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.

The outstanding importance of Soozani Samarghandi’s Divan (collection of works), the poet of sixth century, is due to the use of numerous words related to overseas as well as less frequently used words in two Arabic and Persian languages. The lexical aspect of Divan originates from the assiduity of lexicographer to Soozani’s poetry to elaborate the meaning of words. Due to the unfamiliarity of some related words, distortion and falsified correction made and the related results got into the typographic text of Soozani’Divan published by Nasseraldin shah-e-Hosseyni. This research aims to correct 12 couplets out of Soozani’s Divan volume. It is conducted based on the newly published manuscript. To this end, the picture of manuscript provided. The required data collected by referring to presented manuscript and some other Persian dictionaries .Since manuscript of Soozani’s Divan are mostly succedanous and related to Safavi dynasty and the next era, it has undergone distortion and correction. In the present study, 12 couplets corrected by referring to library references. To do this, the collected couplets compared and various dictionaries were used to describe and analyze the couplets.

Since old times, many books have been written about Persian poets, providing biographical information about them. At first glance, most of the materials seem to be completely valid, but when examined precisely and critically, plenty of contradictions and differences arise. Thus, it is a better idea for researchers to refer directly to the poems to extract correct information. One of the greatest Persian-speaking poets is Suzani Samarqandi. Academicians know him mostly for his obscene literature. Therefore, they have not paid enough attention to him. This essay is an effort to evaluate some biographical materials about Suzani based on his own words. It also tries to dispel some doubts and uncertainties of contemporary researchers about his life — regarding his date of birth and death, his repentance in old age, and his religion. It demonstrates that Suzani was born between the years 476-486 AH and died in 569 AH. He most probably followed the Hanafi School. Moreover, he most probably did not stop writing obscene literature and panegyrics until the end of his life. From his mid-life on, however, he expressed regrets about his obscene literature and the eulogies he had written for the people in power.

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.

Satire is one of the sub-categories of lyric literature, which due to the dominance of ethical criticism, has not as yet received proper attention. This study has addressed the most important stylistic characteristics of Suzani’s satires examining them at linguistic, literary and intellectual levels. However, attempts have been made to avoid mentioning verses in which obscene and repulsive expressions have been used. The research method adopted is descriptive-analytical, and the findings are examined by applying the technique of content analysis in the manner of library and document search.The results indicate that Suzani’s satires are mostly personal, indirectly sardonic and unrealistic. Further, his use of Qur’anic references demonstrates that his knowledge of Arabic and Qur’anic sciences was mediocre. His language is not polite and, instead of competing against his opponent’s poetic art, he chastises his physical and temperamental qualities.

