Quarterly Scientific-Research Goljaam

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both The art of keeping it all in the And increase staff productivity The art of imitation by competitors is Model is based on industrial cluster. The aim of this study is That with the study of participants perceptions and beliefs To identify barriers factors to the formation of industrial clusters should Khorasan Carpet. In this study, Q methodology was used as an integrated approach. Participants in this study is 10 cases of managers, and producers of Khorasan Carpet. Were positively associated with research. This discourse space Have been collected from various sources After evaluating and summarizing the discussion Among the 134 Meter 52 For example, the following SQL statements (batch Q) The opinions of experts were. After collecting data from SQL sorting The data were analyzed using Q factor analysis. Distribution analysis showed that Paradigm can be 3 Distinct (Lack of appropriate infrastructure support and Lack of support and supplementary units, Terms weavers) Participants in the study Barriers to the formation of industrial clusters in North Khorasan Carpet Identified Approximately 62.8% of the total Of the total variance explained. Importance and priority barriers identified Patterns were obtained in based on subjective pattern and finally proposed some ways for omitting Identified pattern In order to implement the model of industrial clusters in the carpet industry

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The most common art of the Kormanj nomads is the weaving of a type of carpet called "Kormanj table" which tells the story of the life or beliefs of that people. This art is specific to the Kermanj-speaking people of North Khorasan and is popular in the cities of Bojnord, Farouj, Mane and Samalghan, Shirvan and Esfrain. Although the Kurdish table has lost its main use today and is used as a floor covering or has a decorative aspect, its primary use in the past was to place bread. The present study was written in a library method with the aim of examining the symbols in the table cloth motifs of the Kormanj tribe of North Khorasan in order to keep alive the old motifs and symbols that are subject to being forgotten and obsolete. The findings of this research indicate that the motifs used in the Kurdish table of the mentioned people have a high semantic diversity and importance and include four geometric, plant, human and animal groups, of which animal motifs are the most used; Because it is influenced by the nomadic life of the Kormanj people. Among the human motifs, the figure of a girl is seen more often; Because the main weavers of the Kurdish table are women and girls. The tree motif is the most frequent plant motif due to its sanctity and being a sign of life and blessing. Abstract and geometric patterns also have a symbolic and decorative aspect.

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Tasheer Carpets are among Eisa Bahdori’s works in carpet designing, which enjoy special structural and visual features. These carpets illustrate a single theme havingbeen designed and woven in three different ways, which evidences the capabilities of their creative designer. Therefore, this article aims at the visual analysis of Bahdori’s trilogy through a comparative approach. The research method is descriptive-analytical, and the data have been collected through field study (interviews and photography of works) as well as library study. The purpose of the study is to answer this main question: what are the commonalities and differences of the structural features of designs and patterns in Eisa Bahadori’s carpet trilogy concerning the theme of Tasheer?
 The results indicates that a repetition of a number of motifs, along partial similarities in rotation of arabesque, is common in all three carpets; among these motifs, one can note the presence of animals (ibex, deer, tigers, lions, and bears), birds (pheasants, humpbacks, and falcons),mythological animals (Simurgh and dragons), vase designs, and combat scenesbetween Simurgh and pheasant. In addition to these commonalities, the structures of carpets in terms of the presence or absence of toranj and sar-toranj as well as their shape (oval, circle), the coloring of the background and borders, and even the way the creatures and vegetal elements are pictured have their unique visual values. ​​Such visual features distinguish each carpet from the other, despite their single theme of Tasheer, and reveal a process of growth in the designing of these three carpets

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Abstract
Simple geometric drawings were among the first forms used in Iranian art and architecture. Iranian artists have been driven by different forms of thoughts, concepts and beliefs. In works of art, geometric shapes have many variations. The creation of diverse species in the forms of the pond is a symbol of semantic and aesthetic efforts for good water efficiency and has a special aesthetic reflection in Iranian buildings. The purpose of this research is to investigate the structural aspects of different forms of ponds in carpets, painting and landscape architecture of Iran. The above research has been done by descriptive-comparative method and by using documentary sources (library).

