Showing 210 results for Carpet
Dr Aliasghar Shirazi, Mr Hesam Keshavarz, Dr Habibollah Ayatollahi,
Volume 9, Issue 24 (3-2014)
Abstract
Arab tribe in Fars,which is a branch of Khamse :::::union:::::,enjoys ancient carpet-weaving tradition. All weavers of this tribe belong to Arab Jabbare :::::union:::::. It haslearnt Fars tradition of carpet-weaving sinceadoption of Islam by Iran and has transformed it accordingly. Because of the pastoral and nomadic life, some kinds of bag weavings have been woven by them. Carpetbag is the most important and current crafts of Arab tribe. This kind of weaving is the same as carpet and it is made in one or two leaves in square form for carrying loads. This paper tries to study the features of color, motifs and texture of carpetbags of Arab Jabbare in Fars. The research method is descriptive-analytical one and data collection is conducted in a combined way by desk study and fieldwork research. The findings show that weaving method consists of symmetrical knot number 3, twofold woof and colorful binding. Also dyeing method is “dark in the dark” which is the tradition of this Arab tribe and is used more or less in carpetbags. The motifsare divided into two groups: the first group which is based on small or large motifs organized to form a regular or irregular patternscontaining two birds, tree or all birds’ motifs. The second group contains a general pattern - often a regular one –where all other motifs are arranged in that framework and contains urban motifs of Fars and other regions. Arab weavers have also used patterns like Four-Fishes, Soori Flower, Bush, Bracelet pattern and Moharamat in their special tribal method for these carpetbags.
Mr Gholamreza Tousian Shandiz, Dr Amir Hossein Chitsazian, Dr Mehrnaz Azadi, Mr Fathali Ghashghaeefar,
Volume 9, Issue 24 (3-2014)
Abstract
Iranian carpet is a valuable and applied art treasure among the human arts that has been representative of Iranian culture and potentials since ancient times. Over the ages, this glorioushand-woven artwork has been subjected to damage and risks that sometimes have leads to destruction of some of its finest samples.Subsequently, some people have started repairingthe damaged carpetssometimes for earning their livelihood and some due to their passion for art. However, these repairs aren’t always correct and scientific, and lack of proper understanding of damage, damaging elements and lack of required skills in rug restoration have led to accelerated carpet destruction. In this research, damages, extent of damagesas well as scale of damagesare studied in Iranian carpet. So, at first major damaging factors, i.e. human, physical, biological and chemical factors have been studied and then the scale of damages including naps, knots, woofs, and cordshave been dealt with.Subsequently, they are groupedintoinner-structural,outer-structural and marginalgroups. Such classification is more detailed comparing former researches and also presents a new way to grouping the damages. In the field study section, some samples of these three groups along with the reasons for such damages are presented. Research findings show that many of inner-structural damages are related to the phase prior to weaving and during the weaving.Sound perception of the damagingelements and types and level of damage can be used for appropriate restoration without destroying the originality of the carpets.
Dr Seyed Ali Mojabi, Mrs Shadi Zamani,
Volume 9, Issue 24 (3-2014)
Abstract
One of the most common procedures for exporting and warehousing handmade carpets is keeping them folded over one another. Handmade carpets come out of their stable states by being folded,while increasing storage time can cause serious and sometimes irreversible changes to them. In this research, a pilot model carpet has kept folded under a load equal to 50 g/cm2 and then the applied load increased respectively to 100, 200, 500, 1000 g/cm2 continuously and uniformly, and at every stage the digital image of the form of folded carpet has been recorded. The received image was analyzed by software programs to identify and determine the morphology of folding curvature of handmade carpet under static pressure. It is possible to propose convenient predictions for storage and packing of carpets, considering the morphology of folding curvature of handmade carpet during successive loading and unloading phases. Accordingly,is this research it was determined that the empty space in folding curvature of handmade carpet after removing the pressure and returning to the first state isalmost 9 times less than the same for the first time the carpet was folded. This research also showed that if the setting height of stored carpets, which are folded over each other, does not change then the damage is much less comparing the time that carpets’ height decreases constantly and forcesapplied to carpets change. Moreover, possibility of carpets falling due to loss of instability of folding curvature length at loading time is much greater than during unloading time. Also in this research, folding curvature height, folding curvature length and empty space in folding curvature were studied and measured.
