نشریه رج شمار
پیاپی 3 (بهار و تابستان 1400)

In the sociology of art, by looking at artworks from the outside important aspects of their production, distribution and reception are revealed. In the other hand, one of the best methods to study various subjects related to cultural productions is to study how they are represented in the media and cinema. Cinema is the most important art of the contemporary world that in which the reflections of many cultural and social issues can be studied. Thus, by studying the method of reflecting the sociological dimensions of the Persian carpet phenomenon in the art of cinema, it is possible to achieve a true recognition of the situation and status of handmade carpets in the cultural and social spheres of contemporary Iran. The purpose of this paper is to study how the sociological dimensions of handmade carpets were represented in the movie "Persian Carpet", which was made in 2006 as a collection of 15 short films by 15 prominent Iranian filmmakers. The main purpose of this research was to know the image and composition that was reflected in the sociological dimensions of Persian handmade carpets in the film "Iranian Carpet" as an outstanding film in this field. Research is based on theoretical opinions of Victoria Alexander (Cultural Diamond) and Nathalie Heinich (Mediation) and the methods of data collection were observing the mentioned film, and studying the printed texts and also Internet. The type of research is descriptive-analytical and the method of analysis is qualitative. The results obtained in this study showed that the sociological aspects of hand-woven carpets were not adequately represented in this film and only in four of the 15 episodes, a good emphasis was observed on this field.  In contrast, there was observed a lot of attention to the aesthetical attractions as well as cultural and identity dimensions of handmade carpets. Moreover, in four films focusing on sociological issues, while all four elements including production, mediation, distribution and consumption have received necessary emphasis, more attention was paid to the field of production and mediation, and less attention was paid to the field of distribution and consumption. Finally, in the field of consumption, the focus was on global consumption.

The present article has been written with the aim of documenting Tajmir ethnography with emphasis on local culture and local clothing. The method of data collection is interviews with 8 natives of Tajmir about the customs, lifestyle and history of this people with emphasis on a descriptive study of the relationship between indigenous culture and local clothing. The research results indicate that the local cloak of Tajmir people, in addition to having a specific covering function as clothing, also to meet the specific needs of the indigenous people, including showing social status, group identity, ritual relations, as well as part of philosophical thinking of life. Furthermore, the people of this region, despite abandoning many activities of the previous generation, including animal husbandry and nomadic nomadism, due to the revival of puppetry culture during the carbon sequestration project, have recalled their traditional cover and revived it in the form of Dutuk dolls. This is where a successful example of combining the two approaches of functionalism and idealism in preserving the traditional dress of the region can be seen. Because in addition to the function of local costumes in preserving local rituals and respecting the tribal show, the people 's aspiration to recreate puppets as the main source of income in this village is a clear indication of how these two approaches can be successfully and exemplary.

Persian carpets have entailed assorted designs, patterns and ornaments of which this paper focused on calligraphy. The use of calligraphy in carpets along with other elements entails some themes and concepts. These themes include some ayahs, hadiths, and poems as well as the weaver or the designer's signature. This study answered the question that what concepts and themes have been used in the carpet epigraphs preserved in the Victoria and Albert Museum (London) and the Metropolitan Museum of Art (New York). The aim of this study was the historical, literary and religious investigation and analysis the epigraphs on carpets kept at the mentioned museums. This qualitative study was conducted using a descriptive-analytic design. Data were collected using librarian method and collecting pictures from two Museums of Art websites. Results suggested that in the carpets investigated in this study, three themes, namely historical (name of the weaver or order submitter), literary (in the form of sonnets, odes or quatrains) and religious (ayahs from the Quran or the Bible) were found in the epigraphs in Thuluth, Naskh, Nastaliq, Towqi and Hebrew calligraphies. While the historical epigraphs indicate the date of weaving, the weaver and his/her performance in a sentence, religious epigraphs describe the creator and the literary epigraphs describe the springtime, the lover, and seizing the opportunity of a lifetime. These epigraphs were designed in the form of rectangle, Bazoobandi and Ghalamdani which are mainly found on the main border, the field, the guard border, and the medallion or a combination of them respectively.

