Document Type : Original Article

Author

• Sahar Dianati

MA in carpet, Faculty of Applied Arts, University of Arts, Tehran, Iran

Abstract

Since its inception, the Bauhaus has influenced the art design and production in the twentieth-century. There were a vast number of factors that caused the differences between Bauhaus designs and its products to other art productions in that period of time, including the Bauhaus management in workshops and the hiring process of professors, which had different attitudes. It is essential to study the structure and formation of the Bauhaus to understand the roots of the art-work production history in Bauhaus. It was from the very beginning of Bauhaus that the weaving workshop produced various types of carpets until the school's end. Bauhaus' carpets are less known and not well researched in Iran and rarely studied. The Current study seeks to answer questions about the Bauhaus' formation process, including its weaving workshop, and its students and directors, as well as their creative productions. Based on descriptive-analytical approach implementing in this article it has been revealed that the carpet production in Bauhaus' workshop, can be classified into two main groups, which are hand-knotted carpets and decorative tapestries. These were essentially an abstract of the theoretical classes taught by Paul Klee, Kandinsky, and Johannes Itten. Based on the analysis of knotted carpets and tapestries, it was found that the carpets' major foundations are the regular and crossed vertical and horizontal lines. The dominant colors in these carpets and in all products of the weaving workshop in Bauhaus are the light to dark spectrum, with blue, yellow and red as the primary colors and green and orange as the secondary colors. Carpets were separated into two categories: Floor coverings and wall hangings. Both groups of these products, namely knotted carpets and tapestries, could be used both as wall hangings and floor coverings. The wall hangings also contain regular squares, and the way to use of weaving workshop products does not alter the style of the design in any way. Among the things that are recognizable in Bauhaus' carpets are nested quadrilaterals and simplified shapes, as well as light and neutral colors. The use of new materials that had not been used in carpet weaving before, as well as the complex composition in the text of the carpets, were other features of these works. with regard to restrictions in the early twentieth century for women, Bauhaus was one of the few workshops that allowed women like Gunta Stölzl, Annie Albers, and Otti Berger to attend as students and later as a manager to attend the Bauhaus' Workshop. Under the administration of Gonta Stölzl, this workshop produced carpets that were successful on the sales market and aligned with Bauhaus principles and goals. In the weaving workshop of the Bauhaus, carpet industry and art were united.

Keywords

• Bauhaus
• Bauhaus Carpets
• Tapestry
• Gunta Stölzl