Mr Seyed Mohammad Mehdi Mirzaamini, Mr Mohammad Reza Shahparvari,
Volume 9, Issue 24 (3-2014)
Abstract
Hunting is a familiar phenomenon for human being, and appearance of “Hunting Motif” on the carpets in Iran, according to the remaining documents, can be dated back to the Safavid era,i.e. the Golden Age of Iranian Carpet. In this period, carpet-weaving elevated to the degree of excellent royal art, and carpet became a luxury, decorative and even commercial commodity. The nature and origin of the “Hunting Motif” can be mainly attributed to two main, and of course different, facts: reflection of lyrical royal image within royal hunting grounds and saber-rattling of the kings on the carpet, and expression of mythical and mystic meaning of hunting. Moreover, according to this research, mystic and symbolic concepts can be considered as the main reason of appearance this motif in Safavid carpets.That is because motifs of carpet have always reflected the safe “Garden of Heaven” for Iranian People, thus how can one find a reason for presence of the hunting motif, which reminds the violence, on the carpets? This paper provides an analysis and proposes a solution. Findings show that although there is a meaningful connection between saber-rattling and hunting motif in carpets, however, regarding the intent of the designer for presenting an image beyond the ordinary and terrestrial image, and modulation of hunting motif with symbolic elements such as angles, Simurgh (phoenix), lion and some animals with small wings and emphasis on the Gereft-o Gir motif and hunting of cow by lion, it can certainly be said that this motif speaks louder than a common royal entertainment, although with some exceptions. From a different perspective, this research can be regarded as a research of symbolism and semiotics of carpet design using non-decorative elements, which can play an important role for perception of the spiritual concept of carpet, and consequently, contemporary carpets will be understood as more spiritual works. This paper has analyzed eight samples of Safavid carpets (containing hunting motif) using analytical and descriptive method through desk study
Mrs Fatemeh Na'alchi Kashi, Dr Mohsen Rasoulian, Dr Hossein Boujari,
Volume 9, Issue 24 (3-2014)
Abstract
The purpose of this research is to identify market developing factors for Iranian handmade carpets in global markets and to rank these factors. As a whole, 120 experts in carpet industry and carpet exporters participated in this study. This research is applied in terms of objective and casual, under survey category, in terms of method. The tool for gathering information is a questionnaire. This research studies the relationship between variables by use of descriptive statistics (frequency distribution table, graphs, and statistical indexes) and inductive statistics (Kolmogrov-Smirnov test, T-test, Freedman test, Kroskal and Alice test and factor analysis). SPSS software is also used to analyze data and to perform aforesaid tests. The results show that: preparing ID cards for handmade carpets, identifying consumers’ demands and creating a brand for handmade carpetscan help the developmentof handmade carpet market. Increasednumber of advertisements has a positive correlation with its development. Exporters’ familiarity with electronic business has a significant relation with handmade carpet market development. Moreover, it became clear that the importance of variables of this research is as follows: advertisement, identifying consumers’ demands, existence of a brand, exporters’ familiarity with electronic business and preparing ID cards for carpets.
Mr Abdollah Mirzaee, Dr Morteza Shajari, Dr Mohammad Taghi Pirbabaei,
Volume 10, Issue 25 (9-2014)
Abstract
Iranian carpets as a manifestation of Persian art, due to the capabilities of Islamic art, have been a context for epiphany of this art doctrine. Mehrabi carpets of the Golden Age of Persian carpet-waving arts, Safavid era, can br regarded as the flagship model in the manifestations of this art. These carpets often were woven with religious functions and to fulfill religious obligations. Koranic pictographs and Asma’al Hosna along with plant and geometric motifs have covered the context of this carpets. In this study, the expression of epiphany concept and position of Asma’al Hosna in Islamic art are discussed due to analysis of six samples of the Safavid Mehrabi carpets for emphasizing the epiphany of God in this hand-woven carpets. Our findings suggest that: (i) The various manifestations of the divines epiphany are hidden on Mehrabi carpets; and (ii) The calligraphies used in the Safavid carpets contain mystical and Koranic concepts for better approach of worshipers towards God. This research is accomplished with using library resources and qualitative research methods, i.e. analysis –descriptive ones.
