Abstract

The important foundation of Iranian art are derived from a religious culture and based on the studies conducted by elders and experts in this field, It can be said that this culture is in accordance with the principles of Islamic aesthetics. Studies that are still ongoing and many Iranian and foreign theorists are of the opinion that Iranian culture accepted Islamic principles when it saw them in accordance with its own culture. Including monotheism and 

On the other hand, it should be known that the culture of each land flows deep into the lives of its people, including the art of that region. In the following, unconsciously it is noticed that Iranian arts, in many cases, have common concepts that exist in most Iranian- Islamic arts. Although these common features are less mentioned, they are also shown in the art of carpets.

Carpets weaving, which is the most popular and native urban, nomadic and rural art, has a definite relationship even with music. For further explanation, it should be remembered that the principle of Islamic aesthetics, is based on repetition, and music, in its simplest form, is a kind of repetition of sound with different moods.  What is obvious in Iranian carpets is the repetition of motifs with different degrees that make up the design. Paying attention to these points together increases the desire to find the rule of repetition in the existence of any interested person. Because trying to understand an artistic concept always means the desire to participate in the world created by the artist and the current research is also an effort to discover symbolic concepts and of course it is only ban opening towards the infinite horizon of hidden meanings in Iranian artworks. 

With this description, it can be said that the presence of the rule of repetition in the carpet indicates the fusion of the carpet design pattern with the principle of rhythm.  It is obvious that this fusion exists in the design of all Iranian carpets and even outside the borders-regardless of the issue of their imitation of Iranian carpet design- including his competitors. But in this article, only some carpets of Kerman region (from the mentioned point of view) are examined.

Therefore, according to the mentioned cases, the present research has tried to analyze and evaluate the studyable examples of Kerman carpets, which are adornment of various museums today, from the point of artistic rhythm. 

The data of this research, which was collected based on the library method, and analyzed method, has introduced  the types of rhythm in these carpets, relying on case examples. 

Finally, the obtained results indicated that the designers have drawn motifs on a platform that draws the attention of the audience to the deep world of nature, considering the dynamic points and repetition criteria as one of the main bases and the understanding of these aesthetic values, including the principle of rhythm, evokes the existence of a superior force in his mind. 

And finally, repetition and repetition is not only boring, but along with the two characteristics of symmetry and contrast, it is one of the characteristics of iranin art that the has found a strong presence in carpets and music.