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مرکز اطلاعات علمی SID1
اسکوپوس
دانشگاه غیر انتفاعی مهر اروند
ریسرچگیت
strs
Author(s): 

ALI MORADI M. | ASHOURI M.T.

Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2007
  • Volume: 

    -
  • Issue: 

    6-7
  • Pages: 

    11-21
Measures: 
  • Citations: 

    0
  • Views: 

    60047
  • Downloads: 

    28126
Abstract: 

BAKHTIARI CARPET has been less studied and introduced in art studies. Compared with other CARPETs, its rich designs and forms are overlooked by researchers. In this study an attempt is made to investigate the value and significance of trees in BAKHTIARI CARPETs, with emphasis on variety of its designs and forms.

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Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2016
  • Volume: 

    -
  • Issue: 

    29
  • Pages: 

    45-62
Measures: 
  • Citations: 

    0
  • Views: 

    1747
  • Downloads: 

    1148
Abstract: 

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.In this article, by study these two types of CARPET, we try to show the relationship between French CARPET stencils and the Gublan period CARPET in Kerman and by comparing the resemblances and differences to show: How much the Kerman CARPET has been influenced by the French CARPET, whether the designers copied the designs or incorporated them.To achieve a precise and accurate result,56 samples of Gublan Period CARPET in Kerman were collected by field study. Also 70 samples of French CARPETs were photographed by library method. By comparing these designs through descriptive, analytical and comparative methods, their different and common aspects were surveyed and specified that no copy has been done and at the Gublan period, the Kerman designers have been influenced by French CARPET design. In some cases adaptations used, have resulted to innovation of new designs.With regard to the similarities between the composition and structure of these two types of CARPET, in spite of French CARPET, the colour used in Kerman CARPETs are bright and opaque.Though the basis of French CARPET design has been originated from the East, but in comparison to Kerman CARPET, less porportions have been observed.

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Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2013
  • Volume: 

    8
  • Issue: 

    26
  • Pages: 

    50-59
Measures: 
  • Citations: 

    0
  • Views: 

    1189
  • Downloads: 

    515
Abstract: 

Accessing the uses of color in CARPET enables us to open a window into the designers’ viewpoints and the way they treated colors in CARPETs. In analyzing CARPETs, apart from the practical aspects, color and the way it is used is underlined in the aesthetics of CARPET. The purpose of this research is to offer a way to measure the color proportion by considering the effect of light colors on audience’s perception of color in the CARPET. The research was conducted by experimental method and by taking into account the properties of color scattering in CARPET, resulted from the scattering of scheme and presence of a dominant color in the background, which also relies on Agden Nicholas Rod and FransGerritsen’s color theory. This paper by introducing hypothesis of height of colors in CARPETs, through three case studies of CARPETs from the Safavidera, and by using Image J color analysis software, during two tests of Pure Color Measurement and color value assessment, develops color analysis. The paper seeks to answer the question as to whether or not the use of color in the CARPETs complies with any rules. It indicates that the colors in CARPETs are used as interlocking layers which only through analysis become recognizable and increase the illusion of convexity. Hence the results show that one of the most important phenomena in taking on CARPET colors is the phenomenon known as virtual color height which can be achieved by forming the contrast of saturation in the margins to create a kind of virtual depth obtained by increasing color distances and eliminating simultaneous contrast. Using this method can help the CARPET designers with picking the right colors and add to the richness of Persian CARPET colors.

