Textiles are considered the manifestations of each civilization that have roots going back to thousands of years ago. This craft art is divided in too many different branches, one of the most important ones being tapestry. This research is the study of tapestry which is based on historical view from middle ages up to now. Therefore these hand-woven’s concluded the noble cultural concept of its creator, this research is based on the cultural, political and belief effects being in aEuropean society. Besides the examinations, we realized that during a long period the creation of these hand-woven’s was based on the past heritage and beliefs by having a seeking creative case. Therefore this research aims at being familiar with European TAPESTRIES, so it will lead to deeper research. The method of this paper is according to library and recorded materials based on a historical and pictorial sources.

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.

Persian carpet weaving is one of Iran's most famous industries that has attracted the world's attention to Persian arts through the centuries. What above all, have given prominence to Persian carpet as a beautiful work of art is the pattern and its composition in a two-dimensional space. The diversity of patterns, use of deep and beautiful colors, good composition, harmony of colors, delicate and poetic composition are among the most outstanding features of Persian carpet. Industrial advancement and development of transportation in the 19th century led the western explorers to travel eastward making them acquainted with the cultural heritage of these civilizations. William Morris, the leading thinker and artist of the British Arts and Crafts Movement is among the first to conduct a research on Persian carpet's patterns and designs. In this paper, we are proposing a semiotic approach to the transaction between Persian artists who made beautiful and ever-lasting carpet designs and william Morris as a pioneer of Pre-Modern Movements in Europe, who studied and recognized the underlying principles of Persian art (mostly carpet), and applied them in a creative way to his own remarkable hand-made designs.

Today, change of attitude to carpet studies is seriously felt because such area is experiencing changes in its value system.Carpet has changed from a purely functional object into a significant and multi-dimensional medium. Discursive system of Kerman’s carpet with its brilliant history can be considered as one of the most important centers for the production of discourse and meaning in Persian carpet system. Discursive system in Kerman’s carpet has several dimensions in which intercultural process can be considered as one of the active discursive fields. A number of Kerman’s Qajar carpets belonging to pictorial genre display deep intertextual relations with French pictorial TAPESTRIES. These carpets depict mythic narrative in the form of visual texts by a translating process based on visual system. These visual translations can imply the deep meanings of intercultural relations in a discursive action.Using semiotic approach and comparative analysis method, this research aims to answer the following main questions: which mechanism does intercultural relations process in discursive studies of Kerman ’ s carpet follow and which discursive elements can be effective in semiotic analysis of the intercultural relations process? By studying intercultural relations in two kinds of visual texts of Kerman ’ s carpet and French tapestry, this article has tried to show intercultural relations mechanism in different media and cultures. In order to achieve this overall purpose, meaning or meanings that are searchable in the communication process will be evaluated.

The Persian skills and initiative in weaving Indus- try, has a deep antecedent and history. About 3000 to 3500 B.C, knitting a delicate cloth by a weaving wheel was customary. Some of the Lorestan bronze cups, which have a Susa style, indicate the fabrics that have an interesting pattern design in themselves. Some other references indicate that they also embroidered and filigreed the cloths. The oldest Persian cloth that was made from herbaceous material, has been discovered from the grave of a child in the "Shahr-e-Soukhte", which is about 4700 years old. Achaemenian also was famous for weaving woolen cloths and delicate fabrics. Achaemenian' s glazed tiles in Susa indicates some of the floral fabrics that their designs was certainly embroidered. The Sassanian (3-7th c. A.D) textile art - which is the last part of the eastern ancient fabric design - is important significant element of Persian art, because of visual aesthetic values, symbolic ornamental motives~ use of natural and organic colors and weaving technology.Metallurgy, sculpture, pottery, and other forms of decoration shared their designs with Sassanian textile art in this time. Silks, embroideries, TAPESTRIES, and rugs were woven with servile patience and masterly skill. The two dozen Sassanian textiles that escaped the teeth of time are the most highly valued fabrics in existence. Even in their own day Sassanian textiles were admired and imitated from Egypt to Far East. Presence of geometrical and floral fabrics and currency of textiles with magnificent animal design and human figures, prove the application of high technology and advanced weaving machines in Sassanid period. Geographical and transitional situation of Persia and the estimate of Persian textile design in the ancient world, causes that many of the neighboring civilizations, such as Byzantine, follows the similar conceptual and ornamental patterns that practiced in the Sassanid period. Since the 4th century, the Sassanid policy had been to export various products to Egypt rather than raw silk to the Mediterranean in general. So under Justinian in the sixth century, silk worms were smuggled in and used to begin a local royal silk industry. There was a small but wealthy market for such products and the emperors jealously guarded the technology. Naturally, the Sassanid silks that had been exported to Byzantine offered a model. In this paper we have tried to review the historical, political and artistic aspects related to Sassanid and Byzantine empires, by help of historical-comparative analyzes. The paper also deals with main concentration on ornamental motives, design contents and the main structure of their composition that applied in the fabrics of Sassanid and Byzantine period, with respect to the inter relation between their forms and concepts. Comparative analyzes between them shows the Sassanid textiles had a deep influence on Byzantine fabrics. In spite of the power and authority of Christianity as a formal religion in Byzantine, it is surprising that symbolic conceptual forms and religious patterns of Persia had been developed and used in Byzantine textile industry.

