This article aimes to emphasize certain points concerning traditional art, and to put forward a question. As the term” Traditional art” is rather ambiguous, first we try to clarify it. To do so, we propose an approach somehow different from one generally admitted. Thereby, we discuss the reasons why it is not so easy to give a definition of traditional art, islamic art in particular, specially from a historical point of view. That is why some specialists are willing to deny the existence of islamic art, as some historiens of philosophy seem to have the same attitude vis-a-vis islamic philosophy. Finally, encountering HANDICRAFTS with modern technology, we ask whether, in the light of traditional art, it is possible to speak of aesthetique regarding technological products: could a refrigerator be called beautiful; what about a washing machine or a car etc.? In other words, how could we, with reference to traditional art, define an aesthetique for modern technology and, to speake in platonic terms, save it from the rudeness of the factory?

Handicraft selling is an inseparable part of the tourism industry and is considered an invisible part of exports, showing the tangible cultural features of the country to tourists. The packaging, as the outermost layer of handicraft, is a crucial factor of the product's quality. The packaging should have cultural aspects, be relevant to its content and also have a high quality. Since the packaging is a tool used to introduce the products in a correct manner, and also plays to stimulate the consumers, it is an important factor in the economic growth of tourism. As a result, the packaging should have appropriate information and visual quality in order to encourage the consumer to buy it. In this research, different parts of visual qualities and informative aspects of HANDICRAFTS industry packaging has been investigated. The aim of this work is to determine the most important features of the packaging for tourists in Isfahan. Also, we are after determining weaknesses and strengths of packaging design. The questionnaire method is used for this and they are handed out to tourists to used to obtain information. Statistical analysis is carried out by (SPSS) and (SmartPLS) software. The results show tourists only considered the color and size of packaging as having average acceptability. Other visual aspects such as innovation, shape, design and all informative features did not satisfy their expectations. The results demonstrates the relative priority of the visual aspects to informative features. The other important parameters in order are are graphic design, packaging type, size, color, innovation and shape. Furthermore, using international language, the font size and type, and providing appropriate information based on the type of the product are the other expectations.

Productivity aims at improvement of the quality. Quality improvement in turn contributes to productivity. There are several means to improve the HANDICRAFTS and allow people to improve the quality of their products. Meanwhile HANDICRAFTS are being considered important from social, cultural, art and economical point of view. It contributes to local economies and eradication of poverty. By providing new market opportunities, the seal program aims at enabling handicraft producers to establish sustainable livelihoods. This will be achieved through developing networks of handicraft producers and customers, including the higher - end of the market, and through exhibitions and trade fairs. The UNESCO Seal of Excellence for HANDICRAFTS is based on the criteria such as: Excellence, Authenticity, Innovativeness, Social responsibility (Fair, labor law, Eco - Friendly) and marketability. They encourage artisans to produce HANDICRAFTS using traditional skills, patterns and themes in an innovative way in order to ensure the continuity and sustainability of these traditions and the skills. On the other hand, creativity is man's most widely and evenly distributed resource. All people seek outlets for self -expression and have the capacity to create objects to uplift the spirit and enhance peoples' lives. The United Nations Educational, Scientific and Cultural Organization (UNESCO) promote a wide range of activities to preserve and develop both traditional and contemporary crafts. This has included a Ten - Year plan of Action for the Development of crafts in the world 1990 -2000 the annual UNESCO crafts prize to recognize the creative talents of craft producers, as well as programs to identify and bestow on the world’s most outstanding artisans the title of" Human Living Treasure." The seal of Excellence for HANDICRAFTS program was established in 2001 by UNESCO (UNESCO Office Bangkok) in collaboration with the ASEAN Handicraft Promotion and Development Association (AHPADA) for piloting in Asia. Referred to as the "SEAL", this program aims at ensuring the continuation of traditional knowledge and craft skills which help to preserve cultural diversity in the region. Since 2006 the SEAL program has been launched globally with the SEAL being introduced in Africa, Europe and America. The Asia program has expanded over the last few years to south Asia (2004), central Asia (2004) and was launched in East Asia in 2006. It should be mentioned that 30 countries in Asia are now taking part in this initiative. This growth has been accompanied by a new region -wide branding and increased promotion and distribution channels. For the first time Iran took part in the 2007 seal program session, held in Dushanbeh, Tajikistan from 24 -27 September, received 6 seal certificates for the Iranian HANDICRAFTS articles. Due to the importance of the program (Seal), this paper is an attempt to take a step for further introduction of the SEAL in order to prepare grounds for better participation of the relevant capable products in the future sessions.

The aim of this study is to identify business model content in Isfahan HANDICRAFTS (vitreous enamel). Inductive Qualitative Content Analysis Method was applied for this research. Statistical society consisted of 130 active businesses in the field vitreous enamel works in the city of Isfahan. Purposive sampling method was used and data were collected through interviewing 15 individuals and the content of 9 business model dimensions by Osterwalder was identified. Afterwards, relevant validity was verified through qualitative approach. Finally, we prioritized the items by means of Shannon Entropy. Recognized items for customers can be classified as 4 items. Recognized items concerning proposed value include 10 items. Different kinds of customers’ relationships, are 3 items. Distinguished channels include 3 items. Recognized issues for key sources consist of 3 items. The major activities were divided into 2 items. Key partners include 3 items. The most important costs consist of 5 items.

