رحیم چرخی

Master of Painting, Tabriz University of Islamic Arts, the painting of flowers and chickens has always been in the mind and language of Iranian artists. By representing this theme in his works of art, from pottery, metal, textiles and other hand-made works, the artist has brought nature into daily life in the concept of Garden of Heaven. From the distant past, the relationship between birds and flight has been meaningful to Iranians. The bird has been a manifestation of flight, climbing and flourishing, and the flower is an allusion to the passing of life that is dear to man. "The subjects of flower and bird paintings are mostly flowers, bushes and birds, and sometimes insects such as bees and flying butterflies are also seen, which are mostly used to complete the composition. Flowers and birds can be identified by the viewer in this way and there is nothing more or less in terms of botany or anatomy of birds, but these components are not in nature in the way they are seen in the works.During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and chickens are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and chickens is the presence of two visual elements of flowers and chickens in nature. Artists in different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as: flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, wooden door decorations. This research is trying to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The result of the research showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, that is, they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are very concentrated in terms of composition structure, form, color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, repetition are the visual components of this painting. In order to convey their ideas and ideals to others, artists choose various methods in the construction and composition of their works of art. What makes the audience interested in studying a work of art at first sight is the general and ruling order of the work. Each composition is the result of a set of rules and styles that find meaning along with the attitude and taste of the artist, which is in the direction of the concepts and ideas of the artist.According to the research done, we can get:The roots of flower and bird art can be found in the 7th and 8th centuries, which began its evolutionary form in the Safavid period and reached its peak in the Zandiyeh and Qajar periods. Mirza Agha Emami is also an outstanding artist who has created lasting works in this artistic style. Of course, this artist is a master in various art disciplines such as: gilding, poetry, painting, lacquer works, carpet map design, fuel cover, etc., and these unique features in his artistic activities and works, he distinguishes him from many of his contemporary artists. Following the answer to the questions of the present research, it can be acknowledged: the performance of Mirza Agha Emami's flower and bird works, in the Qajar period, the themes of flowers and flowers and flowers and birds were mostly executed in the lacquer method, but he used these themes in the style of Mirza Agha Emami's works of flowers and birds are executed with limited coloring and in combination with white color and soft bright shadows and delicate processing. In all the works of this artist, cherry blossoms and hazelnuts are engraved on the top of the work, sedbergh flowers in the center, hyacinth, nasturtium and iris flowers on the left or right side of the works. Also, apple blossoms, primroses and dahlias are engraved at the bottom of the works. 2 and finally 3 birds are used in the works of this artist. The compositions of these works are diffused, bushy and vertical. In terms of composition, these works have a completely balanced space, and also the positive and negative spaces are observed equally. Warm and soulful colors are often used in the background color of these works. Balance, order, half-tone, stability, stability, simplicity, harmony, decisiveness are some of the main visual components used in these works.

The Holy Qur’an provides extensive descriptions of paradise as created by God for humanity. These descriptions not only emphasize material rewards but also highlight spiritual blessings that fulfill human emotional and psychological needs. This study investigates the realization of Qur’anic conceptual and spatial indicators of gardens in the design of Persian gardens, addressing the following questions: What are the conceptual and spatial indicators of gardens in Qur’anic verses? To what extent have these indicators been realized in Persian gardens? Using a descriptive-analytical methodology with a comparative approach, the Qur’anic verses and their interpretations were analyzed to identify key indicators of paradise gardens. These indicators were categorized into two groups: mental and intrinsic perceptions, such as feelings of security, health, eternity, spiritual tranquility, spiritual wealth, reflection on divine  blessings, and  recreation; and visual and spatial perceptions, including expansiveness, the attractiveness of greenery, scenic beauty, and decorative aspects of the garden. The study assessed these indicators through a survey of 200 visitors to eleven historical Persian gardens, utilizing an 11-item questionnaire. Data were analyzed using confirmatory factor analysis (CFA). The findings reveal a significant alignment between the Qur’anic descriptions of paradise and the perceptions of visitors to Persian gardens. Mental and intrinsic components were found to have a greater impact than visual and spatial components in reflecting the spirituality and Qur’anic teachings embedded in Persian gardens. Among the mental and intrinsic elements, the sense of security emerged as the most influential factor, while scenic beauty ranked as the most impactful visual and spatial feature.