Dr Mohsen Alizade Sani, Mr Amir Shojaian,
Volume 10, Issue 25 (9-2014)
Abstract
The carpet industry dates back thousands of years, as the country's cultural heritage, creating hundreds of jobs. But researches show that in recent years the industry has faced significant challenges. This paper will discuss incremental improvements will not achieve any results. Carpet industry requires a systems approach In the context of modern management systems and Correctly prioritized.while improving Elements, , more and more emphasis on improving relations and building components of the carpet industry and synergies between them . This paper introduces the literature of industrial clusters and factors affecting their success and so identifying and prioritizing success factors for carpet cluster in North Khorasan at the Status quo and ideal condition.The population is consist of all the experts(40 Specialist) in carpet cluster in North Khorasan. Data is collected through paired comparisons questionnaires with elements derived from the literature and interviews. The results showed in the Status quo, physical Infrastructure, government support and suppliers and in an ideal condition, internal network, access to skilled labor and marketers have greater priority to the success of carpet cluster in North Khorasan.
Mrs Elham Shamsaei,
Volume 10, Issue 26 (3-2015)
Abstract
An influencing idea finally develops and gain fame, if not in its own time, certainly in a short period of history. Likewise Suhrawardi's philosophy, within less than a century, has had such an influence in various areas of philosophy, literature, art, culture, etc. in Islamic world especially Iran. "The mediatory world" (Ālam-e Methāl) and "the eighth territory" (Eqlīm-e Hashtum) is the very point of intellectual strength in Suhawardi's philosophy which has made it influential. Suhrawardi's mediatory world (a subtle mediator between spiritual and material worlds) and its cities can be considered in associate with the mythical city of Kang Dej to help us in finding out how symbols, in the sacred art of carpet-weaving, are in a way related to this mediatory world. But, why rug? Simply because no other art like carpet weaving has kept its ancient motifs till now without losing its popularity. Although rug is used to cover a ground but it represents a celestial earth, and makes a place sacred, as it is subject of traditional science of sacred geography. The symbols which are in common between the mediatory world, structure of a traditional house and rug have the same spiritual concepts for traditional human. Toranjs (medallion) and Shamsas (roundel) as symbols of rugs are representation of sun and ultimately remind us of the metaphysical notion of center. Lachaks (ecoincon) are entrance gates, hashiyas (border) are fort of the spiritual city, and guls (flower) and buttas (arabesque) and all other symbols have their own role in representation of this subtle city. In this paper we will see how philosophical and mythological point of view can assist one to interpret rugs. Whatever man makes shows his approach to the reality and determines his intellectual power and social circumstances under which he has grown. Kang Dej is an Iranian vision of "the ideal city" and refers to the state of paradise in traditional ideas. Kang belongs to mediatory (or subtle) realm of existence; the tradition, representing it on earth and material realm, illuminates a sacred place in urban planning, architecture, and art. One of these illuminated forms is the art of carpet weaving along with its motifs and symbols.
Phd Elyas Saffaran, Mrs Fatemeh Ameli, Mrs Tayyebeh Sabaghpoor,
Volume 10, Issue 26 (3-2015)
Abstract
Birjand is located in the east of Iran and is the center of South Khorasan province. Birjand's carpets have its own characteristics in terms of motifs, coloring and structure that are outlined in this paper. Tiny fish is among the most widely used and popular motifs on the carpets of Birjand. This original and old motif is woven now in more than half of such carpets and can be seen on approximately ninety percent of exported carpets from Birjand. This paper attempts to study changes and developments in these carpets, in terms of design, motif, coloring, size and number of knits during recent decades of the present century using a descriptive method. Data collection for the study was conducted using desk study as well as interviews, observation and photographing some samples of tiny fish carpets. Tiny fish is a motif consisted of a central square with a eight-leaf flower and two leaves (abstracted fish) around it that has been evolved over several decades in the form of continuous, adobe-shaped, as well as corner-medallion. Over time, the original structure of the motif has remained unchanged, but its size has been reduced. Change of color from dark colors like blue and red to bright ones such as white and pale yellow is another change occurred in recent decades in tiny fish carpets of Birjand. These changes are mostly due to market demand, i.e. to meet the expectations of the customers, and sometimes due to the tendency of the weavers to weave more simple and economical designs, which in turn has led to change or persistence of some of the forms of tiny fish.
