Quarterly Scientific-Research Goljaam

In the late of the Qajar era, a Persianized Iranian royal family of Azerbaijani Turkic origin which ruled Persia from 1785 to 1925, the Isfahan carpet design was revived by some of the artists such as Mirza Aqa Emami and Mohammad Hossein Mosavver Al-Molki. One of the leading artists in the late of the Qajar period and the early of the next period, Mohammad Hossein Mosavver Al-Molki, known as Haj Mossaver, was an innovator whether in painting or carpet design. However, the traditions of the Safavid painting and design are dominant in his works. He revived the hunting design which belonged to the previous periods specially Safavid era in the Isfahan carpet. In this paper, the Mosavver Al-Molki’s hunting designs is studied with a descriptive-analytical method and the paper’s data is collected through an observational and library-based research. The study revealed that his works were not a mere imitation. He changed the horizontal composition of the Safavid hunting carpets to the vertical composition. As a result, a high horizon was created in the hunting scene. Haj Mosavver had a realistic perspective in his designs and so, he solved the problem of the separation between the nature of the field and the elements of hunting scene in traditional hunting carpets via converting the vines and palmettos to the small bushes and shrubs. In fact, his work was a logical relationship between the contemporary carpet design and the Safavid’s.

 Bird motif has always had an important place in Iranian artworks. Various patterns of birds have been presented in all types of Persian art like carpets. Bird motifs, both in abstract and naturalistic forms, can be found in Iranian carpet design. This paper, after studying the role of bird motif in Iran's art and literature, introduced the formal and conceptual aspects of the motif in "Kheshti" design pattern. For this purpose, some images of Kheshti carpets of Chaharmahal and Bakhtiari have been illustrated. This is a descriptive research and data collection has been accomplished using library-based studies, written literature and images

 Hand-woven carpet is among the most important manufacturing product of Iran that is produced mainly for export, and due to its exceptionally strong and artistic aspects, it is very popular around the world, especially in Western countries. The artistic components mixed with culture, customs, traditions, religion and architecture of Iran combined with a high diversity of designs and motifs, patterns and colors, have made Persian carpets not commercial flooring but a valuable brand. For this product, like other products, different technologies are used during the time to meet the manufacturers' needs, although the penetration of technology in carpet is significantly slow. The topic of this paper is the use of technology for weaving in the context of the supply chain that is associated with much controversy. In other segments of the supply chain, including spinning, dyeing, design and painting, payment, promotion, marketing, sale and export, the technology is used with different sensitivities. Here, different view regarding the use of technology in weaving phase of the supply chain has been evaluated. Obviously, due to differences of opinion in this regard, the author finally proposes his recommendation

 Rugs in Chaharmahal va Bakhtiari have a great variety of design patterns and colors. One of these patterns is the "frame" design pattern that has its own variations. Frame design patterns are created in two ways: brick and Qabqabi. This paper will try to study the Qabqabi design pattern and its variants in rural area rug and its evolution. Variations of Qabqabi design pattern include simple frame, ring frame (cypress pine), Hassan Khani frame, bow frame, samovar frame and rose frame. The research questions include: When the frame design pattern was used for the first time in the area? What are the types of frame design patterns? What are the differences of filling motifs, structures and frame connections in different part of the province? How their evolution has been accomplished? The most diverse samples belong to which area? It has been also tried to use library-based and field study methods for classification and analysis of Qabqabi carpets of the area. For this purpose, the form of the frame, decorations of walls, connections, coloring of the frames, decorations within the frames within frames and the distribution of frames will also be examined.

 Logo designing is one of basic and scientific topics of graphics which interconnects to other parts of graphics by its own intrinsic characteristics. Instant and visual relationship of these logos with addressees conveys their spiritual and concise interior behind attractive exterior. Mysteries hidden in Persian carpet make it last and eloquently depict the cultures, traditions, cheers and tribulations of people who created it. Iranian hand-weavings and designs applied to them are various and ponderable from region to region and add to rich, mysterious and ancient art of this land; especially designs applied to Northern Khorasan weavings, which are rich. It is obvious that these characteristics provide graphic designer with the formation of a meaningful connection in the form of a favored art, like a multi-directed medium, by using symbolic motifs. The above research is of applied one, in which the possibility of logo designing inspired by carpet designs, regarding spiritual and intrinsic characteristics of Northern Khorasan weavings, is studied.