One of the illustrated historical manuscripts is the book "Rouzah al-Safa fi Sirat al-Anbiya wa al-Muluk wa al-Khilafa". This manuscript contains the history of the world, which was written in Herat by Mirkhand and is in the National Museum of France maintained under the number Persian. 1567. This manuscript was written during the Timurid period and illustrated during the Safavid period. Many consider Rouzah al-Safa as an authentic historical source and parallel to Tabari's history. This book is a historical book in the field of the history of prophets, caliphs and kings, which has received less attention in the field of art than other historical books. Part of the text of this book is dedicated to the story of the miracle of Ulu-l-Azm prophets. Therefore, five paintings on the subject of the miracles of Ulu-l-Azm prophets are depicted in this manuscript. The purpose of this research is to identify the degree of conformity of the paintings of the miracles of Ulu-l-Azm Prophets and the text of the Rouzah al-Safa manuscripts with the narrations of the Qur'an and explanatory texts in order to determine to what extent these painters have remained faithful to the original source of the Qur'an. The main question of the current research is: to what extent do the text and pictures of the miracles of Ulu-l-Azm Prophets in Rouzah al-Safa correspond with the Qur'anic narrations and interpretations? This research looks for their image and content characteristics by descriptive, comparative and analytical method. The study samples and data collection method of this research were done using internet and library sources.From the results of this study, it can be seen that the main source of writing the book of Rouzah al-Safa is a book with historical, religious and Qur'anic themes. Nevertheless, there are differences and similarities between the narration of the text and the image of this book and the narration of the miracles of Ulu-l-Azm Prophets in the (Shia and Sunni) interpretations and verses of the Qur'an. By matching and comparing the details of the picture with the examined texts, the status of each picture with the texts (Qur'an’s verses, interpretations and the text of Rouzah al-Safa) is determined: the picture of Noah's storm is different from the verses of the Qur'an, interpretations and the text of Rouzah al-Safa. Although Mirkhand cited interpretations in dealing with the event of Noah's storm (the text of the book), the artist did not pay attention to the cases of animals being paired, the drowning of unbelievers, and big waves. In fact, the image does not reflect the key details of this event that are stated in the verses of the Qur'an, interpretations and the text of Rouzah al-Safa. The depiction of the coldness and healing of the fire for Ibrahim has differences with the interpretations and is depicted very close to the text of Rouzah al-Safa; Meanwhile, Mirkhand has written the text of Rouzah al-Safa in explaining the miracle of Ibrahim, close to the interpretations. The picture of the mountain being placed above the heads of the people of Israel is drawn very close to the Shia interpretation and the text of Rouzah al-Safa. In fact, like the text of Rouzah al-Safa, which is about the miracle of Moses, the painter has remained faithful to the narration of the text of the book, which is taken from the Shia commentary texts. The image of resurrecting the dead has been drawn according to the text of Rouzah al-Safa. Of course, this painting has adhered to the Shia narrative to a large extent. As in describing the miracle of resurrecting the dead, Mirkhand has acted very close to the Shia interpretation. The image of heavenly victuals is not drawn in accordance with the verses of the Qur'an, the interpretations and the text of Rouzah al-Safa, and considering that Mirkhand has used interpretations in the text of the book and in expressing this issue. However, the illustration has differences in the visual representation of this issue with the interpretations and text of Rouzah al-Safa. Though Mirkhand was a Sunni, he has used (Shia and Sunni) interpretations, especially Shia interpretation, and the artist has remained more faithful to the text of Rouzah al-Safa and the Shia interpretation in depicting the miracles of Ulu-l-Azm Prophets in the book Rouzah al-Safa. In most of the examined pictures, the author and artist were closer to Shia thoughts. In addition, the illustrations in this manuscript are illustrated and referred to as the miracle of the healing of the blind and sick by Jesus, while according to what will be said in this research, this painting is related to the miracle of resurrecting the dead by Jesus, which has the highest degree of conformity with the text of Rouzah al-Safa and is very close to the Shia interpretation.

