditions for handicraftsmen. Kings, princes and other people in court liked to wear expensive and beautiful clothes, therefore in the textile workshops many types of fabrics had been produced to meet thier demands. Also a part of these textiles were exported to abroad. In Isfahan; painters, architectures, calligraphers, and weavers worked together in the workshops and helped to closeness of arts branches. Some of the painters were the weavers of the luxury fabrics designed by themselves. Therefore, excellent fabrics were produced and admired by the people around the world. One of the most important Safavid’s artistic specifications was foundation of art schools under supervision of imperial court that resulted to begin a close relationship between fabric weaving and painting. Two distinguish durations can be counted for textiles in safavid era. First; under influence of Bihzad, the great painter of the court, the Tabriz painting school was established and influenced fabric designing. The specicitions of Tabriz school are: designing narrow trees such as cypress, serrated leaves, detailed background full of flowers and botanical motifs, and realistic designs. All of these aspects can be seen in the textiles produced at this time as well. One of the famous artists of this style is “Ghias e din Ali Naqush band”. He was a painter and weaver and many artists followed his style and produced magnificent fabrics.The second school was established by Reza Abbasi, a famous painter of Isfahan school. His style was used in velvet weaving. The main aspects of this style are: people were designed with Iranian faces rather than Moguls, the main motif was big and the background decorated with smaller motifs. Many artists follow his style in painting and weaving as well. One of the most important specification of Safavid fabric weaving was co-operation between painters and weavers in Isfahan. In fact many weavers were woven their designed fabrics and some woven the paintings of that time. At the end of Safavid dynasty, a new decorative style was introduced by Ali Ashraf, a famous painter. In his style depiction of human body and face were changed. The rose followers with birds were used for decoration and lily and poppy flowers in rows placed next to each other in fabric design. Actually, the beautiful and magnificent textiles as apparel for human in the paintings shows the development of textile techniques at this time. Safavid fabrics according to designs can be categorized as follows:- Human picture: attention to the human is one the main specification of Safavid paintings that depicted in the textiles as well. Weavers according to their tastes or necessity of the designing, had used human in the textiles. Sometimes one person as single decorative design, were used and sometimes people are shown in a ceremony or hunting senses.- Calligraphy: decoration of silk and brocade fabrics by writing with Naskh or Nastalig was a very common style in Safavid era. This type of decoration were always used for grave cover or draping in holy places. The motifs were designed symmetrically.- Geometrical design: This type were used for showing repeat of a motifs. Geometry designs, flowers and other shapes were used in embroideries at this time.-Animals: The animal pictures such as sparrow, parrot, peacock, duck, and goose can be seen in safavid fabrics.- Botanical: people liked followers and gardens, so the botanical designs were very popular at this time.

The art and technology of Bronze Age and third Millennium BC in which urban communities grew and intercultural communications increased in West Asia is of special importance in the history of mankind. Cloth-weaving is one of the arts which emerged in such time especially in a number of lands like Anatolia, Egypt, Mesopotamia and Iran, and provided the ground for transactions and cultural relations. In such era, textile is of both ordinary and ritual usages. Accordingly, this paper aims to study comparatively the warp-weft looms of such regions in this period, and especially Shahr-e Sūkhte (The Burnt City) as the case study. For this purpose, by collecting documentary data from libraries and museums, the paper studies descriptively-analytically the origin, types and methods of cloth weaving (textile) in Shahr-e Sūkhte. This paper is of fundamental researches type in terms of goal and of historical ones with respect to methodology. The present paper seeks to find answers to these questions: what warp-weft looms were commonly used in such regions in third Millennium BC? which weaving looms were used by the residents of Shahr-e Sūkhte?The results of this study show that the use of three kinds of loom including horizontal ground looms, vertical looms and warp-weighted looms were common in the ancient sites of the third Millennium BC. The design of different complicated textiles found in Shahr-e Sūkhte along with round discs used as textile weights as well as the discovery of the samples showing the application of tablet weaving in decorated end warps of fabrics all are the evidence of using warp-weighted looms in Shahr-e Sūkhte.