The findings show that architecture has sometimes been a source of inspiration for carpet and painting motifs and designs, so geometry is one of the main common aspects between these three arts. Also, there have been common symbols between architecture, carpets and painting from the past until now, each of which had special and special meanings.
The results of this research show that the shape and element of the pond in most of the carpets are derived from the architecture of the Iranian garden and are mostly seen in the form of a square and a central circle. The Iranian painter has also exhibited an important and valuable document and unique facades of the Iranian garden. As a result, the shapes of the pond in Iranian paintings and carpets emphasize the centrality of the pond, the water supply network, symmetry, naturalism, harmony between the elements in architecture, and separation of spaces.

 

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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.
 

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Most of the obstacles to development as well as the decrease in the production and export of handwoven carpets in the economic dimension are attributed to factors such as lack of marketing, exchange rate instability, international sanctions, wages and cost of production raw materials, and lack of government support. In this research, while accepting these factors in handwoven carpets and their significant effects, the very important issue of the functioning of organizations based on the economic-institutional approach has been addressed in this field. The purpose of this research is to investigate the functioning of organizations based on the theory of Douglas C. North, the economist of institutionalism, in the hand-woven carpet, is the period of the Islamic Republic of Iran. Collecting materials using library method (documents) and collecting data using in-depth interview method and then using qualitative analysis method with a thematic approach and trying to identify the components, especially influential institutions, and then analyze them. . Also, theoretical saturation has been used to measure the number of interviewsAnd the interviews continued until a new idea was not discovered. The interviewed samples were compiled based on the necessary expertise and the questions were compiled accordingly, which were coded, categorized, and analyzed using maxQDA software, which yielded significant results. Has been achieved. The investigations of this research show; One of the important institutional challenges is the absence of a powerful civil society, and the inactivity of the organizations, A: increases the cost of exchange (the lack of national cohesion of handwoven carpet guilds and :union:s to solve their problems). B: It leaves the rights of different sections of the society, which are realized based on bargaining, to political groups or the wishes of politicians. A: In an open access society, access to productive economic rent is for everyone and not only Faradistan, which is the important need for legal equality and freedom and independence of independent organizations and organizations, and if this powerful civil society does not exist Open access will not be possible.
 

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In recent years, hand-woven carpets have lost their global status. Several problems have caused this issue. One of the important things is the uncertainty of the productivity of handwoven carpet production workshops. Existing productivity measurement methods are quantitative. In this industry, obtaining quantitative data is either not possible or hardly possible. So far, no research has been done for the qualitative evaluation of productivity. As a result, this research has been conducted with the aim of providing a qualitative method for evaluating the productivity of concentrated workshops for the production of handwoven carpets. The statistical populations and sampling methods in the first and second stages was: the experts of handwoven carpets, judgmental method; and the producers of handwoven in Isfahan, randomly method. To determine productivity evaluation indicators, the Delphi method was used, and one-sample t-test was used to evaluate productivity. In this research, a method for evaluating productivity was presented. Two dimensions of effectiveness and efficiency have been considered for productivity. Capital, materials, equipment, methods, management and human resources are indicators of efficiency, and achievement of goals and customer satisfaction are indicators of effectiveness. The results of the t-test show that its productivity, dimensions and components are more than the average but less than the ideal. In order to improve productivity, while reducing the amount of consumables and manpower costs that make up a high percentage of the costs of handwoven carpets, it is necessary to increase outputs by improving work methods and using appropriate tools.
 

