Document Type : Original Article
Author
PhD student, comparative and analytical history of Islamic art, Faculty of Arts, Al-Zahra University, Tehran, Iran.
Abstract
In the twofold nature of the handmade carpet, the emphasis on the economic dimension has exposed its artistic form, which poses creative expressions and artistic innovations with explicit constraints. In the meantime, weavers were the first artists who gradually pulled out of the carpet art as the "artisan" became involved in the evolution of the carpet. Although the industry's justification for the carpet's functional and functional aspects justifies, the soul has undermined the artistic mobility and dynamics of the industry, and the emphasis on perfect production methods has led the carpenters to be reduced to the workers. Such an attitude is a source of suspicion for students to enter this field. Therefore, the aim of this study is to study the carpet weaving art aspect and its potential in texture training in the art of art. Considering the carpet from this perspective is due to the priority of the therapeutic aspects of art in relation to the value of artistic and technical skills. In this regard, nomadic and rural tribal mats, especially subjective boughs, have been considered as examples of the works of the artist-fighter. The research was conducted using descriptive-analytical method, the method of collecting information as libraries and documents, with observation, checking and internet tools. The research results indicate that weaving carpets for nomadic and rural knitters is an area of play and freedom. Such a carpet with a creative weaver design turns into a kind of memories collage. The existence of signs of weavers in carpet with a map is also an indication of the artist's efforts to maintain a secure place. Therefore, the weaver implicitly utilizes carpet weaving to refine the soul and treat the frustrations or the hidden desires and desires.
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