During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and birds are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and birds is the presence of two visual elements of flowers and birds in nature. Artists of different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, and wooden door decorations. This research tries to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The research results showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, and they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are significantly concentrated regarding composition structure, form, and color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, and repetition are the visual components of this painting.

Looking at the surrounding can increase visual savings in the artists mind. This visual reserve can lead to novel effects in the mind of a creative artist. Soltan mohammad was one of the artists in the field of Iranian painting who had style and creativity. Spectators of his works, especially the mountains and rocks of her works Art, it can be seen that the works belongs to her. Therefore by accessing one of the most inspiring sources of inspiration in cultivating the imagination, That is nature around its life (mountains and rocks) that remains, and its adaptation to the sample of works left by her, can be achieved the influence of the natural environment in the works of Sultan Mohammad. This is the most important purpose of writing this article. Against such a goal, the main question of this research is that how much has the environment around her influenced the creation of her works? The method of doing this article was descriptive analytical, that it has been done with the help of library and field resources. After examining the rocks of Azerbaijan region was observed that many drawing forms are also present in the petroglyphs of Sultan Muhammad in the nature of Azerbaijan. This is seeing and being in such an area could have played a significant role in cultivating her imagination and art.

Miracle as a divine sign and proof is a clear and rightful indication to show the prophecy and its connection with God. The miracles of the prophets are among the religious topics and part of Qur'anic topics that have been discussed in several chapters. In the meantime, the miracle of coldness and healing of fire for prophet Ibrahim (peace be upon him) is one of the cases that has been repeatedly mentioned in religious and historical texts and has been considered by painters and kings and rulers of their time in different periods of Iranian art throughout the Islamic period. The present study aims to determine the degree of conformity of the theme and content of the narrative of the miracle of coldness and healing of fire for prophet Ibrahim (peace be upon him) with images of his miracles. These images are studied in terms of visual elements with Qur'anic narratives. In addition, identifying images that are more consistent with the narratives of the Holy Qur'an is another goal of this study. In fact, this article, while introducing various left images that depict the miracle of cooling and healing of fire for prophet Ibrahim (peace be upon him), based on the examples of Iranian painting, and matching the drawings with the Qur'anic narrative and analyzing their visual elements, examines the degree of correspondence of the drawings with the theme of the miracle of coldness and healing of the fire for prophet Ibrahim (Peace be upon him) with the narratives of the Holy Qur'an and interpretive texts to determine to what extent these painters had remained faithful to its main narrative, the Holy Qur'an, in expressing the image of the miracle. This research also seeks to determine what the cultural and artistic discourse of that period had to do with the images of the miracle of coldness and healing of fire for Ibrahim. To achieve this, first the definition of a miracle is presented with reference to the Holy Qur'an and hadiths and commentaries. This is done because the word “miracle” has several instances and is used by its users, which in this article is based on the Holy Qur'an and interpretive texts, and then it is followed by the introduction of drawings. The miracle of coldness and healing of fire for Ibrahim, the visual narrative and their content study are discussed subsequently. This research has been done by descriptive, comparative and analytical methods and information and study samples have been collected using library and internet resources. By studying and analyzing the content of these drawings, it can be seen that the miracle by prophet Ibrahim (peace be upon him) has been depicted according to the pictorial elements used in the drawings, the narrative and content of the studied drawings, sometimes as per Qur'an and interpretive texts, while sometimes they have occasional differences with interpretive texts. In general, the place of the meanings of the miracle of coldness and healing of fire for prophet Ibrahim (peace be upon him) in Iranian painting based on Qur'anic verses and interpretive texts can be divided into two groups: drawings that are completely consistent with the text of the Qur'an and interpretive texts, and illustrations and drawings that are somewhat consistent with Qur'anic verses and interpretive texts. By comparing the narratives and interpretations of the Qur'an with the drawings of Ibrahim's miracle, it was determined that the drawings of the version of the stories of the prophets in the Safavid period are more compatible with the Qur'anic narratives than other drawings. In other words, the images of the stories of the prophets are depicted closer to the text of the Qur'an and interpretive texts. In addition, painters have created visual elements in their paintings according to their insights and perceptions, and the rulers have used them to legitimize their rule. In other words, the interest and tendency of the rulers of the time led to the creation of works with a religious theme. By showing their connection with the prophets of God, they took steps to legitimize the claim of monarchy and the promotion of the proclamation of religion, and thus to increase their political power by gaining cultural prestige. They used art in the direction of their desires, and in this way, by doing so and paying attention to religious issues, they introduced themselves as the continuation of the path of God's messengers and gave legitimacy to their rule. They used religious imagery to reflect their ideas and thoughts, and since these images were influenced by the tastes of kings and the prevailing moral and religious principles, increased their prestige and power among the people. Thus, the prevailing cultural and artistic insight in each period has influenced the images of the miracle of coldness and healing of fire for prophet Ibrahim (peace be upon him).

