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The image of a woman as a human motif is one of the common motifs in nomadic carpets, which has been woven in various formats and structures, in different regions of Iran, and it definitely has also a symbolic and special meaning. The motif of "nine women" is among the motifs in which the image of the woman is woven. This research tries to address three sample carpets from three different clans. Researchers are looking for the type of woman illustration in this category of Persian hand-woven carpet, and its relationship with the appearance and social image of nomadic women. In fact, the type of clothing and adorn are studying in this research, as one of the social norms for women. The main purpose of this research is to assess the relations
The image of a woman as a human figure is one of the common motifs in nomadic carpets that are woven in different shapes and structures in different parts of the country and certainly has a symbolic and special meaning. The role of "nine women" is one of the designs in which the image of a woman is woven. In this research, carpets from three different tribes are examined. Researchers are looking for the type of female illustration in this category of Iranian handmade carpets and the relationship between this type of illustration and the appearance and social form of nomadic women. In fact, the type of clothing and makeup as one of the social norms for women in this study is examined. The main question of this research is as follows: to what
The advent of digital implements and techniques in the modern world, has changed the quality of the human life and also has influenced the traditional art of the nations. The traditional design as the most important step which the artistic creation take place in, has been affected by these evolutions and specially the arts like carpet are being influenced the most. Due to the two decades passing from entrance and stabilization of digital implements and techniques in Iran carpet design, it is indispensable to study their impacts in order to identify the threats and opportunities of these new tools in traditional art. On the other hand, artists and experts of this scope are the most competent references to evaluate the quality of these impact
Iran is an ancient country with very rich culture, art, and history. People who reside there have different cultures and religions. One of the most important and classical art in Iran is carpet which dates return to many years ago. This art has an appropriate background to presents images and symbols that show beliefs, traditions, social changes, religious thought and etc. By various images and patterns on Persian rug, it is a proper commodity for presentation and communication with individuals and societies that are different with each other in the eyes of religion and culture.The rug that Naser al-Din Shah donated his Jewish doctor, Nur Mohammad, is one of these rugs which has religious images and symbols. Nur Mohammad was Jewish doctor o
The 1950s is noteworthy both in terms of theatre-related developments and the history of theatre posters in Iran. During this period, the theatre acquired a socio-political feature and found a greater audience. Tabriz was one of the principal centers of theatre in these ages. This period was also a starting point for designing theatre posters. The purpose of this paper is to analyze the semiology of the communicational and promotional functions of theatre posters in this decade. The main issue here is figuring out a significant relationship between the content of plays and the form of 1950s posters in Iran in terms of communicational and promotional functions. The research method is descriptive-analytical and historical. The data are brough
Happiness is a key world in FARABI’S politics and social thought and generally in peripatetic philosophers. From one hand, he thought that the goal of society and politics are happiness. In his view this goal only in utopia is achievable. Further more he believed that the goal of art is taking people to happiness. The question of this paper is relationship between art and society in FARABI’S view. In other world the goal of this paper is study the social and political role of art. The method of this research is fundamental, analytical descriptive.The method of gathering data is from books, articles and interview. Results show that FARABI spoke about happiness in society, happiness in other world and happiness in knowledge. THE SECOND TE
Despite the fact that many branches of art and craft were affected by the ideas of Western modernity in the Qajar era including painting, architecture, poetry, literature and handicrafts, carpet-weaving art preserved its cultural traditions and mainly represented its traditional motifs and designs. The present paper aims to study the economics and the situation of carpet-weaving in the Qajar era, to understand how production relationships and the presence of foreign companies affected the development of the traditional carpet weaving of Qajar era, and also to know what the role of consumer markets of the West was in the preservation of traditional design and motifs of carpets in this epoch. This research is a historical-descriptive-analytic
Abu Nasr AL FARABI and Abu Hammed AL GHAZZALI are the famous characters in Islamic Philosophy and Islamic world. Most of their opinion is different. AL FARABI is the founder of Islamic Philosophy and he is a peripatetic philosopher. He is called The Second Teacher (after Aristotle who was The First Teacher). But Abu hammed Al GHAZZALI is a theologian with Sufi attitude and also he criticized peripatetic philosophy. Some people think that after him, Islamic philosophy is finished. So the comparative study of them is important. The problem of this paper is to understand The Essence and The Goal of Art in Abu Nasr ALFARABI and Abu Hammed AL GHAZZALI. The subject of “The Essence and The Goal of Art”(Art in modern meaning) was not directly o
Regardless of its architectural features, garden is one of the key concepts in Persian art history from the ancient times to the Islamic period with a significant role in different arts, especially in architecture, from conceptual, formal and also contents-based points of view.
A comparative Analysis of Sociological Situation and Cinematic Representation in Iranian Movies from the 80s: A Case Study of Deep BreathMaryam Sadat Naghibi Esfahani, Hasan Ali Pourmand, Mahdi Keshavarz AfsharMA student, Tarbiat Modares University, Tehran, maryamsnaghibi@gmail.comAssistant Professor, Tarbiat Modares University, Tehran, hapourmand@modares.ac.irAssistant Professor, Tarbiat Modares University, Tehran, m.afshar@modares.ac.irThe area of media and film is popular and related to institutions and discourses of the era. Showing the image of the society in a film has different reasons and purposes: sometimes to proselyte and sometimes to show the social reality. This paper examines the social conditions of late 1370s and the cinemat
The French elements and motifs have been entered to Iran art through building moldings. Meanwhile, importing postcards and chocolate boxes having European stencils, have had important role at stencils of carpet. At the period of Gublan in Kerman province, by the request of America for using French Golfrang and Gublan, the structure and elements of Kerman carpet was influenced by Aubusson and Savonery carpets.
A new trend of weaving pictures in Qajar era is considered to be a revolution in the art of carpet-weaving whether from viewpoint of form or concept. These pictorial rugs were intended to be spread on the floor no more, but they were woven for visual satisfaction, exactly as pictures. These pictures are like an encyclopedia of the cultural life of that era, which covers beliefs, culture and life of the people and can be employed for discovering unknown aspects of their culture and outlook. This paper has amid to understand and find the meaning of one of these rugs, namely" Mary and Jesus Christ" by analyzing it using Erwin Panofskychr ('39') s iconographic method for finding different meaning layers. The paper concludes that the above-menti
A new trend of weaving pictures in Qajar era is considered to be a revolution in the art of carpet-weaving whether from viewpoint of form or concept. These pictorial rugs were intended to be spread on the floor no more, but they were woven for visual satisfaction, exactly as pictures. These pictures are like an encyclopedia of the cultural life of that era, which covers beliefs, culture and life of the people and can be employed for discovering unknown aspects of their culture and outlook. This paper has amid to understand and find the meaning of one of these rugs, namely" Mary and Jesus Christ" by analyzing it using Erwin Panofsky's iconographic method for finding different meaning layers. The paper concludes that the above-mentioned rug h
Kerman nomadic hand-woven carpets, woven without a detailed advance plan, is today one of the less discussed issues in the industry. Rafsanjan, Raviz carpet is among hundreds of nomadic carpets with significant authenticity and different motifs, including tree, mecca, flower pot, boteh, brick, medalion. The tree motif is one of the most beautiful features mainly seen in carpets woven in this area with different types the major one of which is cypress. By examining the structure, the present study aimed at identifying the major marginal and central motifs, their local name, and what changed over time? In which part of the carpets the changes can be found? To provide correct answers, the sample included 40 carpets woven based on the target mo