نشریه هنرهای صناعی اسلامی
سال هفتم شماره 1 (پیاپی 10، بهار و تابستان 1402)

The Ilkhanate head of state due to their attendance in Iran, needed to legitimize themselves by any means conceivable. One feature of this legitimacy has been the protest of the power and potential aptitude of this people and their elected head of state to govern and wage war. Consequently, in this period, legitimacy is shaped based on the origin of power and "power" seems in the center of attention of historical books and Shahnamehs. Therefore, not only is the writing of historical books a tool for the legitimacy of the Mongols, but also the miniature and illustration of these books has been very operative in this direction. One of these books is Jami al-Tawarikh by Sheikh Fazlullah Hamedani, which will be studied as a case study with the approach of the concept of Foucault power. By means of the concept of power discourse, Foucault introduced a new technique for historical and social analysis and is now one of the most practical thoughts for genealogical analysis. In this regard, first Foucault's theories of power and discourse are scrutinized and on this basis the evolution of the place of power in Jami al-Tawarikh is inspected.Now this investigation intends to answer this main question based on library studies and descriptive-analytical method 1- Rendering to Foucault's theory of power, how did the power and dissertation of the Ilkhanate head of state give the impression in drawings of Jami al-Tawarikh? Based on this study, it was found that the exhibition of power in Mogul art in Jami al-Tawarikh has been in line with political issues and the presentation of the king's power, and history and art have been used as a tool to show power in political discourse.

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.

In the pre-Islamic art of Iran, a hybrid animal figure known as a harpy can be seen. This motif has a human head and a bird's body and has been proposed as an extraterrestrial being, the symbol of death and the liberation of the soul from the body. The beginning of the use of this motif in ancient Iranian art is from the Middle Elam period and in Islamic art from the Samanid Empire. The peak of its presence is in the pottery and metal works of the Seljuk period. The use of this motif compared to other composite motifs shows its importance and emphasizes a higher purpose than mere decoration by the artist, conveying concepts in the field of religion, beliefs and culture. The type of composition of this animal in pre-Islamic and Islamic Iranian art, while similar, has structural differences that have caused changes in its content and meaning over time. In some periods, artists used women's heads and elements such as crowns for targeted structural changes to convey special concepts such as royal glory. In the pre-Islamic period, this motif has special characteristics such as human legs or quadrupeds, plant motifs, fish tails and horns; And in the Islamic period, it has been seen with twisted plant motifs, halo of light around the head and in practical works such as dishes and single figures. Studying the evolution of this motif based on form and content in Iranian art from the ancient period to the Seljuk period and then finding the common and distinct factors in its depiction in the pre-Islamic and Islamic periods are the questions of this research. The results show that pre-Islamic and Islamic religions, the spread of science and especially astronomy, ancient literature; And popular opinions and beliefs have been effective reasons in showing this motif. Angels are one of the most important religious reasons for drawing this motif in both pre-Islamic and Islamic periods. The Sraosha, an angel in the pre-Islamic period and the transfer of his characteristics to the Gabriel, angel in the Islamic period can be considered the same as the motif of the harpy. The influence of religion on literature in the Islamic period caused this angel to appear in a new form as a Simurgh- Rostam's protective bird in the Shahnameh - and from this point of view, the Simorgh in the Shahnameh can be considered a harpy in the images of the Islamic period. Gemini is shown in various astronomical sources with the Harpy symbol, which is related to the spread of science and especially astronomy in the Islamic period. Morghe-Amin, which is a sacred bird in the beliefs of the Iranian people, can be matched with the characteristics of the harpy on artworks. The use of the crown on this animal, in addition to belonging to his special position, has shown people's beliefs about kings. The horn, which was used as a symbol of an extraterrestrial animal in the pre-Islamic period of Iran, is seen as a sacred animal in the motif of this animal in the Mana period. Blue, which is a symbol of wisdom and the sky in Islamic mysticism, is used in some images related to the Islamic period. Harpy in the pre-Islamic period is often seen with a male face and in the Islamic period with a female face. This research has been done by historical-analytical method and by referring to library-documentary sources.