 One of the outcomes of the long wars in Afghanistan is the emergence of "war rugs". In this paper, the evolution of the war rugs in Afghanistan has been studied using a descriptive-analytical method and the data has been collected using field study and library-based research. The results of the research indicated that from the beginning to the present time, the war rugs in Afghanistan could be categorized into three distinguished generations. In the first generation of the war rugs, which is related to the time of Mujahidin-Soviet war, we still observe continuance of the Afghan rugs conventions. However, from 1990s onward, the traditional motifs are not commonly displayed in these rugs. In the second generation of the war rugs, often woven by Afghan refugees in Pakistan, gradually the motifs of weapons and military equipment along with the traditional motifs became dominant, whereas, the larger portion of the spaces of the rugs was allocated to the military motifs. Finally, the third generation of the war rugs displayed the patterns and motifs of the events of September 11, 2001 in the United States and their consequences. This generation includes the designs and motifs with the intense political manifestations followed by deterioration of quality for the war rugs.

One of the prosperous periods of Persian commercial carpet industry is the Safavid era especially the 10th and 11th centuries (A.H.). Governments’ attention to arts and artists and expanding the facilities on the one hand, and willingness of other artists such as illumination artists and Persian painters’ to beautiful designs for carpets, along with the progress of the dyeing industry, provided carpet weaving with a special place in the field of art and industry. The main question of the present study is: Who were the carpet designers at different geographical locations and in different times for various woven products? The main hypothesis in this paper is that in Safavid era, some of carpets were designed by famous Persian paintings artists. For this purpose, a comparative method has been used for comparing two survived carpet samples with the paintings of that era. It can be seen that the most of the arts, including traditional arts and architecture, were closely related at that era which indicate the existence of a unified artistic management in the cultural system of that period, and such responsibility was undertaken by the prominent painters and architects. The comparison of motifs of paintings and carpet may indicate that some of the carpets have been designed by some great painters such as Kamal al-Din Behzad and Aghamirak Isfahani and Soltan Mohammad Iraqi, etc and there are some valuable carpets woven directly under the supervision of these masters. On the other hand, some carpet designers were trained who followed their masters and this indirectly influenced the development of carpet motifs, so that the carpet designers were mostly inspired by these masters in manufacturing workshops.

Carpet is one of the oldest and most ancient traditional arts that in addition to satisfying practical needs, reflects beliefs, myths and other conceptions. These concepts are manifested in the context of rugs, with colorful and beautiful motifs informed by inspiration. In this paper, in addition to identification of animal motifs in the rural rugs of Hamadan, these motifs have been classified as quadrupeds, birds, and aquatic animals. Moreover, ritual - mythical roots of such motifs have been studied. Among animal motifs, some birds (falcon and peacock), some aquatic animals (fish and turtle and crab) and livestock (goat), all have the concept of blessing and fertility.

 Depicting the stories of Shahnameh is an issue that has attracted the attention of artists in different periods. Among these artists, rug designers can be named. In Qajar era, images of Shahnameh abundantly can be seen on pictorial rugs. Rostam's battles and epic tales are the stories that are highly regarded by such artists. The battles of Rostam and his battle with the Akvan the demon have attracted much more attention. We will analyze a carpet in which the war is shown within an altar. The question that arises here is: Is the objective of the image of such tale is more than just depicting a battle, since it is located inside an altar? And if the answer is affirmative, what are the reasons? To give a suitable answer based on Jung's ideas, first we have to try to introduce the archetype, and then derive such archetypes out of the carpet. This article is a descriptive - analytic study. We want to offer a different analysis according to the psychology of Jung's archetype.

 High unemployment rate in Iran has brought about some national projects of which one is Small and Medium Enterprises (SME) Credits. A main sector that uses SME credits is handmade carpet industry. The main purpose of this study is to investigate the effectiveness of SME credits in East Azerbaijan, Khorasan Razavi and Qom provinces of Iran. Investigating factors associated with effectiveness of SME credits were income, cost, profit, labor and production of carpet weaver households for the years 2006, 2007 and 2010. The effectiveness of SME credits was evaluated using matching estimators. To achieve the purpose, the statistical population was divided into two groups of Control (carpet weavers who do not used SME credits) and Treatment (carpet weavers who used SME credits) group. Sampling performed through simple random sampling in each group. The results show that SME Credits had no significant impact on the income, cost, profit, labor and production of carpet weaver households in Khorasan Razavi and Qom provinces; however in the East Azerbaijan the credits had significant impact on the mentioned variables.