Editing Soozani Samarghandi’s, a 6th century poet, complete poetical works book which was accomplished by Dr. Naser-o Din Shahhosseini in 1959. Due to the fact that earlier manuscripts dating back to the poet’s life time were not available, the editor used later ones. This ignorance of using the more reliable manuscripts in some cases and also disregarding the literary tradition and its indications for editing has led to the deliverance of a disorganized, unsystematic work to the readers which is marred with frequent errors. Misreading complex and special Turkish and Arabic words is another problem with this edition. Since its publication, several criticisms have been made to this editing of this book of poems which led to publishing a number of articles in reediting the couplets. Considering the lack of access to earlier manuscripts, this article tries to reexamine and edit some of the couplets in the complete book of poems of this poet by using some notable dictionaries including Jahangiri Dictionary and Dehkhoda comprehensive encyclopedic dictionary.  Keywords: Sozani Samarghandi’s Complete Poetical Works Book; Editing; Misreading Introduction:Suzani Samarqandi is primarily recognized for his humorous compositions, a factor that has contributed to his relatively limited attention in scholarly circles. In the year 1338 SH (Solar Hijri calendar), Naserodin Shah Hosseini undertook the task of editing and publishing his anthology. However, the widespread misreadings and textual corruptions within that printed edition prompted subsequent scholarly endeavors, including the present article. An examination of the writing dates of some existing copies of Diwan Suzani Samarqandi reveals that all of them postdate Farhang-i Jahangiri. Some of these manuscripts include the Sepahsalar School version (Martyr Motahhari) with serial number 418 and a transcription date of 1033; the Malek Library version with serial number 5615/2 from the 13th century; the National Library version with serial number 1487 and a transcription date of 1265; the Library of IRAN Parliament version with serial number T 26 and a transcription date of 1272; the Library of IRAN Parliament version with serial number 13602/2 and a transcription date of 1274; the Malek Library version with serial number 4996 and a transcription date of 1299; the Dehkhoda's Lexicon Institute Library version with serial number 92 from the 13th and 14th centuries; and the Library of Hazrat Abdul Azim Hassani version with a transcription date of 1246.In this article, due to the relative absence of manuscripts closely aligned with the poet's era and the predominance of later transcriptions, the editorial correction of verses has been undertaken using the Farhang-i Jahangiri, which boasts a longer historical pedigree among the available manuscripts.  Methodology:The research methodology is library-based, involving the examination of the printed version of the Divān and the scrutiny of verses identified as corrupted. Through an investigation into the Farhang-i Jahangiri and, in some instances, consulting Dehkhoda's lexicon, we discovered and documented the accurate forms of the verses. Discussion and Analysis:In this article, the distorted verses of Sozani Samarqandi were examined in three sections. In the first section, verses were scrutinized and corrected using the Farhang-i Jahangiri, and, in some cases, Dehkhoda's lexicon. The terms investigated in this section include: Documentary Confirmation of CorrectionsCorrected termsDistorted termsNo.Dehkhoda, JahangiriGhomaytareMohantare1Dehkhoda, JahangiriGhatfareGhanghare2JahangiriAnjDenj3DehkhodaTab TizTab-e-Tire4DehkhodaShams GhātfariShemsh Ghātfari5DehkhodaOzandOrjand6Dehkhoda, JahangiriPāzājBāzāj7Dehkhoda, JahangiriKhashukHasuk8JahangiriGowzKowz9JahangiriMeghlājMelāj10DehkhodaKumājKubāj11Dehkhoda, Historical evidenceToghmājTamāj12DehkhodaTim Arus, Tim MalekNim Arus, Nim Malek13DehkhodaBājTāj14DehkhodaChekākHakāk15JahangiriMordāramMorvāram16Jahangiri, the manuscript of the ParliamentBaghandBafand17Dehkhoda, Historical evidenceMarandParand18 Second: Verses were identified and corrected based on literary evidence and indicators, sometimes utilizing the rhyme patterns of the poetry to discern and rectify errors. Documentary Confirmation of CorrectionsCorrected termsDistorted termsNo.meaningAbkamAbras1meaningSetamSiam2meaningChameJame3Meaning, poetic evidenceTang ShakarMoshg-e-shekar4meaningNyakSabak5Meaning, Rhythm of the poemBaradBedard6MeaningDa’dVa’d7Meaning, duplicate versionMosamanMotman8Meaning, Rhyme of the poemGhamāmYaghmā9Meaning, Rhyme of the poemGazandGoriz10Meaning, compatibility with "Nal Band"ChatrdārChatr Dārad11meaningKākhTāj12meaningHashamKhashm13meaningKhasmHazm14Meaning, Rhyme of the poemChandanChandān15meaningNahmatTohmat16meaningFarr-e-FerdowsGher Ferodosh17Meaning, Rhyme of the poemKhyālKheyl18Meaning, specific lexical evidenceSehnSejl19Meaning, compatibility with other words of the verseDorZar20 Third: Typographical Errors. The present correction also accounts for typographical mistakes, which are not few in number, and the lack of precision in this matter has diminished the credibility of the corrections. In this research, 26 instances of such errors were identified and illustrated, Conclusion:Reflection on the verses of Divān of Suzani Samarqandi, corrected by Naserodin Shah Hosseini, reveals numerous instances of errors and distortions that can be rectified by consulting extratextual sources. In this research, we have meticulously scrutinized and corrected the verses using the Farhang-i Jahangiri, which historically predates the available manuscripts of this work. Simultaneously, considering literary indicators and rhyme patterns, we have identified and rectified errors. Additionally, we have acknowledged and addressed certain typographical mistakes in the text.

The former researchers have corrected many texts, but in view of the contemporary researchers, by passing several years of their great work, it is necessary to correct some of these works, especially, when new manuscripts have obtained. The poetical work of Suzani Samarqandi that was corrected by Naser-al-din ShahHosseini is an ancient poetical work which needs re-correction. The comparison of some odes from Suzani with newly- found versions shows the necessity of re-correction of this poetical work. The errors which have entered in this poem have several reasons including: not having the correct version, not selecting the correct version of the text, inaccuracy in reading, printing errors, omitting or changing the place of odes or couplets, mixing different odes with each other, mixing the Suzani's poems by the others poems. A part from these, there are more different couplets and odes, too, which, in spite of being in different Suzani's poetical work versions undoubtedly belong to him, are not observed in printed versions. No available ancient manuscript from Suzani is available now, as other pioneers in Persian literature. Therefore, in this study, in order to solve his poems difficulties, in addition to using manuscripts, we have used dictionaries and anthologies.

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.