This research was carried out with the aim of developing of Isfahan tourism by branding for Isfahan crafts through the PCDL model. The research is a mixture of qualitative and quantitative research. In different stages of the research, qualitative and quantitative Delphi fuzzy, balanced scorecard and descriptive survey methods were used. For data gathering semi-structured interview and questionnaire were used. Statistical Society was experts in quality phase and clients of Isfahan craft in quantity phase. Sampling method for qualitative phase was targeted judgment and Available random in quantitative phase. The results of the first phase of the research is to identify quality and price as two factors that influence selection and purchase crafts and also positioning engraving, carpets, filigree and inlay industries as outstanding crafts of Isfahan in compared to other competitors. In the second stage, appropriate logo and advertising media advertising were identified as the most suitable option. The results in third stage indicated that customer criteria and internal processes are at appropriate level but financial and growth criteria are at inappropriate performance level.

One of the significant problems of handicraft makers is the inability to trade with customers directly. They are forced to sell their crafts to intermediaries, which increases the final price. To avoid such an issue, peer-to-peer marketplaces are built to connect producers and customers directly. The ownership and control of these marketplaces are still in the hands of specific parties. Decentralized markets overcome these drawbacks at a reasonable level. Blockchain has become a great tool to develop decentralized markets due to solving the shortcomings of decentralized systems. We have studied, categorized, and discussed existing decentralized e-commerce platforms. To cover the shortcomings of decentralized e-commerce platforms, we designed a conceptual marketplace for trading HANDICRAFTS along with an insurance mechanism for deliveries, seller's reputation, and a guarantee system for producer's verification. Comparing the handicraft marketplace with other similar decentralized markets proves offering better and more service to marketplace actors is achievable.

HANDICRAFTS are one of the oldest and most prestigious human achievements due to their indigenous and unique nature, their independence of overseas production and the presence of creative, skilled and capable human resources, enormous capacity for entrepreneurship development in different parts of the country. This potential is deeply rich in Sistan and Balochestan province, but due to its reliance on traditional production and supply trends, it has not yet been applied properly. Therefore, the present study aimed to design and explain an entrepreneurial marketing model in the field of businesses related to handicraft in Sistan and Balochestan province. The research method was qualitative and through indepth interviews with the experts in this field based on Grounded Theory, which was carried out in three stages of: open, axial and selective coding. After 14 interviews with qualified experts, the necessary data were collected. Then, the continuous comparison process of open, selective, and axial coding data was done and 123 primary concepts were identified and categorized into 18 categories based on structural and content similarities. The final result of the analysis of the collected data was presented in the form of a basic grounded theory called the Entrepreneurial Marketing Model of HANDICRAFTS which include causal conditions (unique craftsmanship capacities, potential employment and entrepreneurship capacity, craftsmanship market dependence on creative approaches, skilled and creative manpower), pivotal phenomenon (sustainable livelihood of local craftsmen), Strategies (educational, technological, administrative-organizational and financial-budgetary), contextual conditions (educational factors, administrative structure, attitudinal factors), The interventionist conditions (low literacy of local craftsmen, poor technology infrastructure, weak administrative structure, geographical distribution, presence of Handicraft Dealers) and consequences (promotion of entrepreneurial capacities, promotion livelihood of local craftsmen, promotion of craftsmen motivation, preservation and strengthening of cultural identity).

The authoritives who have investigated on Persian arts and industries‚ have given a name to Industrial Revolution as a change of man’s look to different material and Cultural matters of life; a period was produced in it a field for appearance of widespread series of inventions‚ explorations and innovations; and as a result‚ was bound for markets an accumulated bulk of western territories produced goods‚ which provided people’s necessary goods in a traditional method. The Fact that the appearance of this phenomenon what measure has influenced on Persian art and industries is a question the present research has tried to answer in brief. The present Studies consequences on Persian arts and HANDICRAFTS in two points of time‚ before and after the industrial revolution‚ revealed through this‚ happened a few general positions for Persian HANDICRAFTS: Some transformed and generally speaking‚ were produced in a modern form; another group rushed forward in rivalry arena more than ago and continued their motions brisk and powerfully; a few were forgotten and could not carry on with their survivals; certain came face to face with too little briskness; some by protecting authenticity and tradition‚ changed and continued their permanences.

In today’s world, taking advantage of social capacities and national capabilities in manufacturing HANDICRAFTS requires the application of new state-of-the-arts production techniques. In this regard, social manufacturing is an emerging phenomenon that serves as a new production ecosystem equipped with modern technologies and social networks. Therefore, this qualitative study sought to identify the requirements and challenges of applying social manufacturing to the production of HANDICRAFTS using the Grounded theory (Glaser method). To collect the required data, semi-structured interviews were made with twelve experts in the field of HANDICRAFTS and information technology who were selected through the purposive sampling method. The collected data were then analyzed using the MaxQda 10 software. On the other hand, the validity, transferability, reliability, and verifiability of the study were also measured to strengthen the findings. Finally, the collected data were analyzed through actual and theoretical coding. According to the study’s results, altering the manufacturing structure, fostering relationships with consumers, developing research and education, developing the infrastructures, and establishing production networks were identified as the main requirements of applying social manufacturing to the production of HANDICRAFTS. Moreover, the conceptual map of the study was drawn, including nine categories and twenty-nine sub-categories. The current study can fill a number of gaps existing in the application of social manufacturing in Iran.