Here, there is an chance for sing the Iranian rug design- one of cardinal elements of rug art and industry – from another point of view and with the purpose of lucubrating the research patterns in the field of rug. This design, inspired by astonishing existence, in zenith of completeness, is such a beautiful and graphic chef-d’oeuvre that it seems it is talking about the power of Almighty and homo is capable to make such an graphics merely due to divine psyche that has been granted to his/her organic structure. If we look the universe around ourselves we would acknowledge man-made graphicss which present themselves in a particular manner and because human inherently likes the beauty, attempts to do beautiful graphicss in his life environment.
This enterprise includes spiritual life too.Â Original Persian rug designs carry elements that have both religious and physical aesthetic characteristics. These designs have been created by gifted Iranian creative persons and implemented on well-known Iranian rugs. They make an encyclopaedia of cosmopolitan beautiful designs with a huge truth in ideas and thoughts of those who were familiar with rug from many in the history from those rugs which were made from foliages to pretty rugs that made by silk and mentioned in One Thousand and One Night Stories.
Rug designs and drawings non merely are from among cosmetic facets of houses and halls but besides narrate national and epic narratives about art, civilization, traditions and imposts of a part. By and large talking, design and in writing characteristics of a rug are its linguistic communication and without that the rug will decease. First the human being painted on caves ‘ walls, so on its handicrafts such as claywares, tools and besides rugs and carpets. In this manner he/she immersed him/herself in the sea of design and pictures, a universe full of different designs and colourss.
The art of rug weaving is from among those humanistic disciplines that have come to flawlessness over the clip and Iranian creative person endowment has found an chance to show itself in that art. The cause of this prosperity and excellence in add-on to the Persian intrinsic belongingss such as being art-lover and patient is the copiousness of natural stuffs for rug weaving such as high-quality wools and assortment of colourful workss. Rug is regarded as a manifestation of human idea and ideas.Â
Iranian rug design over the clip
Endowment and artistic creativeness in every community origin from life traditions and historical and environmental background of that community and frequently it present itself in signifier of endowment and accomplishment in a peculiar field The art of rug weaving is from among those humanistic disciplines that have come to flawlessness over the clip and Iranian creative person endowment has found an chance to show itself in that art. The cause of this prosperity and excellence in add-on to the Persian intrinsic belongingss such as being art-lover and patient is the copiousness of natural stuffs for rug weaving such as high-quality wools and assortment of colourful workss. Carpet as a manifestation of human idea and thoughts has faced ups and downs in its history.
Iranian rug design and drawings
By and large we can split the Persian rug and set it in two groups based on its design and drawing: geometric-designed rugs and curve-designed rugs which known as flower-designed rugs.
All rugs in this group are characterized by horizontal, perpendicular and diagonal lines in different sizes and insistent draws throughout the rug which decorate it. These rugs are woven by nomads, each of them has its particular design and motive. One of import method to acknowledge the weaver nomad and beginning of a rug is sing these designs and drawings.
* Curved design
A outstanding characteristic of Iranian rug is its complex and symbolic drawings. They ever caused the esteem of professionals and art lovers all around the universe. Many believe that the design of Iranian rugs, unlike what is thought to be, is n’t symbolic ; it instead reflects the sense of affinity that every Irani feels about his/her environment and nature drawings.
Nature has been the biggest beginning of inspiration for rug interior decorators and sometimes some interior decorators have inserted designs of other civilizations such as China and Saudi Arabia in their artwoks. Carpet design in Iran has several hundred old ages ‘ history and it has been implemented with designs that were near to the nature: trees, flowers, birds, and clouds. These designs passed through coevalss and bit by bit go simplified and abstract while it added more complexness of the designs at the same clip.
One of chief manners in Iranian rug, particularly in the larger types is an ellipse or sometimes diamond design program called Lachaky in the centre of the rug. In this manner drawings are put inside or around the ellipse. This design is called Toranj ( Citrus bergamia ) .
Over the old ages, art bookmans, rug experts and all right art professionals have tried to sort Iranian rug designs and drawings and they could set them in 17 different categories each of them has its ain derived functions.
These 17 classs are as follow:
1. Ancient monument manner:
In this manner designs are being inspired by tile plants and construction and geometric design of edifices. There are several derived functions for this manner such as “ Persepolis ” , “ Taq-e Bostan ” , Taq-e-kasra ( Ivan-e- Madaen ) and newer one which is called “ Zir khaki ” .
