Comparative Study of Visual Cues in Iranian Gabbeh and Paul Klee’s Paintings: A Comparative Approach (Case Study of Colour and Geometric Shapes)


Explaining aspects of form and colour themes in Iranian art has special importance. In fact, colour and form are the links between plural elements of Iranian art and this issue is well manifested in Iranian hand-woven rugs, or Gabbeh. The Iranian weaver transforms the traditional geometry of picture into a pattern by applying a colour formula in which form and colourhave special significance. Such form of array of work produces a modern method of presentation, the visual equivalent of which can be seen in various forms of modern art especially post-painterly abstraction; this essay tries to find the position of art of Gabbeh-weaving art as one of the most important contemporary visual kinds, the main question is: is there a similarity between aesthetic signs (geometric form and colour) in Iranian Gabbeh-weaving and post-painterly abstraction? One shall implement a descriptive-analytical method, rely on information derived from library books and references and collected field-data, aiming at studying some common aspects of the specific samples. The result of comparison and studies show that: 1. Iranian Gabbeh-weaving has discovered an exactly calculated organization of various forms, with dissimilar patterns of images; a system of relations of colour and images which it logically presents through colourful yarns. 2. Visual cues used in Iranian Gabbeh-weaving and post-painterly abstraction are similarly used regardless of time and space. 3. Visual cues, such as colour and geometric form, were first manifested in the art of Iranian Gabbeh-weaving before being seen in modern art aesthetics.