Quarterly Scientific-Research Goljaam

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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.