دوفصلنامه علمی گلجام

 Mohammad Ebrahim Zarei PhD, Department of Archeology, Faculty of Architecture and Art, Bu-Ali Sina University Hamadan, Iran
Abstract
 Garden and Persian carpets of among the oldest phenomena in the course of history. There are some points which indicate that garden and carpet have been closely connected. Chaharbagh structures were important works of ancient pre-Islamic Iran, at Achaemenid and Sassanid periods and Ilkhanid era, especially in the Timurid and Safavid era. Like Chaharbagh style, Chaharbagh or Golestan motifs also are notable and impressive in carpets of some periods of Iranian history. Though there no many Chaharbagh carpets left from the late Safavid era, but the few existing examples shows the spread this carpet style that is a reflection of the Chaharbagh. Examples of the carpets with Chaharbagh design can be found in west of Iran and particularly in Kurdistan, and a number of them now adorn museums and private collections outside the borders of Iran. By examining these carpets and Chaharbagh structures in the area we will understand that this relationship is longstanding. The works reflect the continuity of design and motif of Chaharbagh carpets and Chaharbagh structures which are more stable than other parts of the west of Iran until the end of the Qajar era. Evidences for this idea is the carpets which belongs to the northwestern Iran especially in cities Bijar and Sanandaj in Kurdistan Province. The samples of such Chaharbagh structures were fully operative until five decades ago. Therefore, it is assumed that that the commissioners and patrons of Chaharbagh structures and Golestan carpets have been the same social group, and it is believed that they are among the local rulers. In this paper, the background of Chaharbagh structures, Chaharbagh carpets in Kurdistan province and the relation between Chaharbagh structures and Chaharbagh carpets has been studied.
 Keywords: Carpet, Garden, Chaharbagh, Golestan, Baharkhosro, Kurdistan.

 
پژوهش حاضر مبنایی کاربردی برای استفاده از پسماند گل محمدی حاصل از گلاب‌گیری به‌عنوان رنگزا در رنگرزی طبیعی ارائه می‌دهد. پسماند گل محمدی ماده‌ای زائد است که هر ساله در پی عملیات گلاب‌گیری تولید می‌شود و هزینه‌ها و مشکلاتی از جمله انتقال و دفع برای گلاب‌گیران ایجاد می‌کند که سبب افزایش هزینه‌های تولیدی گلاب می‌شود. لذا در پی رفع مشکلات مذکور، پیشنهاد کاربرد مجدد این ماده به‌عنوان رنگزای طبیعی در رنگرزی نخ پشمی ارائه می‌گردد. با انجام این طرح علاوه بر کاهش هزینه‌های تولیدی گلاب و جلوگیری از آلودگی زیست‌محیطی، رنگزایی نوین با حداقل هزینه اقتصادی فراهم می‌شود. بدین سبب، کاربرد این ماده در رنگرزی مورد ارزیابی قرار گرفت و رنگرزی با این ماده به همراه دندانه‌های زاج سفید، سولفات مس، سولفات آهن، کلرور قلع و نمونه‌ای بدون دندانه به روش دندانه پیش از رنگرزی، با مقادیر متغیر دندانه و رنگزا انجام گرفت. پس از انجام رنگرزی، فام‌های رنگی حاصل شده با تعدادی از مواد رنگزای مرسوم مورد مقایسه قرار گرفت و مشخص شد که فام رنگی حاصل از رنگرزی پسماند گل محمدی از بیشترین شباهت به رنگزای پوست انار برخوردار است. با استحصال این نتیجه، فام رنگی دو ماده رنگزا به‌صورت میدانی و با بررسی دیدگاه فعالان عرصه تولید قالی و همچنین به‌صورت آزمایشگاهی با اندازه‌گیری ثبات نوری، شست‌و‌شویی و تعیین پارامتر‌های رنگی مورد مقایسه و ارزیابی قرار گرفت. پس از تجزیه و تحلیل نتایج به‌دست آمده و حصول مشابهت فام رنگی با رنگزای پوست انار، مشخص گردید که پسماند گل محمدی حاصل از گلاب‌گیری علاوه بر کاربرد به‌عنوان رنگزای نوین طبیعی در رنگرزی، در تولید قالی نیز قابل استفاده است.
واژه‌های کلیدی: پسماند گل محمدی، رنگرزی طبیعی، نخ پشمی، پوست انار، رنگزای طبیعی.

Dying of Wool Fiber Using Damask Rose Residue Obtained from Process of Rose Water Extraction and Comparing It with Pomegranate Colorant
 Mohammad Reza Shahparvari BA student in Carpet, Islamic Art University of Tabriz
Seyed Jalal-eddin Bassam(PHD) Assistant Professor, Institute of Technical and Vocational Higher Education‚ Ministry of Jahad Agriculture Abstract
 Every year, during rose water extraction a huge amount of damask rose residue is produced. The transportation and disposal of these waste materials create some problems including an increase in the price of the produced rose water. In this study the use of damask rose residues in dyeing wool is assessed and a method for its use as a colorant in natural dyeing is offered. Dyeing was carried out by using the material along with some mordants such as alum, copper sulphate, iron sulphate, chlorine and tin and also without mordant by adopting pre-mordanting technique. Various amounts of mordants and colorants were used. Comparing the obtained color hue with those from other traditional colorants, it was observed that the color hue obtained from damask rose residues was greatly similar to the color hue gained from pomegranate peel. These two color hues were analyzed and compared using the carpet weavers’ views as well as measuring wash and light fastness properties using experimental methods. The results indicate that damask residues can be used as a new natural colorant particularly in carpet production. This can provide a new colorant with minimum expenses, reduce the price of rose water extraction, and prevent environmental pollution.
 Keywords: Damask rose residue, Natural dyeing, Wool fiber, Pomegranate peel, Natural colorant.