Quarterly Scientific-Research Goljaam

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In the last decade, biocompatible natural dyes with antimicrobial properties have been given much attention to protect dyed fibers in handwoven carpets against microorganisms. In this research, the leaves of 6 native plants of Fars province, including Amygdalus scoparia (Arjan), Pistacia atlantica (Baneh), Carica Ficus, Shirazi thyme, Shirazi Askari grape (Vinifera) and Juglans, were used as natural dyes for wool dyeing in the presence of eight different metal mordants. The reflective spectra of the dyed samples were analyzed by a reflective spectrophotometer. In addition, the color characteristics, the brightness of the dyed samples, the variety of color shades in the presence of different mordents, washing and light fastness as well as the antibacterial properties of the dyed wool were evaluated. The results of reflection spectroscopy showed that dyed samples with the leaves of Argan, grape, thyme and fig plants had negative a* and positive b* values, which confirms their green and yellow undertones, While, dyed samples with the leaves of baneh and Juglans trees had positive a* and b* values, which proves the red and yellow undertones of these samples. Wool fibers dyed with Argan leaves, figs and thyme in the presence of different metal teeth created the most variety of colors. Ivory, cream, green, brown, olive, orange, brick and purple colors were created on wool fibers in the presence of the leaves of these plants along with different mordents. The light and washing fastness of dyed samples with all the mentioned dyes were acceptable. Wool dyed with thyme and Pistacia atlantica leaves extract showed the maximum percentage of inhibition (99%) against two types of bacteria, Escherichia coli and Staphylococcus aureus.
 

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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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A hand-woven rug has a language and inherits the cultural, religious, and social messages and its weaver feelings. To know the messages that a rug can offer from the past to the present needs to read the symbolic language of the designs and motifs. However, in most cases, information about the meanings of a rug as an artwork is not available; hence, a logical and systematic method should be used to get past the image and reach the real concept. This research tries to reveal the hidden messages behind the motifs of a Hadji-Djalili rug with a Mihrab design, which has two prominent features:  (1) the tree of life in the middle of the rug is a hybrid type, and (2) the weaver has dyed it with special elegance in the way of a real highlight (or Abrash). These are rarely seen in other altar rugs. Based on this, the study follows to find answers to these questions: What are the symbolic concepts that are hidden behind the design, pattern, and color of the mentioned rug? And how can they be achieved? What is the final meaning of the symbolic language of these motifs? Thus, the aim of this research is to use Panofsky's iconology method to find the layers of meaning through the three stages of "pre-iconography description, iconography analysis, and iconology interpretation". This research is written with the descriptive-analytical method and uses library information and written documents. The results of the iconography analysis, which is formed by connecting the chain of meanings hidden behind the motifs, confirmed the "votive or endowment" of the mentioned rug. On the other hand, the interpretation of iconology shows that the weaver of this rug knowingly or unknowingly created an artwork, which emphasizes the need for a man (or a worshiper) to achieve spiritual evolution through the entrance to the existence circle and spiritual ascension.

 

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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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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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Woven fabrics produced by women in qaenat city in South Khorasan province are very valuable in terms of originality, quality, patterns and application. Meanwhile, the existence of a hand-woven fabric called Plus attracts the attention of anyone interested in this field. The designs of this underlayment are not a function of a predetermined plan and are in the mind of the plus weaver. The purpose of this article is to first introduce this valuable hand-woven and the beauties hidden in its designs, and to find answers to these questions: What are the hand-woven plus designs of qaenat city? What are the factors influencing the creation of hand-woven patterns in Qaenat city? This research, which was carried out by a descriptive-analytical method, extracted, recorded and categorized what was reflected from the mind of the weaver on the field of Plus by using the field method, photographing samples, interviewing artists and studying library documents.The results of the research show that the designs and patterns on the carpets of Qaynat city are classified into three categories: plant, animal and geometric. In the heart of the carpet (carpet) designs, which are mixed with life, the impact and importance of daily life, climate and nature can be seen. Studies show that the carpets had a kind of amulet-like function and were a place to record and record the visual symbol of the evil eye and ward off evil forces. The impact of migration, ethnic diversity and cultural interactions with neighboring regions including the provinces of Sistan and Baluchestan, Kerman and Khorasan Razavi is also clearly evident in the designs.
 

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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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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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As one of the most important visual elements in traditional art, color has special and symbolic esoteric meanings. Artists keeping in mind the Islamic wisdom have paid special attention to colors. Taking into account Sufism and Shiism and the lack of a special look at the color theory of the Mehrabi carpets, especially the Mehrabi carpet of Bellini, we can apply the implicit connection in the Islamic wisdom view to the category of color.
The aim of this article is to analyze the nature of colors in the Anatolian Bellini-Mihrabi rug from the perspective of Islamic wisdom. On this basis, this article examines the interpretation of colors in the Anatolian Bellini-Mihrabi rug, which is in the Metropolitan Museum, in the field of Islamic wisdom. One of the deep foundations on which this art rests is the understanding of mystical revelations. The research method was descriptive-analytical and based on library sources. The results show that there are all seven contradictions in the discussed carpet.
The red color is dominant on the surfaces and this feature makes the green color lighter in the center. The white and black colors on the edges enhance the effect of the colors and although the width of the carpet is small, it is also nicely visible. The validity of Islamic wisdom in the color system of the Anatolian Bellini-Mihrabi rugs metaphorically shows the reaching out to God and the spiritual journey of man, giving direction to the worshiper and drawing him to the center like a prophet or an inner imam. It means that the artist tried to show the meaning on the surface.

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Nowadays one of the most important approaches to develop organizations’ competitive strength is to utilize the appropriate strategies. In this regard, organizations will be more successful by formulating and implementing proper strategies through environmental analysis. One of the powerful industries in our country is handmade carpet industry, which unfortunately has not been able to utilize advantage of its potential due to the lack of correct planning. For this mean, in the current research, a model for the strategies of the handmade carpet industry was represented with a classical grounded theory approach. The statistical population in the qualitative section included 14 senior managers who were active in the carpet industry and in the quantitative section included all the employees of this industry in the number of 425 people from which 203 ones were selected as a sample. First, through semi-structured interviews with experts and during coding process, final model of the research includes the dimensions of competitive intelligence (containing the components of dealing with black intelligence and competition), marketing strategies (containing the components of influence in new markets, promotion and market orientation) and strategic flexibility (containing the components of proactive and passive flexibility) with 23 indicators were obtained. Then, using the fuzzy TOPSIS technique, the considered strategies were ranked and finally “reducing the total price”, “copying the brand”, and “copying the design and pattern of Iranian carpets” were selected as the most important Strategies respectively. Meanwhile strategic flexibility was selected as the most important dimension. Therefore, the managers are advised product in term of international customers’ needs and desires along with compete with global rivals.  Also attending categorizing, some approaches based on reducing transport costs are suggested.

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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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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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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).