Document Type : Research Paper
Authors
1
Ph.D. Candidate in Art Research, Faculty of Art, Shahed University, Tehran, Iran.
2
Assistant Prof. Department of Painting, Faculty of Art, Shahed University, Tehran, Iran.
3
Associate Prof. Department of Painting, Faculty of Art, Shahed University, Tehran, Iran.
4
Associate Prof. Institute of Agricultural Training and Extension, Tehran, Iran.
Abstract
Abstract: Sufism, a fundamental and influential discourse, has left its mark on Iranian literature and arts. In the intricate, populist, and multifaceted Sufi discourse prevalent in 19th century Iran, particularly in the Azerbaijan, a group of anonymous Sufis seemingly depicted the div and strange creatures on the Heriz silk carpets. “Another worid” is the name that was applied to these carpets in its time, which referring to their connection with the realm of jinn and div.However, many aspects of Sufi discourse and its influence on these designs remain unexplored. Furthermore, carpet is applied art and carpet weaving, especially with all-silk materials, is time-consuming and expensive, the reasons behind the depiction of designs and the Sufis' affinity for these carpets are important.This research aims to understand and analyze the designs of Heriz carpets in relation to Sufi discourse and the trend of div-painting and strange imagery during the study period. It seeks to answer the question: How was Sufi discourse related to the designs of Heriz carpets, and what impact did this discourse have on these carpets? Given the scarcity of research on this group of Heriz carpets, the necessity and importance of this study in clarifying the hidden aspects and ambiguities related to the unknown semantic implications and the community involved is noteworthy. This research employs a descriptive-analytical method, with data collected through library-documentary and fieldwork methods. The tools used were research notes, images, and interviews. Over a hundred samples of Heriz carpets were analyzed using content analysis to achieve information saturation. The results suggest that Sufi discourse influenced not only the designs of these carpets but also altered their function. These carpets were not produced as mere floor coverings but rather served as visual narratives of the intellectual and ideological system of the community involved, aimed at preserving and expressing esoteric beliefs. These carpets were used as tools to explain the discourse and teachings of this group of Sufis. The disconnect between the designs of these carpets and those before and after them is due to the exclusivity of the designs. Although the historical roots of div and trees, which are central elements of these carpet designs, can be traced back to pre-Islamic religious beliefs, they were represented extensively and in a manner influenced by the intertwined Sufi discourse of the Qajar era in the intellectual system of these Sufis and the visual system of Heriz carpets. Moreover, in the semantic interpretation of these designs, traces of concepts such as the sanctification and deification of div and jinn, the union of humans and div, the transformation of species, the unity of existence in the form of the 'WaqWaq' tree, the connection between Majnun and div and dervish, and design of lion- Qalandars can be observed. Additionally, the role of producers from Tabriz, such as Haj Jalili, who was familiar with the foundations of Sufism, and Ganjehei, which was active in the cultural sphere of Iran and neighboring countries, is noteworthy in the designs of silk carpets known as 'WaqWaq' and Anatolian.
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