 Prayer rug is one of hand-woven products which have been common in Sistan & Baluchestan from ancient times till now, and it has deep spiritual meanings in addition to visual beauty, which has attracted the researchers to itself, especially native experts of this province in the recent two decades. In order to study the prayer rugs, we will classify them into adoptive, half–adoptive, native and original, new and intuitive groups according to people's authentic beliefs and significant motifs which are used in them. The most common and beautiful ones of these samples are the native designs, which include Mehrabi, frame, domical-minaret and prayer rugs. Questions which are asked in this research are as follows: How is general structure of rug prayer rugs of Sistan & Baluchestan? Which are the most important designs and motifs of Sistan & Baluchestan prayer rugs which have caused their durability? Designs and colors used in rug prayer of Sistan & Baluchestan are affected by nature, people's wishes and regional culture. Generally, prayer rugs' structure and motifs are closely similar in most areas of the regions and they have the some visual and meaningful roots, and the most part of these prayer rugs have geometric shapes. Features of native weaving and common raw materials of the province also have been reviewed in this study. The research methodology is analytic and descriptive, and data collection is done with referring to written and unwritten sources in addition to documented studies. Observation results are obtained from field studies and investigation and analysis of data and pictures is a criterion for identifying prayer rugs and hand-woven products of this province, and can helps for reclamation and protection of native art of this region.

 The Safavid Era is considered as the golden age of Iranian carpet history, which in addition to beauty of pattern, motif and color, has yielded worthwhile concepts on its carpets. The lion motif is one of those motifs on carpets of Safavid Era which have been depicted as both a prey and a hunter. Repetition of, and emphasis on this motif, which contains diverse concepts and senses in Iranian and Islamic cultures as well as gnostic viewpoints, raise this question that what concepts are manifested by the motif of lion. Mowlana regards the lion as the symbol of God, God's names and traits, the symbol of fate, people of virtue and saints as well as symbol of Mohammad Prophet, Hazrat Ali, wisdom, thinking and even sensuality. However, in his view, the concept of the lion is further interpreted to be human and perfect human rather than other symbols. A meaningful relationship, in the visual and conceptual studies, can be seen among lion motif in the view of Mowlana and on Safavid carpets. In more than 10 samples of the carpets, where the lion motifs studied in different situation and diverse positions, it was observed and implied that the lion, after unwieldy and difficult struggle, reaches to the center of the universe, i.e. the medallion of the carpet, and finally attain human-like lion degree. This concept also is reflected in the ideas of Mowlana. This study has been performed using library method, as well as the case study of carpets of Safavid using content analysis method and by comparison of samples.

As a result of expansion of relationships between Gurkanian (Indian Muquls) and Safavid Kings, we can see some impacts of Iran on Indian carpets, illustrations, architecture and related arts. Some of the motifs in carpets were spread to India during Gurkanian Era. This paper tries to find out the direct or indirect influences of depicted carpets’ motifs in Persian paintings on Indian arts. So the questions are: What is the reason for the representation of Persian carpets in Indian miniatures during Muqul era? What are the represented motifs from Persian carpets in Indian miniatures? The applied research method is descriptive- analytical via library data collection. The results show that, Indian kings’ interest in arts, the relationship with Safavid Kingdom, and immigrations of Iranian artists to India in Shah-Tahmasb’s Era, are the reasons for representation of Persian carpets’ motifs in Indian miniatures. The represented carpets’ motifs in Indian miniatures besides the influence Iranian artists' exercise represent the nativity of vegetative motifs in either abstract or natural forms depicted by Indian artists

