GOLJAAM
Year:2006 | Volume:- | Issue:3|Papers Count:8

Village weavings, particularly flatwoven Gelims, are the products of personal lastes, gifts, and individual creativity. In the meantime, the genuineness of their designs and colors is rooted in a collective genius enriched over the centuries.This collective genius seems to be well-preserved in the flatweav of East Mazandaran villagers, whose design repertoire is not confined to sheer imitation of nature, but is rich in respect of motifs of their own. That is why their weavings stand as documents of their ideas and their way of life, besides being useful and easy to use and carry products.

This article argues that hand woven carpet - weavesrs' job satisfaction is one of the most important factors that influences the quality of their works. Thus, it is proposed to study the degree of job satisfaction among them and some important factors which determine its variation. The scope of the research involved 834 carpet weavers in East Azarbaijan and Isfahan in 2004. In this research, a theoretical model based on objective and subjective variables has been applied.

Conservation and preservation of carpet design cartoons requires a scientific conservation plan appropriate for each case study. The research into the carpet designs of Kerman and Isfahan regions was carried out in 2003 in order to gain access to a comprehensive and exact method for their conservation. In this research, besides the differences in the techniques of producing carpet designs in these regions - based on microscopic observations - the kind of paper fibers used in Kerman was realized as a pine wood byproduct, while the Isfahan region cartoon paper was from ashwhite and pine trees. The kind of dyes that have been used in colouring of carpet designs in Kerman and Isfahan was determined on the basis of the elemental analysis of SEM and FTIR spectrum. Subsequently, the organic origin of the following dyes was established: black, dark- blue, blue, red and the black ink of the checkered paper (manual and printed). The other dyes were mineral. The compound white colour in Kerman carpet designs was white lead and the compound white of Isfahan (except light blue) was zinc oxide.

Since ancient times, "Tree" has been the focus of attention as a symbol, in works of art. In Mesopotamia and later in Iran, this symbol was known as a holy tree or tree of life as early as 3500 BC, and was delineated in different shapes.After the advent of Islam, this symbol prevailed in works of art; however, no longer as a mythological holy tree but rather standing for heavenly blessings and the paradise. This symbol has been used in different branches of art, including rug-making. In the art of carpet patterning, the tree has prefigured a great variety of designs, notably the plant Mihrabi (prayer niche).No doubt, the predominance of the tree image in a large group of prayer rugs, is not accidental and must have an objective more than conveying mere beauty. One interpretation suggests an epitome of paradise. Given the Islamic restrictions imposed on the portrayal of human beings, a tree depicted in a prayer niche may well stand for a man in prayer.

The influence of urea as an additive in dyeing of wool with madder was evaluated in this work. A different concentration of urea was applied on wool yams before, during and after dyeing of samples. The treated samples were tested for dye absorption at different time, wicking, sinking, wash and light fastness and surface morphology by scanning electronic microscope. The results show that urea is an effective additive in dyeing of wool by madder by increasing the dye absorption. Adding of urea ranging 50% to 250% on weight of fibers leads to swell the wool fibers however, increasing the urea percent to 300% may damage the fiber surfaces and reduces the fiber strength.

In this research, an apparatus was designed and constructed in order to simulate the storage behavior of hand-woven carpet under different environmental conditions. Silk hand-woven carpet ("Gom") with 115x75 cm dimensions and 102x97 knot per 10 cm was selected and then inserted into the packing simulator with two different laying configurations including flat and folded. The environmental conditions was adjusted at 3 different conditions including 25 ±5% r.h and 30±2°c (July-Tehran-Dry), 65 ±5% r.h and 6 ± 2°c (February-Tehran-humid), 40±5% r.h and 19 ± 2°c (October -Tehran-mild).The carpet sample was compressed under constant loads of 135 and 150 kg. The variation of carpet thickness with time in different parts of carpet was continuously measured using data acquisition system. The result of experiment shows that the carpet thickness is suddenly decreased at a short period of time and then reached to a stable condition. The variation trend of carpet thickness with time is accordance with a logarithm equation (y=axLn(t)-b) which is highly in agreement with Eyring model proposed in creep theory. But at the dry conditions, the variation of carpet thickness at the folded point follow a non-linear power equation (y=ax (t)ˆb) with a low correlation coefficient. However, the variation of carpet thickness at the non-folded point and flat configuration is very low. Generally, at the humidity condition, maximum carpet thickness variation occurred at folded point with folded configuration. On the other hand, carpet thickness variations at dry condition are less those of at humidity and mild conditions. In addition, carpet thickness at dry condition more quickly reached to stable condition than those of at humidity and mild conditions.