Abstract:
One of the key questions concerning nomadic hand-woven objects in Iran deals with designs and motifs used in them; with the nature of the motifs and the techniques applied to create them. Generally, the intended designs and motifs used in nomadic Persian hand-woven objects are broken (abstract) in shape and as simple as possible. In addition, they are often woven quite subjectively or intuitively; a feature that has made such hand-woven objects unique in terms of aesthetic criteria. Another outstanding feature is the application of a wide variety of weaving techniques. This is true especially in Ghashghaie hand-woven objects. In fact, the weavers take advantage of various techniques (sometime a combination of them), through making different arrangements with wefts and yarns. First, various kinds of nomadic Persian hand-woven objects were classified in terms of application and weaving techniques. Then, the views of three distinguished experts, Parviz Tanavali, Armen Hangeldin and Cecil Edwards, concerning the nature of broken and/or abstract designs and motifs used in nomadic Persian hand-woven objects were reviewed and examined. Finally, the views of the experts were compared with those of the nomadic weavers themselves in order to discover the real explanation for applying such motifs and designs. In order to extract the nomadic views on the rationale behind applying the indented motifs, the weavers were asked two key simple questions. This study is descriptive-analytic in nature. Data were gathered based on library sources and field studies.
Machine summary:
"Then, the views of three distinguished experts, Parviz Tanavali, Armen Hangeldin and Cecil Edwards, concerning the nature of broken and/or abstract designs and motifs used in nomadic Persian hand-woven objects were reviewed and examined.
Classification in terms of function and weaving techniques Nomadic hand-woven objects in Iran are potentially rich enough, from different aspects, that they can be studied in a wide variety of fields such as anthropology, semiotics, psychology, sociology, aesthetics, etc.
Researchers’ views Researchers working on carpet and nomadic hand- woven objects have mentioned various perspectives for the origin of abstraction, subjectivity as well as the simplicity of the presented patterns.
Structure Carpet of Technique (nappy) Symmetric and Asymmetric tie angle warps in flat tight angle warps in half tight / angle warps in full tight Srructure Tissue of rug Kilim Pendant of woof kilim with common woof Kilim with common tar Simple kilim Structure Tissue of Jajim / Shesh derme / Plas / oyee / Jajim tissue of compound Structure Tissue of Souzani Jajim gol Jajim gol Sibama / Dawreh chin Rend Structure Combined Gachme / 85 Conclousion The nature of responses obtained from the interviews with nomadic weavers (concerning the preference of abstract and/or subjective patterns to other ones) indicated that such responses are in contradiction to the views posed from the researches cited in the study.
1) Armen Hangeldin 2) Since the nomadic weavers were not familiar with technical terms such abstract and/or subjective, the questions were simply as "Why do you weave the patterns of birds or animals in the way you do?" Although the questions might seem simple, the nature of responses were quite important (Diagram 3)."