The role of Small and Medium Enterprises (SMEs) in economy and in creating jobs in developing countries is an important parameter, and other important parameters in this field include investigating their economic situation and profitability in order for survival and creating value for customers. Whereas small and medium enterprises which work on sale of Iranian handmade carpets,as the exclusive product with international brand and national position,can benefit from handicraft expertsand human resources,and use domestic resources to answer domestic demand, as well as many customers around the world.Nevertheless,the export of this product has decreased comparing other domestic products, but still experts and active participants in this industry antedate from other domestic and foreign rivals and are successful in development and growth of this product. Identifying effective methods for growth of small and medium enterprises in carpet industry in international economyand the related indicators can be profitable for other active participants and stakeholders, whether in private and corporation sectorsor for planners and policy-makers in this section. This study seeks to answer the question thatwhat elements, despite decreasing exports of carpet, have caused the growth of small and medium Enterprises (SMEs) in carpet export sector. Identifying and prioritizing such parameters are the results of this case study. The geographic scope of this study is the exporters of handmade carpet and during 2013. The research methodology is descriptive-correlativeone and research population include all exporters of handmade carpet which earn over 1 million dollars annually. Data collection was conducted using a questionnaire that was prepared according to review of literature. Dependent variable in this research was growth of small and medium enterprises (SMEs) of carpet industry in international economy, which can illustrate the sales scale, increment and exporting the stuff (MacMillan and Day, 1987) and independent variables include ability and capacities, demands (causes and activators of growth), resources, seasons and manager and service’s owner personal characteristics (Davidson, et al. 2006). Results illustrate that there is a positive correlation between variables of demands and seasons in range of 99 percent to growth of producing services and commercial services of export of handmade carpet.The aim of this research is studying effective factors on the growth of carpet export in Iranian small and medium enterprises (SMEs). The research design is based on correlation. Instrument validity was established by a panel of experts and its reliability was confirmed by filling out 30 questionnaires. Cronbach’s alpha coefficient was calculated for different parts between from 0.75 to 0.84. The statistical population was 124 carpet exporters that during ten past years(2001-2011) exported more than one million dollar. Due to their small numbers,census method was used for data collection. The descriptive results of the research indicated that the average amount of carpet export among Iranian SMEs was 4.5 million dollars. Another result showed that there was positive correlation between demands and opportunities facing these SMEs with their growth. The results of the bivariate regression revealed that 38.4% of variation of SMEs’ growth stemmed from these two factors (between demands and opportunities facing these SMEs).

Sharpness of the carpet design is one of the parameters affecting the visual appearance of the carpets. In this paper, some preparatory steps have been taken for measuring the sharpness of the carpet design. First, the influencing parameters on the sharpness of the carpet design have been analyzed and formulated, thus this formula can be used as a theoretical base for measuring the sharpness of the carpet design. Then, by simulation of the carpet design formation, the effect of distinctive steps of carpet product on the sharpness of the carpet design has been studied.

It can be said that a part of our cultural-artistic identity and even national identity is interwoven with carpet. Persian carpet history has been glorious and brilliant,and the artisans of the field, relying on rich and prolific past and the road which has been taken, can inspire innovation to keep it alive. Thus, one of the tasks of the researchers in this context is introducing the rich past of Persian carpet and its historical identity. This paper is based on desk and fieldstudyand aimed to study historical-artisticproperties and semiotics of one of the most famous motifs in carpets,i.e. Harati motif within the geography of Iranian carpets. The questions which are to be answered include: What is Harati motif? What is the origin that motif? And what are the types of Harati motif?

Culturalattitudesduringdifferentperiodsare associated withmythologicalbeliefs ofthe people, however,regarding culturaldivision, each period contain a particularconcept. Hand-woven motifsand mythsinproportion to the categoriesof motifs in Persiancarpet are dividedinto several types, mostimportantly mythicfigureas plant and animalmotifs(Daryaei, 2003, 83). It cannot be saidthat such motifs oncarpetsare exactly equal to the interpretation ofthe concepts thattoday'sgreatestmythologists,sociologistsand historianspropose. Behind these motifs, there lies a written language of people who have experienced the powerto transfersuchideasin therealmofcolor andwool.One of themost importantartisticvaluesin Persian rugsis their motifs, and howwe can identifythemythic valuesof such motifs?GholtoughVillageinZanjan Province is one of the importantcarpet-weaving areas in Iran. Carpetart-industryhas prevailedin the areafor a longtime andhas survived until today,soits designs and motifscanberooted in thepastperiods.Carpetsof Gholtoughvillageasa manifestation ofthe richart and cultureof this landhave beenabandoned for years.Thus, in order torevivethis art, a closer look atthefactorsaffectingitsplasticity, its originaldrawingsanddesigns and its maincharacteristicsis necessary, so that its symbolicandmythicalconceptscan be identified, and imagination and of puredreamsofits weavercan be describedand understood.The aimisto identify themythic valuesof motifs in Gholtoughcarpetand to find needed information.This studyis historical, descriptiveandanalyticalin terms of method. Accordingly, firsta brief historyof Gholtoughvillagewill be provided and technical characteristicsandappearance ofthe carpets in the areaare studied.Finally, aestheticfactorsare describedwhich are the cultural and intellectualgrounds for mythologicalmotifson the carpet.Sample size for motifs of Gholtoughcarpethas been 9samples.

