Introduction:Phenomenology, which is known in the world of philosophy as the science of phenomena, became known in the twentieth century with the works of Edmund Husserl and with the slogan “Return to the essence of things and a new view of them,” in order to reach the hidden meaning and reality of the work through its direct experience, which requires the suspension of all presuppositions (epoch). This approach can be generalized in various arts and sciences. The carpets of Rasam Arabzadeh, a modernist Iranian artist who, since the 1940s, has created carpets that are different from those woven based on the traditional carpet design system and has established a new direction in the approach to Iranian carpets.
objectives and questions: The aim of this article is not to study phenomenology in its entirety, but rather to focus on and read a generality of this approach that seems to be relevant and related to Arabzadeh’s mental world and his phenomenal works. Therefore, the works of this artist have been the subject of this research and have been measured in order to determine the extent to which these works, which contain an aspect of indigenous and traditional art and are unique in their own way due to the deconstruction of the text, content, and physical form of the carpet, are related to the epoche and Husserl’s worldview. In this way, the main question related to the research is: How does phenomenology and epoche occur in Arabzadeh’s carpets and to what extent do these works benefit from the phenomenological approach?
Findings and Results: The most important results of this research are as follows: Pattern and color, as two central and fundamental elements in creating the structure of Arabzadeh carpets, should be considered as phenomenological pillars of these works, which are capable of bringing forth a dialogue (dialectics) between the outside and inside worlds of the carpet and creating a dynamic and multifaceted relationship between the designer, the weaver, the viewer, and the audience.
the de-Arabized painter, a modernist artist in the art of carpet weaving, created works that were novel, strange, and unique in their time by breaking with the principles and mechanisms of traditional design and deconstructing the order of this type of design. From the perspective of Husserl's perceptual proposition and the phenomenological theory of this philosopher, the explanation of the perception and perception of color and pattern in a carpet is that the designer and weaver has been able to bring them from a potential state to actuality based on their will and idea. pattern and color, when used in the process of carpet weaving, are no longer mere materials but are transformed and transformed into phenomena, and it is our consciousness that recreates the world of color and pattern in the mind; since their reality is not obvious to us. Accordingly, the phenomenology of Arabzadeh carpets is an attempt to describe the various perceptual dimensions of pattern and color as aesthetic elements of carpets. the nature of this article is theoretical and fundamental, studying the carpets of Rasam Arabzadeh, a modernist and deconstructive artist in the field of carpet weaving, from the perspective of Husserl's phenomenology. The reason for focusing and selecting this artist's carpets is that the content of his hand-woven carpets seems to be an attempt to disrupt the order, principles, and structure of traditional design and to deconstruct them comprehensively and, more importantly, to reveal the true essence of phenomena.
Carpet phenomenology is indeed an attempt to describe the various perceptual aspects of the use of pattern and color in this indigenous art. The context of the Iranian hand-woven carpet as a space that “experience encounters” is one of these aspects that highlights this interaction from two angles. One is the emphasis on the place of the users in the formation [of the carpet context] and the other is the emotional surface expression of this interaction that can be understood and conveyed by the said encounter or experience” (Relph, 1976:168). At a holistic level, we can say that we live in the carpet. Indeed, “when each person lives in a place [and with a work], he is immersed in that environment [or work]” (Buttimer, 1980:171-172).
This interpretation of the concept of immersion is one of the central concepts of phenomenology, that is, the level and extent of the connection between the audience and the carpet that interacts with feelings, emotions, and inner desires. Certainly, the deep understanding resulting from this connection and the actor's connection is broader and beyond the experience or apparent and functional actions with a handmade carpet. A carpet is a multifaceted phenomenon that, in addition to the technical, functional, and physical dimensions, also has an artistic, aesthetic, and semantic dimension that, , from a phenomenological perspective, can be understood both through taste