In this study, the carpet of the tomb of Sheikh Safi al-Din Ardabili, the jewel of the handmade art of the Safavid period, is examined with the semiotic approach of Roland Barthes, a prominent French theorist. The main goal is to decipher the hidden semantic layers of the carpet motifs by focusing on the systems of significations, cultural codes, and symbols used in it, relying on Barthes’ theories. The main research questions are 1. What systems of signification and cultural discourses have played a role in the formation of meaning and the role-playing of the carpet elements? 2. How do the visual elements of the carpet of Sheikh Safi’s tomb represent myths about culture, power, or mysticism through the secondary signification system in Roland Barthes’ theoretical framework?
Employing a descriptive-analytical method, data for this research were gathered and analyzed through library resources. The Sheikh Safi al-Din Ardabili carpet, an exquisite piece symbolizing the zenith of Safavid art and mysticism, once graced the tombs of Safavid royalty. Woven during the reign of Shah Tahmasp for his ancestor, one of this world-renowned pair resides in London’s Victoria and Albert Museum, while the other is held in the Los Angeles Museum of Art. Beyond mere decoration, its structure operates as a semiotic system, where each visual element reflects profound cultural, religious, and artistic meanings.
This research uniquely employs semiotic theory to highlight concepts embedded within the carpet, presenting an image of a garden and paradise that reflects the weaver’s aesthetic sensibility. Many of its symbols and visual elements, deeply connected to religious beliefs and life rituals, have long been overlooked. This qualitative study employs both detailed analysis and semiotic system analysis to examine the carpet. Barthes, as a semiotician and mythologist, is always in search of hidden meanings and concepts behind seemingly trivial and ordinary forms. He has been active in the pursuit of meaning and decoding, both in the field of literature and in other cultural and artistic domains. These research results are innovative as they offer the first comprehensive and systematic analysis of the carpet using Roland Barthes’ semiotic theory, whereas previous studies have focused on historical, technical, and aesthetic aspects. This study uncovers the carpet’s hidden semantic and cultural layers, revealing its connection to Safavid society’s beliefs and values. Key analytical axes include mythology, motif relationships (coexistence and succession), explicit and implicit implications, binary oppositions, Barthes’ codes, and the influence of culture on the art’s creation.
In primitive societies, myths extended beyond the natural world, holding sacred significance. Iranian art, deeply intertwined with symbolism, reflects religious beliefs, decorative motifs, and socio-cultural influences. In the Sheikh Safi carpet, the Abbasi tulip motif embodies the myth of earthly paradise and mystical ascension. This flower, a symbol of love, mysticism, and martyrdom in Iranian culture. The appearance of this flower - which resembles a cup - is reminiscent of the blood of martyrs and lovers. Its presence in the carpet signifies the weaver’s aspiration for divine perfection and immortality. The tulip is a symbol of eternal life; because it blooms again every year and displays its beauty, reminiscent of resurrection myths.
The bergamot’s mythical design visually represents the Garden of Eden at the carpet’s center, symbolizing the connection between the material and spiritual realms. The bergamot, a water-filled basin, embodies the spiritual center, while its four elements (water, wind, earth, and fire) suggest human transcendence from the material to the spiritual. Geometric motifs, featuring sun rays and a central sun, evoke a fertile, abundant paradise, reflecting a mythological cosmic order and harmony beyond mere decoration.
In the Ardabil carpet, the axes of juxtaposition and substitution in design and color are of particular importance. Juxtaposition is based on how elements are placed together and their functional combination, while substitution refers to how elements are replaced and selected from among different options. The carpet’s border—composed of narrow and wide bands, louvers, and chains—demonstrates sophisticated visual harmony. The louver’s color, matching the background, exemplifies the assemblage axis, while complementary colors in the border motifs highlight the succession axis. This interplay is further seen in the harmonious relationship between Khatai and Eslimi patterns. Ultimately, the meticulous arrangement of all visual elements, through both assemblage and succession, unifies the design to convey a singular concept.