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The expressive features of handmade carpets are defined as the most prominent Iranian traditional arts in the context of collective traditions. The carpet with this intrinsic component, has been used by many Iranian and non-Iranian artists in contemporary art that has an individualistic character. The manner of representation of the carpet as text in contemporary artworks and its referential, semantic and functional implications, is the issue of this research. Therefore, the transtextual approach of Genette has been used to read these works, which is text-oriented and based on intertextual relationships. The purpose of this study is to introduce the capacities and expressive capabilities of the carpet in contemporary art. The works of two artists who have characteristics related to the subject of research have been selected and studied based on a descriptive-analytical method. The nature of this research is developmental and in the form of qualitative research. The data collection method is a library - documentary, observation of works and tools for data collection are research paper and using modern scanning tools. Based on the results, carpet as a text in combination with texts and new branches of contemporary art, is used in a completely individualistic expression, visual function and concepts beyond the carpet itself.The carpet is in service of the artist's ideas and concepts and not as carpets, but it has become a work in contemporary art itself. It was also found in the study of the samples, Hypertextualite, Paratextualite and Intertextuality of Transtextualiet Types, allowed and guided the interpretation and reception of the semantic and expressive implications of carpet and understanding the existing relationships with other textual, linguistic and artistic (visual) systems, and they are considered a good approach to carpet study.
 

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In this research, the aesthetic features of Tabriz altar carpets have been introduced and studied. This research tries to answer the basic question that what are the aesthetic features of altar rugs and especially Tabriz altar rugs according to the samples in the Iranian Carpet Museum? Deals with the aesthetic principles and foundations of altar rugs and introduces them.
The results indicate that the aesthetic structure of altar rugs, despite the aesthetic elements and the combination of factors such as design, role and color, have been expressive of symbolic and symbolic concepts. According to the motifs used in this type of carpets such as altar, chandelier, column, vase, etc., the common concept in the Iranian carpet can be achieved, which ultimately ends in the eternal paradise and a place to display the essence of transcendence. In these carpets, despite adhering to the traditional elements of Iranian carpets and the proper use of patterns according to their concepts, diversity and innovation in design and color are also evident. In the studied samples, the use of abstract motifs such as Islamic rotations and khatai flowers in different parts of the carpet such as text and margins and their appropriate combination with symbolic motifs such as columnar altar, lamp, vase, etc. are important. This research is a historical research in terms of time and descriptive-analytical in terms of purpose. The method of collecting information is library and documentary. In this research, 8 samples of Tabriz altar carpet images of Iran Carpet Museum have been studied in a descriptive-analytical manner.

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In the city of Tehran, especially in its suburbs, carpets were produced in the Qajar period in centralized and semi-centralized workshops. Carpets that are mostly made by master craftsmen and immigrant weavers from the cities of Yazd, Isfahan, Tabriz and Kerman. Carpets that are woven following the weaving techniques of the mentioned cities and the quality raw materials available in the city of Tehran with the conditions, facilities and tastes of this city, and it shows that there are links between the carpet style of Tehran and the mentioned cities in the design, pattern and coloring has been.
The main goal of the research is to identify the plan and map of Tehran carpet in the Qajar period. The main question of the article is: What was the basis of Tehran carpet design and what are its appearance characteristics? This research is a descriptive-analytical qualitative research approach and its statistical population is selected samples of carpets available in museums, Tehran bazaar and personal collections of people and images available in reliable sources, whose authenticity and age have been verified by experts. has been Considering the limited sources and brief written information about Tehran carpets, this research has been conducted by field, interview and observation method.
The results of the research indicate that the immigrant weavers living in Tehran and its suburbs, in addition to the productions of their main and native areas, have carpet designs from cities such as Isfahan, Tabriz, Kerman and other areas of style that have brought relative and general acceptance. They are also woven. Also, the examination of the few existing carpets from that period shows that the end of the Qajar period was associated with the prosperity of urban carpets in Tehran.

