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31EXPLAINING THE COEXISTENCE OF IRANIAN AND ISLAMIC ART ELEMENTS IN THE SAFAVID CARPETS OF THE 10TH CENTURY AH
Sonia Arzhangi arzhangisonia@gmail.com Supervisor: Dr. Mehdi Dovazdeh Emami m.12emami@aui.ac.ir Adviser professor: Dr. Iman Zakariai Kermani
i .zakariaee@aui .ac.ir Advisor: Mohammad Reza Shirvani mr.shirvani@aui.ac.ir Isfahan University of Art
Abstract: Criticism and analysis of Iranian Islamic elements of Safavid Iranian carpet in the 10th century AH. Iranian art in the West has been known and known more than anything else for several centuries. Iranian carpets played a significant motifs in the luxuries of life, and the great appeal of Islam in a region that had the Iranian racial civilization left its traces in a wide area of Iranian civilization. In the definition of Islamic art, as a part of this approach, the perspective of Islamic art is characteristic.The era we want to research goes back to the 11th and 12th centuries of AH. Researching the patterns and images of carpet art in the cultural areas of Iran before the history of Islam, the Islamic period, especially in traditional carpet art, is an inevitable necessity in order to understand more of its content. The 8th century of Hijri was the beginning of Sufism and Shiism. At the threshold of the establishment of the Safavid dynasty, these relations made the ground for its political function susceptible to the expansion of concepts such as Sufi themes. In the field of Shiism and Sufism, until the beginning of the 12th century AH, it presents a clear and realistic picture of the way of Shiite and Sufi vision.The 10th and 11th centuries of Hijri coincide with the revival of the greatness of Iranian art. The Safavid era was the beginning and a turning point in the formation of original patterns and combinations in the design of carpets and strengthened the foundations of carpet design in the following periods. It seems that the manifestation of such a thing owes to innovations and innovations that are the design and motifs of handwoven and led to the prosperity of Safavid carpets. It studies the explanation of the coexistence of the visual elements of Iranian art and Islamic art in the carpets of the Safavid era of the 10th century AH. The main goal is to identify, extract and explain signs in Safavid carpets of the 10th century AH, which represent the coexistence of Iranian and Islamic characteristics.The explanation of the characteristics of Islamic identity in the form of motifs and symbols and the interpretation of the convergence and coexistence of Iranian Islamic identity and the
recognition of Iranian and Shiite identity are emphasized on the carpets of the 10th century AH. The purpose of this is find out the characteristics symbols of Safavid carpets in 10 century.
Keyword: Iranian, Islamic, Safavid, carpet, 10 century, History
1-Introduction:
In this research, the Safavid carpet in the 10th century AH is studied and in this regard, with the definitions of Iranian art, Safavid carpet and Islamic art, and to understand the results of explaining the of elements of Iranian and Islamic art in the Safavid carpet of the 10th century AH. First of all, in the definition of Islamic art and the introduction of Islam to Iran, in this era the official religion of the country is Shia. In this course, we will discuss the summary of Safavid art. The main question is How did the Iranian carpet in the Safavid era enable the coexistence of Iranian and Islamic identity elements? How is the explanation of the characteristics of Islamic identity in the title of motifs and symbols in the Safavid carpet? In what way is it possible to interpret the convergence and coexistence of identity in the carpets of the Safavid area?
Today, any approach to aesthetics must take a close look at its historical evolution. As the articles that have been studied in the thesis, philosophical interests are related to art and aesthetic experience since the beginning of the history of Western philosophy.
The government that Shah Ismail Safavid established in the early 10th century was a theocratic and religious one based on Shiism. During the reign of Shah Ismail in Tabriz and his victories, including the Anatolian Turkmen tribes of Syria and Azerbaijan and Shah Ismail Safavid, it did not decrease until half of the Safavid era. Iran entered a new era with the formation of Shah Ismail, and that is why the Safavid era is considered an important era in the history of Iran.
In the history of Iran, whenever the Shiite religion becomes popular, it is the coexistence of Iranian and Islamic elements. In a way, the Shiite discourse and the Iranian discourse in Iranian art are not two competing discourses, but rather they were placed in the same direction and we can observe the coexistence of Islamic elements and Iranian identity. In the history of Iranian art, these are two discourses in believes that a religious person is necessarily a symbol thinker.