Today, universities, as an effective educational space in society for the new generation, have a mission that, in addition to producing content, promoting knowledge and transferring it to students and society, they can play a significant role in the field of commercialization in the direction of implementing and exploiting the same knowledge produced. . Futuristic science as an important tool helps how the interested universities and educational centers can take an important and impactful step in the field of commercialization. The science of futurology helps to examine different futures in the desired field to some extent. In this research, the knowledge of the possible future in the direction of the commercialization of Isfahan University of Arts researches for the handwoven carpet industry and the target markets is predicted. So that by knowing the current and past situation of this industry, it is possible to predict the possible future in this field with the help of scenario writing tools. The current research is trying to identify and prioritize the obstacles that have prevented the commercialization of research in Isfahan University of Arts; Therefore, in order to achieve this important issue, the main question is raised, what is the possible future for the commercialization of carpet master's degree research in Isfahan University of Arts, and what effect can it have on the university and the handwoven carpet industry? The current research is practical in terms of purpose and prospective in terms of pathology method. The studied community in this research is professors and faculty members of Isfahan Art University and 46 proposals registered between 2015 and 2019. This research is among mixed research. The sampling method in quantitative topics was randomly calculated with the help of Karjesi and Morgan table, and in qualitative topics, the target sample was 12 people from Farsh higher education experts based on theoretical saturation. The opinions of the professors were examined in the theoretical framework and the three-pronged model, and the data required for this research were collected with the help of unstructured interviews with the professors and faculty members of this university. The results of this research led to the identification of 48 obstacles in the commercialization of research and the selection of the structural (organizational) factor as the most influential obstacle in Isfahan University of Arts. Next, with the help of futurology and scenario writing tools, a scenario for the possible future was presented in the form of a crisis scenario. Therefore, the crisis scenario specifies; that continuing to operate with the same method in universities and target markets will not only solve the problems in this field, but the condition of the handwoven carpet industry in the target markets and universities will decline and the existing weaknesses and damages will reach their maximum state. Therefore, it is necessary to examine the possible future of this profession, so that the operators and practitioners of the handwoven carpet industry, both in the target markets and the executive agents of this field in the academic environment, are aware that if their course of action is based on this without change, we can witness a similar future. to the current situation or more challenging than the current situation. In the crisis scenario of this research, the weaknesses and damages in this industry are pointed out; Since with the advancement of technology, there are many possibilities for the development of this industry, if it is ignored and the process continues in the same traditional style in most of the related fields, competing countries will surpass Iranian handwoven carpets in the blink of an eye took

In Iranian painting, the interpretation of an artist can also be studied through investigating the illustrations of fixed themes and texts by prominent painters. From this perspective, the interpretation of an artist's literary text is of great importance, and painters have used their personal interpretation of the original text in illustrating its various versions and have created additional meanings besides the theme of the work in the images. Bahram's battle with the dragon is seen in most of the illustrated versions of Shahnameh and Khamseh Nizami due to its beauty and charm. In drawing the military Khamseh Nizami paintings in Herat school, painters have actually created another meaning in the paintings, which in fact shows the artist's authorship in drawing the military Khamseh Nizami scenes in that school. One of the paintings created by the artist as the author of a work has an added meaning. The illustration of "Bahram Gur's battle with the dragon" is attributed to Kamal al-Din Behzad in the Khamseh Nizami manuscript of the British Library. The current research aims to identify the meaning of the hidden layers in the image of Bahram Gur with the dragon by iconology method, and with documentary and library studies, it raises the question, "What layers of hidden meaning are there in the image of the battle of Bahram Gur with the dragon?" The stage of pre-iconography involves the description and recognition of the apparent aspects of the artwork and the identification of the existing elements within the complex world of artistic structures. In the descriptive stage, there is necessarily no reference to the external world beyond the artwork itself.    In the iconography stage, the world of codes hidden in the heart of the artwork is opened. This stage is entering the field of meaning, which is also known as metaphysical meaning, and is the result of the reactions induced in the viewer to the initial awareness of the art work.  It connects artistic elements and motif compositions with their themes or concepts. In the stage of iconology, which is also known as content or intrinsic interpretation, the final destination is in a deep iconographic investigation; more precisely, this stage seeks to identify how iconic symbolic values ​​are selected within images, legends, stories and oral literature. The painting mentioned in this article has been done analytically with an iconology approach. The results of this research indicate that this painting is different from other paintings with such a theme visually and the relationship between the literary text and the work itself. The painting represents Bahram's upward progress towards the truth and in a way represents Bahram's spiritual behavior. Bahram's movement actually shows the stages of reaching perfection. In this picture, Bahram, by destroying his pride, undergoes internal cultivation, which is associated with the defeat of the dragon. In fact, the zebra is a symbol of the warning and the lion, with the help of which Bahram succeeds in killing the dragon, which is a symbol of the Amara's ego. And the defeat of the dragon was a kind of defeat of this ego. In it, which Bahram goes through the path of the valley of truth, which in a way represents the movement from the world of the kingdom to the world of theology, which is accompanied by difficulties.

