Iranian rural CARPETS are an important resource for studying the rural art and culture of Iran. They are also the most important area for staging the talents of, especially, rural girls and women. The common aspects of visual elements bespeak the prevailing spirit in these works under the influence of interaction with nature and lessons learned thereby. Also the availability of materials in the rural environment has the greatest influence on the physical aspects of design and texture. Rural-urban interaction and that with the nomadic population, and adapting the imported patterns to rural life is an outstanding feature of rural CARPETS. Adaptability of rural CARPETS to traditional rural applications and architecture is truly remarkable. The aesthetics of these works reveals their underlying principles, and the characteristics of their creators, and helps understand their worldview and attitude to their environment. Perhaps, that will present us with the gift of a new understanding of existence. The last point is that rural CARPETS are distinguishable from the urban and nomadic varieties.

Iranian CARPETS enjoy various decorative elements, one of which is inscription; there are many inscription accompanied with Kufi, Thuluth and Nastaliq calligraphy in these CARPETS. Such inscriptions can be classified into several different types. Some contain writings such as Quran verses, poems and specifications of the carpet, while the other are decorative only, free from any writing and resemble to be inscriptions only by their own form and shape.Converting writing into a decorative element is a creative activity excellently achieved by Iranian artists, just like their creativity in converting dry-looking geometry into a fine art using fretwork. Inscription as a visual element can be read in different ways by different analysts in accordance to the text in which it has been located. These CARPETS can be read and analyzed both in terms of “syntagmatic axis” with other elements and also from viewpoint of “paradigmatic axis”. Therefore, inscription is not a piece of writing rather a text within a larger text, i.e. carpet, as well as within an overall integration such as mosque and home where it has been placed, and can have different readings. It should be noted that this paper is prepared using library-based research method.

There is a spiritual & intellectual power in Persian CARPETS which connects to the terrestrial world. Plant patterns that make gardens not only symbolize paradise in the heart of CARPETS; but also the patterns in the borders which sometimes are decorated by angels represent the spiritual world. Maybe the position of angels indicates the initial stage before paradise gate (in the middle of the carpet) and Judgment Day, which our acts will be evaluated by angels and God will visit us, or it comes from other Persian archetype that has intellectual power, known as Farvahr.This research is tried to find and analyze roots of the angel shape by the form of Farvahr archetype, and we use holy Verses and religious stories as documents for proving the cause of its human shape with two wings. Writers try to prove that the Angel pattern is connected conceptually with the symbol of Farvahr.

This article aims at studying the geometrical proportions of five types of most outstanding designs of Safavid CARPETS as one of the most important styles in carpet art of Iran. This research has been conducted using geometric methods of translation of measures and finding the basic module for identifying the proportions in CARPETS for to determination and comparison of modules with each other. Then the findings of the research have been compared with reference geometrical proportions of the Iranian geometry. Ultimately, the findings of this paper have been compared with special proportions present in decorative arts of the Timurids, Ilkhanid, and Seljuk periods, which possess special and specific proportions according to researchers, in order for determining the origin of this system of proportions. The results indicate that the CARPETS have general geometrical proportions. Such proportions include certain proportions between the pattern and dimensions of CARPETS.

Economic sanctions have long been used as a tool in the foreign policy of some countries against others. Iran is not outside the scope of this policy and has been under severe economic sanctions for more than a decade. The development of the hand-woven carpet industry is especially important for Iran, which faces problems such as rising unemployment, limited access to foreign exchange resources, oil economy, tax evasion, high inflation, and so on. This study deals with the impact of economic sanctions on personal economic interests and carpet development from the perspective of weavers and those involved in hand-woven CARPETS in Sistan in the economic, socio-cultural and environmental dimensions of the carpet industry. Research shows that economic sanctions in the field of individual economic interests affect the economic, socio-cultural and environmental dimensions of the carpet industry from the perspective of handicraft suppliers.