The symbols of the verses were used for the chapter of the poems from the very beginning of the revelation of the Qur’an. These signs were arranged in the form of every five or ten revealed verses, known as the signs of Khums and Ashar, which were organized in separate visual forms in each period. The purpose of the present study is to describe the visual features of the verses of the Qur’an of the Timurid religion of the Holy Threshold Museum of Qom and also to classify the verses. The present article has been done in a descriptive-analytical manner, and the materials have been collected concerning documents and library materials. Therefore, this research is organized around two main questions: What are the visual components of the religious verses of the mentioned Qur’ans? How is the dominant visual form and structure in the sign of the chapter of the verses arranged? The achievements of this research show that the symptoms of Khums-Ashar mean five and ten poems, which in addition to indicating the gradual revelation of poetry, also makes it easier for readers to read. The signs of the verses are single verses, decorative, khums, and tithes. These symbols are engraved in the form of sun and bergamot, and decorations such as Islamic and Khatai motifs are used. Verses are marked in the form of “visual-decorative” signs and “letters and phrases.”

The art of the religions of Islam and Christianity has been at the service of the religious beliefs and narrations of the books of the Holy Quran and the Bible, and the artists of the aforementioned religions have created works with religious themes according to the historical and social conditions. The enunciation of the birth of Jesus is also one of the common religious themes between Islam and Christianity, which has been considered by artists in different eras. Most of the pictures of the enunciation of the birth of Jesus were painted in Christian art for religious purposes. In fact, this was done in order to better understand the teachings of the Bible to the people. The present article examines the relationship between religion and art and intends to determine by comparative analysis and content study of the images of the miracle of the enunciation of the birth of Jesus in Islam and Christianity which visual narrative is more in line with the religion it has been depicted by? In which element or visual elements is the influence of religion reflected? And what are the visual differences and similarities in the images of the miracle of enunciation between the religions of Islam and Christianity? This research has been conducted by adopting descriptive, comparative, and analytical methods with the aim of examining the extent to which the images of the miraculous images of the enunciation of the birth of Jesus in the two religions are compared. Information and study samples of this research have been collected through library research and the internet. The findings of this study indicate that since there almost exists similar concepts and beliefs among the two religions of Islam and Christianity regarding the miracle of the enunciation of the birth of Jesus, Muslim painters are sometimes influenced by Christian artists in depicting some pictorial elements of this subject and sometimes, they remained faithful to the verses of the Qur'an and interpretive texts. Christian artists have also acted very closely to biblical interpretations in their representation of this religious theme, using symbols in this way.

