نشریه رج شمار
پیاپی 2 (پاییز و زمستان 1399)

Kerman is one of the famous carpet weaving regions of Iran which has shone in different periods of time. Kerman's carpet possess many symbols and signs, each of them has its own meaning and definition among which this paper focused on the tree symbols that are very scenically worked in Kerman carpet. The role of tree in addition to having a natural and apparent meaning, it has a symbol that has been used especially in the arts of ancient Iran. Thus, tree symbol has gained a prominent place in the design of Kerman carpet. Some of the tree designs that exist in carpet, designed in a very natural appearance and some of them have changed from being natural and have taken on a symbolic design. For this purpose, this paper focused to answer this question that has the role of the tree of life in the Tree-Cypress carpet of Kerman take on a symbolic meaning? Moreover, I tried to respond this query that does the design of realistic trees contain a specific symbolic meaning in the field of carpet design? The research methodology is descriptive-analytical, and the basic data were gathered mostly through the library studies. In this research, five tree models were analyzed, compared with together, and finally divided into two groups. It is worthy to be mentioned that in the first group of symbols the form of the trees (mostly cypress) is designed abstract, symmetrical and far from the natural shape of those trees in the nature. In the second group, the form of trees is closer to their natural shape (realism) since they have been designed unbound, dancing and asymmetrical forms.

Popularity of writing and following the magnanimity letters among the handicraft guilds in the Safavid era indicate the importance of traditions and qualifications that were necessary and characteristic of any occupation in that period. By studying the political and social history of the Safavid era, it can be seen that there was no specific profession called carpet design. The lack of magnanimity letters for this profession, despite the importance of carpet art in the Safavid era is a query that has not yet been addressed. Thus, the author in this paper focused to answer these queries: what is the reason of the lack of magnanimity letters among the guilds of carpet designers in the Safavid period?; what guilds were the carpets designers of that period belong to?; and what characteristics did the magnanimity letters of carpet designers have? In this research, a descriptive-analytical method was used to study and collect bibliographic and linguistic materials in the field of painting, carpet and Shiite mysticism. In addition the carpet designers’ activity and the reasons for the absence of magnanimity letters for this occupation in the Safavid era were investigated. The findings of this research indicate that carpet design in the Safavid dynasty was not regarded as the individual occupation; rather it was categorized as the subset of the professional activities of a group of royal library artists. The heads (shaykhs) of this craftsmanship at that time began to compose essays that were structurally and substantially similar to the magnanimity letters of other guilds. The distinction between the carpet's guild-related text and the letters of other guilds was regarded in the literary and writing structure, which reflects the scientific and social status of the heads (shaykhs) of this craftsmanship.Questions that can be raised in this regard include: “what is the reason of the lack of chivalry letters among the guilds of the Safavid era?What guilds were the carpet designers of that period belong to?Who were the carpet designers of the Safavid era? What characteristics did the chivalry letters of carpet designers have? In this research, a descriptive-analytical method was used to study and collect bibliographic and linguistic materials in the field of painting, carpet and Shiitemysticism, the carpet designers’ activity and the reasons for the absence of a chivalry letters for this occupation in the Safavid era. The structure of the essaysrelated to this profession is also matched with the letters of chivalry from that period.

For centuries, carpet has been one of the prominent cultural tools in representing Iranian customs, traditions and culture from one generation to another. Hand-woven carpet has been produced in Iran for a long time, as artistic handicrafts as well as for daily use. Iranian hand-woven carpets have an original and unique identity in terms of raw materials, weaving tools, weaving methods and designs. The characteristics of hand-woven carpets are examined from both aesthetic and practical perspectives. From the practical point of view, the properties of thermal insulation, acoustic insulation, and the performance of hand-woven carpets as a floor covering have been studied. A review of the literature shows that most of the research reports have been published in applying hand-woven carpets. The focus on other aspects such as the physical-mechanical properties, durability as a floor covering, the thermal and acoustic insulation properties of carpets, and the effect of construction parameters and texture variables has rarely been studied. In the present article, an attempt is made to review the literature and focus specifically on the functional properties of thermal and acoustic insulation of hand-woven carpets and to discuss the benefits of wool fibers as pile. Optimal thermal and acoustic insulation properties of hand-woven woollen carpets, along with the benefits of comfort, natural ability to improve indoor air quality, safety, and beauty, give consumers a good sense of satisfaction and will have a significant impact on the perceived quality.

