نویسنده
استادیار و عضو هیئت علمی، دانشکده معماری و هنر، دانشگاه کاشان.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
The issue of representation in visual arts—particularly in the Mihrab (prayer niche) carpets of the Qajar period in Kashan—is closely linked to elements such as culture, identity, religious beliefs, and the prevailing ideology. These representations often appear indirectly through mystical, religious, Sufi, mythological, and symbolic themes within the visual structure of the carpets, providing a platform for conveying deep intellectual and spiritual meanings. The semantic layers derived from local, historical, and social contexts have led to the emergence of representations that, through symbolic discourse, implicitly reflect the ideological and identity-oriented themes of the Qajar era. These representations, while conceptually independent, are interconnected and collectively construct the ideological structure of the artwork.
The symbolic motifs used in the mihrab and field of Kashan’s Mihrab carpets function as a cultural medium, carrying coded messages rooted in Iranian history and collective memory—messages that manifest in the reproduction of power discourse and the legitimization of the ruling ideology.
The aim of this study is to identify the artistic and cultural perspectives of the Qajar period and how they were employed by designers and carpet weavers in Kashan, as well as to examine the symbolic and indirect representation of signs and social layers associated with the governmental structure of that era. This research has been conducted using a descriptive-analytical approach and is based on library sources.
The findings indicate that aesthetic elements, along with symbolic motifs, served as mediators in the formation of mythical, subjective, social, and realistic representations.
کلیدواژهها [English]
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