Indigenous Knowledge
Mohammad Afrough
Abstract
Ili and nomadic braids are a part of the weaving system and an outstanding example of the native arts of this layer, which is remarkable in the artistic and visual field. in the meantime, kormanji weavings in north Khorasan are a part of this system, which has visual capacity and capabilities in terms ...
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Ili and nomadic braids are a part of the weaving system and an outstanding example of the native arts of this layer, which is remarkable in the artistic and visual field. in the meantime, kormanji weavings in north Khorasan are a part of this system, which has visual capacity and capabilities in terms of aesthetics (design, pattern, and color). therefore, the process of decorating the text of the weaves is done in the light of the simple concept of weaving, mental weaving, and the result is the formation of patterns with a geometric and abstract nature. due to the type and form of the pattern, the style and format of expression of shapes and forms are created, which can be defined in two abstract and abstract styles from a visual and visual point of view. this approach can be explained for all motifs of nomadic weaves. from this point of view, the question is, what are the types of kormanj woven motifs and what are the characteristics and criteria of applying abstract styles to the said motifs and designs? the aim of this research is to identify, classify and analyze all kinds of abstract motifs in kormanj weavings. the upcoming
Mohammad Afrough
Abstract
Hafeshjan is one of the most important centers for cutting and producing stone works (tombstones and stone lions). hafshjani stone carving artists have been engaged in this profession for generations and are now one of the active centers in the production of various types of stone works is includes a ...
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Hafeshjan is one of the most important centers for cutting and producing stone works (tombstones and stone lions). hafshjani stone carving artists have been engaged in this profession for generations and are now one of the active centers in the production of various types of stone works is includes a variety of tombstones, ritual and decorative stone lions and other functional and decorative stone volumes. this article is a field research that has been written with the aim of introducing different types of volumetric and stone works of hafshejan, examining, identifying and analyzing aesthetic aspects and knowing the reason for the formation of motifs in their context. the main question of the research is: what are the types of tombstones and stone lions of Hafshjan, the reason for their production and the aesthetic dimensions and decorative motifs of these works and what are their meanings? the findings of this study are based on field studies, some of which are: hafshejan stone works in the past included tombstones and stone lions, but today, in addition to its innovative production, various functional works (types of dishes) and decorative works (types of stone lions) are also produced. the production of lions in
Mohammad Afrough
Abstract
This article is the result of a field work written in connection with the documentation and introduction of the technical and aesthetic dimensions of the carpet of the village of Jiria as the most active area of weaving with about 500 active the loom framework in the central province. the texture quality ...
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This article is the result of a field work written in connection with the documentation and introduction of the technical and aesthetic dimensions of the carpet of the village of Jiria as the most active area of weaving with about 500 active the loom framework in the central province. the texture quality is the most important feature of the Jiriya carpet, which is one of the most important brands of Iranian carpets that unfortunately has not been recognized and introduced.in Jiriya, various designs are woven into three categories. A: Indigenous designs include larch and bergamot (do hashiye, lachak va toranj khorshidi, daayereii, afshan, beyzi va lozi), dastgahi(goldaste), broken mostofi and tabrizi. B. Non-native designs includes kheshti, ravari, zirkhaki, zellol Sultan and haft dervishes. C: Designs that are designed by contemporary designers and includes atlasi, mostofi monhani, farhang, oghabi, koumeei,morghe mahikhar ,takboteh and hajkhanoumi. this research is of fundamental type and research method is descriptive-analytic. The method of data collection is fieldwork.
Mohammad Afrough
Abstract
In the nomadic weaves, although the functional aspect was intended, its aesthetic aspect with a variety of native motifs, resulting from the birth of personal and collective beliefs, it is more prominent and as if the woven were a space for arousal, representation of imagination and emotion. the horse's ...
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In the nomadic weaves, although the functional aspect was intended, its aesthetic aspect with a variety of native motifs, resulting from the birth of personal and collective beliefs, it is more prominent and as if the woven were a space for arousal, representation of imagination and emotion. the horse's face is a representation of the nomadic weaving, and in particular the Qashqai, which provides a space for design and motif creation and companion native and natural colors are provided by the weaver. in this article, while briefly describing and introducing Qashqai woven fabrics, various types of horse coverings and ornaments, nomadic gullies, and in particular gashqai gullies in terms of weaving technique, structure and aesthetic dimensions, introducing, describing, and analyzing, 24 cover of horse were selected as the sample for this process. the results of the present study indicate that the cover of horse structure of all regions of Iran, regardless of some exceptions, follows a general form. while most of them are related to carpet weaving techniques woven has been with the carpet weaving technique ghalibori (Turkmennaghsh) or Gol Barjaste this
Mohammad Afrough
Abstract
This article is the result of a field activity and is associated with the carpet of Qashqai's Nazem design. which has been completed in the camps of Cheshmeh Rahman and Gol Afshan in the city of Semirom in Isfahan province. the nazem design is one of the most prominent designs among the various types ...
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This article is the result of a field activity and is associated with the carpet of Qashqai's Nazem design. which has been completed in the camps of Cheshmeh Rahman and Gol Afshan in the city of Semirom in Isfahan province. the nazem design is one of the most prominent designs among the various types of designs in qashqai architecture which is woven today with a different approach and structure from the past in the qashqai geography from Fars province to south of Isfahan (Semirom).the process of settlement of qashqai tribes leads to a change in lifestyle and fundamental changes in quantitative and qualitative production, application and structure of qashqai woven, in particular the carpet of the nazem design in the technological dimension and aesthetic dimension.these dimensions will be investigated and analyzed in this study. the type of research is fundamental and research method is descriptive-analytical.the way information is gathered is predominantly fieldwork. findings of the research indicate is that lifestyle changes from nomad to settlement have a great influence on the production of nomadic wool and especially the carpets of the nazim design. so that the weaving the mental process have given Place herself to weave by pattern and raster map. the size of the carpet of nazem design is smaller than the past and elements of the original structure of the design (altar like space, half cedars,tree of thousand flowers- central of flower pot and flowers and leaves spread and saucer shape) has undergone fundamental changes.
Mohammad Afrough; Fathali ghashghaeifr
Abstract
Nomadic woven and specifically qashqai, his most important visual art is. the authenticity of these woven materials consists of aesthetic identity(design, motif and coloring and technical (technique and dyeing). an important part of face making and identity weaves country different tribes is duty weave ...
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Nomadic woven and specifically qashqai, his most important visual art is. the authenticity of these woven materials consists of aesthetic identity(design, motif and coloring and technical (technique and dyeing). an important part of face making and identity weaves country different tribes is duty weave techniques. qashqai weaves has a wide variety of techniques that a large part of them, has lost its application or dimmed. this article is a thorough field study and in relation to the description, analysis, classification and introduction of various techniques weave it is among qashqai tribes. weave techniques is the most important element in the woven system which is the main factor in weaving a work and creation design and motifs.because without the technique, there is no handwoven. research results it's like this : the qashqai woven fabrics are divided into five layers of poudnema, taarnema, souzani, and combined, according to the technique and texture structure.the usual technique used in qashqai knitting system is includes loulbaft(half and full loul), smooth weave(smooth poudshol and smooth poudseft), twist and combined. from porzdar woven can be attentioned to carpet and gabbeh and podnema(smooth poudshol) to gelim and charkh and tanemaha(smooth poudseft) to jajim, palas, oyee, sheshe derme, jajim morakab nafi, and souzanies to davrechin(varounechinbafi), and rend(jajimgol va sibama), and combined(porzdar, smooth baft, twist baft to torkaman naaghsh(ghalibori) and ghachmeh.
