Paisley
is one of the most common motives of Iran, has been prevalent since
old time, almost in every hand-woven such as cashmere, carpet and
calico.
Due to this scattering of application, and long term prominence,
figure and image of paisley has changed and turned into sixty
various images. The most current is called Shrubby and Floral
Aigrette.
There has been always some contradiction about origin of this image,
patronage of Art have different interpretations about it; some
believe it as a mystery sign of flames of Zoroastrian fire temples
and some know it as example of almond and pear, but recently some
came to the conclusion, that it is a realization of an Indian plant
and thus have found, that this image has come to Iran from India and
is altered in some way.
Historical evidences show, that none of those theories was right,
but it is obvious that paisley was at first a cypress tree, bent by
the wind and on the contrary has Iranian origin, gone to India in
the course of time. Out of about sixty paisley motives used in
Iranian (and Caucasian) carpets weaving, only four of them are
counted in carpets of Fars. After Aigrette-Paisley another current
and common image is “QobadKhani paisley, which is most desired
image in Qashqai weaving. Paisley image like “In and out fish”,
at first has been a throughout image, was woven without medallion
and corner, by weaving paisleys in horizontal or parallel rows.
Since
Qashqai weavers always tried to follow a variety in design and
disliked monotonous uniform designs, first of all, they used to
decrease this annoying monotony of Qobadkhani paisley through
weaving attractive margins. Shining, colorful images of paisley
design, resulted increment of sense of motion, which is a particular
of this design. It is sensible that those images in empty ground
overrun the frontiers of corners and margin of carpet.
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