Glass cutting is one of the most important decorative methods in glassmaking, which has been the focus of Iranian artists and craftsmen since centuries. During the Qajar era, with the increase of Iran's relations with European countries and the introduction of western quality glass with various cut decorations, this ancient art received the attention of Iranian artists and continued, so that many of the common methods of that era are in the works of contemporary artists. is also visible. In the Qajar Museum of Tabriz, a collection of such precious and luxurious glass with various and delicate cut decorations is kept, which has been analyzed in the present research.The glass works in the Qajar Museum of Tabriz are located in a hall called Abgineh, on the first floor. After its establishment in 1385, part of these works were transferred to this center from the Azerbaijan Museum and the other part from the National Museum of Iran and the Cultural Heritage Department of Tehran. In this hall, 120 glass works with various and different decorative forms and techniques are exhibited, some of which have carved decorations. 27 examples of the mentioned works have been studied as a statistical population. Study examples have been introduced using the table. In this way, variables such as the name of the work and the cutting plans of each work have been described first, and then analyzed to obtain formal and semantic characteristics. Examining each work and completing table number one, gave a diagram that determined the frequency of studied motifs. Then the variables were described and finally the data was analyzed by studying the sources. The aim of the upcoming research is to introduce and analyze the cut motifs of the glasses of this collection. This research was looking for an answer to the question that what designs were used in cutting the glass of the Qajar museum in Tabriz? And what are the characteristics of their visual arrays? For this purpose, samples from this collection were selected and examined. The type of basic research is descriptive-analytical with a comparative approach and collection of library and field information.The results showed that the glass material of this collection, which was made of opaline, Cameo Glass and colorless and colored glass, as well as the high quality and elegance of their cut decorations, indicates that the said works were made in the owner's factories. The names of European countries such as France, Bohemia and Turkey have been produced according to the taste of Iranians and sent to the markets and courts of Qajar kings on the orders of Iranian businessmen and statesmen. The designs executed on them include the following: small concave circle, elongated oval, large circle or oval, muscle-shaped, wheat, grooves in the shape of nails, Mudras on the edge, checkered, as well as regular hexagonal designs, flowers and leaves, Eight-pointed star and bird. The designs used on the glass works of this collection are eclectic and most of them are influenced by the carving designs of Sassanid period as well as Iranian designs in the art of the Islamic period and the other part is taken from the style of Western art works, such as art nouveau. The mentioned works were consciously designed and executed by western artists and they have tried to harmonize their products with the cultural conditions of the society and the taste of the people of the Qajar era in order to succeed in the field of competition and sales.