The same direction and in the same direction, and in the Safavid era, for example: (Hunting motifs and pre-Islamic elements depicted in an Islamic atmosphere). In fact, carpets with this structure have made Iranian and Islamic discourses a companion. In this regard, we can mention hunting motifs, traditions of the Shahnameh, mythological literature before Islam, symbols of Islamic art, traditions, lotus flower motifs, pre-Islamic Islamic motifs and post-Islamic Islamic motifs. This research, which is in the geographical area of Iran and in the time range of the Safavid era to the 10th century
of the lunar calendar, is in pursuit of scientific and research results in order to understand the aesthetic, conceptual and structural elements and the coexistence of Iranian and Islamic elements, to understand as much as possible the art and It is the culture of that era.
They consider these universal symbols to be an ancient and unknown language, the knowledge of which requires a special methodology, and with speculation, among them, theology such as Eliade. Also, despite acknowledging the existence of this symbolism, he considers it the phenomenological language of religion and The importance of this research is that business relations and international markets and earning foreign currency are the goal of establishing business relations. To improve the economy of carpet trade as a commodity without dependence on oil export, contract development and expertise and this development will become a source of economic growth and solve the country's foreign exchange needs.
The necessity of this thesis is to try to maintain the global reputation and prestige of Iran's carpets and expand its markets in other parts of the world, to defend non-oil exports, to provide real support to the economic life of carpet production and trade.Valuing the carpets of the past centuries and knowing the carpets of the Safavid Era.
In this regard, sales have been one of the sources of foreign currency income for the country since ancient times. Iranian carpet has conquered the European markets with its characteristics and originality. In this direction, the country's foreign exchange earnings, but also the lives of many rural artists will face hardships. If the Iranian carpet is flourishing in the world markets, this art originated in the past centuries of the Safavid era and owes its quality and diverse works, pleasant and stable coloring, quality of raw materials and cultural authenticity.
The main goal: to identify, extract and explain signs in the carpets of the 10th century AH of the Safavid era, which represent the coexistence of the characteristics of Iran and Islam.
Sub-goals:
1-Identifying the features of Islamic identity, mostly motifs and symbols in Safavid carpets.
2-Explaining the representation of Islamic and Shia identity in the carpets of the 10th century of the Safavid era.
3-Interpreting the convergence and coexistence of Iranian-Islamic identity in the carpets of the Safavid era with an emphasis
4-Explaining the representation of Iranian identity in the carpets of the 10th century AH Iran during the Safavid era.on the carpets of the 10th century AH.
The selection of the research topic is the valuable history of Safavid carpet art with the valuable approaches of the Islamic structural concept. Therefore, the researcher has studied a part of it in the form of research
2-Materials and methods:
Research Methods Type of research in terms of purpose: The upcoming research is in the category of basic theoretical research in terms of the purpose of conducting and reviewing and analyzing data. Safavid era carpets in which Iranian elements and emblems are combined with Islamic elements and emblems. Since it is not possible to study and access all these samples, therefore sampling is done in this research. Analysis method: In order to achieve the goals, inferential qualitative analysis method has been used. Qualitative contents have been inferred with the help of logical and rational arguments and based on historical witnesses and reference to its authentic backgrounds.
3-Result:
Application that can be the result of this research is the achievement of students, weavers, exporters, producers or those who are interested in this field, during which those who are interested in the broad concepts of this carpet and these goods not only from the practical aspect or for beauty but also for spiritual beauty. What is hidden and obvious will be known and its development will be helped, because these are the results of weaving in the ancient national cultural heritage and helping economic growth.
Reminds the world alive. Sometimes playing in the unattainable world of the world requires staying on the evolutionary path of tradition. The relationship of artists in life and society is reciprocal. The artist is changing his new perspective and path in life, and this is his activity in life. It is as if he is constantly traveling and something is his souvenir for the world. The world he created and paid for. The published artist sees and hears, understands, compares, and draws his own conclusions and corrects them.