Phd Zahra Ahmadi,
Volume 10, Issue 26 (3-2015)
Abstract
Persian silk rugs are the most intricate, and often most valuable ones among all hand-knotted carpets. Silk is luxurious, lightweight and soft. Additionally fineness of silk carpet is amazing. Then it is very important to improve its quality and useful life time. During its usage, a typical high quality Persian or Oriental silk rug is exposed to many water-based stains. Although there are now a number of luxury silk carpets on the market, oddly enough they stain easily with the simplest of liquids, i.e. water. That can be bad news for investing goods such as carpets made of this expensive fiber. Getting a water stain out of silk can be tricky, but it is possible. Moisture absorbency of natural silk yarns leads to easy staining of these products by these kinds of pollutants such as tea, coffee, juice, etc. as well as their decreased life time. Textile substrates with super hydrophobic surfaces have attracted much attention for industrial applications and it is a very important resource of advanced materials and new technologies; while this is not applied in hand-woven carpet industry. In this paper hydrophobicity of silk carpets with good compatibility has been improved by treatment with Nano-poly di-methyl silicone. The silk substrates were modified with a silicone compound to achieve low surface energy. Dyed silk by metal complex 2:1 acid dyes as pile yarns and cotton warp yarns applied to weaving silk carpets, and kilims. Treatment by nano-poly di-methyl silicone has been done in low temperature. Evaluation of treatments has been done according to AATCC Test Methods. Durability and stability of surface-treatment of silk carpets were measured too. After washing of carpet and dye-injection on the surface of carpet, contact angle and wet-out time measurements on the silk carpets still show much improved hydrophobic properties. The resultant silk carpet exhibits superior water repellent properties.
Mrs Najmeh Mirzakarimi Isfahani, Dr. Seyed Jalal-Eldin Bassam, Mr Javad Hassanpoor Nami,
Volume 10, Issue 26 (3-2015)
Abstract
Diversity in the design of hand-knotted carpet may satisfy different tastes in the market as well as cause a boost in the purchase of the product. Isfahan hand-knotted carpet has a unique quality and originality in its design, but these characteristics are almost solely well-known in Isfahan market, so that in the national level, most buyers of Isfahan carpet comprises of Isfahani people. In the current state of affairs bearing the sanctions in the mind, preservation and promotion of Isfahan carpet is of great importance to support the weavers and employees of this industry and to improve their welfare as well as continuation of this national art. In this paper, the hypothesis is that the design of Isfahan carpet suffers from lack of diversity in such a way that it acts as a hurdle in the promotion of the carpet market. To examine this hypothesis, 152 questionnaires were distributed in Isfahan and Tehran carpet markets. Also some questionnaires were filled by Isfahani entrepreneurs and designers of carpets. Sampling was done according to Convenience Sampling method and the answers to the questionnaires were analyzed by the inferential and descriptive statistical analyses. The results demonstrate that if customers would have more favorable attitudes towards Isfahan carpet, the purchasing motivation would increase. Also lack of organized marketing strategy and insufficiency of potent designers are among the factors snagging diversity in the design of Isfahan carpet.
Mr Esmaeil Mazroui Nasrabadi, Phd Laya Olfat, Phd Maghsoud Amiri,
Volume 10, Issue 26 (3-2015)
Abstract
Supply chain management is one of the subjects that much attention has been paid to it. Today competition of companies is not important anymore but supply chains are competing, so paying attention to supply chain is necessary and vital. Performance enablers of supply chain have been studied in a scattered manner; however these efforts are not comprehensive enough. In this paper these enablers are studied and classified. This paper has been conducted for handmade carpet supply chain. Handmade carpet is one of industries that has a good position in Iran, however the number of performed scientific researches in this field in not enough. This research has done in Kashan and exploratory factor analysis and second-order factor analysis have been employed. After exploratory factor analysis, enablers are classified into some groups, i.e. leadership and management, knowledge and information management, cooperation, ethic, relationship in supply chain, performance measurement, capacity management and strategy. Among these factors, leadership and management and cooperation are more important. Finally, we provide some recommendations to improve these factors.
Mrs Somayeh Abdi, Phd Seyed Jalal Eddin Bassam, Mr Abdollah Mirzaei,
Volume 11, Issue 27 (9-2015)
Abstract
Ahar is one of the carpet weaving regions in Eastern Azerbaijan. This paper is to document the designs of carpets of this area. Data is collected through surveying, using methods of observation and interviewing weavers, merchants and scholars. Six carpet designs of six villages of this area including Qunigh, Cheshme Vazan, Qurchi Kandy, Haj Abedin Mazre'eh, Kaghalagh and Kalhur are studied and analyzed. The composition found in village carpets of Ahar is rectilinear medallion-spandrel. The carpets follow a pattern and design, which have some similarities, since the villages are in a same vicinity. But they not only differ in general design, but also they are different in some motifs. At the end, the elements of the design; i.e. medallion, pendant, spandrel and borders of these six carpets are compared.