The reflection of religious themes and stories that gradually became popular in the carpet weaving system of Iran from the Qajar era, has gradually become one of the significant parts of the iconography system in the design of Iranian carpets and pictorial designs. Among them, we can refer to the subjects taken from the holy books of the Old Testament and the Torah, especially the stories related to the apostles of the Israelites, in the carpets ordered by merchants and donated by influential Jewish people. "Taj-e Torah" is the special hand-woven works of the Jews, which includes selected parts of the sacred texts of the Jews, which are woven into carpets and TAPESTRIES with a religious-ritual and propaganda nature, to be installed in the synagogue. It was woven as a gift to special people to introduce Jewish law. This article aims to introduce these symbolic hanging wovens and read and analyze their content from a semantic and symbological perspective. The research question is, what are the hidden and implicit meanings behind the symbolic motifs and decorative arrays of the carpet text? Some of the findings of the research include the following: symbolic elements that have hidden layers of meaning in the crown of the Torah, including crown, angel, altar, palm, vine, sun, lion, pillar, wall of Nadba, Beyt Al-Moghadas (Jerusalem), Kandil, fountain, Star of David, Horse and Chariot, Trumpet (Shofar), each of which refers to a phenomenon or event. In the past, "Taj-e Torah" were woven from wool in the dimensions of carpets, but gradually they were woven from silk in the size of hanging decorations. Their design and formal structure is of pillared altar type with six-frames and mostly fixed pictorial narratives, in some cases, one or two new narratives have replaced the older ones. The contents of the narratives are the spring flowing from the stone with the staff of Moses, the image of Moses and the reading of the tablets of the Ten Commandments, the glorification of the cherubs (angels), and the arrival of people's prayers to the upper world, the Ascension of the Prophet Elijah to the sky, the sacrifice Isaac/Ishmael, the image of Aaron and the seven-branched menorah candlestick. This research is of qualitative and developmental type, descriptive-analytical research method, and library data collection method. The background of the carpets as a native and practical art, since the time of Qajar, and at the same time with the development of cinema, photography, and printing and the popularization of pictorial carpets and symbolic weaving, as a kind of media for subjects, became different. From this point of view, Jewish pictorial carpets were the important manifestations of this movement, which narrated the narratives and stories related to the sacred texts of Jews, the ups and downs of the people of Israel, and the stories of the apostles of this people in the form of images and icons. Therefore, Taj-e Torath carpets and TAPESTRIES (Keter Torah) are special examples of Jewish images that were woven and presented with the mentioned purpose. Torah crowns are ritual-decorative hangings with an almost definite and fixed figure and structure, whose content is narratives (generally six) of the themes of the sacred texts of the kilim and the icons of the prophets of Israel. Currently, due to the change in social conditions, attitude and way of life and the dimming of the ritual or the way of propagating the rituals and rituals and more importantly the migrations or the death of the ordering Jews, the weaving of Taj-e Torah has stopped and since their topics and content are specific and related to a specific religious class, it is difficult to access them. Therefore, by searching on reliable sites, access to twelve samples (six carpets and six woven panels) of them was possible. In this research, with the aim of semantic and aesthetic reading and discovering the symbolic meanings of their roles and paintings, they will be studied, examined, and analyzed in form and content. The Jewish people or the followers of Prophet Moses, who are also known as Kalimis in Iran, entered Iran from the distant past and settled in different areas, especially Kashan. "For several centuries, Kashan provided the most favorable environment for their coexistence and growth compared to other parts of Iran and the world. The conditions are so favorable that some Jews have called Kashan a small Jerusalem or a galaxy of Jewish scholars and writers" (Heydari & Falahian Vadaghani, 2013, 59). Trade and commerce have always been some of their most important professions; In such a way that in various professions and occupations, the biggest merchants were Jews. From the distant past, the art-craft of hand-woven carpets has always been considered one of the most important business areas of the Kalimis in Iran, so that "according to the atlas prepared from Jewish history, their traders from the century 6th BC, they started trading in Iran, and carpets gradually became one of their important commercial goods. As Shushtar was the center of carpet trade in 548 AH" (Gilbert, 2003, 11). Benyamin Todolai, a traveler and a Spanish Jewish rabbi, has collected useful and valuable information about the Jews of Iran. During his many trips to different countries, including the Middle East and North Africa, he studied the situation of the Jewish population and wrote in his narratives: At the end of the second century AD, most of the production and weaving of Iranian carpets was the result of the work of the Jewish population who lived in Hamadan, Isfahan, and Shiraz. Also, according to another of his contemporaries, the Jewish population of Shushtar (ancient Susa), which was approximately fifteen thousand Jews, was practically in charge of the trade of carpets in this region. Based on the examples in museums and authentic collections, the subject and theme of Jewish carpets and rugs, which are without exception considered to be pictorial type, include religious and ritual subjects. Subjects related to religious, moral, and Sharia narratives and excerpts from the lives and events of the messengers of the Israelites such as Noah, Abraham, Jacob, Yusuf, Suleiman, and Moses, signs and symbolic roles, events related to the Jewish people, and the Torah. These rugs are woven to introduce, promote, and remind the place of religion and the moral and ruling concepts mentioned in it. Kashan, Tabriz, Kerman, Isfahan, and Qom are prominent cities in the weaving of Jewish carpets. Although these carpets were woven in the past, nowadays their text and content are woven in the form of small-sized panels, mainly with silk. The types of carpets, rugs, and pictorial and narrative woven hangings of Kalimis, were woven in abundance in the cities of Kashan, Tabriz, Kerman, and Isfahan in the 19th century and during the Qajar and Pahlavi eras. There are special and relatively common examples with a religious-ritual function, in rectangular and mostly square shapes and in various dimensions and sizes, such as panels, backs, half cubits, two cubits, and rugs, which have figures and the physical structure and often the content are the same. However, the designer, according to his taste and creativity, may make changes in the type of patterning, composition and arrangement, dimensions and number of motifs, as well as coloring and the use of various colors. These hanging woven are known as "Taj-e Torah" or "Keter Torah" among Kalimis. From a lexical point of view, the phrase "Taj-e Torah" is used due to the presence of the crown above and in the middle of the hand-woven and considering that the hand-woven theme is part of the content of the Torah book and its teachings. The Taj-e Torahs is a woven or ritual-ornamental figure specific to the Kalimis, the subject of which was selected parts of the Torah. The designer used to paint and embellish the surrounding subjects. In the old examples, the surrounding of the woven is decorated with ornamental hangings or bouquets. In the past, the Taj-e Torah was woven in large dimensions (carpets) and later, especially in the middle of the last century, in smaller dimensions and sizes (panels). Also, the types of "Carpets" were made of wool and were often woven in Kashan and the types of "Panels" were made of silk, and the cities of Tabriz and Qom have silk products. Like other Jewish carpets, they are of a religious, ritual, and commemorative type to promote and remind some of the narratives and historical angles of the Old Testament, the Torah, the Jewish religion, and the apostles of the Israelites. The Taj-e Torahs were offered and woven to be installed in synagogues and temples or hung in houses by orders of merchants or religious and cultural dignitaries.

