The carpet Yalda (Shafa [“Cure”]), on the other hand, takes a deconstructionist approach and entirely eschews the familiar “4/4” scheme of the charbagh design. Unlike in Faseleh, there is no reflection symmetry in Yalda to achieve a sense of balance. The general composition is instead shaped by the horizontal extension of motifs in the field and border, creating one quarter of a design, as it were, and encouraging the viewer to visualize the rest based on it. By calling on us to complete the composition, the design turns into a fluid yet self-sufficient phenomenon, despite initially appearing unfinished, asymmetric, or imbalanced. The border floral motifs sometimes freely stick out of their imaginary limits in a graceful, flowing motion and run into the abutting “waterway (Aab/Raah),” and sometimes come to an abrupt stop amid their advance and leave a stretch of the dark field untouched. While Faseleh’s monochrome palette calls for a caressing hand to turn the carpet’s silk hairs and allow light to playfully paint the hairs in a new shade, Yalda is already a painting of redness dancing over a canvas of gloom, evoking the symbolic contrast of the “red intellect” against the darkness that lies between the cure and its seeker.
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