Iran is home to various tribes and clans, each of which has a rich heritage and a mysterious background. One of these tribes is the Kormanj people who migrated to Khorasan from the west of the country during the Safavid era and today, with the passage of time and a result of their relations with other ethnicities in the region, many changes have taken place in their culture and art. Handwoven products made by the Kormanj people of North Khorasan are among the indigenous arts of this region. For the Kormanj, bread has always been especially important as they believe that bread is blessed food and the main source of sustenance. So, women of the Kormanj nomads made special cloths to keep bread in them. Those cloths are now known as Kurdish tablecloth kilim. Originally used to store bread, today they are often used as rugs or decorative works of art. Kurdish tablecloth kilims have a variety of designs and motifs. Patterns are often formed in the minds of their creators rather than being pre-designed. The main creators of Kurdish tablecloths are women and girls who are inspired by the natural world. Although today some weavers do not adhere to old patterns and weave newer ones due to changes in lifestyle, in most cases, the patterns are still reminiscent of the early nomadic lifestyle in this region. Once nomadic, they designed these motifs based on the nature and what they saw around them. Now that they have settled in one place, they have moved further away from the original designs, but some of those designs are still visible. Semantically, the motifs of Kurdish tablecloths are derived from the beliefs of the previous generations and express the cultural concepts of a nomadic society with a visually coherent structure. There are four groups of geometric, plant, animal and human designs. Animal motifs are more frequent than the others, due to the nature of the nomadic lifestyle. Nomadic dependence on animals is a necessity of their lifestyle and this is reflected in Kurdish tablecloth motifs. Animal motifs can take abstract forms like butterflies, symbolic forms like a ram’, s horn and naturalistic forms that depict different domestic and wild animals. Among the human motifs, pictures of girls appear more often, mainly because women and girls have often been the weavers of these tablecloth kilims. In terms of style, the patterns can be divided in two categories of abstract and naturalistic styles. Although old designs and motifs are changing due to the change in the people’, s lifestyle in North Khorasan, most of the motifs and designs are still the same as the old ones. The purpose of this article is to introduce the patterns of Kurdish tablecloth kilim and explain how they came into being. The data was collected through field method by conducting interviews and observation. Adopting a descriptive-analytical approach, different types of designs were studied and classified.

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.

Twist-weaving of kilim over the past centuries is preserved among the nomadic tribes of Kerman province, especially in Afshar tribe in Sirjan area and it has been used in decorating sofreh and salt bag. In recent decades, some changes are occurred in method of kilim weaving in this area and the "twist weaving" is used in all parts of kilim and has been famous as "Shirikipich Kilim". After rising "twist weaving" as an independent method, was combined with carpet weaving and in this way, was formed a kind of "Shirikpich Kilim" that it name is "kilim-carpet". Also the species of "twist weaving" were called “suzani kilim"; because of these kind have not been combine with "carpet weaving". The questions being raised; what kind of raw materials and weaving tools are used in "Shirikipich Kilim"? How are Technical Specification of warp plumbing and weaving? And what changes has happen in method of "Twist-weaving" in recent decades?So, meanwhile to study the method of "twist-weaving" of Sirjan's kilim of Kerman province, the entire process of kilim weaving has given in the text. Due to the short notes in some resources about techniques and factors of "Shirikipich Kilim" weaving, In this paper, techniques of sirjan kilim and it's changes of weaving was studied that have occurred in the past decades. This study is done by descriptive research with using of specialized carpet resources and field researches.