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Malayer County is the most important center of carpet weaving in Hamadan Province. The culture of carpet weaving in this region is intertwined with the lives of the people and has absorbed many influences from the local culture. As such, Malayer can be considered one of the significant hubs of carpet weaving in the western part of the country, as the carpets and rugs from this area feature unique and distinctive designs that often reflect rural styles. Although there are some influences from the patterns and motifs of neighboring regions such as Arak and Bijar, they can still be traced in Malayer's weavings. The main issue in this research is to identify and introduce the formal characteristics of the common and authentic designs and motifs of carpets and rugs in the Malayer region. The type of research is descriptive, and the method of implementation is descriptive-analytical, with data collection conducted through library research and fieldwork (in the form of interviews and observation cards). The results of this research revealed that the motifs of Malayer's carpets and rugs are predominantly in broken and geometric forms, featuring original design patterns such as: the fish motif, which is used in many regions with prefixes like four, dog, riverbank, standard bearer, and Herati (specific to single-ply weavings), the four-claw motif, the twisted walnut motif, the fish shawl motif (specific to double-ply weavings), the plant claw pattern, and raised motifs in color backgrounds of lacquer red, white, and navy blue.
 

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The Persian carpet is one of the most prominent cultural, historical, and economic symbols of Iran, holding a distinguished position in the country's history and national identity. This unparalleled art form, with deep roots in Iranian culture and history, is recognized not only as an artistic and functional commodity but also as an integral part of everyday life and a symbol of national identity across various cultures. The central research question of this article is: “How has the Persian carpet been able to simultaneously shape national identity, social values, and economic impacts within Iranian society as both an art form and a cultural commodity?”
Adopting an interdisciplinary approach, this article examines the historical development of the Persian carpet, from the Pazyryk carpet as the oldest known example to the flourishing of carpet weaving during the Safavid era, and its influence on Iran’s economy and cultural interactions in the contemporary period. From a sociological perspective, the study analyzes the role of carpets in reflecting the beliefs, values, and cultural symbols of Iranian society. Persian carpet motifs, such as boteh jegheh, Shah Abbasi floral designs, and arabesque (eslimi) patterns, embody religious, mythological, and natural themes that reveal the profound Iranian worldview toward nature, culture, and history.
In traditional societies, carpets were not only regarded as essential household items but also served as indicators of families’ social, economic, and cultural status. From an economic standpoint, the Persian carpet has been one of Iran’s most significant export commodities, playing a crucial role in foreign exchange earnings and job creation, particularly in rural areas. The carpet-weaving industry, largely centered on home-based workshops, has contributed to the empowerment of women and the intergenerational transmission of skills, thereby supporting the sustainability of local communities. However, in recent years, this industry has faced several challenges, including competition from low-cost products, shifts in global consumption patterns, and reduced governmental support.
The findings of this study indicate that the Persian carpet, beyond being an artwork or a commercial product, is a cultural heritage that has played a vital role in shaping and consolidating Iranian identity. Emphasizing the historical and social values of this art, alongside supporting the carpet-weaving industry, can contribute to its preservation and promotion at both national and international levels. This research highlights the necessity of revising supportive policies and improving the global introduction and marketing of Persian carpets.
 

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Persian poetry and hand-woven carpet were two influential words in the formation of Iranian culture from the distant past and And the interaction and communication of these two have been in such a way that while creating more value for each other, they have also enriched the Iranian culture so far.
The connection and interaction between Persian poetry and Iranian hand-woven carpets have existed in various ways, and awareness and understanding of these interactions is one of the necessities of this research.
 and The main purpose of doing it is to analyze the content and theme of the various poems woven in the carpets which can somehow be divided into the categories of the interaction of the types of poetry with the design or pattern of the carpet, the function or application of the carpet, and even the relationship between the style and the time period when the poems were written and woven into the carpet. This research is developmental in terms of its purpose and qualitative and descriptive in terms of approach, and the method of data collection is library and field.
The statistical community includes Iranian hand-woven carpets available after the Safavid period until the present era, in which Persian poems are woven, and the number of samples includes about 30 carpets in private collections and museums.
The findings show that after Islam and the spread of Shiism in the Safavid era, poems were also woven into the carpet as a part of the design and pattern of the carpet,sometimes by great poets and sometimes by ordinary people and anonymous poets.Meanwhile, from the Safavid period onwards, poets' attention to the poetic forms of ghazal and masnavi increased, and such verses were woven into carpets with related images