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گارگاه ها آموزشی
Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2007
  • Volume: 

    -
  • Issue: 

    8
  • Pages: 

    107-124
Measures: 
  • Citations: 

    4
  • Views: 

    2598
  • Downloads: 

    127
Abstract: 

Iranian CARPET has an allegorical and symbolic sense of heaven and heaven-like gardens which is similar to the descriptions in the Holy Qoran, yet the existing plans and sketches in heaven-like CARPETs are proportionate to Iranian garden's design and architecture (especially the Char-Bagh) in the way that it draws an everlasting picture of infinite world and heaven gardens in this world. In Islamic culture the growing path of human is from CARPET to the empyrean, human beings come to the world on the CARPET and fly to the empyrean and in its highest levels they lean on the best CARPETs made of silk in the heaven. Based on this research, it has been shown that an allegorical concept of heaven and its gardens in Iranian CARPET can be found completely, which are full of Islamic gardens showing the high potentials of Iranian CARPET designers in drawing and designing heaven's spiritual concepts to weave the strings in a way that they deserve the holy concepts and remind us the everlasting heavens which ties us up to the infinite existence of it.

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Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2010
  • Volume: 

    -
  • Issue: 

    15
  • Pages: 

    81-101
Measures: 
  • Citations: 

    1
  • Views: 

    1341
  • Downloads: 

    128
Abstract: 

Symmetric and asymmetric knots, as two original knots, possess different physical and mechanical properties that influence the function of a CARPET. Jufti and U knots give different properties to the CARPET compared to the original ones. If they were used to produce specific properties, they would enhance the CARPET-s quality. However, nowadays their applications are considered as methods that diminishes the quality of CARPETs. As these properties have significant influence on the CARPETs, some attention is paid to them in different papers and textbooks. CARPET samples are woven with each knot type and identical materials by a weaver. Then the effect of various kinds of knots measured on the CARPET length, CARPET thickness and pile height. Samples are woven in two different methods. The first one is a method in which the number of beating the comb is controlled; i.e., after each row of knots only and exactly two comb beats are applied to the row of knots. In the second method, the dimensions of samples were controlled and it is tried to weave the CARPET with the dimensions designed; i.e., the number of times the comb is beating down the row of knots varies according to the weaving progress. In jufti and U knot samples, the number of beating times inevitably reduced to one, while in symmetric and asymmetric samples it increased to five to six times to obtain the designed dimensions. Results show that symmetric and asymmetric knots lead to an increase in the CARPET length, whereas the other two knot types end in a decrease in the CARPET length. To reach the designed length it is necessary to change the number of beating or to use different materials with suitable yam counts. The thickness of the foundation of CARPET is also influenced by the knot type; i.e., if the number of comb beating increases the foundation thickness increases as well, but if the number of comb beating remains constant there will be identical foundation thickness in CARPETs woven with different types of knots.

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Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2010
  • Volume: 

    -
  • Issue: 

    16
  • Pages: 

    57-73
Measures: 
  • Citations: 

    0
  • Views: 

    891
  • Downloads: 

    128
Abstract: 

In this paper, the specimens woven by the same weaver with identical materials but with four different types of knots, i.e., symmetrical, asymmetrical, jufti and U knots, which their details are given in a previous paper by these authors, are used. The effect of these knots on such physical properties as width of the weave, length of the motifs, length of yarn in a knot and the CARPET weight are measured. The woven samples are produced in two different methods. Resulrs show that the width of jufti and U knot samples were reduced after cutting off the loom, while the change in the width of the other two is little. The change in the length of motifs depends on the change in the CARPET length, i.e., in samples with change in CARPET length, the motifs length change as well and in cases that there are little change or no change in the CARPET length, accordingly no change or little change is observed in the motifs. In the meantime, by subjective investigation of shapes of motifs in the four different knots, the change in their details and the sharpness of the lines and curves in them are studied. The results of computation of the ratio of the wool yarn to cotton yarn demonstrates that in symmetric and asymmetric samples more than two third of the CARPET weight is built up by wool yarns, so that it is predicted that they have better mechanical function compared with other knots. Jufti sample has the lowest ratio of wool to cotton yarn, so it would show the worst mechanical performance.

