Volume 14, Issue 28 (6-2024)
SciJPH 2024, 14(28): 0-0 |
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panahi Z, sadati N, kamandlou H. A research on The symbolic origin of cypress and vase motifs in the contemporary backrests of the Sangsar tribe. SciJPH 2024; 14 (28)
URL: http://ph.aui.ac.ir/article-1-1351-en.html
URL: http://ph.aui.ac.ir/article-1-1351-en.html
Abstract: (391 Views)
Carpet weaving in the Sangsar area has an ancient history due to the nomadic life, and according to experts, modern carpet weaving started in Sangsar in the middle of the 1981 AD. the Sangsari weavers make various carpets in different dimensions with designs such as four seasons, Lachak and Toranj, Zirkhaki, Bothei, Mihrabi, carpets, etc, are woven in different dimensions based on the map or by modeling the back of urban carpets. A small-sized carpet with various animal and plant motifs is woven among the Sangsar weaves, which is called Backrest or Pushti or .The patterns that are woven on the backs, unlike what is customary among the tribes and nomads, are taken from urban elements and decorations, including cedars, vases, mihrab, deer, gazelle or birds. The question of the research, what kind of combinations of these motifs do the weavers of the Sangsar tribe create on the nomadic and rural backrests? Also, which region or historical period is the origin of the motifs designed on the backrests of the Sangsar tribe? This research has been carried out in a descriptive-analytical and field and document study, and the purpose of its And its purpose is to find the origin of the motifs on the Sangsar’s backrest .The findings show that the main pattern of this motif is a vase, and it is generally woven with three vases, but the number and size of the cypress are variable, the rest of the motifs are considered to be lateral and increase and decrease accordingly. The first appearance of cypress and vase was seen in an Assyrian relief, which was used later in the Achaemenid period and after Islam in various arts, especially carpets in the Safavid period. Deer and Pazen motifs can also be seen in the works found in Elam, Amalesh, Hasanlu, Ziviyeh, Lorestan, Kalardasht and Scythian and Achaemenid arts. The pattern of an animal motif next to the tree of life can be seen in works of art from the Sumerian civilization to the Qajar era. The probability that the nomadic and village weavers of Sangsar had access to these patterns is very low, and it is likely that these motifs became popular in their weaves under the influence of urban areas such as Isfahan, Kashan or Kerman. There is also a possibility that the nomadic and rural weavers living in these areas have seen the main pattern, especially the motif of deer and ram, in their areas or in the forests of Mazandaran province and ordered the designers of the mentioned urban areas.
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