Showing 51 results for Design
Dr Ali Asghar Shirazi, Mr Hesam Keshavarz,
Volume 7, Issue 20 (3-2012)
Abstract
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.
Mrs Neda Fakhr, Dr Amir Hossein Chitsazian, Dr Elyas Saffaran,
Volume 8, Issue 21 (9-2012)
Abstract
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
Mrs Peyvand Tofighi, Mr Mohammad Ali Espanani,
Volume 8, Issue 21 (9-2012)
Abstract
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.
Mr Javad Avishi, Dr Zahra Hosseinabadi, Dr Alireza Taheri,
Volume 8, Issue 22 (3-2013)
Abstract
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.
Mrs Shabnam Mohammadi, Dr Ali Vandshoari,
Volume 10, Issue 25 (9-2014)
Abstract
East Azerbaijan is one of the most important centers of production and trade of hand-woven carpets in Iran. Several cities in this province participate in the production of this artic-industrial commodity. Heriz is one of these cities that has been well-known for weaving precious and beautiful rugs. Considering the unique characteristics of design, motif, color and texture, Heriz rugs are of great fame worldwide. The main purpose of the present study is to thoroughly examine samples of contemporary rug designs of the region and to identify their design structure. It also attempts to find answers to the questions of how these rugs are designed and what their patterns are. Subsequently, it scrutinizes the main features of rugs in this region and introduces and explores their design structure. Finally, particular styles dominating the design of Heriz rugs are discussed. The study is a self-explanatory one and the collected data was analyzed qualitatively. The data for the study was mainly collected through field studies and in some few cases library references have also been used. The study revealed that there has been and are fixed principles and structures in the design, color and texture of contemporary Heriz rugs and currently rugs in Heriz region are woven according to them.
Mrs Azam Rasooli,
Volume 10, Issue 26 (3-2015)
Abstract
One of aspects of the carpets which can be studied is their pattern and design, and such a study can be performed based on theoretical and scientific-artistic approaches, including symbol and sign. In fact, by studying and analyzing designs and patterns of carpets on the basis of a semiotic system, semantic signification of them can be analyzed. Accordingly, a carpet with corner-medallion pattern as well as a pictorial carpet among carpets of Hamedan is studied here. Hamedan is one of the most important areas of carpet-weaving, especially in terms of rural style. Pictorial and corner-medallion designs were selected for better manifestation of the differences between symbol and sign, since there are occasionally considered to be identical that and sometimes to be different. Based on what was said, the research question is that "Can the differences symbol and sign be studied in the pattern carpets and to obtain semantic significations in the contest of semiotics? Accordingly analytical and comparative methods as well as desk study method for data collection have been employed. First the theoretical bases of the research have been reviewed and then the selected samples have been studied regarding such theoretical criteria. The results of this research include: understanding the differences between symbols and signs in pattern of hand-made carpets, the effectiveness of semiotic system in the process of analysis of such symbols and signs as well as achieving semantic implications of patterns through conceptual abundance, based on semiotics method.
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.
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 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.
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.
Abdollah Mirzaee, Dr Mohammadtaghi Pirbabaei, Dr Azam Ravadrad, Dr Mohammad Abbaszadeh, Dr Ali Vandshoari,
Volume 12, Issue 29 (9-2016)
Abstract
The purpose of this article is sociological explanation of Iran's contemporary carpet designing system to recognizing of the evolution or the stability in its carpet designing schools. For this aim, first we selected and compared 20 sample carpets among the woven carpets of Tabriz and Esfahan in the past 10 years with the same number of Tabriz and Esfahan carpets that are woven at 40 to 60 years ago. With these compare probabilistic caused changes in design, pattern and color of this carpets had shown. The results show that deflection from traditional designing bases in Tabriz contemporary carpets is visible and fast. Versus changing of these bases in Esfahan carpets is according to rules and course frame of Iranian traditional design and is continuing its natural proses.
