Quarterly Scientific-Research Goljaam

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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.

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Since some part of cultural entrepreneurship pays attention to entrepreneurship in arena of art and handicrafts, and handmade carpet is one of the oldest and most important handicrafts in Iran, paying attention to carpet is really prominent. Paying attention to originality of this native art, production and exportation of handmade carpets for having a share in competitive market and development of entrepreneurship in industry of handicrafts are the reasons for the importance of this issue. In recent decades, this market has faced some obstacles that has caused some problems. To solve these problems, innovation is one of the fundamental solutions. Therefore, this study has tried to find a solution to get rid of these obstacles in the art and evaluate the solutions in this research. This research which is based on descriptive and survey analysis is willing to find the obstacles on the way of innovation in Isfahan handmade carpets and to present a method or way for innovation in Isfahan handmade carpet. The statistical society encompasses designers, producers and carpet merchants, with 211 samples randomly chosen.  Its results show that the obstacles on the way of innovation in handmade carpets go into the five major categories of economics, marketing, culture, management and technology, for all of which 30 sub-branches has been identified.  In addition, the analysis of the achieved results show that each of these factors has different levels of effect on obtruding innovation in Isfahan hand-woven carpets. To conclude, some suggestion are given to get rid of these problems.

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Abstract: The main objective of this research is to identify the factors affecting the importers' decision to buy Iranian handmade carpet  . This research is applied and is qualitative in terms of the type of data used. The research data were collected using interview with Iranian handmade carpet importers in the European ::union:: who were present at The 25th International Handmade Carpet Exhibition in Tehran. The sampling method was accessible, and the sequential method was used to determine the sample size. Accordingly, with14 Iranian handmade carpet importers to the European ::union:: were interviewed, that of which 11 persons were originally European and 3 persons Iranians residing in Europe. Data analysis was performed using qualitative content analysis. The content analysis results led to the identification of 233 primary codes that were categorized as 62 selective codes. By reviewing and filtering selective codes, 38 sub themes were identified, which were ultimately classified into 5 main themes. Some of the indicators have a positive effect and some have a negative influence on the decision to buy Iranian carpet. The ten main identified themes are: product, price, distribution, promotion, and environmental factors. Some of the indicators identified in this research, such as ordering capability in production, supply quality, negative media space against Iran, uniqueness of carpet, having a reliable business partner in Iran, provide international credentials, economic situation in the destination country, and etc. ,for the first time  and from the perspective of importers were mentioned; which illustrates the distinction of this research with previous research on carpet marketing.
 

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The greatest reputation of Iranian handmade carpets is after the beauty of its design, its brightness, its durability and its longevity. Some of these carpets, which are a valuable treasure of the art of this border, are kept in museums and collections that are surrounded by conditions Non-normative acts cause serious damage, and sometimes even damage to them.
Air pollutants are very numerous in terms of their origin and health effects, and it is virtually impossible to check all of them. Therefore, a group of air pollutants, called carbon monoxide, ozone, particulate matter, nitrogen dioxide and sulfur dioxide, are commonly studied. Therefore, considering the importance and necessity of controlling pollutants and their essential role in managing environmental conditions, it is necessary to identify major pollutants in the museum and how their effective control in the environment is the main objective of this research. . Important factors such as dust, carbon oxides, sulfur oxides, nitrogen oxides should be analyzed instantaneously and permanently in order to control compliance with standard standards in the carpet museum environment.
This research is a descriptive cross-sectional study carried out with environmental studies, statistical and sampling methods as well as library and laboratory studies. To identify and introduce atmospheric contaminants and to study, measure and monitor these factors in the museum to identify the most practical And the most appropriate carpet and carpet maintenance method. Therefore, the carpet museum in Tehran has been selected to implement these methods. Finally, it was determined that the pollutants in the Persian carpet museum were in the year 1395; in the summer, it was more than the winter season. Which was the most infected months of the year in the summer of August (due to the highest occurrence of dust phenomena) and January-December (due to the most invasive phenomenon). March was the most desirable month of the year due to the increasing volatility of atmospheric conditions and the reduction of urban traffic volumes.

