GOLJAAM
Year:2009 | Volume:- | Issue:13|Papers Count:7

European tapestries and Persian kilims are the most useful types of flat and nonpile textiles in both regions bearing differences in terms of appearance such as: design, motif and color and texture and also in terms of specific functions which have been assigned to them. This study, therefore, has been conducted with the aim of identifying and comparing these valuable hand-woven textiles so that it may provide some grounds for improvement and development of Persian kilims while preserving their artistic identity. Although Iranian kilims and European tapestries use similar tools and materials and weaving technologies, but due to certain cultural and spiritual characteristics of Iran and Europe, they are different in terms of designs and patterns, color compositions, sizes as well as functions.Library-based and documentary studies were performed for achieving the aim of the paper and reviewing and comparing these types of Iranian and European handwoven textiles revealed many similarities and differences.

The textiles of the Bakhtiarian nomads have experienced many changes during the time and these alterations will inevitably continue. However, some of their textiles have a collection of designs that come from the mind of Bakhtiarian women, to whom such motifs have been taught by previous generations. This paper tries to collect such motifs with so many unknown meanings. Although the aim of this research is introducing these motifs by means of a field study, however, this will be done for more important purposes, namely reviving the traditional Bakhtiarian motifs, preventing from their abandonment and also promoting the use of these motifs in new artworks and life of people.

The main objective of this study is the evaluation of existing production systems of hand-woven carpets. For this purpose, we use multiple-criteria decision making method (Taxonomy, Delphi) with respect to economic, social, management and qualitative criteria. The results indicate that, based on the performance of production systems, the employer system in large scale producing units has the highest rank and, consequently, is the best production system for hand-woven carpet industry in Eastern Azerbaijan province.

Sistan carpet is one of the most genuine native artifacts of the region which is closely linked to the spirit and substance of the people of this area. Since during recent years less attention has been paid to this original art and it has been less frequently studied by relevant experts and researchers, there are progressive changes made in its design and color that have resulted in the deterioration and disappearance of the genuine regional designs and there is a concern that the original motifs employed in them, would be forgotten by the elapse of time. So in order to preserve and restore the motifs of this valuable cultural and artistic heritage, it is necessary to detect such genuine motifs and use them in providing new sketches and this cannot be accomplished but by seeking to find the origin of the motifs of Sistan carpet. In this paper, the efforts of the authors has been exerted on that through studying Sistan carpets, using surveying as well as library method and comparing them with the motifs on the buff pottery in Shahr-e-Sookhte (Burnt City), we would be able to acknowledge the originality and precedence of the Sistan carpet motifs and by linking the Sistan carpet with its past glory, we would pave the way to provide original motifs of the Sistan carpets.Undoubtedly and with regard to its thousands of years of background, the buff pottery of Shahr-e-Sookhte, play an important role in identifying the original motifs of Sistan, so the collection and analysis of the motifs of Sistan carpet and comparing them with buff pottery of Shahr-e-Sookhte - which would result in giving identity to them - can be considered as a big step forward in generating original and standard motifs of the carpets, and reproduction of this immanent art would provide the lost loop in the claim of the present pictorial culture of Sistan to complete its link with its glorious past.

Regarding the importance of advertising for hand-woven carpet, variety of advertising tools and limitedness of financial resources, prioritization of the tools using experts’ opinions can be effective in planning and decision-making on carpet artisan. There are two main objectives are to be achieved in this research.The first one is determining importance factor of evaluation indices of handwoven carpet advertising tools and the second objective is determining the priority of advertising tools used in introducing the commodity to the customers in domestic target markets. Statistical population in this research includes experts aware of hand-woven carpet advertising and promotional tools in Tehran province. To achieve the first objective, eight indices have been brought up for hand-woven carpet advertising and promotional tools, namely: coverage, cost, promptness, durability, trustworthiness, quality, influence and being easy to use.On the basis of Group AHP method and utilization of experts’ opinions, above indices have been compared in pairs, for determining priority of advertising and promotional tools and also on the basis of experts’ opinions multi-criteria decision making and TOPSIS have been applied. Effectiveness index with the importance coefficient of %224, promptness index with the importance coefficient of %168, quality index with the importance coefficient of %140and coverage index with the importance coefficient of %125are the main evaluation indices of an advertising and promotional tool. In other words, the more effective, prompt and qualitative a tool is and the more it covers people in the target society; the more will be its importance. Hence, TV, face-to-face presentation, specialized magazines and newspaper are four tools of higher priorities according to mentioned eight indices.

To study the folding way of the hand-woven carpets, the selected sample has been put under pressure of 50g/cm2 weight at three different states. The pressure has been increased uniformly and continuously up to 100, 200, 500, 1000 and 1500 g/cm2. The thickness of the carpet has been recorded continuously during the application of pressures and also during uniform and continuous decrease of pressures. The pressing parameters of the carpet have been calculated in KES-F system along with simulation and fitting of them into two-component model of de-jong pressure. Also, the thickness of the part of the carpet that is not able to be pressed has been estimated. Based on the obtained results, it has been shown that pressing energy in the curved folded part of the carpet is very low, but the pressing energy in the part where two layers of the carpet are placed on each other is very high. Nevertheless, the amount of elasticity in the part where two layers of the carpet are placed on each other is remarkably low, on the contrary to the curved folded part. It shows more sensitivity and flexibility of this part in comparison with the part where two layers of the carpet are placed on each other. On the other hand, the thickness of the part that is not able to be pressed in the area with two layers of the carpet on each other is more than that of the investigated parts. In this case, the pressing is carried out only by piercing the upper piles on the lower ones.Also when the carpet is in flat mode (without folding) it is not pressed and only piles are pressed on each other as far as possible. In this study, the phenomenon of Domino folding has been used to describe the folding behavior of the hand-woven carpet under static pressing.

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.