This article is theoretically related to the field of sociology and emphasizes on Anthony Giddens's structuration theory. In Accordance with structuration theory, had studied reasons of the evolution or the stability in identical component of Esfahan and Tabriz carpets. The findings of the study indicate that, any change in the rules and resources of proceeding at each of the schools of Iranian carpet design, will caused changes in its entirety system. Therefore stability of the rules and resources of action in Esfahan causes the persistence of Iranian classical design school in this city, inverse the fluidity of the rules and resources in Tabriz causes consecutive changes in School of Tabriz carpet designing.
A descriptive analytic approach and field study-library based data collection were the research methods used in the present study
Mrs Akram Bakhshi, Dr Ali Vandshoari,
Volume 12, Issue 29 (9-2016)
Abstract
Kurds of Khorasan regions live in its northern regions and are called kurmanj. During the rule of the Safavid dynasty, Kurds of Turkey, Syria and Caucasus in west Azerbaijan were moved to Khorasan to evade invasions of the Ottomans and were settled there. This movement of Kurds from Western Iran to northern Khorasan and their adjacency with Balooch and Turkmen people influenced their carpet weaving traditions. The present paper attempts to investigate the structure of designs and motifs and diversity of genuine Kurdish rugs in Khorasan region. This descriptive analytical study takes a qualitative approach to study the elements like Medalion, corners, field and border motifs in designs and motifs of Kurdish rugs of both Northern and Razavi Khorasan provinces. The statistical population of the study was both Northern and Razavi Khorasan provinces and its main concentration is on Kurdish provinces. As a result, our towns and 13 villages in Razavi Khorasan province were investigated along with 6 towns and 21 villages in northern Khorasan. The data for the study were collected through library studies on the history of this ethnic group and rug samples were collected via field studies conducted by the authors. it was concluded that designs and motifs in Kurdish rugs of Khorasan are highly varied; yet, the structure of designs and motifs are similar. Motifs used in these rugs are taken from everyday objects, plants, flowers and, in some cases, even abstract concepts of human nature. The study also revealed that some of the designs and motifs in Kurdish rugs of Khorasan region are genuinely unique products attributed to specific individuals and their motifs are geometrical and mental shapes modeled after nature and beliefs. However, these motifs have changed compared to Kurdish rugs from northwestern regions of Iran.
Dr Seyed Ali Majabi , Dr Zahra Fanaie ,
Volume 12, Issue 29 (9-2016)
Abstract
The present article is a kind of field and historical research accomplished based on available historical and imagery sources aiming at clarifying the changes that have been taken place in patterns and designs of mentally-woven mazlagan carpet and its patterns and motifs categorization in recent century. In addition to the historical investigation based on written and unwritten sources, a field study was also conducted in Mazlagan village, to find out old carpets, take their picture and interview with the old and famous people in Saveh and Tehran market and finally by comparing the information and pictures, the changes in patterns and designs of mentally-woven Mazlagan carpet were determined. Then, based on the obtained results, an attempt has been made to categorize and classify patterns and designs of this mentally-woven carpet. The results indicated that the patterns and designs of Mazlagan carpet can be classified with regard to two perspectivess which are forms and motif models; visual and physical nature of motifs as well as application of these motifs in the body or in the borders into four categories of plants and forms or models. The plant category can be divided into single flowers, leaf, leaf and flower band, three leaf flowers and incoming flowers and the last category to three subcategories of multi-angles including three, four, five, six and ehight angles and forms consisting of panes and arrows ,toothed and elbows. Borders in Mazlagan carpet can be divided into four types of two dostkomi and first until third type Harati.