Wooden Zarihs are among the most important and prominent wooden products during the Islamic era of Iran, many of which are located in tombs related to Shiites. Currently, there are many samples of these works in different regions and related to different Islamic centuries. So far, many of these chests have been investigated and introduced in various research, such as some wooden Zarihs in Mazandaran province. But in today's Markazi province, despite having a large number of these funds, they have not been discussed in previous studies and research.; At the same time, unfortunately, many of these works have either been destroyed or lost over time. Therefore, it was necessary to investigate and study these funds in an independent and targeted research. According to these interpretations, the main goal of the current research is to investigate and study the wooden Zarihs of Markazi province. The main questions of the present research are also related to the appearance and decorative characteristics of the studied wooden Zarihs and the themes of the inscriptions used in them. Considering that a large number of these chests were identified in the field surveys, which are mainly related to the late Islamic centuries, in the present study, only wooden works before the Safavid period were examined and studied. To achieve this goal, a descriptive-analytical method was used to conduct the current research, and the method of collecting information in it is based on field and library studies. Based on this, at first, the works in all the tombs of Markazi province were identified and documented. Then, by referring to the old records of the registration file in some historical monuments and some ancient documents, a number of wooden Zarihs, which are not found today, were also identified and examined. By conducting the present research, nine wooden Zarihs were identified, which according to the comparative studies, date from the 10th century to the beginning of the 16th century AD. The most important wooden Zarihs identified are located in Haftad-o-do-tan Saroq Imamzadegan building. Various decorative methods are used in these boxes, which are comparable to the wooden works of other regions. Among other things, they have many similarities with examples in some regions such as Kashan city, Mazandaran province and Ardabil province. In addition, sometimes artists from other regions of the province, such as Soltanieh city and Josheghan city, participated in their construction. The inscriptions used in these works mainly include some verses of the Quran, some Persian religious poems, the introduction of the owner of the grave and the date of the creation of the work. It should be noted that the use of Persian poems was identified for the first time in these works from the 15th century onwards. However, unlike the examples of the Safavid period, the use of slogans of the Shiite religion was not popular in these works. In the end, it should be mentioned that in the inscriptions used in these works, only the Kufic, Thulth and Naskh scripts were used and no evidence of other Islamic scripts was identified. Unfortunately, the name of any calligraphy artist was not identified in the studied inscriptions.

Painting has a deep connection to literature. The branches of painting can be named; Painting by the Gurkanian school of India which with the support of the Mongol kings and under the supervision of Persian masters. After the Safavid court gave up its extensive support for art, the painting school of Tabriz declined and some artists of the Safavid court migrated to India at the invitation of the Gurkani rulers. The presence of these artists and their supervision of Gurkani's book design workshops caused many aesthetic achievements of painting to be transferred to the new school of Gurkani. produced Persian illustrated books.one of these works is Dārāb-nama; It is a narrative and epic work by Abu Tahir Tarsusi which has not been illustrated before in any of the Iranian schools. the present article, in a descriptive-analytical manner, answers the question: what were the reasons and how this illustrated book was formed? And how did the way of managing the painting studio and the taste of the king affect the works?  The results of the research show that Akbar Shah was interested in narrative and illustrated books due to a disease that made it difficult for him to read and for this reason, the largest number of illustrated books in the Gurkani school, among other kings of this dynasty, belongs to his time But due to the large number of works of Akbar's court, and despite the participation of artists such as Basawan, the first painter of the court, Dārāb-nama's drawings are still weak and the lack of coordination between the images sometimes makes it difficult to tell if the drawings belong to a book. In general, the artistic policies and the conditions of Akbar Shah's painting studio caused the artists to constantly change their work methods in terms of subject matter and style and did not reach a coherence and harmony, at least during his time. Although Dārāb-nama paintings are not very compatible with each other and it is not possible to distinguish whether all these works are from the same collection or multiple collections, but they can be qualitatively divided into two categories, medium and weak, and as before It was pointed out that this inconsistency in the quality of the works is due to the lack of single supervision and the presence of all the factors involved in the work in one workshop.What Humayun intended to start at the beginning of his arrival was to transfer Iranian painting to his court, but the short life of his reign in India caused Akbar Shah to establish the "Mughal-India" school according to his personal views and the policies of his court. that native Indian painters should also be involved in the process of its formation, because Akbar Shah wanted this style to be rooted in the soil of India and spread and continue. Although many Indian painters were trained under the supervision of Iranian masters, the introduction of Indian elements into this style of painting was inevitable and approved and supported by Akbar Shah. The "Indian and Iranian" style of painting, which was founded by Humayun, gradually changed its nature to the school of "Indian Mongols" and turned into a style that can no longer be called imitation.

