Quarterly Scientific-Research Goljaam

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Customer satisfaction is essential for the survival of the organization. In recent years, Iran's hand woven carpet market has been occupied by rivals. This position is due to the lack of attention to customer satisfaction; hence, in this research, the identification and prioritization of the effective factors on the satisfaction of hand woven carpets customers is discussed. This research is done in two stages. In the first step, Delphi was used and in the second step, the Topsis method was used. The statistical population of this research in the first stage is handmade carpet experts and in the second step is hand carpet customers in Chaharmahal and Bakhtiari province. The first sample size is 15 people and the second sample size is 400 people using the Morgan table. The results of the research showed that the factors affecting the satisfaction of handmade carpets customers classified into 9 categories that are pre-sale, sales, after sales services, quality features, process characteristics, distribution system, economics, valuation, and artistic features. By using the Topsis method, the characteristics of the arts are all the more important and, in comparison with the whole of the factors, the component of the originality of the carpet is all the more important. As a result, it is proposed to work to preserve the originality of the handmade carpet, through the design and production of original carpets in accordance with the needs of today's customer and the prediction of its future needs.

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Nomadic hands-woven are the most important manifestation of indigenous and tribal art. This is representing a set of social and cultural characteristics of nomadic life. In the Qashqai tribe, storage bags are one of the practical products of the women of the tribe. The production of many practical fabrics has become obsolete due to the change in the life structure of tribe, the settlement of nomads, the migration of a large number of nomads to rural and urban areas, the replacement of cheap goods in accordance with the needs of life. The purpose of this study is to identify the structural and functional characteristics of this type of hands-woven in the Qashqai tribe and to study these products based on the anthropology of art. The data collection of this research is based on field research and library study. The research finding is presented by descriptive-analytical method. Storage weavings in various sizes were chosen as indicators in accordance with the needs of nomadic life. Women artists and the choice of weaving technique of hand-woven fabrics are defined in accordance with their function. The index is a strong sign of the artist’s creative performance and expresses the artist’s agency and the headline expresses the artist’s position. As an indicator, these hands-woven play a central role, which is also the heritage of the tribal community and a factor for the continuation of the weaving style process that has remained to this day.
 

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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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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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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.