Elham Ahmadifard , Dr Esmail Karamidehkordi,
Volume 12, Issue 29 (9-2016)
Abstract
Carpet design and decoration are the fundamental elements for producing carpet and they are important factors determining material and artistic values of a carpet. The access and use of innovative and demand driven designs are the crucial issues that carpet weavers face with, affecting their production, productivity and income. The purpose of this paper is to explore the supply sources and methods of access to silk carpet designs by rural weavers. The data were collected using a case study methodology through focus groups, semi-structured interviews, participatory mapping, document analysis and observation. The study was conducted with 90 rural silk carpet weaving households in 23 villages of the Zanjan Township and market actors in the cities of Zanjan, Qom and Kashan. Rural weavers produced carpet and received designs through two production approaches: a) self-employed production and b) contractual employed production for external entrepreneurs or dealers. In the self-employed approach, rural weavers got accessed to designs through two mediating chains including local and urban dealers. Access to designs in this approach was mostly indirect, in that rural weavers demanded and received designs from local dealers who in turn received the designs through the silk carpet market in the Zanjan City. In the contractual employed approach, rural weavers accessed their required designs through three mediating chains, comprising local dealers, urban dealers and urban entrepreneurs. The most frequent contact of rural weavers was related to their direct visit to their entrepreneurs or employers who were not carpet designers. In both production approaches, the provincial rural carpet :::::union::::: acted as a dealer rather than a community based organization supporting rural weavers, so it did not reflect the weavers’ interest.
Dr Mohsen Marasy, Miss Rezvan Ahmadi Payam,
Volume 13, Issue 31 (9-2017)
Abstract
As valuable historical documents, works of art can dramatically contribute to historical research. History of carpet-weaving is vague in some periods and should be clarified by the help of the surviving documents and manuscripts. Ibn Hessam's Khavaran-nameh contains illustrations depicting carpets. The present paper seeks to analyze and extract information from the carpet illustrations in Khavaran-nameh. The focus is on the identity quality and diversity of designs over time. The significance of this study comes from the fact that historiography of carpet-weaving, as the most important Iranian art/craft, and resolving its historical ambiguities is central to an integrated national identity. The findings suggest that Khavaran-nameh is important in the study of Turkaman carpets because it was illustrated shortly after being composed. Although the details of its illustrations are not of high quality, they show a broader variety in comparison with other similar works.
Dr Hasan Akbari, Mrs Helen Nakhustin Khayat, Mr Armin Nakhustin Khayat,
Volume 13, Issue 32 (3-2018)
Abstract
In Islamic culture, "garden" is a manifestation of heaven in appearance, So the carpet and garden are the mirrors of heaven. In this research, the design patterns of Iranian garden and garden carpets in Safavid and Qajar period are identified and compared with each other. The goal of this research is to investigate the interactions of form, geometry and patterns of design in garden carpet and Iranian garden. In this research, the effects of the dominant elements and characcteristics such as architectural and natural elements, motifs, forms and design principles, in Isfahan “Chehelsoton” garden", Kashan "Fin” garden, Mahan "Shahzadeh” garden" and Shiraz "Jannat” garden" are surveyed and compared with 12 samples of garden carpets belonging to the 16th , 17th and 18 th centuries. The result of the research is that, the design of Iranian gardens and garden carpets have some principles in common, inspiring and affecting each other. Gardening pattern in "Fin" ," Shahzadeh" ,"Chehelsoton" and "Jannat” gardens are closely similar to each other. Based on the results of the research, the most indices of Iranian Gardens are found in "Fin" with 81.5 percent, "Chehelsoton" &,"Shahzadeh" with 74 percent and "Jannat" with 66.6 percent which accordingly have the most effects on garden carpet design patterns. Also, "Bage Behesht" carpet (carpet No. 3) has the most accordance and "Garden Rug" (carpet No. 12) has the least harmony with characteristics and indices of Iranian gardens.