Kilim-weaving has a long history and is widely woven in rural life and some urban communities of Kerman. Having diverse kilim-weaving technique, one of the most famous and valuable kilims of this province is “Chehel-Māshūleh” of Bidkordūiyeh village, which was registered nationally in 2017. The special and unique weaves, diverse motifs and designs are subjective, abstract, among the most important characteristics of this kilim. The main objective of this article is to identify the technical features of the weaving method, the reasons for the naming and the factors affecting the formation and variety of the use of hand-weaves, motifs and designs of “Chehel-Māshūleh” of Bidkordūiyeh village. The information in this article was collected using field and library surveys with descriptive-analytical method. This research seeks to answer the question “what are the significance and unique characteristics of the technique and associated motifs that have been registered nationally”. The results of this research show that the innovation and skill of the Afshār tribe weavers have led to the formation of a rare weaving technique, in the form of “left-weave”, which has contributed the preservation and sustainable use in their personal and daily life to provide design and decoration of the their every-day objects in their life, work and even rest.According to archaeological discoveries, the history of weaving in Kerman dates back to more than 5000 BC. Motifs are the most important element in decorating these types of kilims, which have a great deal of originality. The results imply that most of these motifs are the result of the mentality of nomadic and rural women which are adopted from their life and environment, and ethnic traditions. In other words, these motifs are the abstracts of various elements and thoughts of the weavers, which are formed according to Iranian mysticism and Islamic civilization. They have woven these motifs with great skill on the carpet with an abstract and geometric style, but over time, they have undergone gradual changes and have evolved from simple to complex patterns. This process has created a lot of diversity in motifs, designs, and their use. The mental weaving and repetition of motifs have caused the diversity and multiplicity of motifs colors and names in the Chehel-Māshūleh kilim. In other words, it can be said that any work or artistic field, which has appropriate, logical, orderly, balanced structure and is rooted in the tradition, is picturesque. Therefore, most of the nomadic and rural handwoven with the Chehel-Māshūleh kilim style has the same characteristics while preserving the native identity and regional authenticity. As a result, it should be said that the nomadic art of this region is a pure, amazing, beautiful and useful/practical art.

In their arts and handicrafts, Shahsavans of Moghan who are the inheritors of Central Asia culture and art have been influenced by their ancestral originalities as well as neighboring civilizations. In step with immigration and the expansion of their summer lands they have used vastly the ideas and thoughts of the artists whom they met in the creation, processing and distribution of motifs and decorations so that the share of each land’s artists is vividly seen in their works. In the late Qajar time, their cultural transactions entered a new phase. Such changes can be observed in the motifs of hand-woven objects, especially kilims, better than other cultural and artistic domains. Comparing the pattern of Kurgani stripes in Shahsavan kilims with the works of sedentary people woven in the late Qajar time in the province of Ardebil, this study aims to find an answer for these questions: what are the visual features of each of them and which similarities and differences do they have? Thus, the aim of this research is the identification and analysis of features triggering the similarities and differences in such works. The type of this study is qualitative and, regarding its comparative nature, it uses descriptive-analytic method. The date has been gathered via library and field work. The visual analyses have been carried out by referring to 8 indicative and 16 comparative samples of motif details. Comparative findings of motifs imply that Shahsavans are under the influence of sedentary people regarding the composition of patterns and simplification of motifs. On the other hand, they have influenced such people considering decorations and elaborate ornaments. Economic, environmental and social factors as well as tribal immigrations play very significant role in such exchanges.

Iranian handicrafts have a brilliant, long history and Iran is considered one of the main centers of this field in the world. Kilim (a flat tapestry-woven carpet) is one of the branches of handicrafts and kilim weaving in Gilan, in comparison to other branches of the handicrafts in this region, is regarded as one of the most important fields with stunning patterns, colors and textures. The variety of Gilan kilim designs and motifs is so great that by putting them together, some new, original and beautiful motifs would be achieved. Throughout history clothing has always represented the culture, personality and dignity of individuals and due to its great importance in people’ s lives, it must have been rooted in people’ s traditions and believes. The purpose of this study is to identify outstanding aesthetic potentials in Gilan kilim, and to provide a situation where these old and traditional designs and motifs can be used in designing modern clothes in the form of office suits. The present study seeks to answer the following questions: Could the patterns of Gilan kilim be used in clothing, especially for men’ s and women’ s office uniforms? Could the designs of such clothes only be applied in this area? The statistical population in the present research is the motifs of Gilan kilims and the sample size is 28 kilims. Based on library and field studies, and descriptive-analytical methodology and qualitative study method, these designs and motifs, as an unwritten encyclopedia of local historical symbols, can also be effective in the growth and development of other arts. In terms of design, Gilan kilim is classified into two categories: designs based on structure and those based on motifs. The structure-based designs can be divided into five groups, including: vā gire’ i (adjacent/interlocking patterns), moharramā t (striped pattern), qā bi (frame-like), toranjdā r (medallion) and pictorial; and the motif-based designs are the same in number and can be categorized as: zoomorphic, vegetal, objects, humans, and abstract. Among these five designs, abstract designs are the most widely used and diverse ones seen on Gilan kilim. The application of such designs in these textiles is directly related to the beliefs of the weaver, weather conditions, daily life, food, clothing and the like, with symbolic meanings. The present study aims at studying the motifs of Gilan kilim, and it shows the possibility of using the mentioned designs in both types of women’ s and men’ s clothing in the form of office uniforms. The suits of each set could provide some benefits such as advertising purposes, giving prestige and increasing the credibility of that institution. All this should be prepared with regard to the goals of the organization, environmental climate, working environment and maintaining working personality. In this study, clothes are designed on the basis of the five motifs of animals, plants, objects, humans and abstract shapes and they should consider masculine and feminine office suits for a particular organization; which is related to the goals of that place. These designs have been selected by taking into account all the cultural and historical rituals and ceremonies of the people of Gilan. They have been presented to explore the possibility of encouraging diversity and continuous changes in them after negligence, for not going out of fashion. The results indicate that the motifs of such kilims have been in harmony with the natural environment of the region, which is formed and developed over thousands of years. Using such traditional motifs in clothing design is an attempt to change the modern clothing fashion with a formal and official nature.