2. Shah Abbasi manner:
Shah Abbas Safavi is one of influential figures in Iranian art. Shah Abbas manner is known by its big lily flower pulling which is called Shah Abbas flowers. This manner was one of Shah Abbas favourite manners. In these rugs Shah Abbas flowers accompanied with foliages and flowers. Derived functions of this manner are Include: Sheikh Safi, tree, animate being, decorated Shah Abbasi and Toranj Lachak.
3.Arabesque or coiling manner:
The chief elements of this manner are coiling subdivisions which are surrounded by flowers and foliages and its branchings are terminated in Arabesque designs.
The most celebrated Arabesque manners are dragon oral cavity Arabesques. In this type of Arabesque the terminal of each subdivision splits in two symmetrical branchings and being shown as firedrake oral cavity. There is some sprout on the roots and subdivisions which are cosmetic. These buds are called the Slim.
Possibly the word “ Slimi ” ( Arabesque ) comes from “ Slim ” which means bud or maybe it is the decreased signifier of word “ Islamic ” .Â We know that the Islamic Humanistic disciplines have used this manner often. This manner has legion derived functions due to frequent alterations and uses. Some of them are as follow: Arabesque, Band Arabesque, broken Arabesque, Dragon oral cavity Arabesque, Toranj Lachak Arabesque, Toranj Arabesque and Serpent Arabesque.
4.Â Afshan Style
This manner normally follows same form ( flower or bird ) in which the elements are interconnected.Â Â The interior decorator ‘s pen remains on paper during Afsan projection from get downing to stop and there is no cross connexion in this manner.
The lone topographic point where the horns and foliages are scattered there is an unfastened country. Khtayy-e-afshan, Dast-e-gole-eafshan and Toranj-e-afshan are among its derived functions.
Some of these manners are similar to those being woven in countries near Iran ‘s boundary lines and sometimes they are known by their names. Many researches show that some of them are originally Iranian and being copied by Iran ‘s neighbors.Â . Some of its celebrated derived functions are include Afghan design, Caucasic design and Gublen design.
6.Band manner ( stripped )
When there is a repeat for little subdivisions of a design and it makes a uninterrupted design in rug ‘s length and breadth, it would be called Bans manner. There are different derived functions for this manner: Mostofi Band, broken Band, Katibe Band, Varamin Band, tree Band, Majlesi, Â Bakhtiari Band and Keshti ( adobe ) Band.
7. Plant manner:
The base of this manner is the dead set pine motive set ( shrub ) which is one of oldest Irani and Indian manners. This manner has different designs and drawings in Iran ‘s rug. Some of celebrated derived functions are include: shrub ( works ) , Jeqe ( Crown ) , Sarabandi works, Kherqeyee works, Isfahan Ghalamdan works, Sanandaj works and Afshari works.
Although the usage of simple and abstract subdivisions is really common in Iranian rug design, tree drawings are distinguished due to their similarity to natural signifiers. We can advert tree and animate being, vase tree and willow tree among from its celebrated designs.
9. Hunting manner:
Merely like Tree manner, the animate beings in this manner are depicted excessively close to the natural signifiers. Its derivative designs are as follow: Diamond hunting, Lachki hunting, and Afshan hunting.
10.Frame or adobe manner:
This manner is based on utilizing multiple frames in which each frame has its independent image. This image can be insistent or single.Â Its derivative designs are as follow: Â coiling adobe and column adobe.
11.Golfarang manner ( European flowers ) :
This manner is combination of some designs with original Iranian drawings. There was ruddy flowers with light and dark colourss in it and later it was known as Gallic or European manner due to its nature-oriented manner. Bijar Flowers, Mostofi flowers, adobe flowers, corsage of flowers and poulet & A ; flowers are among its celebrated derived functions named.
12.Turkmen or Bukhara:
The manner of Turkmen rugs with respect to interrupt lines and geometric characteristics classified as mobile specific manners. These rugs are woven by bosom without any map. Frame Yamuny Turkmen, Turkmen Comb, Turkmen Ghazal Gaz ( deer oculus ) , okhal Turkmen, four-frames Turkmen, Khorjin Turkmen and spoon Turkomans are derived functions of this manner.
13.Pot manner:This manner uses pots in different sizes. In some instances a large pot fills all the rug ‘s country or it filled by insistent little pots. This manner has legion derived functions ; some of them are as follow: Khatayee pot, double-sided pot, Mehrabi pot, Afshan pot, Haji khanom pot, Lachak Toranji pot.
14.Blended fish manner:
Although this manner has been elaborated by nowadays interior decorators, its original design has been made by nomads. It was woven in Birjand metropolis for the first clip and shortly it became popular so it was used in distant locations like Hamedan and Azerbaijan. Every new location added its ain characteristics and manners. Fish manner has a broad assortment and Kurdistan fish, little fish and Farahan fish are illustrations of its derived functions.
