The Sameness of Iranian myths in Mamluk carpets

Every nation’s myths are the narrators of unique intellectual infrastructures, cultural evolutions, and religious values of that nation since the beginning, which can be searched at various levels of individual, social, and cognitive life. Hence, Iranian mythology's visible and hidden lines are evident in various fields of structure, meaning, aesthetics, literature, architecture, and different arts, including carpet weaving. In this regard, in the mutual relations between human civilizations, the influence of the images and motifs of Iranian myths in the creations of other nations' cultures, including the civilization of the Arab-Islamic lands, is visible in specific periods. Meanwhile, researchers believe that in the design of a group of Mamluk carpets of, there are elements that have no similarity with traditions evident in other arts or Egyptian architectural decorations. Obviously these motifs contain a multiplex activity of geometric shapes on symmetrical scales in the design of cypress and palm trees, various flowers, blossoms, a pond, and a color palette consisting of red, blue white colors. The research baised qualitative methodolog, by comparing the symbolic motifs found in Mamluk carpets with the mythological schemas found in Iranian literature and culture, seemingly the influence of Iranian mythological ideas has given a distinct face to Mamluk carpet and a new direction in the carpet weaving industry and increasing its prestige and status was created. 
Introduction:
Every nation’s myths narrate the unique intellectual infrastructures, cultural evolutions, and religious values of that nation, extending across individual, social, and cognitive levels. In this context, the visible and hidden lines of Iranian mythology are evident across various domains, including structure, meaning, aesthetics, literature, architecture, and applied arts such as carpet weaving. In the interplay of human civilizations, the influence of Iranian mythological motifs can be traced in the creations of other cultures, notably within the Arab-Islamic world during specific historical periods. Researchers note that certain Mamluk carpets display motifs that diverge from conventional traditions found in other arts or Egyptian architectural decorations. These motifs often integrate complex geometric patterns on symmetrical scales, incorporating elements such as cypress and palm trees, flowers, blossoms, ponds, and a color palette of red, blue, and white.
Method:
This study employs a qualitative, research-based methodology, involving the collection and analysis of non-numerical data such as texts, photographs of carpets, and Persian mythological sources. This approach enables in-depth insights into the symbolic and aesthetic dimensions of Mamluk carpets and their connections to Iranian mythology.
Results and Discussion:
By comparing symbolic motifs found in Mamluk carpets with mythological schemas in Iranian literature and culture, it appears that Iranian mythological ideas influenced Mamluk carpet designs, giving them a distinctive character and enhancing the prestige and status of the craft. Iconic mythological elements in Iranian carpets—such as the cypress tree, three-leaved flower, and the Sun—embody ontological concepts and cultural beliefs, serving purposes beyond decoration. These motifs, integrated with the aesthetic principles of the Islamic era, were observed by Egyptian artisans and incorporated into Mamluk carpets, creating innovative design directions within the carpet weaving industry.
Comparisons between Mamluk-era carpets and other artistic patterns of the period indicate that Mamluk craftsmen were aware of the symbolic and cultural significance of these motifs among Iranians. They adapted these designs within Islamic traditions to create new meanings, thereby merging native artistry with imported cultural elements.
Conclusion:
The Ilkhanate era represents a prominent period in Islamic art across Iran and Central Asia. The cultural exchanges between Iran and Egypt during the Mamluk period influenced Egyptian carpet weaving, demonstrating how cross-cultural interactions shaped visual art. Mamluk carpets reflect an integration of diverse designs and patterns, bridging the Arab world with broader artistic traditions, and incorporating motifs that combine aesthetic, mythological, and cultural significance on a wider scale.