Homa Mousanejad, Mohammad Shaker Ardakani,
Volume 16, Issue 37 (9-2020)
Abstract
Handmade carpet as an art-industry is one of the most important and widely used handicrafts in Iran. Despite its historical background and antiquity in our country, handmade carpets need extensive research in terms of thematic and content knowledge, especially from a scientific approach. Paying special attention to the perceptual and attitudinal factors of handmade carpet customers can be a great help in the production and marketing of this original art. Therefore, the purpose of study is to investigate and analyze the role of the three factors of trust, price awareness and homogeneity intention on the perceived risk in buying Kerman handmade carpets and the effect of this risk on the attitude and intention to buy. The statistical population of the study was all customers of Kerman handmade carpets that 100 of them were selected as the sample by in-access sampling method. Research data was collected using library and internet resources in the theoretical section and standard questionnaires in the survey section. The reliability and validity of the questionnaires were confirmed based on Cronbachchr('39')s alpha, Combined Reliability (CR) and AVE. To analyze the data in the descriptive part, SPSS software and in the inferential part to test the model and hypotheses by structural equation modeling (SEM) with a partial least squares approach, Smart PLS2 software has been used. The research findings showed that based on the fitness indices, the research model has a suitable and relatively good fitness. The results also showed that perceived risk affects the customerschr('39') attitude and intention to buy at 0.36 and 0.27, respectively. Also, the customerschr('39') attitude has been effective on the intention to buy by 0.43. Based on the results, among the three factors affecting the reduction of customerschr('39') perceived risk, the most decreasing effect was 0.49 on trust and then price awareness (0.27), and the decreasing effect of the homogeneity intention on perceived risk was not significant.
هما Mousanejad,
Volume 18, Issue 41 (9-2022)
Abstract
The patterns used in Iranian arts were very common and widely used since the ancient time until now. Each of these patterns has conveyed a specidic meaning to the viewer. One of these motifs is the peacock. The motif of peacock is one of the most used symbolic motifs in the art of Iran and even the world. During the years, this motif has had a special place in the literature, art and beliefs of the Iranian people. This motif was present In Kerman carpets of the Safavid and Qajar period. The purpose and necessity of this research is to understand the role of the peacock motif in Kerman carpets of the Safavid and Qajar periods, and study some related features such as the appearance of the peacock, its location, number, direction, role, mythological elements. Such elements will be investigated and expressed, and the differences in the appearance and meaning of the peacock in the two mentioned periods would be compared. According to the mentioned cases, the main question of the research are as follows: 1) Did the visual form and semantic status of the peacock figure in Kerman rugs change from the Safavid period to the Qajar period, and did this change creat a difference between the visual form and semantic meaning of this figure? The research method is use of library materials and photo sources, images from reliable websites of carpet collectors, and the way of expressing the content is descriptive in the form of text, images and tables. 22 samples of carpets have been examined. The carpets were selected via a purposeful manner, all of them are related to the two special periods of Safavid and Qajar periods and the full presence of the motif of the peacock, has been considered in selecting them. 9 samples are related to the Safavid period and 13 samples are related to the Qajar period.The appearance of the peacock in the Safavid and Qajar periods has undergone some changes in comparison to each other. In the Safavid period, it is abstract and present in closed spaces, and in the Qajar period, the patterns are close to the natural state of the peacock that we see in nature and the peacocks are presented in freer spaces. But this free space has not affected the main role of the peacock, which protecting and guarding the heaven.