Art, stems from notion and philosophy and is nourished stems from notion and philosophy. nourished in a cultural and social environment Considering this, the art of carpet weaving has significantly inclined towards the same philosophical and notional elements. Carpet weaving has survived over centuries and has obtained an undeviating relation with the daily lives of people. In other words, arts such as this are intervened with events and various thoughts and are dominated by the religion and culture of that nation. The art of carpet weaving is one of the outstanding and representational elements regarding the national identity of Persian art. Carpet weavers have managed to create CARPETS which express the endeavor, inspiration, and taste of Persian artists.Carpet weaving thrived in the Safavid era and the kings, many of whom were artists, put much effort for the efflorescence and growth of this art. CARPETS illustrated national and historical designs and were decorated with mythical patterns, moreover, various techniques and designs were experimented in this period. The Safavid period was famous for the collaboration of religion and art; where both are guided towards sublimity and divinity. Therefore, carpet weaving, which rooted in the same religious and artistic background, gained the power to bloom and turned out to be one of the major artworks of Persia. Carpet designs such as arabesque and khataee, quarter medallion and corner pieces, Bagh-e Ferdos (the garden of paradise) the symbol of the tree of life and the lion and cow, the Simorgh (roc), the peacock, the dragon, and the flowers and the gloss are among many designs and ornamentation applied on Persian CARPETS. A number of Safavid CARPETS are preserved in museums worldwide including the Victoria and Albert museum, Vienna museum, Baku museum, Boston museum of fine arts, and many more. The major aims of this paper are: 1-Recognizing and understanding the national and religious elements of Persian identity in Safavid CARPETS. 2-Identifying the function of the elements applied in Safavid CARPETS. Also, the following questions are answered: 1-Did the national and religious notion of the Safavid period influence the designs of the CARPETS? 2-Are the designs on the CARPETS derived from any particular source?The collaboration of this paper was achieved via library and documentary research and has been organized in a historical and descriptive manner.

Kurdi tribes of Khorasan are one of the main carpet weaving tribes among the nomads in Iran. The study of the patterns and motifs used in their CARPETS reveals that these motifs integrate with the costumes and cultures of each area and are rooted in their ethnic identity. The present research studies the patterns and motifs of Kurdi CARPETS in Khorasan as well as those in Kurdistan, and aims to answer the following research questions: 1-what is the structure of designs and patterns of Kurdi CARPETS of Khorasan and CARPETS of Kurdistan’ s nomads? 2-what similarities and differences exist between designs and patterns of Kurdi CARPETS of Khorasan and those of Kurdistan? Therefore, this study aims to identify the formal structure of the designs and patterns of Kurdi CARPETS of Khorasan and those of Kurdistan’ s nomads in order to find the similarities and differences between them. The research method of the study is descriptive-comparative and the data are analyzed qualitatively. The data is collected in both areas through field and library studies. The data pool consisted of 61 CARPETS from Khorasan area and 17 CARPETS from Kurdistan area, among which 15 original samples and 10 original ones were purposively selected to study from Khorasan and Kurdistan areas respectively. The results show that the general style of the motifs and patterns in the CARPETS of this region and the features like form, corner, medallion and field and border motifs are nomadic, rural, abstract and geometric. The medallion corner, Medallion and Multiple Panel design have been woven the most and the Praying design the least. Among Kurdistan CARPETS, the most woven CARPETS depict medallion and corner medallion designs. Some traces of Kurdistan and at times Caucasian carpet forms can be found in Khorasan Kurdi CARPETS. Corner forms in CARPETS of each region are made by using right triangles in small sizes in nomadic Kurdistan CARPETS. With regard to field illustration in the CARPETS of each region, due to the specific life style in each area, flora and fauna as well as object-based abstract motifs are seen respectively. Moreover, the borders in the CARPETS of both regions are made with asymmetrical corners based on rural and nomadic styles. Khorasan Kurdi CARPETS enjoy a higher density in borders in comparison to the CARPETS of the Kurdistan area. In addition, the division of the borders in Khorasan Kurdi CARPETS is in forms of three, five, and seven parts, while in Kurdistan CARPETS, only the three-part form is observed. With regard to the comparisons, it can be mentioned that similarities and differences exist between the CARPETS of both regions. Many factors such as the geography of the regions, the life style, the costumes and rituals, the beliefs, the myths and legends and the imposed immigrations caused so many changes in the design and motifs of the CARPETS in these areas. The results indicate that “ Kalle Rousi” and “ Jalil” patterns are among similar patterns in both regions. The formal structure of the medallions of the CARPETS in these two regions also shows that these patterns have been influenced by their original residence areas. The results in terms of differences indicate that the application of big medallion forms and small corners in Kurdistan nomadic CARPETS is more dominant than the ones in Khorasan Kurdi CARPETS. Moreover, the use of the abstract form of Fish in Kurdistan nomadic CARPETS is totally different from the Kalle Ghouch and abstract Zouli motifs in Khorasan Kurdi CARPETS. The application of narrow border strips and apple flower forms (apple blossoms) as well as Farhad Mirza motif, as the main characteristics of border illustration, are more obvious in Kurdistan nomadic CARPETS than in Khorasan Kurdi ones. Based on the pattern structure and type of lines which are used, it seems that the mountainous cold environment of Kurdistan area has caused the use of lines with more dense angles in the CARPETS of this area, compared to the ones from Khorasan region.