Everything has a direction because it is alive and its direction is evolution. The meanings and concepts of this direction are alive, so it is the movement and the principled direction of art that has different periods and meanings of their intellectual structure. These can be backup images that combine with the basics.These bonds of unity are a symbol of human beings and something, acceptance of existence, enjoyment of goodness. Without this belief, the truth is undeniable. This is otherwise due to the fact that it is a phenomenon in the meaning and painting and imitation of the wider face of mental images. Photo frames have a variety. Sometimes an image sits so alone that endless forms are useful for evolution and interaction in life. Judging is part of this subscription and it starts. Every beginning is his artistic creativity. He picks up and takes whatever he wants from art. Proper vision patterns require a creative and artistic look.
Protection means image frame stability, and these precious moments are creative moments. Thus, the theory of representation becomes the basic theory in the aesthetics
and philosophy of the art of tourism. Replace words with familiar shapes. It is a kind of image that is produced in its reflection and in this sense art is defined in the form of philosophical order. Images are the makers of photo frames. Every second is a framework of life and growth. Recording is reminiscent of the art of living. When a long-term memory is fixed, several picture frames are put together to shape how concepts are created in life. There are colors that are conceivable.
The symbols and motifs of Iranian carpets all have obvious and hidden aspects and aesthetics, and behind these motifs is simply stylized power and visual beauty with concepts and meanings. This is a long tradition of weaving that has come to us to get acquainted with these concepts while enjoying the visual and artistic aesthetics of the past tradition of this art.
The importance of research is that these symbols and signs, this strength and power of these beautiful and eye-catching combinations and this immortality and longevity of motifs and traditions that have reached us so far, are Iranian characteristics that with the worldview of an Iranian artist or a people And the nation is compatible, and when we achieve its meanings, this tradition can be spread or protected more than before, and it is a source of pride for Iran and the Iranian artist, because it is a sign of a nation's vision and a source of national pride.
It is almost impossible to imagine that a country can continue its economic life without trade relations with other countries. And the country's economy will flourish as much as possible. What is certain is that in order to achieve a healthy economy without oil dependence, all possible ways to develop non-oil exports must be carefully and expertly examined, and this development will In this regard, sales have been one of the sources of foreign exchange earnings since ancient times. Meanwhile, Iran's non-oil exports have less commodity due to its quality and have a relative and sometimes absolute competitive power in world markets. For about 7 centuries, Iranian carpets have conquered European markets with their characteristics and originality, but for some time now, the prosperity and prosperity of the market has diminished.
Islamic art:
Islamic art has a characteristic. Abstract, geometric and plant forms play a motifs in Islamic art. Patterns and lines are intertwined. This beautiful combination gives birth to the Arabic script. These patterns are maps. Form and abstraction in Islamic art is an intuitive cognitive art. Unitary origin or existential origin. The art of conjectural knowledge Art is based on the meaning of conjecture. Conjecture crosses the boundaries of width and substance, so that it is settled in the absolute world, which is the world of God, without any mental introduction.
The effects of Islamic art in examples of monotheistic thinking are:
1: Islamic art is a manifestation of unity in plurality and monotheistic thinking.
2: The unity in the components of Islamic art is the endlessness and elimination of material considerations.
3: The empty space in Islamic art is the creator of truth. D: Consistency and continuity is art.
In Islamic art, unity is inherent in all levels and form is obtained from it. [Bockhardt, 1986,87].
The meaning of the Arabic pattern is In Islamic and geometric art, which is used consistently. The second pattern is delicate. In the first type, it is rational, and in the second type, it is vegetable and metaphorical, and it is the same as the Arabic script. The Arabic pattern is Images that have geometry, that is, structure, order and geometry, and are drawn with a pen. The second type is delicate and it is a combination of flower and bush, plant pattern and metaphor. Another innovation is common between the first type and the second type. It is a combination of a geometric pattern and a plant pattern, and this is the Arabic script. [Al Bhansi, 2008,64].
flowers and plants, Islamic motifs, rotating motifs, ivy, masonry motifs, geometry and Arabic lines are used in the connection or coexistence of Islamic Iranian elements in Iranian carpets.Islamic art in civilization and Islamic art in Islamic culture is different methods of research and analysis. Islamic art has different angles. Islamic art from the social, historical, political, economic and psychological point of view has been used as art in artworks and in Safavid carpets. Indeed, Islamic art is the attention to the most sacred essence of excellence and the Islamic artist's purity of intention and lasting works in various fields related to Islamic art.
