Abstract:
This discourse attempts to address the engravings, symbols, and designs inscribed on woven items such as carpets, Kilim, Jajim, etc., and tomb stones, the interior walls of shrines, tools, household items, etc., but our main focus is on the carpet. By carefully examining the weave, pattern, and engravings of the carpet, we will realize that our ancestors intended to convey a special message to us through the recording of signs and symbols, which in fact expresses a vision and perspective stemming from their ancient beliefs. To interpret and analyze the content of the signs and patterns, their emergence, concepts, diversity, and changes that have occurred throughout history, one must consider the social, economic, and religious beliefs of that era. During the discussion, one of the most fruitful carpet patterns will be addressed, and we will leave the investigation of other patterns for another opportunity; it is necessary to briefly introduce the concept of totem in society. Although the concept of totem is mostly used for ancient and primitive peoples, our references to totems may serve as a sign and guide in a better and deeper understanding of the Damdar tribes of this region.
Machine summary:
(Refer to page image) Figure 11: Pasture (tribal totemism) and the repetition of Astragalus bushes similar to Kilim designs is the second group of patterns and motifs that are not common and are specific to tribalism.
As will be mentioned, Figure 13: Kilim pattern and similarity of its carving with the mountain cypress tree on the stones of tribal graves (Refer to page image) was possible.
In the central design of the Kilim weaving, four interconnected motifs discussed are seen in white, distinct from other colors, which contain concepts and themes related to time and chronology: (Refer to page image) Figure 15: Central Kilim design consisting of four plants in a color distinct from the original design 1- The above composition shows 4 plants, which is a symbol of the four seasons of the year.
(Refer to page image) Figure 18: The Mithraic sun disk and the blessed repetition of Ali (AS) on the upper dome of the shrine of Imamzadeh Sayyid Taj al-Din Parvar (taken from the book "The Last Signs of Antiquity" by Mohammad Reza Gudarzi) Signs and designs engraved on copper vessels On large copper bowls, which are called "badieh" in Kilim dialect, the image of the Mithraic sun disk or the symbol of the Aryan sun is placed next to the phrase "لا اله الا الله ".
(Refer to the page image) Figure 41: An interesting design on the inner wall Figure 40: Lotus pattern or sun motif Imamzadeh Taher Parvar Bibliography 1.
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