نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار، عضو هیئت علمی گروه نقاشی دانشکده هنر، دانشگاه الزهرا، تهران، ایران.
2 گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Traditional Iranian art has a mystical-enlightenment nature and in order to be analyze and understand it, with its simplicity, multiplicity and repetition at the same time as in decorative arrays in different arts, it must be observed conceptually. The current of traditionalism has grown to include many great theorists, one of whom is the prominent Swiss Titus Burkhart. Burkhart expresses and interprets the philosophy of medieval and oriental symbols based on Khaleda's wisdom. He divides traditional arts into sacred and unholy, with carpet weaving under the non-sacred traditional arts. The premise of this article is that carpet designs with plant arrays can be interpreted in terms of the concept of arrays and colors based on Burkhart's statements. In this article, the designs and symbols of the carpet, Kerman vase carpet surviving from the late 17th century, Safavid period, are compared with the sayings of traditionalist thought, especially Burkhart. According to him, it is only possible to depict the essence of truth, that is, the purpose of traditionalist art, in the cover of symbols that are related to nature, and it is not possible to achieve this goal through realistic art, because truth is not obvious and earthly. This research answers these questions: What are the visual symbols of Kerman vase carpet? In which other works of art can its designs and colors be seen? And how can these motifs be examined and analyzed from Burkhart's point of view and from the point of view of traditionalists? The method of this research is descriptive-analytical with a historical approach and data collection is documentary. In the Safavid dynasty, Kerman gained real importance due to the efforts of Ganjali Khan, and the trade of textiles flourished, so such a carpet was woven at this time. Analysis of Kerman vase carpet designs shows that plant designs of carpet and tree symbol have come from ancient times such as the Achaemenid period, circular designs evolved into spirals and lines on which flowers and leaves were placed and eventually became Islimis. The design of the vase in the carpet is a symbol of the mother-earth goddess, the source of life. The blue color of the carpet in all traditional Iranian and European arts speaks of nature and the sky, and is a symbol of faith in the heart and divinity. The multiplicity in the plant arrays of the carpet goes back to the idea that the world is full of harmony and at the same time there is a multiplicity of phenomena, and in the end they all return to the absolute and one essence of God. Shah Abbasi flowers or lotus flowers in Indian belief are the carriers of primitive creation. In fact, in all cultures there is a connection between the meanings of symbols, and symbols are at the heart of ethics and beliefs, which conveys the transcendent unity of religions in traditionalist thought. Only one who has inner enlightenment has the ability to read nature and ultimately symbols.
کلیدواژهها [English]
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