The concept of Islamic art:
Art in the Islamic perspective is the construction of objects according to the construction of objects that contain potential beauty and the basis of the artist's work.[bokhart,1986,134].The feature of Islamic art in Islamic conceptualization is compatible with the soul, and the divine attributes in Islamic art are the concept that comes from its name. Islamic art is philosophical unity and represents continuity. Religious factors are effective in its emergence. Islamic art has value in all aspects of life and is the result of unity and excellence for teaching the truths of excellence. Islamic art is a treasure of divine meanings and wisdom. Islamic language is symbolic and symbolic. Code and symbol in Islamic art is expression and concept.
The Iranian Islamic model is the worldview components governing the Iranian Islamic civilization to achieve the Islamic ideal. Islamic art, works of art of the Islamic era and their ideas have material and spiritual commonalities. In Islamic arts, the artist strives to seek the master for truth, manners and ethics[carbon, 1984]. Islamic art can be examined from different perspectives. Historical and descriptive perspectives and Safavid era carpet art as Iranian Islamic art has used motifs and qualities of Islamic art.
Herat Safavid method:
The transfer of artists from the Herat school to the Safavid court is by Shah Ismail Safavid. The Safavid government is the cultural, artistic and political developments at the level of the society. The magnificent carpets of this art belong to the Safavid era. During the rule of Shah Ismail Safavi (908-931 AH) and Shah Tahmasab (931-984 AH), the city of Tabriz was the largest center of science and carpet weaving, and Shah Tahmasab Safavi had a lot to do with carpet weaving and ordered the weaving of premium carpets. During the time of Shah Abbas Safavi (996-1038 AH) carpet weaving workshops were established in Isfahan, Kashan was woven from silk and gold [Yavari, 2013,249].
Accept Anxiety rivals will already replace Iranian carpets in world markets. In this way, not only the country's foreign exchange earnings but also the lives of many artist villagers will face a bottleneck. If Iranian carpets still play a leading motifs in world markets, it originates from the flourishing of this art in the past centuries, especially the Safavid period, and owes its quality and beautiful and varied design, pleasant color, stable and quality of raw materials used and cultural originality. Efforts to maintain the global reputation of Iranian carpets and expand its markets around the world not only as a defense of non-oil exports but also real support for the economic life of those involved in the production and trade of carpets and valuing the carpets of past centuries, especially Safavid carpets .Which is unique in its kind. source of economic growth and The golden age of Iran's carpet is the 10th and 11th centuries of Hijri. Carpet weaving in the workshops of Tabriz, Isfahan, for the first time in the Safavid period, the construction of carpet production workshops.
The artistic masterpieces of carpet weaving in the late 8th and early 9th centuries of the two cities of Samarkand and Herat under Shah Rukh Mirza are the latest developments in the art of carpet weaving.Carpet production increased in the cities under the Abbasid and Al-Buyeh governments. (Ruh Far, 2010, p. 11)meet the country's foreign exchange needs. At the end of the 11th century AH, during the time of Shah Abbas, the innovative designs of carpets, mass production and export to India, Ottomans and Europe included a total of 522 carpets and 32 carpets to Europe. [Baker,2006,146].
The factors of artistic production in this period are:
1: Technology, knowing the effect of techniques and tools in the development of
art.
2: Social institutions.
Features of Safavid carpet art:
1: Organization and combination of Islamic Iranian elements
2: Using traditional and common themes in order to revive Iranian religious values and other arts.
3: Using and communicating with patterns and pictures.
4: Creating dynamism and variety in the design and motifs related to the urban carpet. Safavid period carpets of the 9th and 10th centuries AH reflect Iranian Islamic art. [Hasouri, 1997,17].
Iranian designs:
Iran's traditional design have rules and characteristics. These designs are Iranian carpet designs. The maps show the customs, rules, myths, beliefs, rituals and religions of the people of Iran.Traditional design forms the exact basis of design and rules so that these rules are rooted in universal design. Therefore, to understand this art, one should refer to anthropology, history, mythology, religions. Iran's traditional maps have mastered the foundation of traditional design and created an important part of art.
