Palm Tree Tablecloth
Palm Tree Tablecloth : Stainless Steel Placemats
Palm Tree Tablecloth
- A cloth spread over a table, esp. during meals
- A tablecloth is a cloth used to cover a table. Typically tablecloths are made of cotton or other natural fibres, or fabrics made from man made or synthetic fibres. Some are designed to be easy to wipe clean, often using PVC coated materials.
- a covering spread over a dining table
- The coconut (Cocos nucifera) is a member of the family Arecaceae (palm family). It is the only accepted species in the genus Cocos, and is a large palm, growing up to 30 m tall, with pinnate leaves 4–6 m long, and pinnae 60–90 cm long; old leaves break away cleanly, leaving the trunk smooth.
- palm: any plant of the family Palmae having an unbranched trunk crowned by large pinnate or palmate leaves
- Arecaceae or Palmae (also known by the name Palmaceae, which is considered taxonomically invalid, or by the common name palm tree), the palm family, is a family of flowering plants, the only family in the monocot order Arecales.
7-SEEN (Haft Seen) (Seven "S"s)
For many people ‘Haft Seen’ just means putting seven objects beginning with ‘S’ in the Persian alphabet on a table. However, the roots of Haft Seen are actually far more spiritual and were not based on a letter of the alphabet and were not limited to seven objects! Below we look at the roots of this tradition and the symbolism of the the New Year Table.
The New Year laid tablecloth
In ancient Iranian traditions, in every celebration and ceremony, a table cloth (on a small table) was laid down.
On this table cloth apart from religious objects of blessing, such as a fire pot and Virsem’s angel, the season’s various food products and meals were placed. Eating this ‘holy’ meal was a tradition called MAYZAD and was recommended.
This arrangement was placed on a platform higher than ground level and the person assigned to distribution of the meal was called MIZADPAN which means the person who serves the meals (MIZBAN). Today MAYZAD by the use of the word MYZAD (or MYZ) and MAYZADPAN (or MIZBAN) are used in every day language.
The arrangement of objects on the tablecloth is special and has religious intonations and sacred numbers must be considered in such arrangements. Efforts were made to decorate the New Year’s tablecloth with the best and most precious plates, candle holders, and fire pots. This is still practiced in weddings and in mourning rituals and is considered as a religious activity.
Haft Seen, the phrase
In the Sassanid’s era, beautifully painted and precious plates made out of CAOLINE were imported into Iran from China. This was one of the precious commercial exchanges with China and the plates were later called after the name of their manufacturers and location of origin and thus they were called "Chiny". In other words they were also referred to as SINEE, which finds its root in Arabic language. "Chiney" or SEENEY, which means from china or Sina.
In Iran in order to differentiate between different imported plates from China, those which were made of metal were called "SINEE" and those made out of CAOLINE were called "Chinie".
In any case during the New Year’s celebrations these precious and picturesque plates from China were used on the New Year’s table. These plates were filled with sugar, candies and sweets and they were seven plates named after the seven AMSHASEPAND which included the months of Ordibehesht, Khordad, Amordad, Shahrivar, Bahman, Espandasmad and Ahooramazda. It was in this season that this tradition was referred to as seven SEENIE or seven plates and later on it was referred to as seven seen. This is pronounced as seven SEENEE in some of the villages. i.e. rather than saying ‘Haft Seen’ some villagers pronouce it as ‘Haft Seenee’.
Usually in name of each AMSHEPANDAN, a large picturesque SEENIE plate was placed on the tablecloth and other meals were placed on other plates around the table. Other things placed on the New Year’s table are as follows:
Freshly grown greens
The greens were grown a few days before the new year in seven plates and at times in twelve precious plates, which is the number of the holy months.
In royal palaces twenty days before the New Year, twelve pillars of clay were built and on each of these they grew one of the cereal grains. The good growth of each grain was considered as a good omen. They were of the belief that the well grown grain will be a sign of abundance in the coming year. Wheat, oat, rice, beans, lentils, millets, lima beans, peas, and sesame seeds were grown on the clay pillars. On the sixth day of the New Year the greens were then harvested and distributed all over the hall floor as a sign of abundance.
Families usually placed these plates of greens on the table cloth symbolizing HOOMET (Andisheye Nik – good thoughts), HOOKHT (Goftare Nik – good words) and HOOVERESHT (Kerdare Nik – good deeds). On the side of these plates they grew wheat, oats and millet, which formed the important essentials for feeding people in order to cause the abundance of these grains during the New Year.
The green color of this vegetation was the national and religious color of Iranians and they beautified the appearance of the New Year tablecloth. They represented the Amordad of EMSHASPAND, which had to be placed on the tablecloth. People intended to have the FARVARS visit these greens and the seeds during the spring.
