Semi-Annual
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1- Department of Handicrafts, Faculty of Applied Arts, Iran University of Arts, Iran, Tehran, Iran , a.sheikhi@art.ac.ir
2- Department of Comparative-Analytical History of Islamic Art, Faculty of Art, Shahed University, Tehran, Iran
2- Department of Comparative-Analytical History of Islamic Art, Faculty of Art, Shahed University, Tehran, Iran
Abstract: (486 Views)
Iran's traditional textile art boasts a rich history; and reaching its zenith during the Sassanid era. The advent of the Islamic era facilitated the spread of this art to various parts of the world, particularly in the western Islamic regions. Motifs from the Sassanid period were not only preserved but also imitated in subsequent Islamic art and textiles, becoming integral decorative elements. The results indicate that motifs, colors, and backgrounds, types of fiber, textures, weaving methods, and decoration techniques from the Sassanid, early Islamic and Coptic periods can be categorized into four groups: animal and bird, plant, human, and abstract and geometric. These categories encompass variations in dull and bright colors, as well as different fibers such as linen, wool, and silk, and weaving styles like twill and tapestry. Common patterns include symmetrical medallions, squares, swirls, zigzags, and rhombuses. In Sassanid and early Islamic fabrics, motifs of animals, plants, and humans reflect themes of ruling (Shahriari), dominance (Shilshuri), and survival. Conversely, Coptic textiles primarily emphasize survival. The three motifs of domination, dominance, and survival in human representations illustrate the rulership discourses of the era, emphasizing the significance of a unifying ruler for societal prosperity.
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