نویسندگان محترم توجه کنید برای انجام هرگونه پرداخت فقط و فقط از گزینه پرداخت صورتحساب در پنل کاربری استفاده کنید

Volume 2, Issue 3 (9-2006)                   goljaam 2006, 2(3): 51-66 | Back to browse issues page

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Shoja’ Nouri N. The Carpet Pattern of “Tree” as figural as Celestial. goljaam. 2006; 2 (3) :51-66
URL: http://goljaam.icsa.ir/article-1-352-en.html
Masters
Abstract:   (202 Views)
Since ancient times, “Tree” has been the focus of attention as a symbol, in works of art. In Mesopotamia and later in Iran, this symbol was known as a holy tree or tree of life as early as 3500 BC, and was delineated in different shapes. After the advent of Islam, this symbol prevailed in works of art; However, no longer as a mythological holy tree but rather standing for heavenly blessings and the paradise. This symbol has been used in different branches of art, including rugmaking. In the art of carpet patterning, the tree has prefigured a great variety of designs, notably the plant Mihrabi (prayer niche). No doubt, the predominance of the tree image in a large group of prayer rugs, is not accidental and must have an objective more than conveying mere beauty. One interpretion suggests an epitome of paradise. Given the Islamic restrictions imposed on the portrayal of human beings, a tree depicted in a prayer niche may well stand for a man in prayer.
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Type of Study: Research |
Received: 2018/02/23 | Accepted: 2018/02/23 | Published: 2018/02/23

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