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. 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.
Machine summary:
The question of this research is how a constant element (the cypress tree) has been transfigured in different Iranian 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.
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.
Cypress tree, comparison, carpet, Persian miniature, fabric textile {مراجعه شود به فایل جدول الحاقی} INTRODUCTION Trees as the main components of the landscape have been the focus of different scholars.
Among the plants, for Iranians, the cypress tree has been of great importance since the ancient times and has frequently appeared in various literary arts and architecture.
"The abstract forms of cypress trees or paisleys which are the rouge figures of Iranian carpets come in different sizes and colors "(Nasiri Khorram, 2016, 85).
Using the perceptual laws of the gestalt, the array patterns of the cypress element in miniature and Persian carpet samples were examined.
Because the cypress has always been of special importance among Iranian people since ancient times, this s tudy is an attempt to inves tigate this element in different forms of arts including miniature, carpet, tile, and texture from an aes thetic perspective.
In other words, in Iranian miniatures, there is a combination of human figures, plants, and trees, and the cypress is an element of this landscape.