Fatameh Rahim Panah, Phd Mehran Houshiar,
Volume 11, Issue 27 (9-2015)
Abstract
Nowadays, the hand-woven carpet industry has lost its status in international market due to economic issues and international policy towards Iran, moving it into a slow deterioration. On the other hand, the domestic market of hand-woven carpet has recessed in a way that even those few shoppers can’t afford buying carpets.
The hand-woven carpet market situation needs changes in cultural and economic terms. It is time to make use of modern methods and ways, in line with preserving originality and traditional cultural identity in design and color, in order to further boom this industrial art in global market. Carpet design, as an academic discipline, has the capability of training an educated social class with the ability to implement projects with current popular taste and world of education. Therefore, studies on this discipline and making it recognized in amongst traditional carpet marketers is crucially required.
This descriptive-analytic study, with its data being gathered through a field and library research, concludes that with the current economic conditions and the syllabus of carpet design as a discipline at hand, graduates of Carpet as a field of study, design and coloring, for instance, obtain the crucial skills needed to become a skillful designer, producer, export consultant etc. scientifically and technically. The final conclusion could be that the current recession of hand-woven carpet market needs young new thoughts. Old designs and colors do not respond to the needs of today’s confused market. Graduates of this field of study have the needed skills to consult with experienced producers, in order to achieve more of a financial productivity
Mrs Pashootani Zadeh Azadeh,
Volume 11, Issue 27 (9-2015)
Abstract
The common element in the Persian Shiri carpets is lion, sometimes accompanied with Sword and full or half sun. Sword is a symbol of power & war and Sun is a symbol of Imam Ali (PBUH). In addition to lion and sun, pictures of lion-cow-attack, with their ancient history in Iranian art, are represented in Fars’ Shiri carpets in other methods. For this reason, calendar, changes of seasons & Star Circuits are factors affecting on symbolism of each period.
Solar gods & goddesses or Water gods & goddesses have symbols in sky & earth, representing their divine form, in relation with concepts like movements of stars and planets (sun, Venus, Mercury, and Mars) and animals like lion and cow. The combination of lion and cow is specifically for the district of Fars (the third land); so is the combination of lion and sun for other districts of Iran (the fourth land). The combination of lion and sun as the representation of the forth land is another interpretation of the combination of lion and cow as the representation of the third land, according to astronomical and sidereal concordances.
This descriptive-analytic paper tries to find points of similarity between gods & goddesses in ancient civilizations, and illustrates & analyzes the roots of their shapes for finding common forms between Anahita, Mehr, Tir & Bahram through document and library research. The reason is that these gods & goddesses have retrospective effects and the heavenly representation of their duties were existent in celebrations of creation.
Mrs Shokufeh Mesbahi,
Volume 11, Issue 27 (9-2015)
Abstract
Amoo’oghli brothers are the founders and revivals of contemporary carpet weaving in Mashhad. Their carpets are very famous because of their unique and outstanding characteristics. This study introduces, examines and categorizes patterns and designs used in the field’s and on the borders’ of their various carpets, in addition to their most concurrent patterns, the mostly used structure in design, harmony of carpet parts, motifs etc. and also Amoo’oghli and Amoo’oghli 110 brands.
Designs of Amoo’oghli carpets are either adoptive, like Sheikh Saffi, Chelsi etc. or innovative, like Kouzeh Kannani. Both of them have been affected by original North-Eastern Iranian design and Harrat style.
This article also studies very precious carpets with high densities and delicate complicated motifs in amongst their products, at the same time with common carpets with large and even geometrical motifs, simpler designs and lower densities.
It also introduces some of designers who cooperated with Amoo’oghli brothers and played important roles in their fame, Taher Behzad Zadeh or San’atnegar, so to speak.
