Quarterly Scientific-Research Goljaam

Symbolism and love of beauty are two fundamental particulars of human kind having special effects on his works of art. Carpet, particularly in Iran, has been one of the grounds of manifestation of symbols and carpet patterns represent symbolic designs. This study is an effort to study this issue, especially in the Safavid and Ghajrid eras which are considered to be the flourishing age of Iranian carpet. Written references as well as 80 pictures of carpets of that period of time constitute the main resources of this study and confirm our hypothesis of great effect of symbolism on Iranian carpet designing. In this study, I have introduced the theoretical grounds of carpet patterns symbolism and for the first time a classification is drawn up which may be used as a starting point for other studies.

This study examines weaving techniques in three rare samples of Ghashghaei tribe hand-woven artifacts. Two first samples, “Shishe dermeh baafi” and “O’ei baafi” (2 laaye baafi) we found similarities and differences in the weaving structures, which are: Similarities: Both are hand-woven products woven through flat weaving, having two opposite colours warp and woof. Differences: “Shishe dermeh baafi” is one layered while “O’ei baafi” is a two layered woven object. In warp and woof structure of “Shishe dermeh baafi” , the face side strings are evenly dark and the opposite side strings are bright, while in “O’ei baafi” the strings are dark and bright alternately. “Vaarune chin baafi” is the third type of weaving which was examined. This type of weaving is similar to “Rond baffi” ( Verni Baafi) but the patterns are much more.

Aesthetics of Iranian Hand Woven Carpets is one of the main reasons for its eternality. Recognition of such beauties, give one such scales for his/her evaluation about this matter. These elements are qualified features which affect on aesthetics of Iranian carpets and help to its eternality. This survey takes into consideration the main cases according to their relations toward carpet aesthetics. The main aim of this study is classifying, determining and introducing the reasons of carpet aesthetics and also the relations of these factors with cultural, artistic values of the society. To know if the Iranian Hand Woven carpets have aesthetics values or not and also if it has, determining such categories, are the main questions of this survey. In conclusion we understand that Iranian carpets have aesthetics features which I classified in two categories, one is intrinsic characteristics and the other is extrinsic. Also extrinsic category is divided in two fields and design, color and size are three factors among them.

The pattern and the colour used in Sistan carpets is influenced by the climatic, cultural, historical, and image-weaving conditions of the region. In view of their conception, beliefs, culture and the historical antiquity of the region, the artists and weavers of such images choose peculiar patterns and colours bearing their overt and covert understanding that are depicted in their weaving works. This research after studying the patterns and colours used in them, takes into account those factors whose appearance has been truly effective in their formation and style. These pictorial phenomena that associate their rank and status with the degree of demand and selection of the masses enjoy varied meanings and concepts and the effect of the natural inspiration in them attains, at times, such an abstraction that their place in the surrounding phenomena could hardly be recognized. Visual qualities and values in the colour and the pattern of Sistan carpet are varied and extensive. One most significant of them is the value of in unity multiplicity portrayed in the Sistan carpet more prominently in two elements of color and pattern. Keeping in view the past history and the epic of the people of Sistan and the mode of beliefs and mores prevailing over the region, similarly the peculiar temperament of the land, the patterns and colours used in the hand-woven and other artifacts are a sort of symbolism and an association of events and incidents that are in fact a linkage between self-conscious rational world and the instinctive world; the weavers of this style resort to patterns and colors in order to express natural elements and their own ideals.

Hand made rug is one of the major non-petroleum exported items which directly and indirectly supports the employment of large number of people around 8 to 9 millions in the recent years.The exportation of hand-made carpet has descended and it is considered a serious threat and may end to unemployment for a large number of the countrymen. This is one of the important reasons for the extra decrease of the carpet value. In this regard, the ordinary carpet in Hamedan and Fars and tiny weaved carpet in Isfahan have been investigated. The carpet under the investigation in Hamedan province is of rural woven type, in Fars province is Kashkooli woven type and in Isfahan’s is 34-meter type. The selection of these carpets is according to the experienced expert and the frequency of that type of carpet in the mentioned provinces .The data collection was performed through the questionnaire. The number of samples for each province was assigned at the level of 40” .Then the samples were randomly selected. After the data collection related to production expenditures, the expenditures divided into direct and indirect ones. The direct expenditures consisted of elementary materials and direct wages, and indirect expenditures consisted of electricity, water, rental, and asset. When the expenditure means were assigned, the carpet sale price was computed too. Then the additional value was investigated on the two conditions of self-employment and management. Also, the type of production management was assigned based on the additional value. The results indicated that the additional value on the condition of self-employment and management in Hamedan province for rural carpet is equal to 37726 and 140707 and in Isfahan province for 34 meter type is equal to 82050 and ,161508, and in Fars province for tribal Kashkooli for each meter is equal to 4177 and 28138