Familiarity of Iranians with copper metal and its smelting industry dates back to at least the fifth millennium BC. Metal that has been used in various historical periods from ancient times to the present to make various tools. The formability of this metal has revolutionized the history of human civilization and has multiplied its use. In addition to the manufacture of war tools and industrial tools, a large number of metal artifacts have survived throughout Iran's history. Some are related to copper metal or its alloy. In addition to copper, access to other metals such as silver and gold also led to the presentation of handicrafts of these metals for Iranian art. Many researchers have tried to introduce historical works in which scientists such as Arthur Pope, Robert Dyson, R.W Frey and Mohammad Taghi Ehsani are seen. What is quite clear is the admirable skill of the Iranians from these metals and the making of precious cultural relics that have been left for us. However, the direct and systematic introduction and study of the technical and artistic features of these works have not received much attention, and on the other hand, they end the history of metalworking in the Qajar period. But the continuity of this art has not stopped moving in the contemporary period, but has given it a special dynamism and meaning. What distinguishes this article in the first stage is the typology of techniques and methods of metallurgy in the historical period of Iran, which after many studies and studies have been classified into six groups. Half reliefs, reliefs, sculpture, meatballs, lattice and sculpture have been the result of this collection. The second issue is the position of Iranian metalworking art in the contemporary period. The cities of Isfahan, Borjard, Tehran, Shiraz, Tabas, Kerman, Kermanshah, Mashhad and Yazd were studied through surveys and field interviews. In these cities, the history of metalworking, design and role, productions, creativity and innovation, and the method of performing the art of metalworking have been researched and researched by the required artists. Certainly what adds to the scientific value of the work is the comparison of these elements in different cities. The research is basic in terms of purpose and descriptive-analytical in terms of method and nature. The method of collecting library information is specifically based on field data. The most important and characteristic features in each city are; Use a variety of steel rods hachure and Without hachure and metal on metal movement in Isfahan, The use of Warsaw metal in Boroujerd, motifs or traditional Iranian motifs in a new format in Tehran, the use of indigenous and symbolic motifs in Tabas engraving, Stamping in Kerman, designs of historical monuments in Kermanshah, gilding on other metals and gilding on stone, using three metals gold, silver and copper with different applications and competition of these three metals and gold products with native designs of Yazd, all of the features of engraving is in every city.

In line with the display of the power and wealth of the imperial dynasties and magnificent palaces, throughout the history of Iran, magnificent and valuable works have been created, from studying them in different dimensions, facts of the culture and art of this land can be clarified. The support of the court for jewelry making and gem-marking, using metals such as gold and silver and precious and semi-precious stones, turned this art into one of the noble arts. With the conquest of Iran by Muslims and the introduction of Islam to this land, Islamic culture overshadowed all fields, including jewelry making. Islamic jewelry is a part of Islamic art and culture that has been formed, grown and developed according to the land where Islam entered. The spirit of luxury and aestheticism of Iranians soon opened a new chapter in world art and culture, which today can be studied and studied under the title of Islamic art. In the first centuries of Islam entering Iran, the cities of Neishabur and Gorgan (Jorjan) were among the most important centers of Islamic metalworking and Islamic jewelry making. Examples of rings, earrings, and necklaces have been found from these areas, some of which have been collected in the Metropolitan Museum of New York. The study of Islamic jewelry in the first years of the introduction of Islam, which is the aim of this research, is unfortunately accompanied by a lack of sources and examples. The lack of samples obtained from this period and the similarity of these samples to the Sassanid and Byzantine samples, make the assumption that probably some of the works that are recorded today as Byzantine and Sassanid belong to the year be the first of Islam; gives strength But in the later years of the 10th-11th centuries, for unknown reasons, both the volume of samples increased and the works were more decorated and developed under the influence of Byzantine jewelry. The purpose of this research is to investigate the techniques of making and decorating Islamic jewelry in the early centuries of the arrival of Islam (9th-11th centuries) as well as the first centuries of the Middle Ages (11th-13th) in the museum, using a combination of description-analysis and comparison. be The main question of the research is what are the characteristics of the form and technique of making earrings and rings in the 9th-13th centuries? And basically, are these manufacturing techniques used in making this type of jewelry in Iran in such a way that by referring to it, the works can be considered as belonging to Iranian civilization, in this particular time period? The results indicate that, during the first period of Islam in Iran, rings and earrings had simple forms and were influenced by the pre-Islamic and Roman jewelry industry in their manufacturing and decoration techniques. In the Middle Ages, jewelry gradually made a big leap in form, technique, and decoration. From the first century to the middle, Islamic rings become much more advanced and decorated with geometric, Islamic volumetric motifs and creatures such as harpies. The earrings, which in the first years consisted of a ring and a bead, were gradually made using the tapestry-work method (lace-shaped) or by placing regular dodecahedral and dodecahedral forms and triangle forms. which creates a spherical shape, were made. These forms are reminiscent of Byzantine earrings. Although the construction and decoration methods are influenced by Byzantine culture in general, they are Iranian in technical details and motifs. Also, during this time, the Iranians had achieved special construction techniques, which reached their peak in the Seljuk period.

