Structural and content analysis of the visual components of calligraphic inscription in Safavid period Toranji and Mehrabi carpets

Problem Statement: The Safavid period marks the pinnacle of calligraphic inscription art and sets the foundation for its integration into industrial arts such as carpet weaving. Calligraphic inscription has the most significant presence in Toranji and Mehrabi carpets. Although the material and texture limitations of carpets distinguish them from calligraphic inscription in architecture and metalwork, a careful examination reveals distinctive visual components in these carpets that have resulted in apparent differences in structure and content between calligraphic Toranji and Mehrabi carpets. The thematic content and different applications of these two patterns seem to have a significant impact on the similarities and differences of the visual components in the written calligraphic inscription of these carpets, which have not been explicitly addressed until now. Hence, the focus of this study is on understanding these components.
Research Question: What are the structural and content differences in the visual components of calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period?
Research Objective: This research aims to explore the structural and content aspects of prominent visual components and their differences in calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period.
Research Method: This study has been conducted using a descriptive-comparative method and gathering information through library research. The statistical population includes seven Toranji carpets and seven Mehrabi carpets dating from the mid-9th to the early 11th century AH (Islamic calendar), which are among the representative samples available for each type.
Conclusion: The study of the visual components of calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period demonstrates significant differences between them. The calligraphic inscription in Mehrabi carpets exhibits a greater diversity in visual components compared to Toranji carpets, with the script playing a more fundamental role. On the other hand, calligraphic elements in Toranji carpets are considered a more localized part of the arabesque patterns in the carpet's design, often following a consistent approach. However, there are shared elements such as spatial composition, rhythm, and the use of Naskh script in the calligraphic inscription of both types of carpets.