Quarterly Scientific-Research Goljaam

Ammonia is a weak base that can be used as an swelling agent on wool fibres before dyeing. In this study the pretreatment of wool with ammonia in different percent solutions (5, 10, 15, 20) is carried out, and its effect on dye-ability of wool by natural dyes such as madder, walnut shell, pomegranate peel, vine leaf, white and red onion skin, is analyzed. Also the effects of temperature, length of time, and concentration of ammonia on dye-ability of wool fibres were considered. Colorimetric data, and measurements of light and washing fastness were carried out, and the results of color change under ammonia treatment are reported.

The arts are born out of the artist’s mind within the milieu of the culture of the period and the social environment. The craft of carpet weaving is no exception, as it is influenced by intellectual and cultural trends. Certain arts such as the art of the carpet have a very long life and have gone through the ages, while they are still alive. Such arts have obviously been influenced by various approaches and beliefs of each period, or have collaborated with various cultures due to the prevailing conditions. Symbolism is an integral part of Oriental art, and Iranian art and the art of the carpet, but at times we come across naturalism also. Therefore, the influence of naturalism on the art of the carpet is worthy of study. In this study using the library research method the hypothesis that “a kind of naturalism has been influential on the art of the carpet” has been tested. This study of the art of the carpet of the Islamic period has analyzed the available texts and pictures of carpet motifs and has confirmed the above hypothesis. The trend of naturalism in the Iranian carpet of the Islamic period has developed through the art of the royal courts since the Safavid period. It continued its development on the basis of Islamic ethics and culture through the Qajar period. However, since the Pahlavi era Western naturalism has influenced the art of the carpet also. In recent years, due to acceptance of Western culture as a result of the open door policies of the second decade since the revolution, as well as the propaganda programs of Western culture targeting Eastern countries, manifestations of Western naturalism in various arts including the carpet has increased.

Love of beauty and perfection is an inherent characteristic of human beings. The principle of “need” complements the sense that brings artistic creation in him to a peak, resulting in the formation and permanence of culture. The “carpet” may not represent a pure form of art, but it there is no doubt that its artistic and visual qualities put it beyond a mere commercial commodity and elevate it to the position of a work of art that embodies taste, thought, beliefs and a special custom. It presents the intellectual and cultural potentials of a people in the form of esoteric motifs and symbolic forms. The elementary motifs and patterns that are especially found in rural carpets and small carpets usually embody a purer content from the point of view of symbolic concepts that deserve a thorough investigation.

The Ziloo, as an ancient Iranian hand-woven textile, expresses its own history in its varied and rich motifs. This variation and richness are especially discernible in Mehrab (Saf) design Ziloos from Maybod, especially made as floor coverings in mosques. Because of this close connection with the mosque as a sacred and religious location, it has assumed a symbolic religious meaning and is considered a part of the mosque complex. Mehrab (Saf) design Ziloo is thus a symbol of the ranks of the faithful in collective prayer with all of its religious implications.

Iranian rural carpets are an important resource for studying the rural art and culture of Iran. They are also the most important area for staging the talents of, especially, rural girls and women. The common aspects of visual elements bespeak the prevailing spirit in these works under the influence of interaction with nature and lessons learned thereby. Also the availability of materials in the rural environment has the greatest influence on the physical aspects of design and texture. Rural-urban interaction and that with the nomadic population, and adapting the imported patterns to rural life is an outstanding feature of rural carpets. Adaptability of rural carpets to traditional rural applications and architecture is truly remarkable. The aesthetics of these works reveals their underlying principles, and the characteristics of their creators, and helps understand their worldview and attitude to their environment. Perhaps, that will present us with the gift of a new understanding of existence. The last point is that rural carpets are distinguishable from the urban and nomadic varieties.

The article first describes different ways of tentering (sar rast koni) through the use of the surveying method. It also elaborates on the various features of these methods and the facilities and equipment used in them. In order to provide this information, a complete statistical group throughout the Isfahan and East Azarbaijan provinces was visited and 33 workshops were chosen from the group based on a normal distribution in Tehran Province. The workshops were then studied. Finally, the distribution of these methods in various areas was studied and a conclusion was reached.

This study discusses the manifestation of carpets in children’s literature. Since carpets are one of the universal symbols of Iranian art and culture, scholars and educators should attempt to institutionalize this art and craft as a cultural issue in the society. Obviously, such a movement must begin from childhood and use methods and models based on children’s interests. A story is one model that children naturally admire. The present article is a case study of one of the best Iranian children stories on the topic of carpets. The article has presented and interpreted various parts of the story, demonstrating how the author, by pointing to the traditional motifs of carpets, making use of a symbolic language, religious and national symbols and values, the appropriate techniques of writing for children, as well as narrating the life of a little girl working in a carpet weaving workshop, has represented the features and values of carpets in both realistic and surrealistic contexts. The cultural and social status of carpet weavers and other groups involved in the production of carpets must be taken into further consideration. These people should receive due respect as artists preserving a major part of Islamic Iran’s cultural heritage.