15.Mehrabi or Sajjadeyee manner:
This manner has a simple background with columns or candle holders on two sides that works and flowers drawings fill between them. Its derivative designs are as follow: Mehrabi with pots and columns, Mehrab and landscape, Mehrab and candle holder.
It refers to a design with sets that run aboard of the rug and every set has its ain drawings and colourss. It is called Ghalamdani manner in some parts of Iran and Ghalamdani Afshan, little flowers ( with mono-colored background ) and shrubs ( with multicolored background. )
Beside original manners, they combined over the clip and have made composite or combined manners by uniting two or more manners.
The proposition of this undertaking is related to establishing an bureau for presenting and providing hand-crafted rugs and other Iranian all right humanistic disciplines.
Institutionalization of such an bureau follows below mentioned aims:
Lebanon people are interested in Iranian handmade rugs and despite the fact that there are many other hand-crafted rugs with different nationalities like Turkish and Caucasian, they prefer Iranian rugs.
Addition in common cognition about different phases for weaving a rug ( design, function, colourising and etc. ) and presenting them.
Lack of such bureau
Here, there is an chance for sing the Iranian rug design- one of cardinal elements of rug art and industry – from another point of view and with the purpose of lucubrating the research patterns in the field of rug. In this paper we tried to utilize Iranian traditional design and unite it with modern design rules to show a new attack toward Iranian rug. Traditional design includes drawing and word pictures that reflect civilization, imposts and common traditions in a society. This design changes over the clip and along with alterations in above mentioned points, but it keeps its old traditions. In the following subdivision introduce Iranian architecture manners:
Khorasan manner has been the first Islamic architecture manner and it is called khorasan because the building the first memorials has been at that place. This manner combines Arabic masks architecture with Iranian edifices ( Part dynasty ) which has a simple architecture ( without ornaments ) .
Khorasan manner characteristics:
- Rectangular program
- Amphitheater-like or forty-pillar architecture
- Simplicity and deficiency of ornament
- Adobe and brick as primary stuffs
- Lack of outer bed for ornament or sometimes thatch
- Using stray individual minaret with round profile in north side.
- Ellipse, egg-like and Nari discharge.
In this manner the mask program is Arabic but the edifice is Iranian.
It is the second Islamic architecture manner in Iran and since the first edifices of this sort has been founded in Rey metropolis it is called Razi ( of the Rey ) manner. The skips of amphitheatre and its pillars, utilizing terrace, dome with four terraces are some of chief alterations in this manner. The most of import and most varied Iranian architecture manner is Razi manner.
Razi manner characteristics:
- Rectangular program
- Patio infinite
- Brick as primary stuff
- Patio with square program
- Zigzag vaults
- Dome and its aides which are founded on the rear of south terrace
- Double minaret on the south terrace
- Decoration ( torus, bricking, knotting, adobe tile )
- Dome saloon: Iranian architecture chef-d’oeuvre in the universe
Gonbad-e-kawoos is the tallest brick tower in the universe that attracts many tourers every twelvemonth and invites them to detect the stateliness of original and historic architecture of Iran.Â This tower has two parts: foundation ( organic structure ) and conelike dome. The foundation of this tower is on a difficult surface and it rises up to 15 metres merely by utilizing bricks and similar stuffs.
The cylindrical outer organic structure of this tower has 15 clefts ( 90 grade jags ) which is similar to a 10-angle star. These clefts have same distances and start from the foundation and lift up to the conelike dome. The spreads between these clefts are filled with bricks. Experts believe that the tallness for a edifice is meaningful merely when it dominates the locality and it conveys the feeling of height with respect to aesthetic facets. By such a definition the Gonbad-e-kawoos is the tallest brick edifice in the universe since it dominates both mid-Asian home bases and Caspian Sea with 400 metres below ocean degree tallness.
This manner is called Azeri since first edifices by this manner have been made in Tabriz.
Azeri manner characteristics:
It can be divided to two derived functions:
a.Azeri manner belonging to Ilkhani dynasty with Tabriz as capital metropolis and below characteristics:
- Huge edifices
- Attention to perpendicular proportions in edifice
- Rectangular terrace
- Assorted terraces
- Decoration with torus, gold-covered dress suits and outstanding dress suits.
b.Azeri manner belonging to Teymuri dynasty with Samarqand as capital metropolis and below characteristics:
- Using root ( constriction ) between dome infinite and below infinite
- Using heterogenous surfaces in whole edifice
- Using curved dress suits ( Mosaic work )
- Isfahan manner
It is called Isfahan manner since first edifices with this manner were made in Isfahan.Â
Isfahan manner characteristics ( most decorated Iranian manner )
Simple diagonal and rectangular paln
Desirable and tough stuffs
Decoration with adobe tile, seven-colored, craving, Yazdi designs and formal designs.