Thymus vulgaris is a rich source of polyphenols such as flavonoids and anthocyanins, which can be used as a natural dye. In this research, the effect of dyeing parameters such as mordant type, acid type, dyeing method, dyeing temperature and dye concentration on the shade and the intensity in wool fibers dyed with thymus vulgaris were investigated. Also, the washing and light fastness of the dyed samples were evaluated based on gray and blue scales. The results indicate that by use different mordant, golden yellow, green, dark gray and light brown shades have been created. Also, samples dyed with thyme vulgaris in the presence of metal mordants have acceptable washing and light fastness. Iron, copper and chrome mordants provide the best washing fastness and copper and chrome mordants provide the best light fastness. Analysis of the equilibrium absorbed dye at different temperatures and dye concentrations show that as the temperature increases, the dyed absorption increases, but with increasing dye concentration, the rate of absorption at various temperatures is different.

Mashhad city carpet as one of the significant urban styles of Iranian carpet from the Timurid period (in the 9th AH/ 14th A.D) until now has been changed alot. The golden age of Mashhad carpets ended in the Safavid period and after two hundred years, Mashhad carpets in the late Qajar and early Pahlavi period, which coincided with the revival of carpet weaving throughout Iran, regained some of its glorious era. During this period, with the initiative of Azerbaijani and Kermani immigrant merchants and producers, large and exquisite carpets were produced while preserving the identity and historical features of the original Mashhad carpet. However, in recent years, due to a purely commercial approach, the contemporary urban carpet of Mashhad has lost its former glory. As a cultural product, Mashhad carpet reflects the traditions and beliefs of producing communities and plays an effective role in giving identity to the geography of its production. Therefore, the main problem of this research is to study the main factors that create this phenomenon through summarizing the opinions of experts in this field. The main question of this research is to know the damages of contemporary carpets of Mashhad and to know the economic and cultural contexts of these damages from the perspective of experts. The research is qualitative in a descriptive and analytical manner and using the categories obtained from the content analysis of interviews with 10 active experts in the Mashhad carpet market. he results show that economic fluctuations, changes in consumers' lifestyles, numerous export barriers, lack of understanding of market tastes, and copying of popular designs have been among the most important damages of contemporary carpets in Mashhad.

The element of color and the harmony of colors used in a hand-woven can give it a unique personality and increase its artistic value. One of the well-known regions of Iran, as its residents are well-acquainted with this knowledge, is the beautiful province of Baluchistan; Because by using a limited number of colors (maximum of 6 to 8 colors) in the designs and patterns of their hand-woven, they give a new spirit to them every time. Although some studies have focused on the topic of studying and recognizing the colors in Sistan and Baluchistan hand-woven; however, it seems necessary to use a precise laboratory tool to identify the color palette of these hand-woven. The present study assessed the color palettes in two Baluch rugs with the largest number of colors using a reflectance spectroscopy, which is a non-destructive identification method. By this analysis, parameters such as Lightness (L*), Chroma (C), Color angle (h˚), and Color difference (∆E) of each color were calculated at different points (10 points). The results show that natural dyes, treatment method, and used conditions (temperature, time, and washing method) in the traditional dyeing process can be effective on the mentioned color parameters. In addition, the color changes for the dominant colors in the rugs are imperceptible, which indicates their stability against environmental factors (light, moisture, and abrasion). This result indicates the inherent knowledge of the Baluch people about the color science that the artistic weavers have learned by looking at the geographical climate around their living environment.

Handwoven carpet is one of the arts of Iran, which has been used by people since ancient times ,and stories. In the contemporary era, the writer of native stories, named Houshang Moradi Kermani, wrote a story about the carpet weaving art of Kerman called "Bachehai Qalibafkhaneh. which gives a new look at the different dimension times to the contemporary reader. For this purpose, the research questions are, is the color and design of the Kerman carpet? mentioned in the story of the children of the carpet maker? Is the carpet the main focus of the story? The necessity and mission of this research is to examine the different aspects of the story of the children of Houshang Moradi Kerman’s carpet factory, which can be said to be less or not addressed at all. This research is a descriptive-analytical method that was done through the collection of library information. In the results of this research in different dimensions (carpet weaving terminology, workshop space, carpet design and layout, conditions and status of carpet weaving shop, carpet weaver’s wages, cultural place of carpets, colors used in carpets, etc.) have been investigated. As the result of the research shows, in one of the mentioned stories, the design of Kerman carpet is mentioned and in both stories, the types of common colors of Kerman carpet at that time are mentioned. And the carpet is the main focus of the story, and other sub-stories are combined with it and from the overall foundation of the story.