New nanofiltration membranes were produced in the form of unfilled fibers through the photopolymerization method. Parastyrene sodium sulfonate was used as the vinyl monomer to reform the polysulphone ultra-filtration membranes. The modified membranes were used to purify colored solutions of three different pigments consisting acidic, reactive and direct (suitable for dyeing pile yarns and warps), in order to refine and reuse the pigment solutions. The effect of various parameters like pressure, electrolyte, time, and the kind of pigment on the extent to which the pigment is confined and the flux of the membrane outflow was assessed. Results showed that besides the effective function of bleaching, the problem of barred pores observed in most commercial membranes built of polyamide also reduced significantly in the new membranes.

The designs and motifs of Qashqa’i gelims betray in a sense their weavers’ creative minds, high intelligence, unwavering efforts, great ability, graceful spirit, and deep thought. Understanding the meanings of these motifs and designs will help us become more familiar with the religious beliefs of the Qashqa’i people, the true meaning of their lives, their myths, traditions and rituals. It will also help us recognize the factors that have led to the appearance or disappearance of various motifs throughout the history of the tribe. The general factors that have led to the appearance of motifs in Qashqa’i flatwoven rugs have been mentioned as follows:
A) Geographical factors and the natural environment
B) The history, culture, and art of Iranian nomadic tribes
C) The organization of the tribe
D) The literacy, amount of knowledge, income and status of living of the people The most important conclusions of the study concern the categorization of Qashqa’i gelims, the most prevalent designs, motifs and sizes of the Qashqa’i gelims, designs that have undergone change or have been forgotten and the use of various colors in these rugs.

A study of various deficiencies observed in the process of pile carpet weaving in the Province of Kashan has revealed that the most important defects are: unevenness, crimpled sides and erroneous application of the cartoon. Improving weavers’ skills will have a significant effect on reducing these defects. Therefore, weavers should be given educational advice on recognizing the capabilities of looms and other rug weaving equipment, the quality of raw materials and their harmonious use, the correct way of weaving flatwoven rugs, the manner of interlacing the wefts, and daftin-zadan (pounding an iron comb on the weft).

Carpet making in Iran plays an important role in creating job opportunities and increasing the country’s foreign exchange revenues. One of the fundamental and comprehensive programs that can guarantee the survival, expansion and extension of this art and craft is higher education. The course for carpets was first introduced in Iran’s higher education centers in 1375 (1996). Students can apply for a bachelor degree by competing in general examinations.
Others can apply for undergraduate diploma in the Inclusive Applied Science University and the Islamic Azad University. In the present research, efforts have been made to study the motives of students studying for an undergraduate diploma in the Inclusive Applied Science University (the higher education center of the Fars Agricultural Jihad Organization) in the years 1381 (2002) and 1382 (2003) and to identify factors that lead students to choose the topic of carpets as a university course. The results of the research show that the strongest factor leading to this choice is primarily personal characteristics (interests, tendencies and experiences), secondly social and family factors (social values and living atmosphere), followed by economic factors (achieving an income and employment).

Village weavings, particularly flatwoven Gelims, are the products of personal lastes, gifts, and individual creativity. In the meantime, the genuineness of their designs and colors is rooted in a collective genius enriched over the centuries. This collective genius seems to be well-preserved in the flatweav of East Mazandaran villagers, whose design repertoire is not confined to sheer imitation of nature, but is rich in respect of motifs of their own. That is why their weavings stand as documents of their ideas and their way of life, besides being useful and easy to use and carry products.

This article argues that hand woven carpet - weavesrs’ job satisfaction is one of the most important factors that influences the quality of their works. Thus, it is proposed to study the degree of job satisfaction among them and some important factors which determine its variation. The scope of the research involved 834 carpet weavers in East Azarbaijan and Isfahan in 2004. in this research, a theoretical model based on objective and subjective variables has been applied.

Conservation and preservation of carpet design cartoons requires a scientific con servation plan appropriate for each case study. The research into the carpet designs of Kerman and Isfahan regions was carried out in 2003 in order to gain access to a comprehensive and exact method for their conservation. In this research, besides the differences in the techniques of producing carpet designs in these regions - based on microscopic observations - the kind of paper fibers used in Kerman was realized as a pine wood byproduct, while the Isfahan region cartoon paper was from ashwhite and pine trees. The kind of dyes that have been used in colouring of carpet designs in Kerman and Isfahan was determined on the basis of the elemental analysis of SEM and FTIR spectrum. Subsequently, the organic origin of the following dyes was established: black, dark- blue, blue, red and the black ink of the checkered paper (manual and printed). The other dyes were mineral. The compound white colour in Kerman carpet designs was white lead and the compound white of Isfahan (except light blue) was zinc oxide.