According to the religions, Hell is the place in the other world, where the sinners are punished in various forms. The description of this issue is detailed in the Holy Qur’an and related narrative to the ascension in Islamic thought , and its representation can be seen in Islamic painting, especially in Iranian illustrated manuscripts. One of the manuscripts in which the subject of Hell was widely illustrated, are copies of the famous of Mir Heydar’s Miraj Name, Which relates to the Timurid age. According to the spiritual nature of the subject on the one hand and the mystical context of the Timurid age, on the other hand, the painters of this version have used mystical symbols in the creation of images frequently.
The purpose of this article is to achieve the visual interpretation of Hell and its Qur’anic narrative by the Timurid painters, which includes the Qur’an and hadiths. The present paper, which is a library method, identifies and explores the mystical symbols in these images by analyzing the descriptive method and examining 16 inferiors of this version.
Therefore the research question is that the Mir Heydar Miraj Name’s illustrators reference to which of the mystical symbols used to express the image of hell ?
The results show that the painters, in In addition to illustrating the literary narrative, the photographers have also expressed their symbolic meanings. This This expression is seen in a variety of visual approaches that synchronize with mystical symbols. Symbols such as fire, darkness, thorns, chains; the fire, which sees concepts like love, greed, austerity, lust and devil as an instance of it,and darkness is the source of soul in the spiritual world , In fact, the transplantation of the soul into the body are a descending from the light to the dark world, darkness because of getting away from its essence. These mystical concepts in the pictures of this version are references to their illustrious pictorial view, thus the apparent meaning of the story, giving rise to the inner meaning of which is the same as the teaching of religious doctrines.

The issue of hunting in the art of drawing of any period has several kinds of trends and thoughts proportional to their own time. Safavid kings by holding some special artistic workshops and Ateliers, made the art of drawing as a practical art. By having the painters in hand, they wanted them to provide pictures and drawings for other artistic products like carpets, no doubt it could be said that of the reasons why the carpets of Safavid period are permanent is following and getting the models from standard and defined criteria and principles applied in the field of drawing and as in Safavid period specially Tabriz school, the paiters and followers of Behzad style including Sultan Mohammad made the drawing to improve, such a development in the field of carpet is also justifiable for us. In this period, the carpet designers under the influence of hunting picture in the drawings of their own time dealt with the designing of carpets with hunting issues. One of these sample carpets is the Vienne hunting carpet, the work by Sultan Mohammad. By examining the basis of aesthetics of the design and drawing of the Vienne carpet this question arises that how much may the basis of aesthetics of this designs in the mentioned carpet be under the influence of the drawing on "Bahram's hunting against Azade", the work by Sultan Mohammad? The principles of designing of themes in the carpet needs to master and recognize of design and color in the work of drawing works. In this article a comparison will be done by the purpose of examining the evidences and justifying the factors of identifying both works, principles and bases of form aesthetics in each work.Necessity of more doing such research is extracting formulated standard in order to more improve the existing status about designing the carpet and drawing. Examining both case study and analyzing data based on deductive method and final extracting will be general.

Paradise described in the Koran and Islamic tradition is exprssed in detail. According to the necessity of illustrated manuscripts, Islamic painting attention to this issue. One of the copies that are the subject paradise the imagery has been widely illustrated version of Mir Heidar. Due to the spiritural nature on one hand and on the other hand mystical context Timurid era, this version painters have used the frequently of mystical symbols.
The objective of this article is to achieve the visual interpretation of Paradise and its Quranic narratives by the Timurid painters.
In addition to identifying and studying the mystical symbols in these images through descriptive-analytic method, the present research tries to investigates 6 paradise images of this work of art that obtained by a library method.
In this regard, the question of the present research is that "which mystical symbols did the Timurid illustrators of Mir Heydar's Miraj Nameh use in expressing the image of Paradise?".
The present study paid in a descriptive method, to the consider of mystical symbols of the six heavenly figurs of the version. The results of the study revealed that the painters were intended not only to illustrate of the story but also, have represent of their symbolic conceptsl, such as crowns, throns, river and etc. in this way, the external virtualing that indicated story have led in the inward virtualing is that the religious education.