Woven patterns in the context and context of Iranian carpet are symbolic and visual language elements are beyond the decorative role and are hidden in the meaning of the concept because Iranian weavers based on their beliefs and aspirations, and on the carpets He writes. In the meantime, one of the drawings that have an abstract and very common conception of the effects of ancient civilizations is the symbol of the snake in various forms, which has been seen over the centuries over Islamic rugs. But what matters is that over time, with the changing of cultures, religions, policies, and so on, the meaning of the symbols has evolved and, at any given time, according to their historical context, meaning Get it. Therefore, the symbol of the snake is repeatedly expressed in different periods of time, such as prehistoric, historical, and Islamic, with different meanings; sometimes a lullaby of positive and sometimes a negative role in a manner pre-historic and Elamite with a role Positive and goddess species, but with the arrival of Zoroastrianism, it is depicted with a negative role, but once again it manifests itself positively in the religion of Mithra's, and this process has witnessed a change of meaning up to the Islamic period. But what has been suggested in this study is that in the religion of Islam, as the religion of Jesus Christ and Jews, a snake is thought to be negative, so how can this role be used in Islamic rugs and its adaptation to the religious belief of Islam is the nature and meaning. forgave? Accordingly, in this article, we tried to study the works of the remnants of the past as well as the Persian-Islamic classical texts and the Holy Quran through an analytical-comparative method to understand the meaning and meaning of the symbol of the snake in the carpets Islam and how to accept this element in the Islamic religious context.

The purpose of this study was to investigate the relationship between the spiritual intelligence of the managers of the Carpet Company of Zarrin Baft with organizational silence and quality of work life of handmade weavers. This research is regarded as a descriptive-survey from the point of view of data collection and is applicable in terms of purpose. It also used the cross-sectional data collection method. The statistical population of the study includes all managers, assistants and staff of the Carpet Company of Zarrin Baft, numbering 420 people. Sampling method in this study was random sampling, so according to the Morgan table, 201 people were selected. In order to collect the required data, the 24-SISRI King Spiritual Intelligence Questionnaire, the Organizational Silence of Van den and Walton's Quality of Work Life Questionnaire were used. Validity of the questionnaire was confirmed through convergent validity and reliability of the questionnaire validated through Cronbach's alpha (0.789). SPSS software was used for descriptive statistics, Cronbach's alpha test, Kolmogorov-Smirnov's Normality Test and also a regression test to confirm the assumptions. Smart-pls software was also used to validate the model of investigation. The results showed that the spiritual intelligence of the managers is related to organizational silence and quality of work life of carpet craftsmanship. In addition, the spiritual intelligence of the managers is related to the fair payment, safe working environment, the level of provision of growth opportunities for employees, the degree of legalization in the organization, social affiliation of working life, the general environment of employees' lives, social integration and social cohesion, and the possibility of development the individual capabilities of staff. Based on the finding of this research, in determining the managers of the organization, it is worthy to be paid attention to the level of spiritual intelligence. Moreover, courses for increasing spiritual intelligence should be held for employees and spiritual intelligence tests should be taken from employees before starting work.

Tabriz is one of the major carpet production centers of Iran.  In recent years, the vast majority of transition in designs and motifs of Tabriz carpets has caused numerous changes in stylistic personality and cultural foundations of Tabriz carpets, contrary to indigenous and traditional standards of Iranian art. Considering that carpet designers are regarded as the prime bases of Tabriz carpet production, the purpose of this research is to identify the sociability processes that explain the relationship between the type of education system and the quality of the action patterns of carpet designers. This research has been carried out with content analysis of quantitative and qualitative data gathered from library studies and field interviews with twenty well-known carpet designers of Tabriz. Results showed that due to incompleteness of training cycle, the diversity of sociability processes, and the access rate of carpet designers to different types of rules and agreements for designing actions yield different outcomes in the action pattern of designing. The consequence of this process is the variety of designer actions and deviations from traditional carpet designing methods. Therefore, with paying attention to the central role of education system in sociability, the direct relationship between the principles and foundations of educational systems and the methods of Tabriz carpet designer's action would be revived. In addition, by modifying the sociability processes of carpet designers, it is possible to improve the quality of the carpet designers' actions.

Hand-woven fabrics encompass the broad spectrum of handicrafts in the South Khorasan province, Iran, which have been highly regarded by the people of this region from both the artistic and practical point of views. This traditional art, which is known as "Tun”-weaving or "Tu"-weaving in South Khorasan, has widely been produced in almost all villages of this area and has played an important role in local entrepreneurship and family economy. Although much progress has been made today in the textile industry, the preservation of the traditional procedures and patterns is very important as a main part of the culture, history, and identity. The aim of this study is to introduce the original patterns, designs, and the weaving methods of traditional fabrics (Tun) in South Khorasan, especially in the Khoshk, Khrashad, Gorid Bala, and Shuristan villages. The type of this research is analytical with the qualitative approach, and the method of collecting data is literature review, as well as field studies. The results indicate that Tun-weaving product is a kind of fabric that is produced on a wooden handloom equipped with 2 or 4 heddles. The raw materials used for Tun-weaving were cotton and silk yarns in the past, and today, viscose yarns are used for this purpose. Chaparbaf, Genti, and Kheshti are the most common patterns that have been considered for Tun-weaving in most of the studied cases. These visual elements were taken from nature and engraved in the weaver's mind as the prototype.