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The Iranian Carpet Museum collection contains the most valuable specimens of rugs from the ninth century AH to the contemporary period and is a rich source of research for researchers and art friends. Carpet Museum carpets and carpets, according to their quality and antiquity and taking into account the characteristics of carpet in terms of color, design, role, texture and variety of carpet weaving areas are preserved. The museum is built on two floors, the first floor of which is a permanent display of 150 pieces of carpet and the second floor is intended for specialized and seasonal exhibitions.
In this empirical-analytical study with environmental studies, sampling as well as library and laboratory studies, we have identified and introduced appropriate light levels for the storage of museum carpets with natural fibers, thus In order to perform tensile strength test of museum carpets because it is not possible to perform tests on museum rugs and it is necessary to fabricate rugs in accordance with the statistical population studied, weave samples of natural fibers of wool, cotton and Silk is done. Finally, according to the data obtained from the test of tensile strength of carpet in line with the length and width of the samples, analysis of variance, Toki and LSD tests can be concluded that light has a destructive effect on the carpet and reduces the tensile strength of the carpet and It has a significant effect on the tensile strength of carpets.

 

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Time, its concept, and its way of perception and expression are among the topics of interest in different fields of human thought. The way of looking at the time has caused to various opinions about its nature.The carpet artists of the Qajar era, influenced by the process of transformations in different fields, acquired new experiences in designing than in previous periods. Faced with phenomena like time, artists represented it according to their subjective and objective universe and the capacities of the carpet.The problem of this research is the interpretation and understanding of time in the design and pattern of the Qajar carpet as a text medium, based on the proposition of "understanding" in Gadamer's philosophical hermeneutic approach. Based on the necessity of knowing the different aspects of carpets, including the representational capacity and implications of the meanings of the design and pattern of carpets, the purpose of this article is to identify the time, quality, and identity of its types in Qajar carpets.
The main questions for this research are: What does the representation of time look like in the Qajar rug? How to explain the understanding of time and the identity of its types in the carpet of Qajar based on the philosophic hermeneutic of Gadamer? To get answers to the research questions, the five samples of the Qajar carpet pattern were selected by a non-probability method and studied based on the content analysis method. The nature of this research is basic in terms of qualitative research. The method of data collecting is the documentary- library and artworks observation, and the means of collecting information are research sheets and pictures. Based on the findings, time on the Qajar carpet was recorded qualitatively and quantitatively with related signs.Ritual events, mythological thoughts, and traditions, different writings, creating movement and time sequence using spatial contrast, visual elements, reading writings, leveling the work, narrative and its elements, using symbols referring to time, They are one of the generative preconceptions of time.and with denotation and connotation signification and the re-reading of texts absent from the work, they cause mental association and intuitive understanding of the types of time on the carpet. In addition, the dominant discourses in the Qajar period were effective in the way that society and the carpet artist faced the times and its types.King power and authority, nationalism, traditionalism, modernism, myth and religion are among the most significant of these discourses.
 

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IIn the country of Turkey, in the city of Hereke, at the end of the 19th century, rugs known as Mihrabi became popular, which were inspired by the rugs of the Safavid era and kept in the Topkapi Palace Museum. In these rugs, which are reproduced in royal workshops on a large scale, some changes have been made in the verbal text and incorporated visual elements. Among the rugs that seem to have had a great impact on the rugs of this period in terms of appearance, there is a rug from the Safavid era that is kept in the Topkapi Palace Museum. This rug has been reproduced in large numbers in Herke with slight changes in the verbal text and its visual elements. An example of this reproduction is the rug designed by "Zare". In the verbal text of the "Zare" rug, Persian words have a special place; also, the existing rug has a signature. Meanwhile the verbal text of the Safavid rug is in Arabic and has no signature. Since these rugs were woven in two different cultures and times, the question is: What role did the dominant discourse in the society play in the changes made in the verbal texts and visual signs in the reproduction of the rug kept in Topkapi Palace Museum? In order to achieve a suitable answer using the analytical-comparative method, the mentioned rugs were compared with each other in both periods and the dominant discourse was examined. According to the comparison, it was concluded that the rug of the Safavid era expressed the mystical thought of that period. Meanwhile, in its reproduction by "Zare "and its minor changes, attention has been paid more to the rug not as a handwoven product for conduct and worship, but as a product to express humanist and nationalistic ideas and to represent the golden age of the Ottoman Empire.