Madakhel Pattern in the Zand Dynasty Artwork as Forgeries of Qashqai Textiles

Abstract
Statement of the problem: The practicality of the monuments has made them more appealing to governors than other tangible cultural heritages. The Zand governors left behind numerous historical monuments in Shiraz, Iran, which are essential for comprehending the theoretical foundations of artistry throughout this dynasty. The artwork patterns from any era have more than merely a decorative value; they also convey connotations. Madakhel is an ornamental pattern found in various Zand handcrafted items. The frequent use of the pattern above in many Zand artworks is a notable and uncommon feature. Very few artworks from the 12th century AH. do not employ Madakhel as a motif. Madakhel in the margins of Qashqai carpets acts as a hypotext for the Zand period artworks. A comparison of any artwork with its predecessors and successors can tell a lot about its distinct qualities. Given this perspective, comparing Zand artworks with their predecessors and successors revealed that the Madakhel pattern was frequently employed in art crafts created during the second half of the 12th century AH. The study’s primary concern is to examine the essence of the Madakhel pattern and how it evolved based on the Qashqai textile design.
Purpose: Thus, it aims to comprehend the pattern’s conception and analyze why Zand artworks, as hypertexts, frequently employed the Qashqai textile patterns. The Madakhel design emerges on the bulk of Qashqai textiles.
hypothesis: So, given the idea of cultural intertextuality, the hypothesis that Qashqai textiles function as hypotexts for Zand artworks will be confirmed
Research question: Following this, the research question is how to evaluate imitational art, specifically Madakhel forgeries in Zand period art and Qashqai textiles, and what concepts Madakhel includes beyond its form and structure, as well as how studying Qashqai textiles can help in interpreting it within Zand period’s cultural context. In addition to being an ornamental design used to embellish the margins, Madakhel is a cultural element whose form signifies an essential Zand-era connotation. What characteristics do Zand artworks and Qashqai textiles share that identify the former as the recipient of Madakhel and the latter as its source? Form, content, and theme in Zand dynasty artworks demonstrate the strong influence of a nomadic aesthetic. Examining the hypertextual relationships between Qashqai textiles and Zand artworks comprising Madakhel patterns fosters not only the recognition of the first text as a hypotext and the second as a hypertext but also the comprehension of the Zand dynasty’s intellectual foundations and the metatextual significance of the aforementioned pattern. The other significant aspect of the study is that researching Madakhel allows us to recognize it as a part of the visual culture during the Zand dynasty. Numerous works from the second half of the 12th century contain Madakhel patterns, which are regarded as one of the visual identifiers of the Zand dynasty. Identifying reoccurring aesthetic features in the Zand period are unique markers that are beneficial and valuable in molding the art of this period.
Methodology: This article is classified as qualitative research. It explains why Madakhel is depicted in texts such as Qashqai textiles and Zand artworks. To obtain the desired results, research data was gathered from library sources. After observing museum artifacts both online and in person, the images used were examined and categorized. The inclusion of Madakhel in artworks serves as a criterion for searching for images on Qashqai textiles and Zand cultural heritages. The data was processed using a descriptive-analytical approach based on Gérard Genett’s hypertextuality theory. Forgery was picked as one of Genette’s six hypertextuality aspects. According to observations, Madakhel in Zand dynasty artworks is founded on the same basis as Qashqai textiles. From a practical standpoint, this research ignored Madakhel art as entertainment, instead focusing on the imitative influence of Qashqai art on Zand dynasty artworks. Samples were selected using a purposeful method and based on accessible cases.
Findings: The tendency of Zand artists to frequently employ Madakhel was examined by analyzing nomadic similarities between Qashqai and Zand cultures. Seven components were found regarding the frequency of the stated pattern. All of the analysis results demonstrate intertextuality relationships between the hypotext of Qashqai textiles and the hypertext of Zand period artworks. Madakhel is more than a repeated pattern: it adheres to the nomadic aesthetics of the Zand era and embodies the tribes’ collective consciousness. It also serves as a symbol of transverse time and time flow and is used as an amulet to protect humans from voodoo. Furthermore, this pattern represents the need for order and consistency in nomadic civilization; it recalls the longing for immortality; it exemplifies the Zand dynasty’s cultural adoption from the Qashqai clans; and, finally, it demonstrates purity and cohesiveness.