 

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The Safavid period stands as one of the most significant eras in Iranian art and industry, particularly in carpet weaving, where geometric forms flourished and achieved logical perfection. Concurrently, architectural art reached its zenith in external ornamentation. Given the shared symbolic dimension of these arts, this study examines the common concepts of color and motif in the decorations of two Safavid masterpieces: the dome of Sheikh Lotfollah Mosque in Isfahan and the Sheikh Safi carpet of Ardabil. Employing a descriptive-analytical method and digital rendering of motifs in Rhinoceros and Photoshop software, decorative patterns from each work were extracted and classified. In order to achieve the research goal, two main questions are raised: 1- What are the motifs and colors used in these two works? and 2- What common concepts are there between them? Findings reveal that the core concept of unity in multiplicity manifests through spiral motifs in both works: converging toward the dome’s apex and guiding the viewer’s gaze to the carpet’s central medallion (tarang). The identification of symbolic colors—crimson (symbolizing life and Shiism) and gold (representing divine light)—in the dome’s borders and the carpet’s field demonstrates their intentional use to convey shared ideological meanings. Floral motifs such as the Shah Abbasi flower (emblem of eternity) and dragon-mouthed arabesques (eslimi) (denoting protection), though formally distinct, align in reflecting mystical concepts. This research confirms that Safavid artists utilized a unified visual language to express cosmological principles.

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Carpet weaving is an artistic industry that initially emerged with the material need of man for a rug and later merged with a sense of aesthetics and reached its peak. In this process of development from the beginning of its emergence to its perfection, Iran has been a leading country. The characteristics of Iranian carpets have led to this range of hand-woven products being recognized as a symbol and artistic identity of Iran worldwide. The diversity of Iranian carpet designs and patterns is as wide as this country of art. The Chaharmahal and Bakhtiari region, especially the Babaheydar region, has a special place in the study of nomadic carpets due to its geographical proximity to the Qashqai tribe and the mutual influence of patterns and weaving methods. This research aims to investigate the influence of Qashqai nomads on Baba Haydar carpets and also to identify the differences and similarities between the carpets of these two regions. In this research, descriptive analysis method was used and data was collected through field visits, library documents and analysis of research background. Since in the research literature, the sample of studies found was only related to the status of Baba Haydar carpet weaving. And the lack of study in this field and finding similarities between Qashqai and Baba Heydar textures has not been done so far, so the mixing of the carpet production capacity in this region of Qashqai and Bakhtiari patterns needs to be investigated and studied. The research findings show that the carpets of the Baba Heydar region have been influenced by the Qashqai in many aspects, including geometric patterns, carpet bergamot, and overall design. However, the indigenous characteristics of Chaharmahal and Bakhtiari and Qashqai have also caused differences in the carpets of these two regions. Overall, the results of the research indicate a kind of motif exchange between the two regions that, while influencing, has also preserved the identity independence of Babaheydar carpets and Qashqai carpets.
 

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Iranian pictorial carpets, beyond their decorative function, embody narrative, cultural, and political dimensions. A prominent example within this artistic tradition is the pictorial carpet of Mirza Kuchik Khan Jangal, which features a heroic depiction of Mirza at its center, accompanied by marginal inscriptions. These inscriptions consist of poems in a local dialect with epic themes that, in terms of both style and content, are associated with the Kashan region and reflect the discourse of national resistance.Adopting an intertextual and semiotic approach, this study examines the interaction between calligraphy, the marginal poems, and the central image in this carpet, analyzing the meaning-making role of the Nastaʿlīq script in shaping the work’s visual message. The research is based on a descriptive-analytical method and content analysis of the artifact.The findings indicate that calligraphy in this piece functions not merely as a decorative element but as a conceptual and narrative agent that guides the viewer’s perception of the image and reinforces the social, political, and ideological messages of the work. From this perspective, the Mirza Kuchik Khan carpet can be regarded as a successful instance of integrating traditional art with the discourse of national resistance.
 