Fars is one of the most important areas in kilim rugs and carpet production in Iran. Among the important reasons for variety and multiplicity of kilim rugs in Fars era, is the fact that here Turks and Fars people live together. This article has focused on the motif of Swastika or Broken Cross (Mehraneh in Persian) in these handsknitted products. This paper aims to study the symbolic language of this motif through the time and its appearance in Qashqa'i CARPETS. Due to the multiplicity of the appearance of this motif, the current paper is not only concerned with the language of this symbol and its implications in Qashqa'i hand-kitted products, but also the role of Mehraneh through time in different cultures and religions. Some semiotic means have been employed herein. From viewpoint of the objective of the research, this is a fundamental one which explains the characteristics of this motif by exploring and discovering truths, realities and gaining knowledge about this motif. However, this paper is descriptive and historical for its nature and method. In other words, the common and general characteristics of this motif can be explained and orderly described by using original and referable documents and evidences. Also it will be possible to study their specifications, consider the relations of variables (if necessary) and recognize the characteristics of Swastika motif and its application in Qashqa'i CARPETS. The sources are visual, verbal and written.

The hunting & animal patterns is indeed one of the most important& effective motifs which can be seen in Persian Art since ancient times. For a long period of time, these motifs (which include religious & old mythological concepts, and tell about the geographical & natural human being environment, as well as his own desires, his domineeringness, and struggle for survival), have been designed & accomplished in various subjects and to their perfections by man of those ages in different arts. The importance of the hunting & animal motifs has caused these particular motifs to be repeated at any age. Meanwhile these repeated patterns have kept their own concepts & specifications regarding the variety of animals and compositions and at the same time have been rendered in innovative styles. This paper is trying to deal with one of the hunting & animals patterns in Persian Art namely: "Catch &Take" pattern. It also introduces some samples from the ancient ages till Safavid era, and finally the manifestation of these patterns from viewpoint of verity of animals & compositions have been studied in some CARPETS of Safavid era.

“Life Tree” is an evergreen tree which its fruits bring eternity and immortality and is the essence of all trees. This paper is introducing different forms of sacred tree and sacred plant (life tree) on Persian CARPETS. In addition, through comparison of more ancient concepts of these forms, the principle of continuity of life of this symbol can be taken into consideration on these CARPETS. At first, this analysis is studying the relationship between life tree with altar and light symbols, an earthen jar, protector animals, lotus and phoenix. The available samples in ancient Persian art and Zoroastrian’s legends are found, then designs of life tree in accompany with these symbols on Persian CARPETS are introduced. Altar is the symbol of the place of relationship between heavenly world and underneath world, cresset is a symbol of light, lotus is a symbol of eternity and renewal life and earthen jar or flowerpot is a symbol of blessing and rain bringing; phoenix and other protector animals are symbols which according to Persian’s legends, they are related to the concept of tree. On the other hand, the imagination of paradise, which is the basic thought in Persian civilization, and believing in the existence of good or evil tree and life tree in paradise, is one of the effective factors in illustrating sacred tree on garden CARPETS. In these gardens, cypress tree, willow tree, full of flower and vine trees and also stylized forms of the tree can be found. “Ghabghabi” (frame into frame) designs (belonging to Chaharmahal and Bakhtiari area), repeated patterns of tree and medallion with repetition of tree in four symmetrical directions are also other styles of illustrating life tree in paradise.