The history of design of the Persian carpet intertwined with the application of decorative motifs. Among different accomplished designs and formats, the Mihrabi rugs became a special type for the use of some religious practices. Some important part of these kinds of rugs, which belong to the Salting Collection, contain inscriptions and religious contents. By focus on Mihrabi carpets, the aim of this research was recognizing the general characteristics as well as identifying the texts and motifs on the inscriptions of the selected carpets. In addition, the research inquired the themes and meanings of the hadiths and Quranic verses that were used in these kinds of carpets. The author for conducting the descriptive-analytical study, purposefully selected 10 exemplars of Safavid Mihrabi rugs through the library sources. The results of this study showed that most of the contents of the inscriptions on the Mihrabi rugs were specified to inducing the principles of Islamic beliefs including monotheism and prophecy. Furthermore, although animal motifs were not depicted in the inscriptions of the carpets, the priority was specified to depiction of the plants, flowers, and trees, which all symbolized the Heaven.

Carpet designers at all times, under the influence of indigenous religion and culture, use symbolic patterns on carpets. In the Islamic period, Iranian carpets were influenced by the culture and religion of their time and benefited from Islamic symbolism. These symbols are very diverse, but what is at stake are the symbols that have their roots in pre-Islamic Iran, but have re-emerged in Iranian-Islamic carpets. The present article tries to classify and analyze these symbols by comparative-analytical method by examining ancient motifs, then answers questions such as why these motifs are applied to Iranian carpets in the Islamic period and how these motifs correspond to Islamic thought. Due to the wide range of symbolic motifs with ancient themes, in this research, only three symbols will be discussed and analyzed, which include symbolic motifs; Phoenix is ​​the battle of lions and cows and is the symbol of Forouhar. It can be seen that symbols can survive as long as they conform to the religious and political views of the society of that day. Among these, ancient motifs in three categories have been able to survive in the Islamic period; 1- Structurally as in the past but changed in meaning in accordance with the Islamic vision 2- Structurally and meaningfully as in the past but due to the fact that it does not conflict with Islamic thought has lasted and only some meanings have been added to it 3- To Structurally and semantically, it was the same as the previous period, although it did not correspond to Islamic thought, but it corresponded to the political thought of society and the monarchy.

Gabbehs are an example of nomadic handicrafts That seems to be closest to modern painting styles of the early twentieth century such as Impressionism, Fauvism, Raw, and Abstract. Gabbeh weave, woven for self-consumption, without an economic look, At the same time, with the change of nomadic way of life from nomadism to permanent settlement, it has decreased a lot. Over the past two decades, its re-weaving has begun with widespread national and transnational acclaim this article examines the process of weaving the old and new tribes of nomads and adapting it to modern styles of painting. To explore and explore the potential of these indigenous handicrafts to become art with an economic approach. The results of a study that has collected information in both library and field with a descriptive, comparative-analytical method; States that Gabbeh's artist Many behaviors and practices of artists of modern art styles such as abstraction, impressionism, Fauvism, raw or primitive art geometrically (broken and semi-broken) and in the form of abstract and abstract drawings. He uses it in his works.

The purpose of this study is to investigate the commercialization of Persian handmade carpet. Using case study methodology, Birjand branch of Iran Carpet Company was selected as the case of study. Through semi-structured interviews and questionnaires, data on business status and commercialization were collected from the company's sales and production experts. The research data were analyzed with advanced coding in MAXQDA software. In this study, the findings related to the business situation of the company were presented in a table and the commercialization conditions of the company's products in the form of a model. To evaluate the commercialization process, three concepts were used: technology readiness level, market readiness level and commercialization readiness level. The results show that the Birjand branch of Iran Carpet Company is in a good position in idea generation, product design, manufacturing and mass production of handmade carpets, but has several weaknesses in relation to marketing, market research, market competition and product sales. In addition, the technology readiness level of the company was considered acceptable; However, the levels of commercialization and market readiness of the company were in an unfavorable situation, and at the end of the research, solutions were presented to improve the company's situation.

Due to the wide application of madder (Rubia tinctorum) for dyeing the Persian carpets and also diversity of this natural dye, in this study different types of madder were collected and analyzed. Madders were collected from Mediterranean region, and different parts of Iran including Yazd, Kerman, Bafgh, Khour va Biabanak, Naein, and Ardakan. As a first step, after preparing a clear solution from different samples of madder in water, their absorption spectra in the range of 190 to 1100 nm were obtained and compared with each other. Then a specific type of carpet yarn was dyed during the same process of indentation and dyeing using each of the discussed species. By measuring the reflection of the dyed samples in the visible range, their reflectance spectra were determined and compared. Moreover, the calorimetric characteristics of all dyed samples were calculated and reported under D65 optical standard and 1964 standard observer. As a result, it is shown that colorimetric specification of sample dyed with Mediterranean madder is different from other samples. Also using the well-known Kubelka-Munk function, the K/S values were calculated from measured spectral reflectance of all dyed samples. Additionally, the Principal Component Analysis (PCA) was implemented to determine eigen values, eigen vectors and dimensional sizes of the spectral reflectance. Then the spectral reflectance of all dyed samples was reconstructed by employing different number of principal components. Finally, the RMS and Delta E error between actual and recovered reflectance were calculated and reported