Bakhtiari carpet has been less studied and introduced in art studies. Compared with other carpets, its rich designs and forms are overlooked by researchers. In this study an attempt is made to investigate the value and significance of trees in Bakhtiari carpets, with emphasis on variety of its designs and forms.

variety of western carpet designs such as Bahaus School are characterized as different from the traditional designs and forms and are basically based on principles of visual arts. This variety pops up questions about the origin, causes, and relationship with oriental carpets. This paper is an attempt to answer some of these questions. To this end, history of western carpet by looking at art movements such as “William Morris Movement”, “Bauhaus School”, “Art Deco”, “Art Noveau”, and “Post-modern art”.

Hand-woven tribal and urban carpets are among the most valuable treasures of Iranian culture and art which have been overlooked in the past few decades. As carpet designs and forms reflect culture and life style of our ancestors and connect the past and the present, they deserves due attention. Reviving these designs and forms is way to preserve this cultural heritage. This article is an attempt to have critical view of the revival procedure and discuss the challenges that lie ahead.

Each civilization make own culture and cultural productions that have sign of identification of that culture. Islamic civilization and its genuine culture is settled this identity in obey of god’s commands and Moslems are innovated some beautiful productions that symbol of this delivery. Prayer rug is one of these productions. It is necessary to Moslems to pray five times in a day. Among Turkmen people, it is necessary to exist one ore some prayer rug in bride’s trousseau. This inquiry is tried to introduce kinds of prayer rugs and their patterns and symbols.

Carpet weaving is an indispensable part of artistic, economic, social, and cultural heritage of Iranian civilization. This industry has been long associated with the name of Kashan. In this study the role of attitude change in job culture and tendency to work outside home and do office work in carpet weaving industry in Kashan is investigated. A sample of 926 families participated in the study. Two instruments were used for data collection; a questionnaire and an interview. A significant correlation was observed between change in attitude towards working outside and several variables of carpet weaving (r=.289/ Sig. .01).

Special properties of Iranian wool such as elasticity compared with Merino wool leads to more popularity of Persian carpet at an international level. By using of finishing process it is possible to improve some of the physical properties of wool fibers such as fleece modification, increasing of lightness and whiteness and producing a smoother surface that result a better quality carpet. In this research influence of proteases on Iranian wool was investigated and variation in concentration and time was optimized. The results indicated that increasing of enzyme leads to increasing of loss of weight, strength and strain. With prolonged enzymatic processing it may obtain better whiteness, lightness, and bending. Changes in whiteness, bending and fineness and other properties such as weight loss, strength reduction and strain would be discussed.

Supply of any product is viewed an important element of production process. Lack of a product supply interferes with the production process and lead into serious damage in marketing the product in a competitive market. More specifically, due to unique characteristics of silk industry and silk such as small workshops, their spread over large areas, scattered consumers (carpet weavers), silk’s seasonal nature, being bulky, its decay, multiplicity of its preparation for final product (thread), and its low price requires due attention. In this article conceptual model of supply cycle by Sohal and its components are applied to investigate the present situation of supply cycle of silk threads. The main focus of the model is on improving management of supply cycle. A number of relevant hypotheses are tested. Rresults showed that factors such as location of the production and uncertainty of production have significant influence on supply cycle of the product.

Carpet experts consider nobility of a Qashqai rug in properties like use of suitable wool fiber, herbaceous dyeing, mental designing and bald painting. These principles were used in a variety of samples of Qashai tribe’s hand-woven carpets. On the other hand, production system in that period was based on the use of existing sources and facilities and motivated by providing financial support for the family. In this traditional period, production did not have commercial and public uses. Carpet ownership was limited to well to do families and was basically used as gift and present. However, in an industrial society several aspects of tribe life were influenced by the technological developments. The impact brought some limitations and obligations. Factors such as territorial reforms and trainings of different types changed carpet weaving and production. With the arrival of ready made factory hanks and chemical dyes quality of Qashqai products was threatened and carpets were massively produced. Merchants, dealers and intermediators’ played an important role in marketing the products. Different tribes and families produced their own carpets and a variety of designs and forms emerged. All in all, industrialization did not add to the nobility of the product in this period. Some products, however, were exceptional and represented the true value of Qashqai carpet. They made best use of the new possibilities provided by technology and industry to produce the best quality carpets, relying on the traditional elements of Qashqai carpet at the same time, incorporating some innovative elements. This opened new horizons for the carpet weavers.