Since ancient times, “Tree” has been the focus of attention as a symbol, in works of art. In Mesopotamia and later in Iran, this symbol was known as a holy tree or tree of life as early as 3500 BC, and was delineated in different shapes. After the advent of Islam, this symbol prevailed in works of art; However, no longer as a mythological holy tree but rather standing for heavenly blessings and the paradise. This symbol has been used in different branches of art, including rugmaking. In the art of carpet patterning, the tree has prefigured a great variety of designs, notably the plant Mihrabi (prayer niche). No doubt, the predominance of the tree image in a large group of prayer rugs, is not accidental and must have an objective more than conveying mere beauty. One interpretion suggests an epitome of paradise. Given the Islamic restrictions imposed on the portrayal of human beings, a tree depicted in a prayer niche may well stand for a man in prayer.

The influence of urea as an additive in dyeing of wool with madder was evaluated in this work. A different concentration of urea was applied on wool yarns before, during and after dyeing of samples. The treated samples were tested for dye absorption at different time, wicking, sinking, wash and light fastness and surface morphology by scanning electronic microscope. The results show that urea is an effective additive in dyeing of wool by madder by increasing the dye absorption. Adding of urea ranging 50% to 250% on weight of fibers leads to swell the wool fibers however, increasing the urea percent to 300% may damage the fiber surfaces and reduces the fiber strength.

After the World War II was over, and due to the relative peace of mind, a population explosion occurred and baby boomers were born. This generation which is called “Generation X” entered the 80’s as the buyers of homes and consumers of furniture, bed, mattress and rugs. This was one of the reasons for huge increase in demand for Oriental rugs of the 80’s. In this short article, we study three main variables which have played a significant role in the rug market and compare three main factors in two time periods, in the early 1980’s and late 1990’s up to now. The variables under study are:
1- Buyers (who were/are they and how they reacted/react in the rug market?)
2- Sellers and the distribution channels (who were/are they and how they operated/operate?)
3- The rugs (material, color, design, and price)
It is with knowledge of the rug market and its components and studying the trends and changes that we can become successful players in the field, no matter which role we play (producer, exporter, importer, wholesaler, or end user). We use the term “old” to identify the early years of the 1980’s and “new” to identify the late years of the 1990’s and the beginning years of the 21st century. By seller, we mean the dealer or the sales people who sold or sell rugs. By customer, or buyer, we mean the end-user who buys the rug for his/her own use at home.

In this research, an apparatus was designed and constructed in order to simulate the storage behavior of hand-woven carpet under different environmental conditions. Silk hand-woven carpet (“Gom”) with 115×75 cm dimensions and 102×97 knot per 10 cm was selected and then inserted into the packing simulator with two different laying configurations including flat and folded. The environmental conditions was adjusted at 3 different conditions including 25 ± 5% r.h and 30 ± 2°c (July-Tehran-Dry), 65 ± 5% r.h and 6 ± 2°c (February-Tehran-humid), 40 ± 5% r.h and 19 ± 2°c (October -Tehran-mild). The carpet sample was compressed under constant loads of 135 and 150 kg. The variation of carpet thickness with time in different parts of carpet was continuously measured using data acquisition system. The result of experiment shows that the carpet thickness is suddenly decreased at a short period of time and then reached to a stable condition. The variation trend of carpet thickness with time is accordance with a logarithm equation(y=a×Ln(t)-b) which is highly in agreement with Eyring model proposed in creep theory . But at the dry conditions, the variation of carpet thickness at the folded point follow a non-linear power equation (y=a×(t)^b) with a low correlation coefficient. However, the variation of carpet thickness at the non-folded point and flat configuration is very low.
Generally, at the humidity condition, maximum carpet thickness variation occurred at folded point with folded configuration. On the other hand, carpet thickness variations at dry condition are less those of at humidity and mild conditions. In addition, carpet thickness at dry condition more quickly reached to stable condition than those of at humidity and mild conditions.

In Islam the “Tree of Life” is named as Sedreh or Tuba and the followers of Islam believe that this tree is grown in Heaven; therefore it is an interesting subject for artistic innovative. In Turkmen terminology “tree of life” is called “Yashaish bagh”. In this study we have made an effort to evaluate the symbol of the Tree and the “Tree of Life”, with reference to the shapes of the “Tree of Life” in the ancient civilizations and compare this shapes with the patterns present in the Turkmen rugs and hand – woven pieces; and to study the hypothesis that the name “Tree of Life” could be assigned to these patterns. The carried out comparisons show that Tree and “Tree of Life” designs in Turkment carpets patterns are similar to Islamic and ancient patterns.