Parse or Persepolis is the name of one of Iran ‘s celebrated antediluvian metropoliss which has been Iranian land in ancient times.
- The entire country of Persepolis is 125000 M2. It has been constructed on a platform with 8 to 18 metres height to the Marvdasht tableland.
The chief parts of Persepolis are as follow:
- Persepolis formal and ceremonial castles ( state gates castle )
- Populating infinite and sole little castles
- Royal exchequer
- Security and palaces and munitions
- Hundred-pillar castle
- Its entire country is about 46000 M2s and its roof was held by 14-meters pillars.
Iran ‘s Eden
Falak-ol-aflak palace ; the universe ‘s greatest architecture chef-d’oeuvre
The beauty and fantastic architecture of Falak-ol-aflak historical palace in Luristan caused many experts regard it as one of universe ‘s greatest technology and architecture chef-d’oeuvres. The tallness of tallest wall in this olympian and immense palace from hill degree in 5.22 m and its entire country is 5300 M2 with irregular octangular program. The Gatess of this palaces are made in north side and sou’-west tower with 3 m height and 10.2 m breadth. This palace is made by adobe, brick ( large and ruddy ) , rock and howitzer.
An interesting point about this alone memorial is that there is a good with 42 m deepness in first pace and exigency issue in 2nd yard.Â
Rug weaving is an art which has been completed over the clip in this land and Iranian endowment is profoundly reflected in it. On one manus the cause of this prosperity and growing roots in built-in Iranian belongingss like artistic sense and patient and on the other manus it originates from copiousness of primary stuffs for rug production like desirable wools and different colorful plants.Â
Promotion and extension of Iranian civilization and civilisation ( specially old and cherished art of rug weaving ) , presenting its designs to other interior decorators and creative persons in this land and resuscitating aureate combinations of old Iranian plants are among chief aims of this undertaking. It may be banned the other states like China, India and Pakistan from get bying our designs and manners.
In new epoch, beside political and cultural dealingss, economic and trade have critical function in Asia and rich Middle East states and their private subdivisions.
Within past 22 old ages, our authorities has adopted an attack to beef up and develop its economic dealingss with Asiatic states specially Lebanon with respect to economic development rules. Iranian hand-made rug industry is one of suited models for investing in addition in Iran-Lebanon dealingss. This industry has kept its statue in Lebanon and the volume of one-year Persian rug export to this state is about 10 million dollars. Most Lebanon people are engaged in trades and Lebanon business communities put high value on trade with other states. Now many people there purchase Iranian goods ( particularly hand-made rug ) and export them to African states or even Canada and Latin America yearly.
Annual GDP of Lebanon is about 25 million dollars which chiefly comes from direct revenue enhancements for industry, services, Tourism and hotels and banking. It can be said that Iranian art ( Iranian hand-made rug ) caused tourist attractive force and have increased Iran-Lebanon trade dealingss.
Rug production regarded as one of influential factors in economic development due to entrepreneurship and the other causes. This field provides broad scope of businesss and income beginning by cotton/ wool production, rug design, colouring, weaving, mending and national/international trade for many people. In past 20 old ages, Iran foreign ministry and Iran embassy in Beirut have started to present Iran ‘s export capablenesss in different Fieldss to Lebanon society and facilitated trade bureau opening in both states.
This 370 M2 bureau has been constructed with four floor edifice. First floor allocated to auto parking. Second floor allocated to debut and exhibiting full aggregation of different Iranian rugs and all right humanistic disciplines. Third floor has two a subdivisions: one subdivision for showing different celebrated types of Persian rugs which itself is divided to two other parts: rugs with modern manners and designs and rugs with authoritative manners. The other subdivision is a eating house with delightful Persian and Lebanon dishes.Â Sale office locates in this floor. In last floor visitants observe different phases for rug weaving ; from row stuffs to weaving procedure ( design, rug map. . . ) . they can mend their rugs here excessively.
General belongingss of this undertaking
This undertaking will be implemented in Verden country in the centre of Beirut. There is one of most of import trade and tourer centre in this country which is located in Main Street – one of most crowded streets in Beirut.
Residents in this country have really high economic and societal degree so they can purchase these cherished goods.
With respect to location, this edifice dominates a chief street and an back street. This alone characteristic distinguished it from other edifices.