These plan have a kind of world knowledge, that is, in the process of their formation, a conceptual vision of the world has been created and discussed. There is the concept of different views of this structure, each of which can be explained and understood according to the story or its constituent elements. There are different concepts of what the world is in Iranian maps according to the period in which the work of art is created. Each of them are different in the composition, color scheme and the use of images in their development process, such as slimes, flowers and clouds, as well as in some works in the form of figures and face painting. In hunting plans, we see the use of image components specific in question.
The exemplary world in Iranian art represents the world of parables. In this world, there is a border between the real and the imaginary world. Images of earthly paradise are depicted. The plan of Golestan is the image of the supernatural world, in fact, it is the beauty of palaces and booths and the use of Iranian art in painting, tiling and other elements.The Iranian garden has order and tabulation. How to plant trees and water ponds and its branches and buildings It has an orderly structure. The mental concept of the garden in the Iranian imagination and its reason is beauty, and Iran, which is combined with beauty, affects it with the social structure. [Hasouri, 1937,25]. Pic1
Picture 1. Geometric garden carpet. [Chit Sazan, 1388,115] 1: Themes of the narrative story B: Ferdowsi's Shahnameh, Khmes Nizami
2: The structure of the carpet is frame frame. Literature is woven in the edges of the carpet.
3: Social themes. E: Religious verses.
Symbol:
Symbols are conceptual, referring to objects or concepts. Symbology is one of the ways of knowing the meanings in artworks and art of the Safavid era. The symbol in the field of manual and applied art creates a special concept, color combination and meaning. Symbols do not directly refer to a specific meaning. They may be direct and obvious or mysterious and indirect, and the symbol of one thing on another is the border of two semantic forms of that thing. In the way that meaning is the boundary between the interpreter and the interpreted.a ccording to Jung, they are a symbol of mystery. The symbols are ancient, unknown and dumb, and they are created from an old and ancient pattern and refer to the ancient structure. Symbols are sacred and have no meaning, analysis, or certainty. Symbols are ancient languages. Symbols appear in the mind and are images that are visual signs. In semiotics, a symbol is how texts, stories, meaning and concept and the effect of each. [Afrogh, 2013,13].
Plant symbol:
Plant symbols in Iranian works of art are sculptures, paintings and drawings. Vegetal motifs and symbols in works of art are similar. Plant motifs are the most important motifs used in Iranian artworks, and cypress, palm, and lotus are among the plant elements used in ancient Iranian art. Plants are an important part of Iranian art from the ancient and Safavid periods. Vegetal symbols as a whole in Islamic art on Islamic arches, such as Islamic, flowers and leaves.
Slimy:
The Islamic motifs of spiral movement has evolved, which has brought forth rhythm, balance and harmony in the internal components and composition and the concept of beauty and spiritual quality and its most beautiful type in Islamic art. Repetition of Islamic motifs is the symbolic meaning of liberation from the lower world and ascension to the Kingdom and repetition.Movement, wisdom, dynamism in curved movement. In Safavid carpets, the use of Slimi motifs in the composition of the carpet and in the way that the elements are worked in their place in the form of patterns on the arches and bands, the Slimi pattern is also represented as a pattern. Slime designs are worked on arches in the composition of Safavid carpets. Simple Islamic motifs are forms of nature in the Islamic era. Slimi's patterns are complex and revolving. There are different types of slime. Art historians attribute Islami to Islamic art. Art researchers and thinkers: (Slimi is the twisting of tree branches and is ancient in Iran, and it can also be seen in the Bistun motif, which is related to the Sassanid era. Slimi Dahan Torzhadi, Slimi Toper, Slimi Bergi, Slimi Mari, Slimi Khartoum Fili and ivy slimi). [Danishgar, 1997,32]. Simple Islamic motifs are forms of nature in the Islamic era.pic2
Picture 2. The motif of Salimi. [Pope and Eckerman, 2008,1252]
Afshan:
In these motifs, the bands and rugs of the carpet are continuous. As it seems, a continuous connection between different parts of the pattern has been created, in simpler words, the motifs of all the flowers and leaves and the bands in the design are scattered and scattered in the text of the rug. The designs of Afshan are originally designed in such a way that one of the flowers and leaves does not have a counterpart and there are no principles of mapping in it. [Afrogh, 2013,78].