One of the most important fields of research in Iran is investigation of the characteristics of the Iranian carpet designs and motifs, especially in geographical areas in which the carpet patterns are woven imaginarily. Understanding, preserving and planning for revival of the original carpet patterns can be enhanced significantly through categorization, reformation and determination of the applied proportions in these mental patterns, which have been transferred from one generation to another through continuous years. One kind of such carpets is Vist’simaginarily-woven carpet which has been woven in the central areas of Isfahan, southwest of Khansar by nomads who came from Hamedan and left nomadic life 400 years ago and decided to reside in Vist village. Forms and patterns of the imaginarily-woven carpets of Vist have been uniform and distinct from one carpet to another with only minor change during these years. In this study, local experts selected 50 Vist carpets with more than six square meter size having all the features of Vist's patterns. They were nearly 100 years old and could be found in Vist village and the neighboring villages. Then the largest vertical and horizontal dimensions of each feature of the pattern were measured. Afterwards, different hypotheses were proposed among dimensional proportions as designing structure in Vist carpet and were tested by use of a numerical software program. Based on these findings, it was found that 16 structures were one-dimensional and these were woven imaginarily and carefully without any kind of carpet designing. The weavers of Vist carpets observed 5 determined proportions among features of Vist imaginary patterns while weaving in harmony with other characteristics in specific parts of the carpet. This study shows that other six hypotheses of researchers about proportion and determined structures among elements of imaginarily-woven carpets of Vist were not true. It is also possible to help to clarify the position of thesestructures by determining two-dimensional proportions among elements of pattern. This research presents categorized and analyzed proportions which were found for arrangement of Vist carpets.

Increasing development of e-commerce in global extent encompass diverse and different products. The handmade carpet is one of such products traded by many websites around the worlds. However, in Iran e-commerce of handmade carpet has not been taken seriously. The results of previous studies have shown that the commencing such action is fully beneficial and useful. E-commerce, however, due to some reasons have not become possible until recently in Iran. This research is conducted using descriptive-surveying-analytical method using observational tools, and by distributing a questionnaire and desk study. Observation and analysis of foreign successful websites as well as study of active Iranian websites and interviewing with exporters of handmade carpet in Tehran revealed major causes and reasons of absence of Iran in this field. The results show that successful foreign websites technically and operationally have no complex tools and equipment which may need major investment. Thus, designing and launching similar website is also possible in Iran. However, regarding absence of training and necessary and required data among sellers and exporters and limited relationships with other countries and foreign banksdue to sanctions, they are not much willing to participate in this context. Its seems that by attracting foreign financial partners and financial support of the government in creation of equipped marketing websites, training of businessmen and producers, and legislation for copy right in the context of handmade carpet the grounds for introducing e-commerce of handmade carpet can be provided.

Persian carpet has been woven on the basis of designs and patterns for a long time. The weaving of carpet according to dimensions proportionate to the established principles in terms of context and design indicates such computational principles. Carpet experts use basic units or time scales to calculate carpet’s drawing anddetailedfactorssuch asfees for the workmen.Unfortunately, no comprehensive and systematic research has been done on the principles and bases of computationsfor drawing sheets.This researchwas conductedusing desk study and field study methods, where evolution ofcarpetdrawings, measurementunits andbasesfor drawing mapcalculations,drawing sheetsand workmenpayment have been studied. As a result of this study a special and detailed look into the carpet and its associated elements become clear, and the reason, thought and knowledge behind this applied art is revealed. This valuable knowledge and experience can possibly be conveyedto contribute the revival of this art.