In Barthes’ semiotics, “signification”—the link between signifier (form) and signified (concept)—drives meaning-making, shaped by social and cultural structures. This process involves both explicit and implicit layers. For instance, the Abbasid tulip in the Sheikh Safi carpet explicitly denotes beauty and order. Yet, implicitly, it symbolizes heaven, power, unity, and spirituality within Iranian-Islamic culture. Beyond its natural depiction, contextual analysis reveals deeper political, historical, and mythological implications, showcasing the rich, multi-layered meanings embedded in this visual sign. In the Sheikh Safi carpet, the explicit meaning of its imagery initially presents as decorative artistry. However, a deeper semiotic analysis of its signs and codes reveals multi-layered meanings, moving beyond this initial perception to implicit interpretations. This analysis shows that the motifs, far from being mere decoration, embody a cosmological worldview where each shape functions as a profound symbol.
Fundamental to this semiotic understanding are the prominent binary oppositions: “inside/outside,” “unity/multiplicity,” and color contrasts like “dark/light” and “warm/cold” between the main text and border. The central bergamot, for example, symbolizes a powerful, paradise-creating force, while the floral background represents unity within plurality. These contrasts underscore a dualistic visual composition, deeply aligned with the ritual and cultural foundations of the Safavid era.
Semiotics examines the structure of communication codes, as understanding a sign’s meaning relies on deciphering its embedded code. These codes, spanning categories like spoken/written, verbal/non-verbal, scientific, social, aesthetic, hermeneutic, and cultural, must be meaningful to their audience to convey a message effectively. In hand-woven carpets, the semiotic system’s code forms the framework for motif interpretation. Specifically, the Ardabil carpet’s code incorporates social, mythological, and cultural elements. Its prominent lanterns, acting as mythological codes, symbolize the connection between heaven and earth and divine light. Their symbolic understanding extends to illuminating a mosque or representing a heavenly sign, with their suspended form further emphasizing this celestial link.
The Sheikh Safi carpet is a profound cultural artifact, weaving together a rich tapestry of symbols, values, and shared beliefs. It powerfully embodies the social and cultural identity of the Iranian people, with every thread reflecting human ingenuity and spirit. The carpet’s inscription, a cultural symbol in itself, typically features Qur’anic verses, poetry, or religious phrases, directly mirroring the deep-seated faith and cultural values of its time. A semiotic analysis, particularly through Roland Barthes’ lens, reveals that the carpet’s design, patterns, and colors are deeply rooted in the Safavid era’s cultural, philosophical, and religious thought, especially its evolving Shi’ism. Driven by the flourishing of religious sciences and Qur’anic interpretations under Shah Ismail I, artists imbued their work with Shi’ite, religious, and mystical themes. Thus, the carpet’s motifs transcend mere decoration, becoming a vibrant reflection of the era’s ideas, ideals, values, and myths.
The Sheikh Safi carpet’s motifs transcend mere religious reflection, embodying a sophisticated semantic system interwoven with explicit and implicit cultural codes. Semiotic analysis reveals a rich tapestry of meaning, portraying the religious worldview and aesthetic ideals of the Safavid artists through mythological motifs, visual structure, and associative axes. More than just a reminder of Iranian-Islamic culture, this hand-woven masterpiece narrates a collective unconscious, echoing ancient symbols, desires, and cultural ties. Examining the carpet’s symbols and myths highlights the artist’s intimate connection with their environment. As a cultural text decoded through Barthes’ theory, the Sheikh Safi carpet unlocks a deeper understanding of the Safavid period’s artistic values. Its motifs reflect a transcendent world and an eternal garden of paradise rooted in the vision of the artists. The belief in an ideal world and an eternal garden of paradise can be considered one of the most important characteristics of the Sheikh Safi carpet.