Afshan motifs are small and tiny flowers that are depicted throughout the carpet text in a rhythmic way and with certain intervals, and their characteristic is to fill the empty spaces with a large number of elements.Afshan Shah Abbasi's maps were used in carpets during the Safavid period. In Afshan carpets, the motifs are Slimi, Lakhi, Khatai scrolls, and congressional leaf flowers. The history of these decorative motifs dates back to the Timurid period. The designs of the flowers of Shah Abbasi are large on lotus and have ancient origins. [Pope and Ackerman, 2007,2709].
Carpet designs are a pattern in which small and large Shah Abbasi flowers, bouquets, blossoms, leaves and branches, as well as Slimi and Khataei are sprinkled on the text. Shah Abbasi's carpet carpet has been manifested.The characteristics of Khorasan carpets are changes in the composition of motifs, they have three decorative strips, and the carpets are decorated with Herati designs. The composition of Afshan Shah Abbasi carpet is woven as 1/2 and 1/4.pic3
Picture 3.Afshan design carpet. [Bassam and others, 2004,65]
Shah Abbasi:
Shah Abbasi flower motifs are the use of flowers known as Shah Abbasi. In these motifs, the flowers are on Islamic straps and the Shah Abbasi flowers are a combination of traditional designs, carpets of different periods of Iran and Islamic art. The motifs of Shah Abbasi, which are effective in creating and forming the effect, are: (Lakh and Taranj, Bete Jaqah, Afshan motifs, Shah Abbasi flowers, Shah Abbasi tree, Shah Abbasi Sheikh Safi, animal)). Shah Abbasi's designs are presented in a combination of them in the carpets of the Safavid period [Afrogh, 2013]. The motifs of Shah Abbasi are used on the straps of the carpet, such as flowers and other elements of Shah Abbasi in the carpet.pic4
Picture 4. The motif of Shah Abbasi. [Pope and Ackerman, 2008,135]
Lachak and Toranj:
In most Iranian carpets, there is a pattern of lach and tanraj. Tangerine motifs are placed in the center of the carpet. There are different types of bergamot motifs, such as square, rhombus, rectangle, oval, and bergamot patterns of Iranian carpets. Tangerines have different sizes and their size depends on the carpet. The design of lath and tanger usually has the same combination. This combination is a kind of use of symmetry and balance, and the motifs used in lach and tranj, for example, flowers, slimes and figures, are similar or in pictorial applications.The carpet sizes, the scale of the corner frame of the carpet, the elastic, the center of the image, and the fringe that is placed in the geometric frame are variable, and in some designs that have fringe, the fringe is along a vertical line, and in others, a single fringe is seen in the carpet. to be Tangerines that are along vertical lines are seen in geometric shapes. Various forms of bergamot show the principles and basics and include the most part of carpet design. Stigmas are created on the top and bottom of the bergamot. Stigmas can decorate a large number of carpet text. It is a quarter of the middle trange pattern or a similar shape in the four corners of the lath. [Nasiri, 1995,57].
The elastics around the carpet and the corners of the frame have different sizes and shapes. In some of the carpets, there are special pictorial characteristics, slimy and khatai are depicted inside the laths. In Iranian carpets, single figures are also woven into them. The in-text feature of the carpet and the aspect of the motifs in the text are
compatible. That is, the feature used in them, the salimis and flowers and the text of the carpet, the structure within the text of the carpets is harmonious in terms of motifs and concepts.pic5
Picture 5. A carpet with a Lachak and Toranj pattern [Bassam and others, 2004,57]
Animal symbol:
Paleolithic paintings in caves are often painted with great artistry. Many reasons prove that the intention of drawing shapes is something more than reflecting nature, and it is successful in hunting with a kind of magic and symbolic painting. Whatever happens to the engraved images also happens to the image. The large use of animal symbolism shows the importance of these symbols and how important this symbol, i.e. instinct, is in human life. The use of animal motifs in hunting and hunting rugs are used in the form of hunting animals or hunting scene.
Hunting((gereft and gir)) in the Safavid carpet:
Two animals are in the same direction and the attacking animal has attacked the defeated animal's back. In this situation, the defeated animal's head is usually turned back and some defensively bites the animal's neck or belly. Two animals in opposite directions and the attacking animal attacked the defeated animal's stomach, neck and thigh, while the defeated animal fell on its back on the ground. Types of animals in the motif of hunting((gereft va gir)) Horse, lion, tiger, leopard, deer, gazelle, stag, mountain goat, ram, cow, jackal, simorgh, pheasant, dragon.
