A StylisticAnalysis of the Bordersof Iranian Rugs in the 16thAD Century Based on Rug Weaving Centers

Document Type : Research Article

Authors

1 Ph.D. Student, Departmant of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran.

2 Full Professor, Departmant of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran.

3 Full Professor , Departmant of Research of Art, Faculty of Art, Alzahra University, Tehran, Iran.

Abstract

Problem statement: The border of a rug asa frame of decorative systemsisindependent of its context and is a result of repeating a set of motifs with considerable visual capacities. The stable presence of borders with distinctive features in Safavid rugs can indicate the styles which define the context of each region’s productions. Therefore, the differences of borders in any of the weaving regions can be considered as the product identifier. In this regard, two questions have been answered; What styles do the decorative elements of 10th-century rugs represent in productions of different regions? How doesthe cultural-artistic situation of the weaving areas relate to the dominant styles on the borders of the rugs?
Research objective:This study attempts to fill the gap onthe classification of rugs based on their borders. The main purpose of this study is to present the stylistic analysisof the rugs in the 10thAHcentury based on the borders’ differences to present the patterns of the original borderof each region to contemporary designers,who deal with regional rug designs.
Research method:This is qualitative research using structural content analysis based on library and Internet data. Fifty-seven Safavid rugs belonging to the 10th century (the period of Shah Ismail and Shah Tahmasb kingdoms) were selected from documentary sources in a purposeful and non-random manner. Based on the most frequent linear structures extracted from the borders (thirty-eight samples), the styles in association with them were defined.
Conclusion: By analyzing the visual systems governing the borders of the rugs, the dominant styles were introduced based on the dominant motifs (floral arabesque, cloudband arabesque, and animal fights) and dominant composition Ghalamdani, Pictorial,and Mayegan Herati). The continuity of a decorative motif or structure with various forms in the productions of different regions reinforced the idea that visual systems are identifiers influenced by the cultural backgrounds (religion, politics, and art) of the regions in which the art product has been developed.

Keywords


Ahmadi Payam, R., Afzaltousi, E. & Keshavarzafshar, M. (2020). Ways of using borders in Iranian carpets (piled and flatwoven) until the beginning of Islam. Goljaam, 16(37), 109-124.
Azhand, Y. (2015). Haft Asl-e Tazeini-ye Honar-e Iran [Seven Decorative Principles of Iranian Art]. Tehran: Peykareh.
Alexander, V. D. (2011). Sociology of the Arts (A. Ravadrad, Trans.). Tehran: Tehran University.
Allahverdian Tousi, H. (1992 ). Safar be Khorasan [Journey to Khorasan]. Mashhad: Ketab-kadeh.
Baba-Safari, A. A. (1991). Ardabil Dar Gozargah-e Tarikh [Ardabil through history]. Ardabil: Islamic Azad University, Ardabil Branch.
Bassam, J., Farjoo, M. H. & Zorieh Zahra, A. A. (2004). The Dream of Paradise. V. 1. Tehran: Etteka.
Bennett, I. (2004). Rugs & Carpets of the World. London: Greenwich.
Black, D. (2015). The Atlas of Rugs and Carpets (N. Daryaie, Trans.). Tehran: Iranian Institute for Encyclopedia Research.
Daneshgar, A. (1993). The unabridged Persian carpet Dictionary. Tehran: Dey.
Daryaie, N. (2007). Zibayi-Shenasi dar Farsh-e Dast-Baf-e Iran [The Aesthetic Principles of the Iran Handmade Carpet]. Tehran: Iran National Carpet Center.
Dimand, M. S. (1986). A handbook of Muhammadan art (A. Feriar, Trans.).Tehran: Elmi va Farhangi.
Duvignaud, J. (2000). ‎The Sociology of art (M. Sahabi, Trans.). Tehran: Markaz.
Edwards, A. C. (1989). The Persian Carpet (M. Saba, Trans.). Tehran: Farhangsara.
Flick, U. (2009). An Introduction to Qualitative Research (H. Jalili, Trans.). Tehran: Ney.
Gell, A. (2011). Art and Agency (A. Sabouri, Trans.). Tehran: Farhangestan Honar.
Hesami, V. & Hajizadeh, M. A. (2020). Investigating the Types of the Borders in Safavid Carpets. Rajshomar, (1), 81-96.
Kiani, M. Y. & Afshar, I. (1981 ). Hokm shah-tahmaseb safavi baraye paziraei homayoun-shah [shah tahmasb safavid commandment to reception homayoun shah]. Ayandeh, (11&12), 815-823. 
Koechlin, R. & Migeon, G. (1987). Cent Planches en Couleur de l’Art Musulman [One Hundred Color Plates of Muslim Art]. Paris: Editions Albert Levy.
Monshi Ghomi, Gh. M. A. (1973). Golestan-e Honar [Art Rosery]. Tehran: Iranian Culture Foundation.
Najm Al-Dini, Gh. A. (2006). Kerman Az Mashroutiat ta Soghout-e Gajar  [Kerman from constitutionalism to the Qajar fall]. Ghom: Hassanain.
Pakbaz, R. (2002). Encyclopedia of Art. Tehran: Farhang-e Moaser.
Parham, S. (1985). Farsh va Farsh-Bafi dar Iran [Carpets and carpet weaving in Iran]. V. 1. Tehran: Amirkabir.
Parham, C. (2020). Carpet and Carpet Weaving in Iran. Tehran: The Center for the Great Islamic Encyclopedia.
Pope, A. U. & Akerman, F. (2008). A Survey of Persian Art. V. 6 &11. Tehran: Elmi va Farhangi.
Rahbarnia, Z. & Poryazdanpanah, B. (2010). An analysis of pattern and border frame in Afsharcarpets with Georg simmels approach &reflection theory. Goljaam, (15), 103-126.
Ranjbar, H., Haghdoost, A. A., Salsali M., Khoshdel, A., Soleimani, M. & Bahrami, N. (2012). Sampling in qualitative research. Journal of Medical Sciences university of Army of iran, (3), 238-250.
Rashadi, H. & Marasi, M. (2011). A study on the status of borders in pictorial carpets of Qajar era. Goljaam, (20), 57-72
Ravandi, M. (2008). Social History of Iran. V. 5. Tehran: Neghah.
Safavi, S. M. (2009). Tohfeh-ye Sami [Sami gift] (A. Modaghegh Yazdi, Ed.). Tehran.
Sour-e-Esrafil, Sh. (2016). Carpets, the Unknown Identity. Tehran: Farhangsaray Mirdashti.
Yar-Shater, E. (2005). Tarikh va Hounar Farsh-bafi-ye Iran Bar Asas-e Dayerat-Al-Ma’aref-e Iranica [History and Art of Iranian Carpet Weaving Based on Iranica Encyclopedia] ) R. lali Khamseh, Trans.). Tehran: Niloufar.