Reproduction of the physical structure of Iranian garden in painting and carpets of the Safavid period

Document Type : Scientific Research

Authors

1 Associate Professor of Architecture, Faculty of Architecture and Urban Planning, University of Islamic Arts, Tabriz, Iran.

2 Msc, student of Islamic architecture, Faculty of Architecture and Urban Planning, University of Islamic Art, Tabriz, Iran.

10.22034/(jrupa-ei).2021.266689.1056

Abstract

In the Iranian mentality, the garden has an all-encompassing image; in such a way that the ideal garden has penetrated almost all the arts and has been proposed as a part of the cultural identity of Iran. The Persian garden is one of the manifestations of Iranians' belief in the promised paradise, and this factor has highlighted the presence of pardises in works of art. For this reason, different types of Iranian art have paid special attention to the representation of the Persian garden. Iranian carpets and painting are two areas that have dealt with this issue abundantly. In this paper, the structural design, role and composition of garden carpets and paintings in the Safavid period and their relationship with the structure of Isfahan city gardens and Kashan Fin Garden have been studied. In this way, the effect of garden design and its elements in these two visual areas can be understood. Accordingly, the purpose of this study is to answer the following question: What effect did the structural pattern and components of the Iranian garden have on the design of carpets and paintings in the Safavid period? And what are the commonalities and differences between the Iranian garden, carpets and paintings? To find out how these three fields of art have modeled on each other. The necessity and importance of this issue is in order to explain the correct principles used in three different artistic aspects and their impact on each other in a historical period. In this way, the separation of these three fields of art in the contemporary period is prevented and they are linked to each other and their identity and originality are preserved. This research is a qualitative research with a comparative approach. The method of the present study is descriptive-analytical, and information analysis has been done inductively. Research information has been collected through library studies and documentary methods. The statistical population of the study was selected from Iranian gardens, garden carpets and paintings of the Safavid period. The statistical population of this research consists of Persian gardens, garden carpets and paintings of the Safavid period. From each of them, five items were selected as the sample population. Four samples of gardens from Isfahan and one from Kashan; four samples of garden carpet from Kurdistan (northwestern Iran) and one from Kurdistan and all samples of paintings from the Safavid period are randomly considered for analysis. The findings show that the motifs and form structure in the garden carpets and paintings of the Safavid period have the same design, role and spatial geometry as the Persian garden. In most carpets and paintings, the use of geometric principles, the pattern of four gardens and the harmony between the motifs have caused the manifestation of the Persian garden in the carpets and paintings of the Safavid period. The results also show that the promotion of garden design in carpets and depicting the garden in paintings has caused nature and its motifs, such as trees, flowers, birds and animals, to be used more to get closer to the concept of paradise. The pattern of four gardens, the square distance and the openness of the main landscape in a rectangular shape in the Persian garden have been observed in the design of garden carpets and paintings. Considering what is in the main structure of the Iranian garden design and comparing it to that of painting and garden carpets, we conclude that the composition of the structures and elements used in the two areas of painting and carpet weaving are similar and corresponds to three types of structure and geometric principles of the Persian garden (ie, uniaxial, two axes perpendicular to each other and three parallel elongations). The only difference is in the way the elements and motifs are displayed by the artists, which are usually displayed in two dimensions in garden carpets and generally in two and three dimensions in paintings. It is hoped that the use of these patterns and principles in the contemporary period will also pave the way for artists.

Highlights

The glory, grandeur and culture of gardening in the Safavid period has led artists and carpet designers to use carpet designing and painting in parallel to reflect their mentality and creativity and consider carpets as a suitable platform for the image and embodiment of divine concepts that relates the self and nature. In the paintings, the artists depict the Persian garden and the daily life of the people next to nature. The garden carpets of this period have an allegorical and symbolic concept of paradise and paradise gardens, and at the same time, the motifs and designs in these carpets are appropriate to the architecture and design of Iranian gardens, which deal with the four gardens and paradise. This is a sign of creativity and ability of Safavid design artists. Promoting garden designs on carpets and depicting gardens in paintings has led to the use of nature and its motifs such as trees, flowers, birds and animals to be closer to the concept of the Garden of Eden. The pattern of four gardens, the square distance and the openness of the main landscape in a rectangular shape in the Persian garden have been observed in the design of garden carpets and paintings. Considering what is in the main structure of the Iranian garden design and in matching it with the formal structure of the two areas of painting and garden carpets, we conclude that the composition of the structures and elements used in the two areas of painting and carpet weaving are conform to three types of geometric structures and principles (uniaxial, two axes perpendicular to each other and three parallel elongations), and the only difference is in the way artists display elements and motifs. The application of these principles expressed by artists in various arts in the contemporary period, will help us to present original and identical art according to the characteristics obtained, which will pave the way for the next generation and a strong connection and common point between different aspects. Create art.

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Main Subjects

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Journal of Urban Development and Architecture - Environment Identity ( JUDA-EI)
Volume 1, Issue 4
December 2020
Pages 73-100

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History

  • Receive Date: 10 January 2021
  • Revise Date: 18 January 2021
  • Accept Date: 21 December 2020

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