5 Article found
Historical Review of St. and Modernity in Iran’s urban handmade rug design and color
چکیده In various areas of developing societies such as Iran, the issue of traditions and how to deal with it has brought significant challenges. The field of art and in particular handicrafts is a special place in order to look at different approaches in this field. Iran’s city-made rug (ker, Isfahan, Tabriz and Mashhad) has evolved and changed in comparison to rural and tribal carpets, influenced by Western art and culture as well as the growing growth and development of urban societies, and this is particularly rapidly rapidly rapidly rapidly changing due to developments in modern society and the impact of Iranian art from the West. The current study plans to explore how and how the changes made in the traditions and original indicators in the layout and color of the hand-made rug in these areas to determine what developments and how much Iranian hand-made rugs have undergone during the forced development of modernity. Research is an analytical type and data collection has been conducted as a library and field. The results of the studies indicate that among the hand rugs of the four above areas, the carpets of Tabriz have made the most change in their early traditions and principles, followed by the rug of Kerman, Isfahan and Mashhad in order to rank later. The main purpose of research: 1. Study how tradition and modernity contrasts in the design and color of Iranian city-made rugs Research Questions: 1. What changes have Iran’s urban handmade rug made in its original and traditional features in the face of the growing development of urban communities caused by the wave of modernity? 2. Which of the four areas of study (kers, Isfahan, Tabriz and Mashhad) have more adhered to traditions and which one less? Key vocabulary: tradition, modernity, hand-made rug, rug history, Qajar.
Publish Date : 1398/02/01
Creator : Czechs of the Mind-Committee
Do you have any magic on earth?
After a century of my orbital carpets in national and international markets, silk-made carpets have always had a name among Iranian art lovers.O you who have a history of grace, culture, and identity.slow the year.It is a lot of people in the mind.The title of art and exquisite works is known.And sometimes they are on the walls.Then, under the roof of a luxurious mansion.Sometimes in the box.For generations.The next one will be remembered.And sometimes like capital.You buy and sell valuable.It will become.
Publish Date : 1405/02/12
Creator : The knowledge of the knowledge of the master.
Carpet as a miniature canvas: A fresh narrative of Iranian rug with Iran’s Sinai Race
"The sense of curiosity and pleasure that exists in the touch of handmade rugs and living with it is far more and more valuable than watching it." In the year.More recently, the art style of insight.[1]It has attracted me more than anything else, which is why in cyberspace and the internet, it is always new.Follow the news about this style.About two years ago, when reviewing the artists’ pages of this area, I filmed Alex Gray.[2]I was sitting next to the carpet.with a map.In the same post, the name of the creator was mentioned:Sinai Iran.Race.. [1]- Visionary Art [2]from known.It was made.Best and most influential face.The art of vision.
Publish Date : 1404/06/20
Creator : Saeed Fishing, researcher of Iranian art and hand-made rug
IntroductionIn contemporary society, critique of an essential tool for dealing with complexityThe growing arts has become today’s art because of its characteristics.like the foundation.Discipline, identity rethink, addressing social issues, passing through style.Science and beauty.Classical Biology, concept.Main and pluralism in form, matter and meaning, constantly new dimensions.You are.And every day, it will be complicated.It's more.It will become. In the lack of cash.Many, many layers.FormsCognitive, beautiful.Cognitive, intellectual and social works of contemporary art.And that is what it does.It can lead to understanding, denying and even exclusion of art from the audience, so artistic critique transcends a purely descriptive role or value.It has become an analytical and interpretive paradigm that is capable of layering.Multiple Beauty.Cognitive, social and context.To reveal the works of art and to the possibility of deep understanding.More than that.And he made it easy for him to do it.He moved to the understanding of contemporary art..
Publish Date : 1404/06/20
Creator : Mehdi Farmer | Professor of Art Research Department of University Teacher Training
Between tradition and innovation, the narrative of a designer in search of Iranian rug value
I am God’s grace. My career path in hand-made rug design began in 1905, which unlike many activists in the field had no family roots. My arrival into the world of hand-made rugs, not from the heart of an old workshop, not from the generations of carpets, but from the path of graphics..I spent my student time in the field of photography, and the knowledge in Tehran. In those years, I met a few students in the garden. This simple, quiet acquaintance opened a new window on me. They needed to paint and point out to design their handmade rug maps, and I was seriously involved in design and painting, starting from interest to help them..At least it came to a place where, along with my graphic projects, I also painted and pointing out my friends’ rug maps. At that time I could only do this from curiosity, but later I found that the same constant exercises were actually an unconscious education for me. Every time I painted a map, the principles of design, fit, and structure of the rug map were formed in my mind, without realizing it..After the end of the student's era, something happened in July of 2011, which made my path more serious. In the province of Rashe, a production set of hand-made carpets accidentally offered me a project to design a hand-made rug map. At the time I had no independent experience of carpet design. I had previously worked with maps just alongside hand-made rug students, not to be a project designer. However, I accepted the offer. It was a simple reason to believe.And: I think graphic design and rug design are not far from each other, and both eventually work with image, composition and color..In that project, I used the knowledge I had in design and drawing, and on the other hand, I consulted with friends who were educated in hand-made rugs. The result was an orderly satisfaction and that satisfaction became a serious motivation for me. Since then, there has been a spark in my mind that I may continue this path professionally..Before that, I had taken a lot of private classes in my field of design and painting. I tried to learn different techniques of design and hand painting such as black pen, coal, Kent, Patel, Goa and acrylic oil color. I was also trained professionally with computer software. But now I had decided to enter the Iranian rug design world and I knew I had to learn the specialized principles of hand-made rug design..For this reason, in Tehran, I learned the principle of Iranian rug design, and then I was a student of Master Ali Peggy and Master of Gold. Along with these high-performing professors, I learned very important points about the structure of rug design, the combination of traditional reviews and reviews to the hand-made rug map. A few months of intensive training passed, and then returned to the new knowledge..From year to time, by combining the experiences I had in traditional design and drawing, and the knowledge of graphic software and training I had seen in graphic design and hand-made rug design, I started my independent activity in rug design and painting. The first plan I presented was a plan in size of the cynic, a plan that met a good reception in the market and the same design reached the production stage..
Publish Date : 1404/12/20
Creator : A great student of the hand