Distance One Edition
By Mirmola Soraya
The carpet Faseleh (“Distance”) remains faithful in its geometric division of space and its design scheme to the ideal archetype of charbagh, but when it comes to the main elements decorating its field, it diverges from old and familiar models, defying tradition in favor of a new approach to symbols and stylized forms. The fundamental parts of the carpet’s design such as the medallion (Toranj), spandrels (Lachak), and field (background) are still distinguishable in the overall composition; on a closer look, however, it becomes clear that they are not formed by interlaced arabesque branches and leaves, as would be the case in a traditional design, but are rather clusters of abstract motifs inspired by land and aquatic plants.
The border in Faseleh is subdued and appears as a woven band that is interrupted in four places by the sprout-like floral motifs projecting outward from the right-angle corner of the spandrels
– an effect that recalls the occasional instances where cypress trees in Persian miniatures pierce through the upper border of the composition. Matching the style of the other parts, the central medallion in this carpet is a clump of abstract motifs, though here accompanied by calligraphic letter-like shapes with similar twists and turns as the motifs. By producing a repetition effect, the medallion hints at a flow from the corners toward the center and thus visualizes the spiritual notion of “unity in plurality and plurality in unity.”
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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