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Carpet bags, as both artistic and functional expressions within the realm of handicrafts, possess deep cultural roots across various societies and have gained particular prominence in Iran. These products represent a fusion of traditional weaving techniques and modern design, serving not only as utilitarian items but also as carriers of cultural, aesthetic, and historical significance. Globally, several studies have explored the transformation of old carpets into new products such as bags, shoes, and interior decorations, reflecting the globalization of handicrafts and their redefinition in modern contexts.
Nevertheless, a research gap remains in the historical analysis of carpet bags in Iran and other countries, particularly regarding their cultural, stylistic, functional, and formal dimensions. This qualitative, descriptive-historical study conducted without a hypothesis—aims to investigate the historical and cultural trajectory of carpet bags in Iran and worldwide. Data collection was carried out through library and documentary methods, and the research adopts an interdisciplinary approach to analyze the intersection of traditional art and modern design throughout the historical development of this product.
The study begins with a review of bag design history across various cultures, followed by an exploration of the global evolution of carpet bag design. It then focuses on the Iranian cultural and social context to examine the transformation of carpet bags in terms of utility, aesthetics, and performance. Key factors such as lifestyle, the role of women in handicraft production, ethnic and cultural dynamics, and the impact of commercial and cultural exchanges on stylistic diversity and form are central to this analysis.
Findings indicate that carpet bags are not merely consumer goods but symbols of cultural and artistic identity. The most vivid representation of their historical transformation can be found among Iran’s nomadic tribes, where these items reflect daily life and cultural beliefs.
 

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Iranian hand-woven carpets are an ancient art and a living legacy of Iranian culture, nature, and taste. The quality and authenticity of this art largely depend on the type of raw materials and traditional dyeing methods, which have their own characteristics in each region of the country. This research aims to scientifically and descriptively investigate the raw materials and natural dyes used in Iranian hand-woven carpets and analyze their role in preserving the authenticity and economic development of this art. The research method is a combination of library studies and field observations in several weaving regions, including Azerbaijan (Maragheh), Kashan, and Khorasan. The findings show that natural wool with colored dyes is used, pure silk and vegetable dyes such as ronas, indigo, sperak, and walnut shells, which provide high brightness, durability, and stability to traditional dyed carpets. In addition to artistic value, the continuation of indigenous dyeing methods can be used as a strategy for creating interior space and sustainable development of local communities. This article, along with current traditional challenges, provides solutions for its revival and standardization.

 

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Handwoven carpets have maintained their position among the arts of Iran from ancient times to the present day and possess considerable value. Iranian artists have played a significant role in preserving this art and, through creativity in design and motifs, have enabled carpets to embody numerous concepts in addition to their aesthetic aspect, concepts that may originate from beliefs, convictions, and myths. One of the important designs that became widespread during the Qajar period was pictorial designs, outstanding examples of which can be observed in the Hushang Shah and Prophet Solomon carpets. This research was conducted using a descriptive–analytical approach and by utilizing library sources and reliable websites. Four examples from Safavid Shahnameh manuscripts and twelve carpet panels were selected in order to analyze the Hushang Shah and Prophet Solomon carpets and answer two questions: (1) How is the depiction of demons, from the perspective of design and color composition, represented in Qajar-period carpets? (2) What similarities and differences exist between demons in carpets and those in Safavid-era manuscript paintings? Regarding the design of demons in Qajar pictorial carpets, they are depicted as semi-nude, spotted, unspotted, and with either small or large bodies, and are predominantly white in color. Through the examination and comparison of demons in pictorial carpets with Shahnameh illustrations, it was determined that, in terms of clothing, they wear skirts (in contrast to Shahnameh illustrations, in which both nude and semi-nude demons are present), and they are generally rendered in a more angular and geometric manner, while ornaments are rarely observed. In terms of color composition, the most common color found in both carpets and Shahnameh illustrations is white, although diversity of colors can be observed in both categories (carpets and Shahnameh manuscripts).