Sogand Shabani Boroujeni, Peyvand Tofighi,
Volume 14, Issue 33 (9-2018)
Abstract
Yalameh-i-Qashqayi carpets in Borujen city of Chaharmahal and Bakhtiari province (as the main source of Yalamecarpet weaving) and some of its suburban villages are especially important. The people settled in the province of Isfahan after the migration to Ali Abad area and then settled in other areas of Isfahan province and neighboring provinces, including Borujen, in the province of Chahar Mahal and Bakhtiari. In this way, a new era of propagation and the original role of the Yilmeh tribal system emerged. Yalameh carpet is woven in three designs of a pillow, a bowl, and one that can be said that they all fall into one group, but they are combined in various shapes. In this paper, it will be tried to use the library and field method to find out the overall Yalameh carpet by separating all the components used in it (including pools, margins, patches, motifs and composition) and Then they will examine the evolution of the last 20 years and provide a better understanding of the group of carpets (somewhat unknown). The questions of this review are as follows: What are the differences in the design and role of the new and old carpets? What is the most and the least change in which group of tripartite designs and at a closer look, in which part of the components of Yalameh carpet has been applied? In this way, it will be determined that despite the same pattern of motifs in old and new samples, there are obvious differences in the way of displaying new designs and their arrangement, which are discussed in the text of the article
Alumnus Behnaz Barjesteh, Dr. Ali Nazari, Dr. Mehdi Dehghani-Zahedani,
Volume 14, Issue 33 (9-2018)
Abstract
Worthful wool products have excellent properties such as high strength, resiliency, dyeability, air imprisonment and it is comfortable that can be used easily. But this fiber has a limitation of nutrition and destruction via wool products digesting species such as Tineola bisselliella. This research evaluates silver nanoparticles efficiency accompany with citric acid stabilizing agent in protecting wool carpets against Tineola bisselliella via validity bioassay and quantifying nutrition amount of treated samples. Therefore, central composite design (CCD) statistical method was used to design experiments and response surface methodology (RSM) was applied to analyze obtained results through Design Expert statistical software. Based on this, wool carpets were exposed to Tineola bisselliella larvae with various concentrations of silver nanoparticles during different days and weight reduction amounts were quantitatively accounted, as minimum optimized, and qualitatively observed as compared with control sample. Then, using statistical analysis, optimized models were presented based on weight reduction dependent variable than independent variables such as silver nanoparticles concentration amounts and exposure days. Also, alkaline solubility was evaluated as other significant characteristic of wool carpets. Images of nutrition status in treated and control wool carpets were illustrated using light microscopy equipped with digital camera and scanning electronic microscopy. Beside, elemental analysis of optimized wool carpets was discussed through energy-dispersive spectroscopy in order to confirm silver presence. Results of this study exhibit that in optimized condition including 3.07 % silver nanoparticles, 10.0 % citric acid friendly-environment cross-linking agent, and 30 days exposure of wool carpets to Tineola bisselliella, the minimum of response variables including 0.09 % weight reduction and 3.13 % alkaline solubility, in other words, significantly highest protection of wool carpets was obtained against Tineola bisselliella.
Mrs. Farnoosh Iranmanesh, Dr Ali Vandshoari,
Volume 14, Issue 34 (3-2019)
Abstract
In the domain of rural and nomadic carpet weaving of Fars Province, there are various common patterns and designs. One of these famous patterns is called Yeksar Nazem which, in the past, solely belonged to Qashqai and Kashkouli tribes but, at present, is popular in other areas of Fars Province as well. The main feature of this pattern is its general structure and elements which have been skeptically categorized by researchers in different contextual forms. This pattern has been studied by some researchers among Mehrabi carpets and Darghahi pattern which opens to a garden. The aim of this research is to study the main features of Yeksar Nazem pattern and to identify its main elements in Fars Province carpets so that its pattern of change from Qajar to the present period can be obtained. This study is descriptive-analytic which qualitatively analyzes the main elements of Yeksar Nazem carpets of Fars Province in two groups of old and new carpets. The method of data collection is field and library study. 50 samples of Yeksar Nazem carpets were considered as the main data pool, out of which, and based on the available frequencies, 10 carpets were purposefully (non-randomly) selected as old carper samples and 10 carpets as new ones. The results indicate that the structural form of the pattern and the main features of Yeksar Nazem carpets have observed changes in the structure and the attitude towards the content of this pattern from Qajar era to the contemporary period. This pattern has recently appeared among new carpets with diversity in overall composition and simplicity in the form of elements. Its weaving place has also been extended from a particular geographical area to wider areas in Fars Province.
