Fatemeh Khozaei; Mina Safizadeh; Ahmad Sanusi Hassan; Qamar Ul Islam
Volume 9, Issue 4 , October 2019, , Pages 61-66
Abstract
The impetus behind this study is to discover the aesthetic and semantic patterns of the cypress tree and show how this element has been employed by Iranian artists. The question of this research is how a constant element (the cypress tree) has been transfigured in different Iranian arts. ...
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The impetus behind this study is to discover the aesthetic and semantic patterns of the cypress tree and show how this element has been employed by Iranian artists. The question of this research is how a constant element (the cypress tree) has been transfigured in different Iranian arts. Four categories of miniature, carpet, textile and architecture decoration. The present research is qualitative in nature and is descriptive-analytic and mainly uses the available published data. Data were analyzed inductively and interpreted in the light of Gestalt theory. Exploratory results reveal that the cypress as a constant element in Iranian art has been transfigured differently in different arts. With the aid of Gestalt laws, the visual appearance of the cypress tree was analyzed in the different samples a few of them are presented in the study. It was found that distinguishing the cypress element has been made: by highlighting the role of the cypress and reducing the visual significance of the field while increasing the visual emphasis of the cypress. Application of different gestalt laws such as proximity, figure, and ground, similarity, continuity in Persian carpet mostly makes the cypress at the center of attention and reduces the visual importance of the other elements. In some of the other Persian carpet designs, this element has semantic and extraterrestrial concepts and sits is in the center (eg. Mehrabi carpets. In the miniature and fabric textiles, cypress tree has not received the urgent priority and often been on the margins of the image.