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strs
Author(s): 

AZIZI HASSAN | NAVAIE MAHNAZ

Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2008
  • Volume: 

    -
  • Issue: 

    11
  • Pages: 

    75-94
Measures: 
  • Citations: 

    0
  • Views: 

    1374
  • Downloads: 

    832
Abstract: 

Motifs pass through the mental filters of different people. The time and mind canals govern key roles in forming the designs. Most of the CARPETs’ designs and motifs are the products of the cultural exchanges among different nations and races. Cultural and social products such as stories, dialects, traditions, customs etc. are exchanged among different nations and races, meanwhile get local characteristics; motifs are also not apart from this formula. They are also modified and changed in the process of movement from one location to another one. Each motif can be considered as the offspring of the social needs of its community in a certain period of time. The cursive designs of Heris also follow such formula. The organic and urban designs (i.e. Shah Abbassi medallion design) have been changed into a geometrical design by the CARPET weavers and consequently innovative visual models have been introduced to visual culture of the CARPETs as the result of gradual mental-oriented changes and modification of those designs. The relationship between some motifs in Heris CARPETs such as: “Gobak”, “Lalak”, “Toosbagha” etc. and mythological elements is significant. The mental-oriented weavers of this field have created a collection of new motifs by utilizing simile and abstraction.

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Author(s): 

GERIVANI N. | ASHOURI M.T.

Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2007
  • Volume: 

    -
  • Issue: 

    6-7
  • Pages: 

    125-142
Measures: 
  • Citations: 

    0
  • Views: 

    84429
  • Downloads: 

    29822
Abstract: 

CARPET experts consider nobility of a Qashqai rug in properties like use of suitable wool tiber, herbaceous dyeing, mental designing and bald painting. These principles were used in a variety of samples of Qashai tribe's hand-woven CARPETs. On the other hand, production system in that period was based on the use of existing sources and facilities and motivated by providing financial support for the family. In this traditional period, production did not have commercial and public uses. CARPET ownership was limited to well to do families and was basically used as gift and present. However, in an industrial society several aspects of tribe life were influenced by the technological developments. The impact brought some limitations and obligations. Factors such as territorial reforms and trainings of different types changed CARPET weaving and production. With the arrival of ready made factory hanks and chemical dyes quality of Qashqai products was threatened and CARPETs were massively produced. Merchants, dealers and intermediates' played an important role in marketing the products. Different tribes and families produced their own CARPETs and a variety of designs and forms emerged. All in all, industrialization did not add to the nobility of the product in this period. Some products, however, were exceptional and represented the true value of Qashqai CARPET. They made best use of the new possibilities provided by technology and industry to produce the best quality CARPETs, relying on the traditional elements of Qashqai CARPET at the same time, incorporating some innovative elements. This opened new horizons for the CARPET weavers.

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Issue Info: 
  • Year: 

    2021
  • Volume: 

    3
  • Issue: 

    2 (5)
  • Pages: 

    39-52
Measures: 
  • Citations: 

    0
  • Views: 

    137
  • Downloads: 

    138
Abstract: 

Hodud al-Ā lam (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-Ā lam. 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 analyticaldescriptive 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.

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Author(s): 

KAMANDLOU HOSSEIN

Journal: 

Issue Info: 
  • Year: 

    2016
  • Volume: 

    8
  • Issue: 

    29
  • Pages: 

    127-147
Measures: 
  • Citations: 

    0
  • Views: 

    1099
  • Downloads: 

    605
Abstract: 

During Qajar rule in Iran and due to the lack of foreign competitor and holding exhibitions in western countries, some arts such as CARPET weaving were flourished. Iranian especially Tabrizi merchants had established CARPET weaving workshops in most part of Iran such as Mashhad, it had to be mentioned that in addition to available sources, some CARPETs in Astan Qods CARPET Museum are very useful for better understanding of the methods of Mashhad CARPET weaving. The most important questions are that when had the art-industry of CARPET weaving flourish in Mashhad? and according to available CARPETs in Astan Qods CARPET Museum what are the characteristics of Mashhad CARPETs during Qajar era? The aim of this research is the better identification of Mashhad CARPET in Qajar era. Characteristics of weave, design and color arrangement will study in this research.

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