Bowl of fire
The bowl of fire taken from the ancestor’s fire, which was used in all religious rituals and along with other traditional and religious objects were placed in the middle of the tablecloth. Blessed grains, wild rue and incense were also placed on the New Year’s tablecloth.
Moon Crescent shaped Barsam (Mahrooye Va Barsam)
One of the important objects on the New Year’s tablecloth was the moon crescent shaped Barsamdan. They cut thin and short branches of pomegranate tree or willow tree or fig tree or olive tree in the length of one finge
Ghosts: Show and tiny gallery are challenging
Sunday, May 20, 2007
By Tom Patterson
Special to the Journal
It has been about six months since SEED Gallery moved from its original site just off Sixth Street to a new home nearby on North Liberty Street. The move was necessitated by changes in the use of property adjacent to the original gallery, which was opened 10 years ago by the then-newly founded artists’ cooperative known as SEED.
Unfortunately, the group’s new gallery, in what has been dubbed the Artists on Liberty Building, is no improvement on the original. The old gallery was small, but this one is even smaller – not much more than 10-by-10 feet – and tucked away at the end of a long corridor, in a room devoid of natural light. Rent rates are increasing in the Downtown Arts District, and this little cell may have been the best that SEED could afford.
The gallery’s current exhibition, a solo show by Woodie Anderson titled "Ghost Words," is worth seeing despite these limitations, and even though it requires the extra effort of making an advance appointment because of the lack of a gallery staff.
On view through Saturday, "Ghost Words" consists of 11 wall-mounted serigraph or silkscreen prints and a fabric-sculpture installation that incorporates printed surfaces. In a wall-text statement, Anderson wrote that the title refers to "words from our past that lurk in the shadows of our minds and emerge only when we are still enough to hear them."
Despite that definition’s vagueness, she manages to render the idea visually compelling in several prints that reference it, including the gray-hued one titled Ghost Words. It plays on the visual resemblance between two conventions of comic-strip illustration – word balloons and the free-floating anthropomorphized clouds that some comic-strip artists use to represent ghosts. Rising up from a small, silhouetted figure isolated at the bottom of this narrow, vertical print is a tornado-like cloud of dark or darkly outlined forms that resemble not only word balloons and comic-style ghosts but also spermatozoa. Faintly imprinted around the margins of this cloud of apparently ascending balloon forms are fragments of fine-print instructions for opening containers and sealing envelopes.
In Escape, a thematically related, chromatically bolder print, another figure – this one rendered in hot pink – sits on a high limb of a tall, red tree. Set off against an azure sky, the tree looms above a crowd of pink ghost-word balloons – akin to those in the previously described print – from whose clutches the limb-sitting figure appears to have escaped, at least temporarily. As in the show’s title drawing, the peripheries of this scene are strewn with fragments of fine-print instructions, in this case for filling out official documents.
Close inspection of Anderson’s Self-portrait with Ghost Residue reveals more ghost-word balloons and fine-print text fragments interspersed – along with label designs from mini-bottles of cognac-around the margins. Its central, photographically based images depict the front and back of a nude woman’s body, and are imprinted in a low-resolution, dot-screened format. Anderson has used red ink to superimpose on this nude body a series of concentrically geometric, tattoo-like patterns and stylized images, including an open eye in the palm of a disembodied hand.
Variations on the eye-in-hand image, a traditional emblem of action fused with insight, appear more prominently in several other prints.
Scar-like lines of zigzagging stitches, evidently applied with a sewing machine, accent the figure of a young woman with an outrageously elongated neck rising up from between bony shoulders in Anderson’s print titled Character. This spatially distorted figure is set off against a pastel-hued background of scratchy markings and small, faded-looking, images of more conventionally stylized figures. Scrawled sideways and to the right of the central figure is the sarcastically toned line, "Man, your character must be 25 stories high."
Dark, expressionistically rendered nudes dominate the show’s two largest prints, each measuring about three-by-two feet.
Anderson’s installation, Self-portrait with Ghost Words, consists of a dress or slip on a hanger suspended from the ceiling in front of a floral-patterned tablecloth on the wall above a pillow-strewn floor pallet. Anderson has imprinted most of these fabric objects with words and images. Life-size, dot-patterned prints of the front and back of a nude female body appear on the front and back sides of the dress or slip. The pastel-hued pillows, meanwhile, are imprinted with words of advice, derision or ironic assessment – "I can see you like to define things," for example, and "Participate now. You’ll be dead soon enough." One pillow features the single word "whore" in the center of a big disembodied eye.