![]() ![]() The original Persian droplet-like motif – the boteh or buta – is thought to have been a representation of a floral spray combined with a cypress tree, a Zoroastrian symbol of life and eternity. ![]() So what is behind paisley’s incredible longevity? Its symbolic power has probably played a part. Paisley-style shawls are shown in the early catalogues and when they started printing their own fabrics in the 1880s, paisley designs are very much in evidence.” Liberty’s archivist Anna Buruma explains: “Liberty has been associated with paisley style from the beginning when they sold fabrics, porcelain, rugs and shawls from the East. Various paisley designs were among the many beautiful prints and garments showcased at Liberty of London, an exhibition at the Fashion and Textile Museum that showcased the textiles of the influential design company and store. Etro, the Italian brand, has also long-used the design in its menswear, especially in suit and jacket linings.” In womenswear, too, designers from Dolce & Gabbana and JW Anderson to Raf Simons at Jil Sander have incorporated paisley in recent years. “And especially in the West following the hippie-inspired styles of the 1960s and 1970s, which have been having a resurgence of late with brands such as Saint Laurent, Burberry and Gucci adopting paisley. “Paisley has been a popular motif in fashion for centuries,” Jeremy Langmead, brand-and-content director of luxury menswear e-tailer Mr Porter, tells BBC Culture. More surprising is how paisley has endured, and how the apparently immortal print has been enjoying yet another peak of fashionability – the catwalks of London, New York, Milan and Paris have all seen a flutter or flash of it in recent seasons. That Wilde and his demi-monde friends loved paisley – the painterly textile pattern that resembles a teardrop or seed-shaped vegetable – is no surprise. ![]() “Ghabghabi” (frame into frame) designs (belonging to Chaharmahal and Bakhtiari area), repeated patterns of tree and medallion with repetition of tree in four symmetrical directions are also other styles of illustrating life tree in paradise.“One should either be a work of art or wear a work of art,” said the famously flamboyant Oscar Wilde, who loved nothing more than to lounge foppishly in a silk paisley smoking jacket and cravat. In these gardens, cypress tree, willow tree, full of flower and vine trees and also stylized forms of the tree can be found. ![]() On the other hand, the imagination of paradise, which is the basic thought in Persian civilization, and believing in the existence of good or evil tree and life tree in paradise, is one of the effective factors in illustrating sacred tree on garden carpets. Altar is the symbol of the place of relationship between heavenly world and underneath world, cresset is a symbol of light, lotus is a symbol of eternity and renewal life and earthen jar or flowerpot is a symbol of blessing and rain bringing phoenix and other protector animals are symbols which according to Persian’s legends, they are related to the concept of tree. The available samples in ancient Persian art and Zoroastrian’s legends are found, then designs of life tree in accompany with these symbols on Persian carpets are introduced. At first, this analysis is studying the relationship between life tree with altar and light symbols, an earthen jar, protector animals, lotus and phoenix. In addition, through comparison of more ancient concepts of these forms, the principle of continuity of life of this symbol can be taken into consideration on these carpets. This paper is introducing different forms of sacred tree and sacred plant (life tree) on Persian carpets. “Life Tree” is an evergreen tree which its fruits bring eternity and immortality and is the essence of all trees. ![]()
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