Traditional Iranian arts are based on a hierarchical and integrated aesthetic system in which a limited set of foundational motifs, structured according to established rules, lead to the creation of complex and innumerable compositions.
AbstractThis study, employing a descriptive-analytical approach, integrates two key approaches: the “Seven Main Motifs” as the visual alphabet and the “Hierarchical Structure” as the grammar of composition. The findings indicate that motifs such as arabesque, floral, and paisley, as foundational units, are organized within frameworks like medallion and spandrel, ultimately resulting in the representation of mythical and symbolic narratives, including the hunting scene and flower-and-bird motifs. This inseparable bond between basic elements, structure, and meaning transforms Iranian art into a “meaningful whole,” rooted in the Iranian worldview.
Keywords: Iranian motifs, Seven Main Motifs, arabesque, floral, medallion and spandrel, hunting scene motif, hierarchical system, symbolism.
Introduction
The complex and enchanting aesthetics of traditional Iranian arts—from exquisite carpets to architectural decorations—result from an intelligent and self-organizing system based on modular and hierarchical principles. Understanding this system requires a dual perspective: first, identifying its “visual alphabet” or primary vocabulary (the Seven Main Motifs); and second, analyzing the “grammar” governing the combination of these elements at higher levels (the hierarchical structure). This article, drawing on historical and analytical sources, presents an integrated model of these two interconnected approaches and, through case studies, explores the link between form and meaning.
1. First Layer: Visual Alphabet – The Seven Main Motifs and Their Symbolic Functions
The Seven Main Motifs serve as the cornerstone of Iranian decorations, each possessing an independent and symbolic identity, and are recognized in historical and artistic texts as the “Seven Principles” (haft asl). These motifs have roots in Iranian traditions and are applied in arts such as carpet weaving, miniature painting, and tilework. Below, each motif is described in detail:
• Arabesque (Esli mi): This motif, with its twisting, spiraling, and rhythmic stems, symbolizes the eternal movement of the cosmos, unity in multiplicity, and divine mercy. Its role as the primary background creator and structural organizer in compositions is prominent.
• Floral (Khatayi): Featuring stems, broad leaves, and naturalistic flowers (such as the Shah Abbas rose), this motif represents the garden of paradise, blossoming, abundance, and the natural world. In compositions, it serves as a background filler and creator of visual foci.
• Paisley (Boteh Jugh eh): Its elongated form with a curved end (flame/cypress) evokes concepts of life, fertility, resilience, and sanctity. Its position in creating rhythm and linear movement in borders or the main field of the composition.
• Medallion (Toranj): Its central oval or circular frame symbolizes the world, heavens, heart, and core of the work. It functions as the primary structurer of the central space.
• Spandrel (Lachak): As a quarter of the medallion in the corners, it represents the four corners of the universe and creates balance with the medallion. Its role is structuring the corner spaces and establishing harmony in the composition.
• Scattered (Afshan): The dispersion of flowers and leaves without connected stems symbolizes abundance, plenty, and untamed, free nature. In compositions, it is used for uniform and decentralized filling of the background.
• Palmette (Juqeh): A crown-like combination of flowers, leaves, and peacock feathers, it represents splendor, glory, and royal authority. Its position is creating important foci in the center or axes of the composition.
2. Second Layer: Grammar of Composition – Hierarchical System
The Iranian artist employs the aforementioned visual alphabet within a logical and multi-layered structure grounded in modular and hierarchical principles.
• Foundational Layer (Background): This layer is primarily created with arabesque as the main structure and floral as a complementary element, constructing a dynamic and organic “world” as the work’s substrate.
• Structural Layer (Framework): Upon the background, the overall framework is defined with the medallion (center) and spandrel (four corners); these elements organize the infinite space and impart unity.
• Content Layer (Narrative): Within the framework, the main narrative takes shape. This narrative can be symbolic-abstract (through repetition of paisley or palmette along axes) or pictorial-narrative (such as the hunting scene or flower-and-bird motifs).
3. Third Layer: Final Composition – Case Study of the Hunting Scene Motif
The hunting scene motif, as a prominent example of integrating the three layers, has roots in royal and mythical traditions and symbolizes power, victory, and the cycle of life.
1. Background: Using arabesque and floral, a natural environment (garden or thicket) is simulated, symbolizing paradise and abundance.
2. Framework: The scene is placed within a central medallion and orderly spandrels to maintain unity and balance.
3. Narrative: The “hunting story” is narrated through animal motifs (lion, deer, horse) and human figures; paisleys create rhythmic borders, and floral elements enhance the sanctity of the scene.
Conclusion: A Coherent and Meaningful Whole
The Iranian motif design system is a key to understanding the Iranian worldview, demonstrating how simple elements (the Seven Motifs), within complex structures (hierarchy), reach profound symbolic meanings (narrative and sanctity). This model is not only significant for preserving cultural heritage but also for inspiring contemporary design.
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