Classic Qajar Collection

By Mirmola Soraya

Silk Kilim Rug: 300 x 200 cm / 337 x 211 cm

During the Safavi dynasty, art was revived due to the glory and power of kings and the solidarity among the people. Carpet was not excluded this grace either. One of the most significant phenomena of that era was the presence of human beings in the decorative motifs of buildings which were built by the government and nobles and merchants. Images of the kings and human motifs can be seen in Internal decoration. Decorative patterns also influenced the carpet. They were used as the main element in a few weaves.

In “Qajar Naghshdar”, depicting  a human as the main character, and the major part of the design standing in the middle of the piece, with a dress decorated with motifs, which is made of silk, represents his mundane  glory, demand your friendship. Kiani motifs can be seen on the hat and It symbolizes the Iranian customs in Zandiyeh and Qajar dynasty. The simplicity and abstraction  is a unique and privileged feature of this piece.

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Story of Mirmola Soraya

In the beginning the patterns and the images of the Nomads were reflections of their way of life, their surrounding nature and the wishes of their weavers.
Later on, due to the migration’s to cities and industries, the once free imagination of these weavers became infected by trade an their inspiration imprisoned by industries. creative power changed to the patterns and shapes of industry and became their new ornaments. Simple images of animals and geometric patterns that were once the inspiration of the Nomad weavers. Gradually were replaced by noisy designs, became unreal and eventually lost the connection with the essence.
What we see later, is the still great industrialization of the art which fully satisfies the corresponding demands.
Theses days I am more inclined towards impromptu, improvisation, spontaneity and intuition of shapes and images. I avoid repeating the repeated, and abstain from those platitudes which are the creditors and collectors of static culture. I look around, at myself, my surroundings, at today and what is happening.
Sometimes my weaved images are rooted in stories long ago which yet follows me today, and sometimes in an incident which awaits me in future, lurking. I look at the weaved and see it as a ground to grow seeds of imagination.
Many years went on for me to learn the old ways-traditions- and then realizing again that it has become a solid repeatable industry. I believe imagination must be free, and it is then, that, what is weaved, whatever it is, is a realm for the artists to cherish their thoughts.


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