Two animals fight face to face. In this case, the attacking animal attacks the other animal from the face and bites the upper part of its body.Two animals are completely twisted together and during the battle, the two animals are usually of the same species. The dragon is an attacking animal that attacks the other animal with only two legs and usually keeps its two rear legs on the ground. In this case, the attacking animal bites the defeated animal's back, neck, or rump, and in some cases, it has been defeated.
The battle of animals and birds and other animals, two legendary animals such as the Simorgh and the dragon. Two birds (Simorgh and Pheasant), a legendary bird and an animal (Simorgh and deer). A legendary animal and a bird (dragon and deer) are fighting.There are cases of two animals attacking one animal, and in this case, the defeated animal is usually on its back, and the two attacking animals are fighting with it. Also, the battle between two birds and a dragon is one of these (attacks of lions and tigers and stags). "Gir" and "Gir" are so-called battle scenes between two or more animals that are facing each other or fighting, and often the life of animals is in nature. These motifs are classified as hunting. Major researchers and historians of Iranian art consider Mirek Naqsh (Ruhullah Mirek) as a master of painting and animal painting and the pioneer and founder of this method in Iranian painting. The origin of this method goes back to the 9th century of the Hijri or the 15th century.
The battle scenes between snake and leopard, snake and eagle are symbolic and in the Achaemenid era motifs of Persepolis stairs and epic stories were used. Garh and Gir motifs are motifs used in Iranian art. In different periods, the motifs of taking and taking are used, which are power, force, ambition and show of power. The mythological and historical stories of these motifs have meaning and meaning. Patterns are used a lot in paintings and carpets and they are repeatable. Ghir and Ghir patterns are generally fighting and trying to force.
Patterns have a symbolic and mythological meaning and are customs, traditions and beliefs of the land that have been transmitted in different historical periods. The characteristics of these motifs are the representation of culture and in the art of worshiping the seal. Iran's Mehr worship has been praised and respected by the people as the god of truth and power. The connection between the lion and the Mithraic cult is evident in the surviving motifs. The religion of ancient Iran is Mehr worship, which is based on the evidence obtained as the Aryan God of truth and power to be praised and respected. Jiraft civilization animal motifs that were inlaid on stone vessels a millennium before history and animal battles, and the skill of the artist of inlaid images, filling the image with many elements and being highly illustrated is the limit of Safavid carpets and paintings of this period. The existing designs have multiple levels of designs, specific colorings as a means of distinguishing the main designs, the existence of continuous changes is a place of great mobility and order that shows eternity and infinity. [Brand, 2016,243].
Hunting animal carpet is an important part of Safavid era carpet weaving works. In this period, there are animal motifs in Safavid carpets. The motif of hunting has been used since ancient times. The topic of hunting is different in different periods. Its factors are the presence of artists, the relationship of kings, the use of creative ideas.pic6
Picture 6. Lion and cow fight, silk animal rug. [Pope and Ackerman, 2007,1199]
A carpet with religious icons is a decorative aspect. Rugs with inscriptions:
1: Content and theme (writing). 2: form and face (decorative).
A wide range of Safavid carpets in mihrabi carpets and containing religious themes.
Rugs with inscriptions:
1:Religious themes 2: Literary them 3:Historical themes 4:Mehrabi carpet
Combined motif:
Combined motifs in the Safavid carpet are in the form of native motifs and changes applied to the motifs. In the combined motifs, the artist does not accept the patterns carefully and without the permission of the mental art of weaving. The reasons for the emergence of integrated motifs are cultural influences, immigration, native and local styles. Carpets with patterns of trees, cedars, multi-feathered flowers, and these patterns are often seen in carpets with integrated patterns. Combined motifs are the use of different designs. These designs are used in many types and for many years. Different types of integrated motifs, lath and bergamot, flower arrangement, geometrical integration. The application of combined motifs is in Iranian carpets. [Afrogh, 2013,81].
