Document Type : Scientific-Promotional
Authors
1
M. A. in Painting, Faculty of Visual Arts, Isfahan University of Art, Isfahan, Iran
2
PhD. Student of Art Research, Faculty of Advanced Studies in Arts and Entrepreneurship, Isfahan University of Art, Isfahan, Iran
Abstract
Iranian carpets from the Safavid Era, especially regarding their motifs, designs, compositions, and even themes, manifest visual glory. Some of their motifs resemble the style and patterns of Chinese art, having been borrowed since the Sasanid Era. Among these remarkable carpets, one can refer to a silk animal carpet from the 16th century in New York’s Metropolitan Museum of Art. This carpet, which has been attributed to Kashan, depicts some Chinese traditional visual elements-- such as dragons, lion-dog, spongy plants and clouds, birds, or pheasants-- which can be considered as a precursor to the formation of Iranian desired carpets. Accordingly, this research has tried to answer this question how the motifs from Chinese traditional art can appear as a pre-text for Metropolitan Museum’s animal carpet. To this end, Genette’s theory of intertextuality has been adopted to investigate the effects of Chinese motifs as a pre-text on the animal carpet in the Metropolitan Museum. This article is a library-based study which has deployed a descriptive-historical method while using Genette’s theory of intertextuality. The findings of this study has illustrated that Chinese motifs, as a traditional pre-text, has been adopted explicitly and implicitly in the carpet through elements such as entanglement in plants and animals, Chinese Tai and clouds, the image of dragon and its meanings, Lion-dog or the Budhist funding, as well as pheasants.
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