Needlework, decorated with mirror pieces in some versions, is an original widespread Iranian art. Considering the diversity of forms and implicit symbolic meanings of the mirror in Iranian traditional arts, this paper focused on Baluchi needlework in the south of Sistan and Baluchistan Province (Iran). As a first step, the study aimed to find the Baluchi embroidery motifs in which the mirror is central. It then speculated about the symbolic meanings and function of that element based on the information obtained using field research (observation- and interview-based), which was pivotal in the formation of the study, and document research, to support the former. The research question was, “what forms and shapes do mirror pieces take in Balochi needlework, and what concepts do they represent?” This was theoretical-fundamental research, considering its purpose, and a descriptive-analytical one, considering its nature. This means that the data analysis was performed qualitatively after the data collection. The sampling was purposeful and selected only motifs sewn in the Iranian Baluchistan region in which the mirror pieces were crucial. The results indicated that the mirror was employed at least in twenty-four types of those motifs. Considering the conceptual indications of cultural ideas, Some motifs, such as Setareh, Kap-o-Nal, and GolKandi, were associated with light and brightness. In contrast, others, such as Harir, Tak-Zarafshan, and Gol-o-Goldan, were related to water and prosperity. Some samples, such as Cham-e Mozheh, Kouh Bandar, and Kouh Sar Ashegh, were love letters to noble concepts such as love, martyrdom, and sacrifice. Others, such as Morvarid, NohAdinaki, and Cham Ahoug, were allusions to innocence and purity. However, in a few motifs, such as Sharrin Janek and Dezh, the shiny reflection of light in mirror pieces was a superficial ostentatious depiction of wealth and power. Mirror was initially meant to convey concepts in Baluchi needlework, like other traditional Iranian arts, instead of serving pure ornamental purposes. Many of these themes, including light, brightness, shining, reflection, transparency, and clarity, were consistent with the nature of the mirror, while others went beyond and suggested the region’s folklore fables.

The present research is the result of a field search to find and study surviving designs from the life and prosperity of carpet weaving among Mohajeran and their introduction. mohajeran was one of the Armenian villages and one of the most important centers of Arak weaving in the past, but today the body of the village and its art of carpet weaving have been lost. in addition to being influenced by the Arak weaving system, the mohajeran carpet has a design and map with its own identity, which has not been included in the research system and the research community has neglected to study and introduce it. therefore, identifying and investigating the technical and aesthetic dimensions of the immigrant carpets is the goal of this research. In this way, by searching the databases of Iranian carpet owners, a number of 31 different and diverse samples were selected from among a large number of immigrant carpets and were studied and examined for analysis and introduction. therefore, the main question is what are the technical and aesthetic dimensions of the immigrant carpet? the summary of the research findings is as follows: in mohajeran carpets, only abstract and abstract plant motifs in the form of bouquets and bushes, as well as dome and altar-shaped vases have been carved in the form of diffusion composition. also, there is a central structure or motif of trange in the form of a cross and similar to what can be seen in the Lilian carpet. in fact, the structure and nature of the mohajiran carpet, especially in the design, framing, and space creation of motifs, is very similar and close to the Lilian carpet in khomin. tnd this shows the preservation of the formal and visual characteristics of the designs and maps of the armenian woven carpets of iran, which may be rooted in the armenian carpet as the first origin of these carpets. this research is of a qualitative and developmental type and a descriptive-analytical research method. also, the method of data collection is searching in the arak market and reliable global collections.