4. DISCUSSION
The symbological of the elements of Safavid motifs and the explanation of elements of Iranian and Islamic art in the Safavid carpet: The motifs include culture, religious beliefs, and the evolution of people's thoughts.A symbol is anything that can be used to represent something meaningfully. It is a symbol of concepts that cannot be understood in direct language. Decoration as the main element in Iran's artworks during the Safavid era is the use of motifs and symbols in Safavid carpet art using motifs and symbols of Iranian and Islamic art. The balance and proportion of motifs is important in Safavid art.
The carpets of the 10th century Hijri include several groups:
1: Turret carpets of northwestern Iran 2: Silk carpets 3: Kashan silk carpet 4:Harat carpet S [Yavari, Shirazi, Akbari, 2013,249].
Culture is a system of beliefs, values, behaviors, symbols, laws, customs and arts.
Iranian culture can be summarized as follows:
1: Persian language 2: Mythology of Iran 3: Mythical characters 4: Islam and Shia religion 5: Architecture of Iran 6: Science and art
Iranian identity in Islamic art:
Important elements of Iranian culture and art are philosophical, religious and religious works.The secondary nature of Islamic art in works of art are arrays and decorative elements in Islamic art, Islamic motifs and geometric designs. This Islamic identity reflects the origin and spirit of Islam. Nature has a symbolic and mythological meaning in Islamic art. The elements of sun (creator and fire), moon (symbol of us in existence), earth (symbol of existence), water (symbol of life and mystery and creation), spring, pigeon (symbol of purity and purity), chicken (symbol of soul, soul) Simorgh (symbol of Gabriel), winged animals (symbol of life).
Iranian identity as an element of coexistence and nationalism is a kind of definite boundary of the society in art and culture.Identity has three levels: individual, collective and national. National identity in Iranian art has three categories:
1: Persian language 2: History of Iran 3: Religion and Shia religion
Iranian identity in the Safavid era:
Identity means understanding the existence of humans and creatures. The desire to continue and expand Iranian culture and art, common beliefs and hypotheses, order and use of motifs and shapes in Safavid art. Iran's identity in Islamic motifs and decorations is to recognize art and is a necessity to understand and characterize art and culture.
Traditional Islamic art motifs in Iran are divided into five groups:
1: Vegetal form 2: Human image 3: The image of an animal 4: Geometric shape 5: Lines of books
Decoration in this art is a kind of imitation of nature. Creatures, humans and the heavens and the earth have decorations. The reason for decoration is to create beauty and productivity, and aesthetics in Iran is based on the principle of decoration. The Islamic artist bridges the world of nature with the world of existence.
Explaining the coexistence of elements of Iranian and Islamic art:
Islamic art has a treasure of meanings and the basis of divine thought. The language of Islamic art is symbolic and code. It is expressed in symbols and symbols in the form of religious art in a way that cannot be expressed in any other way, and it is analytical, reasoning and rational to convey the concepts and code of symbols and the language of Islamic art.The idea of writing this article is the necessity of general
knowledge of Iranian carpets in terms of the elements, meanings, and compositions of the Safavid era, specific to Isfahan in Iran and in the Islamic era. Exporters and those interested in Iranology and carpets can have a general understanding of what Iranian carpet art is in order to know and buy or produce works, or start a way of art from this article with the intention of identifying carpets in Iran. Iran's art is very vast, each of the periods has different elements and characteristics, in this regard, the knowledge of carpets in a particular era is the basis of the next ara.
5. Conclusion:
Iranian art has seen a significant change since the post-Islam period. The arts have been used in their various types and the term "art of industry" was created in it. Art becomes practical. But in the beginning, art was used to decorate the Bible and serve religion.
Prohibition of anthropomorphism in Islamic art in Iran and world art, such as in traditional art, and gradually art is formed on works of art, as well as in architecture.
In architecture, it has given composition and meaning in the form of Islamic geometry and lines, and in other works by using the mentioned elements. During the Safavid era, it is the peak of arts and carpet weaving is popular.
When talking about the Safavid era, there should be a point imaging a turning point that is the center of events and transformations It became the birthplace of ideas whose flourishing is the cause Provide the growth and revival of the eternal values of Iranian art and deservedly established his name in the history of art did Studying the bed and fields of formation and evolution.
This era requires special capacities that Its branches are considered a stout tree. To This is the way to know the artistic effects of this covenant of components And it has many characteristics that its one-dimensional study The road does not lead anywhere, and in fact, this is an attribute of art Iran will return.[pop,2008,2695].
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