Mr Gholamreza Thosian Shandiz, Dr Amir Hossein Chitsazian,
Volume 11, Issue 27 (9-2015)
Abstract
Renovating carpets is done in a seating position on the floor, using simple tools. To improve the seating position of Iranian carpets renovators and reduce ergonomic problems, and to repair the connection of damaged carpet to frame, this three-phase study is carried out on 72 menders of 12 mending workshops in Shiraz, their way of working and their tools. The first phase studies symptoms of musculoskeletal disorders. The second phase studies connection of carpet to the support during mending. A proper work station was designed, based on the findings and needs of target population with simultaneous inclusion of the outcomes of the first two phases. The result of the first phase showed that most diseases or complaints are related to the knees, back and waist. It was concluded that amendments can be focused on the removal of undesirable situation of mentioned areas through design and construction of workstation. The results of the second phase show that the method of using some mending tools during mending interventions can lead into damages to the carpet and mender. The third phase of the study is based on the physical dimensions of the Iranian menders and correct connection type of rug to the support for mending designed and built workstation. Assessment of working situation is done before and after the intervention and final scores are compared in both cases. Results show that working on the designed table improve the situation of trunk and legs, but it worsens the forearm and upper arm situation. This revealed the effectiveness of corrective action. Meanwhile, using general arms to latch carpet onto the support prevented new damages to carpet
Dr Fateme Dorjvar,
Volume 11, Issue 28 (3-2016)
Abstract
Paisley (buta-Jeghe) a motif which has been applied in Iran’s carpets in Islamic era. The history of using this pattern in Iran’s art has always been a controversial issue. Some think of it as a motif belonging to Pre-Islamic decorations such as cedar or pattern of animal wings of the Sassanid era. Meanwhile, others see it as a motif which was imported by one of the cashmere shawls from India into the Iranian art. Paisley pattern is highly considered among Iranian weavers. It has decorated the carpets and rugs of many Iranian cities. It has also been used in hand-woven products of Fars nomads more than carpets of Qashqai and Bolvardi nomads. It has also been welcomed and spread among carpets of other regions like Bijar, Hamadan, Kurds of West of Iran and also hand weavings of Turkaman Nomads. Regarding paisley motif, More than 70 categories had been reported while only about twenty groups had been cited with precise names among different references. Due to the diversity and extent of its types in each group, one can find tens of its various samples. The usage of Paisley motif has not only been for decoration, but also as a foundation for shaping some carpet designs.
Dr Mohamad Taghi Toghraei, Mrs Bahareh Navidzadeh, Dr Ali Attafar, Dr Iman Zakariyayi Kermani,
Volume 11, Issue 28 (3-2016)
Abstract
Since some part of cultural entrepreneurship pays attention to entrepreneurship in arena of art and handicrafts, and handmade carpet is one of the oldest and most important handicrafts in Iran, paying attention to carpet is really prominent. Paying attention to originality of this native art, production and exportation of handmade carpets for having a share in competitive market and development of entrepreneurship in industry of handicrafts are the reasons for the importance of this issue. In recent decades, this market has faced some obstacles that has caused some problems. To solve these problems, innovation is one of the fundamental solutions. Therefore, this study has tried to find a solution to get rid of these obstacles in the art and evaluate the solutions in this research. This research which is based on descriptive and survey analysis is willing to find the obstacles on the way of innovation in Isfahan handmade carpets and to present a method or way for innovation in Isfahan handmade carpet. The statistical society encompasses designers, producers and carpet merchants, with 211 samples randomly chosen. Its results show that the obstacles on the way of innovation in handmade carpets go into the five major categories of economics, marketing, culture, management and technology, for all of which 30 sub-branches has been identified. In addition, the analysis of the achieved results show that each of these factors has different levels of effect on obtruding innovation in Isfahan hand-woven carpets. To conclude, some suggestion are given to get rid of these problems.
Mohammadreza Shahparvari , Dr Jalaledin Bassam ,
Volume 12, Issue 29 (9-2016)
Abstract
Carpet is one of the Iranian arts that is shaped in direct interaction with designers and weavers and therefore is a visual expression of their beliefs and ideas. This statement of beliefs, originates from the artist’s mentality influenced by culture, customs and religious teachings of society which is then traced on the vertexes of the carpet in different arrays and in the form of various designs. For this reason, various issues have been incorporated in carpet with a symbolic expression and each imply a cultural and religious concept. In the mist of this, numbers have a deep root in the culture of this country and was divided into two types: quantitative and qualitative. Qualitative aspect, or in other words, the symbolic and meaningful dimension of numbers has long been in consideration and the application of numbers in the arts of this country can be considered as a sign of the grand position of the symbolic aspect of numbers in different eras.
This article reviews the place and symbolic use of numbers in carpet with analytical method and library data collection. The results show that the numbers one, three, four, five, six, seven and eight have been symbolically used in different carpet designs. This application implies that the organization of images and designs has been based on the symbolic meanings of these numbers. Furthermore, it can be been seen that some carpet patterns and designs have been named based on their numerical format, thus strengthening the role of numbers in carpet and conveying the symbolic meaning they possess. These patterns, which are influenced by the cultural and religious teachings of the society, have been employed by designers and weavers and have been the source of inspiration for their designs.
