Appropriation is a new art approach in the postmodern era, which appears in various ways in the form or content of the newly created work. Therefore, returning to the past works and consciously using them to the desired extent and in a new format, to create a new concept and express a new idea so that the created work is original and not forgery, because a fake artwork is made to deceive the audience, but such works do not deceive the audience. When appropriation takes place, a work is created that can be counted among the original works. Although this approach can be observed in visual arts, it happens in a more limited and different way in native arts, especially hand-woven carpets. Although this approach, due to mere representation, has lost its function today, except in carpet weaving in this way, the main question of this research is, how does the approach of appropriation in carpet weaving happen and what are its characteristics? Also, the purpose of this research is to explain the approach of appropriation in this native art and to analyze and examine its dimensions and mechanisms. Some of the findings of this research are as follow: the artist in this native art is a designer (for urban woven carpets) or a weaver (for rural and nomadic carpets), doesn't create a new concept, but out of taste and simply to represent or celebrating the personality and status of celebrities creates a work. In this approach, adaptation of various works (painting, photography, architecture, sculpture, tiling, reliefs, painting, nature and its elements) occurs. Most of the subjects of appropriation in the carpet are related to the faces and icons of mythical figures (Hoshang, Jamshid, Anoushirvan, Dariush, Shapur, Purandokht), political, religious, cultural or scientific men, the elements of nature, buildings, and historical monuments. This research is a descriptive-analytical research the data is collected using library resources. |
