Yezmi Malek
Carpet Woven In Iran Crossword Clue – Carpets Patterns and colors are central to the weavers’ lives. He works instinctively, unconscious of the traditions handed down orally, and relies on his natural good taste to produce carpets of extraordinary beauty.
The colors used and the patterns woven are part of the heritage of the tribe and community. But the material is a living art, and each tapestry reflects the character of the person who made it as a convention of craft.
Carpet Woven In Iran Crossword Clue
Nomads live from day to day, their movements are governed only by the search for fresh pastures. They don’t design life and in the same way they don’t design carpets. The size of the carpet was decided arbitrarily, limited to the size of the loom that could be easily transported during migration. The pattern is woven on impulse; there is no general plan, the mat just evolves. It is finished when it has reached the maximum length that the fabric allows, or when the wool flows. As a result, the model sometimes stops quickly. Often this quirk increases the charm (and value) of the tribal carpet, although in extreme cases it can result in a curious unbalanced piece.
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The city’s weavers, on the other hand, were part of a society that included great architects and philosophers. There is nothing random about how it works. Everything is planned in advance so that, when the weaver ties the first knot, he knows exactly what the final product will be. However, as we have seen, both groups of weavers use the same techniques, understand the same color symbolism, and also share many of the same design elements.
The ancient skill of weaving carries with it all the associated symbolism and imagery, but is largely the province of Western scholars. For Persian weavers, this is the only pattern that works. If you ask about the origin of the motif, they will explain it simply, with a name like “earring” or “tree pattern” This is just a picture description and has nothing to do with the original meaning of the design.
Efforts to reveal the symbolic meaning are hampered by the lack of documentation because the history of carpet weaving is an oral tradition.
Considering the many thousands of types of carpets produced in Persia, there are surprisingly few basic pattern elements, although each motif will be interpreted in a slightly different way by each weaving tribe.
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The most common model is Herati. The basic structure of this design is still recognizable in many variations – a central rosette set in a diamond, with two smaller rosettes at the four corners and an elongated leaf with serrated edges on each side.
The motif is also called the Mari (fish) design. This could mean that the leaves actually represent the fish in style. Indeed, there is an ancient legend that says that during the full moon, the fish in the lake rise to the surface to admire their reflection – suggesting that Herati is indeed the motif of beautiful images. Whatever its origin, it often appears in carpets from all over Persia.
Another common pattern is the Persian “Gol” for “flower”, which is a stylized octagonal flower, possibly a rose, and Boteh.
It is familiar to Westerners as the basic element of the Paisley pattern. It has been variously interpreted as water drops, arranged almonds or palmetto leaves. Botheh means “leaf” motif and this adds weight to the final interpretation. Historically, palmetto leaves were dried and used as a type of paper to write prayers on, which explains why they were often included in prayer rugs and many other carpet designs. The rose is a symbol of the Persian philosophy of life – like life, the rose is beautiful but full of cuts, and if cut, it eventually withers and dies, representing the transience of life. This symbol is particularly prominent in Kashan and Tabriz carpets in Iran, Karabagh carpets in Russia and Savonneries and Aubussons in France.
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Palmette is another classic decorative design. Scientists believe that this is the opium poppy, which has been cultivated, used and abused in Persia since ancient times. For obvious reasons, it is traditionally associated with transcendental meditation and mysticism.
In Islamic culture, there is no distinction between artistic and religious life as in the West today. Carpets are, and are, aids to contemplation, although not specifically carpets, and many designs have religious significance.
The sajadah is one of the most famous designs of Islam and has an enduring popularity among all weavers, from simple nomadic tribes to the largest urban factories. It is actually a very functional item. Every Muslim must kneel five times a day to pray on the clean ground. In every Muslim country at the appointed time, the streets, shops and houses are filled with people who spread prayers in the direction of Mecca in honor of the Prophet Muhammad.
The prayer is immediately recognized by the Mihrab, or prayer arch, which is the dominant motif, reflecting the architecture of the mosque. The shape of the bow is a sign of the skill of the weaver. In tribal mats, this is represented simply: two linear columns rise from the base of the base and then taper to form a small rectangle at the top, or hang diagonally to a point. In urban carpets, the curves are often very refined, curving in elegant arabesques at the ends. In some carpets, lanterns are hung in the middle, hung with long chains, and this is also the lamp that is installed on the roof of the mosque. Prayer rugs are especially popular among the weavers of the cities of Tabriz, Kashan, Esfahan and Qum.
Reading The Pictures
Sometimes a pair of hands is woven into a design on one of the arches. Opinions on the meaning of this reason differ.
And people say that the only guidance is for the worshiper to sit on the mat. Others argue that the five fingers represent living members of the Prophet’s family – Muhammad himself, his son-in-law Ali, his daughter Fatima and his two sons Yacan and Hosein. The motif is often depicted simply as the Hand of Fatima and is believed to have talismanic and protective powers. A rake-shaped comb can also be inserted into and. This often indicates that carpets are woven for the poor but pious, as cleanliness is one of the first Muslim virtues.
Although most Persian mosques are decorated with a single mihrab, some have numbers arranged across the width. Prayer rugs of this variety are sometimes woven for family prayers and mosques and are more common in Turkey than in Iran.
However, it is clear from the smallness of the bow in many such carpets that they were not intended for ritual use; in this case the design is often purely decorative and it is intended to be displayed on the wall. A carpet with many curves is called saf.
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The mihrab is also used on larger carpets to represent the entrance to the house, and thus welcome visitors. Traditionally, Persian houses often have windows of this shape in the living room facing the garden, so the flowers on this carpet often bloom under the arch. These rugs are often hung on the wall to create an extra “window” into the garden.
There are two simple ways to determine whether a carpet design is a mihrab for prayer or secular pleasure. The first thing is that the size of the mats is always small, so that it can be easily carried by the devotees. The second clue is found in the model: if there is a bird in the design, it will be used to decorate the house; a righteous man will not bow down to a bird to boast!
Prayer rugs are popular among the weavers of Mashhad, Afghan and Balouch cities. Flower prayer style carpets are often woven in Esfahan, Qum and Tabriz.
Another popular religious design, sometimes included with prayer bows on rugs, is the Tree of Life.
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An ancient symbol common to many religions, including the Christian faith. For the Muslims, who live in the land provided with water, the Tree of Life is a symbol of Heaven: the Qur’an before the Believers lived eternally in green and leafy gardens. It is also a symbolic representation of man himself, standing upright, rooted in the earth, but growing to heaven.
In its simplest form, the tree consists of straight vertical lines representing the trunk, with a series of short horizontal lines for branches. On urban carpets, they are often drawn with precision and realistically, sometimes placed in flowing gardens and flowering plants where small animals and birds hide. The cities of Esfahan, Qum and Tabriz are famous for their living tree models.
In some mats, two trees stand side by side, with each other
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