The ability of plant communities in natural ecosystems to modify temperature has become increasingly important due to the profound impacts of global climate change, particularly in arid regions. However, previous studies have provided limited information on the long-term temperature feedback of these plant communities and the biotic drivers behind these changes. This study aimed to determine the functional traits and types of plant communities as biotic drivers of land surface temperature (LST) at the plant community scale, with a focus on identifying co-functioning communities in the Sirjan region of Kerman Province. To achieve this, we utilized the MODIS-LST 8-day composite product at the plant community scale and measured functional traits of dominant species through field operations. The results revealed that leaf dry matter content (LDMC), maximum height (MH), and leaf width (LW) traits significantly reduce LST. Additionally, cluster analysis indicated that the plant communities in the study area can be classified into five functional groups, which fall into two co-function categories. The S-strategized co-function (e.g., 26 communities), characterized by high LDMC values and a combination of abrupt and trend feedback in LST, was found to be more effective than the R-strategized co-function (e.g., 13 communities), which exhibited only trend feedback. Therefore, it can be argued that extreme temperatures, as a global concern, can be mitigated through careful selection of vegetation based on functional traits and strategies. This approach, particularly through rangeland improvement practices using species such as Astragalus spachianus, Cornulaca monacantha, and Launaea acanthodes, could play a significant role in addressing this challenge.

The design of rug and carpets (kilim) have artistic values and capacities which are not known enough for the artists and scholars. As some of such motifs belonging to the carpets of the city of Jiroft have been extracted by the creative mind of artist without any direct connection with the nature, this paper focuses on such motifs which are similar to natural elements in their visual representation and names. This article aims to study the degree of influence and inspiration, obtained by these motifs from nature through a historical, descriptive and analytic approach.As a conclusion it could be said that all of the motifs and colors belonging to such carpets have been attached with the cultural traditions and beliefs of the local artists. In addition, the usage of abstract motifs of animals and plants of Jiroft reveal the high influence of the environment on Jiroft weavers.

One of the most important forest trees in the south of Kerman, which plays an important role in the region's ecosystem and beekeeping industry and is infected by wood-eating beetles, is Prosopis cineraria. These trees are an important habitat for various animals and refreshing the hot air of the south. In the sampling conducted during 1401-1400 from the mesquite forests of southern Kerman (Ghaleganj, Faryab, Anbarabad), the wood-eating beetle Xylopertha reflexicauda (Bostrichidae) was collected for the first time from Prosopis cineraria trees and is identified. The species of wood-eating beetle was identified by reliable scientific sources and was finally confirmed by Mr. Dr. Len Yu Liu. This species was first identified and described by Lesne in 1937. Due to the lack of water and recent droughts and the weakness of Iranian mesquite trees, the larvae of this beetle are active inside the trunk and bark of mesquite trees and feed on the wood and bark of tree trunks and cause great damage to Prosopis cineraria trees.