Productivity aims at improvement of the quality. Quality improvement in turn contributes to productivity. There are several means to improve the handicrafts and allow people to improve the quality of their products. Meanwhile handicrafts are being considered important from social, cultural, art and economical point of view. It contributes to local economies and eradication of poverty. By providing new market opportunities, the seal program aims at enabling handicraft producers to establish sustainable livelihoods. This will be achieved through developing networks of handicraft producers and customers, including the higher - end of the market, and through exhibitions and trade fairs. The UNESCO Seal of Excellence for handicrafts is based on the criteria such as: Excellence, Authenticity, Innovativeness, Social responsibility (Fair, labor law, Eco - Friendly) and marketability. They encourage artisans to produce handicrafts using traditional skills, patterns and themes in an innovative way in order to ensure the continuity and sustainability of these traditions and the skills. On the other hand, creativity is man’s most widely and evenly distributed resource. All people seek outlets for self - expression and have the capacity to create objects to uplift the spirit and enhance peoples’ lives. The United Nations Educational, Scientific and Cultural Organization (UNESCO) promotes a wide range of activities to preserve and develop both traditional and contemporary crafts. This has included a Ten - Year plan of Action for the Development of crafts in the world 1990 - 2000 the annual UNESCO crafts prize to recognize the creative talents of craft producers, as well as programs to identify and bestow on the worlds most out standing artisans the title of “ Human Living Treasure.” The seal of Excellence for Handicrafts program was established in 2001 by UNESCO (UNESCO Office Bangkok) in collaboration with the ASEAN Handicraft Promotion and Development Association (AHPADA) for piloting in Asia. Referred to as the “SEAL”, this program aims at ensuring the continuation of traditional knowledge and craft skills which help to preserve cultural diversity in the region. Since 2006 the SEAL program has been launched globally with the SEAL being introduced in Africa, Europe and America. The Asia program has expanded over the last few years to south Asia (2004), central Asia (2004) and was launched in East Asia in 2006. It should be mentioned that 30 countries in Asia are now taking part in this initiative. This growth has been accompanied by a new region - wide branding and increased promotion and distribution channels.
For the first time Iran took part in the 2007 seal program session, held in Dushanbeh, Tajikistan from 24 - 27 September, received 6 seal certificates for the Iranian handicrafts articles. Due to the importance of the program (Seal), this paper is an attempt to take a step for further introduction of the SEAL in order to prepare grounds for better participation of the relevant capable products in the future sessions.

One of the pre-treatment processes on silk is degumming that has much influences on other processing. There are various degumming methods and each one has its own advantages and disadvantages. In this research protease (Alkalase) and Keliab (remaining ashes of "Oshnow" plant obtained from Qom, Yazd and Kashan) used as environmentally friendly compounds for degumming of silk. Different concentration of enzyme with soda ash and surfactant and also Keliab were examined. Some properties of degummed samples such as weigh loss, strength, lightness and whiteness were tested and surface morphology also was observed by SEM. The degummed yarns then dyed with madder, using two types of mordant namely stannous chloride (SnCl2) and aluminium-potassium sulphate AlK(SO4)2. The color coordinates L*a*b* and washing fastness and light fastness of samples were evaluated. The results showed that weigh loss percentages, strength and whiteness of samples varied due to degumming with Alkalase and Keliab. However, washing fastness and light fastness of madder dyed samples were acceptable.

The existing standards for measuring carpet properties consider carpet behavior after loading while its dynamic and instantaneous behavior is neglected. To investigate the dynamic behavior of under loading carpets, an INSTRON machine equipped with a developed system was used. The reliability of the system was verified by testing different materials. Different samples of hand-knitted carpet with 30, 40, 50, 60 and 70 Raj (rows/6.5cm), with specific structural and physical characteristic and raw material, were tested to obtain the curves of their pressure resistance versus time. The relation between features derived from the load/time curves and carpet structural and physical characteristics and raw materials were defined. Measuring the Pearson coefficient correlation, the linear correlations were studied and analyzed. The results indicate that with increase in knot density (Raj), the rate of decreasing thickness during loading, the resilience of carpet pile after loading, the total work exerted to carpet for reaching to jamming phase and the work returned by carpet during recovery phase decrease; while with increase in carpet thickness, the resilience and the total work increase. In addition, the load/time curves of different materials and hand-knitted carpets were compared. The similarities and differences between their behaviors were derived and the desirable compressibility behavior of a carpet is accordingly suggested.