Ascension is one of the most religious occurrences. Ascension is illustrated in the history of Islamic art based on different historical and cultural approaches. Ottoman Turks spread Islam in all aspects of their lives after its embracing. The life of prophet Mohammad (p.b.u.h.) and his ascension were the topics considered by Ottomans commonly in the illustration of literary and religious expressions. .Eskandarnameh which was written in 1416 in Amasya, contains a scene of prophet ascension. Over time, the Ottoman sultans had more attention and support for the illustrative versions of literary, religious and historical expressions within the painting house of the Ottoman palace. The peak of support was in the time of Sultan Mehmet and his son Bayazid II. Other books between 15 to 16th centuries have been illustrated and have a scene of the ascension of the Prophet. Ascension images can be found in: 1. Ahmadi Eskandarnameh of 1440-1450. This version was illustrated in the Ottoman Palace by Timurid and Turkmen artists for the Ottoman court in Edirne that is now kept at the Library of Venice. There is two scenes of prophet ascension illustrated in this book. 2. Zubdat al- Tawarikh 1450-1440. This was written by Seyyid Lokman Ashuri. This version depicted the story of 42 prophets for sultan Morad III. This version is kept at the Islamic and Turkish art museum in Istanbul. It has two scenes of prophet ascension. Unlike to Eskandarnameh, the face of prophet Mohammad is covered in this script. 3. Siyar-I Nabi of 1596-1595. This script is kept in the Topkapi Sarayi in Istanbul. It contains 612 pictures. Mustafa Darier wrote that. It illustrated prophet Mohammad’s life. This version has only one scene of prophet. This paper uses descriptive and analytical methods. The data collection was library-based method. This paper presents the evolution of illustration of the prophet ascension in Ottoman art and studies the books with prophet ascension images. This article introduces the ascension of Mohammad in three versions and analyzes paintings of ascension in these three Ottoman versions. We have studied visual cues in the ascension of Prophet Mohammad. Although these scripts (Ahmadi Eskandarnameh, Zubdat al- Tawarikh, Siyar-I Nabi) are historical verions but they have illustrated the religious topics. The results show that ascension scene are illustrated not only in the religion but also in the literary and historical versions. The Ottoman miniatures have common elements in all ascension painting. Some of these common elements include prophet, Buraq, gerbil, angels, night sky and haloes around angels and prophet. However, in these paintings, certain visual elements and signs are depicted in each individual piece. These certain visual and elements are sometimes taken from the Hadith and Quran. These elements are sometimes taken from traditional religious illustrations from the neighboring Islamic countries such as Iran. Ottomans developed Islam in all their life, with the support of the kings after acceptance of Islam, with a peak of brightness at 15 to 16th centuries.

One of the most significant issues regarding this paper is studying the spacing of lachak and toranj in the Safavid carpets in comparison with that of contemporary samples of the cities of Isfahan and Tabriz. The carpets will be analyzed according to the main spacing, texts, borders, lachaks, toranj (medallions), and background. Furthermore, this study focuses on the hypothesis that the Safavid carpets mostly follow a traditional spacing; hence, contemporary carpets also follow the same pace. The overall phase of this paper includes extracting the seven sizes consisting of: the width of the carpet, text and border; also, the length of toranj, lachak and also calculating the ratio of the width of the carpet to the width of the border; the ratio of the width of the text to the width of the toranj; the ratio of half the width of the text to the length of the lachak; the ratio of the length of the toranj to the width of the toranj and the ratio of the length of lachak to the width of the lachak of all the Safavid and contemporary carpets. The findings of this study suggest that there appears to be commonality between the Safavid carpets and the contemporary Isfahan carpets and to some extent with the Tabriz carpets. The methodology of this paper follows a descriptive, analytical and comparative framework and a number of 10 Safavid carpets and 10 contemporary carpets are studied.