The compilation of subject matter and data used in this article are extracted from library and recorded materials based on historical and pictorial sources to show changes in Kelardasht carpet within the past 100 years. Furthermore interviewing with masters in museums and bazaar was also used in accomplishing this article, and at the end data and pictures were compared to study the design and patterns of Kelardasht carpet in order to classify the patterns and motifs of these subjective and mental-woven carpets. Study of variations of patterns, motifs and colors in Kelardasht carpet shows that most of the patterns have been forgotten in the course of time and are not used any more. Then because this carpet is not a commercial one, difficult access to the area and entering poor patterns, this carpet was undermined or even defeated. It seems that the usage of old and original colors, original patterns and motifs and introducing genuineness and employed concepts in this kind of carpet to young people and buyers are important factors for the revival of Kelardasht carpets.

The aim of this research is assessing carpet weaver’s health needs and designing a model for meeting them. A sample of 1688 carpet weaver in 8 provinces (Azarbijan, Fars, Kerman, Markazi, Kordestan, Golestan, Mazandaran and Khorasan) has been interviewed for collecting research data. Findings show that a Persian carpet weaver in Iran is typically a thirty-one aged, married woman with three children who works seven hours a day. She has not another paid work and says that she weaves out of necessity. Regarding health habits, the research shows that 51% rest between work times, 14% exercise, 13% brush, 17% wash their hands with soap before dine and after going to toilet and only 6% use masks. Other results of the research indicate that health and medical facilities available for the population is not satisfactory in comparison to national rates. The carpet weavers' accesses to health and medical possibilities are as: 65% to physicians and medical centers, 79% to water supply, and 85% to bath. Also, 10% of them have social security insurance and 50% have rural medical insurance. 48% of respondents have attended health education programs and their information about issues of workshops' health needs and meeting them were satisfactory. 60% of workshops have other uses too, for example as kitchen, dining or guest rooms. 

One of major issues of the countries, especially developing countries, is expanding globalization process and the way of facing with it. Globalization is not a process that be encountered similarly in all countries but those who recognize its all aspects could utilize more and make better use of opportunities it makes; consequently, they could compete well in international community. Knowing competitive and comparative advantages of different sectors of country's economics can be a significant change to the rising of competitiveness. Since the hand-knitted carpet industry is one of the sectors that promise high non-oil export potentials, this paper concentrates on this industry and utilizes the Policy Analysis Matrix (PAM) to calculate indexes of competitiveness and comparative advantage in the hand-knitted carpet industry. As the province of Qom is one of the major producers of high quality marketable carpets, the paper concentrates on this area. The province has a long history of producing unique carpets in terms of design, weaving quality, coloring and other qualities. At present, Qom stands ready to supply the export market with enough of 65 knots hand-knitted silk carpets. So for evaluating trade globalization's effects on hand-knitted carpet industry, we use data and information about that kind of carpet in 1385. Results show that the index of the competitiveness of Qom hand-knitted silk carpets is 93% and its comparative advantage based on unit cost that would hold when Iran joins WTO is 84%. These indexes indicate that Qom hand-knitted silk carpets score high both in terms of competitiveness and comparative advantage.

A new trend of weaving pictures in Qajar era is considered to be a revolution in the art of carpet-weaving whether from viewpoint of form or concept. These pictorial rugs were intended to be spread on the floor no more, but they were woven for visual satisfaction, exactly as pictures. These pictures are like an encyclopedia of the cultural life of that era, which covers beliefs, culture and life of the people and can be employed for discovering unknown aspects of their culture and outlook. This paper has amid to understand and find the meaning of one of these rugs, namely "Mary and Jesus Christ" by analyzing it using Erwin Panofsky's iconographic method for finding different meaning layers. The paper concludes that the above-mentioned rug has the function of an icon and for fulfilling its "monumental" and "didactic" objectives makes use of Islam doctrine, Qoran's verses and Iranian mystical art and literature. At the end, in search of deep and concealed meanings of this icon hidden beneath its different meaning layers and for finding its "artistic desire" and cultural reasons for its creation, this article shows the votive objective of this rug as a means of obtaining offspring and conforms the public's belief in miraculous power of the icon.