At the same time as the industrial revolution and the production of factory products in the West, handicrafts gradually got out from the competition and went to the sideline. Due to the exclusive features of each of the handicraft’ s fields this conversion of situation was not the same. Metalwork with its specific features has also gone through the ups and downs. In the present research these questions are considered: Has the European industrial developments been the cause of changes in the craft industry in Iran? And if the first question proved, on which features of the decorative, formal, technical and structural features of traditional Iranian metalwork have influenced? The aim of this study is understanding Influential components on Iranian handicrafts especially in metalwork and utilizing the results of the research to revive the lowpowered characteristics of traditional metalworking and to compete again in this area. The research methodology is also based on collecting and reviewing the data and samples in the important periods before and after this important historical and documentary event and analyzing them with written texts and resources simultaneously. Data studies have led to the conclusion that Iran's metalworking prior to the industrial changes of the West has continued with changes since the Industrial Revolution. These changes have more to do with the application, material, color and etc. Simultaneously with the Industrial Revolution and the production of factory products in the West, as well as the creation of Western styles, methods and schools of art and the vast changes that took place in the definition and interpretation of art compared to the past, traditional arts and handicrafts gradually out of competition. And went to the margins. Many of these products, which were once the main and most important tools and equipment used by the people and the court, became cultural and traditional goods during the 16 to 20 and 21centuries AD and became more of a gift for gifts, treasures and cultural artifacts. They became the focus for Iranians and foreign travelers. Iranian metalworking as one of the most important industries with characteristics such as material, application, tools and methods of construction, various decorations, patterns, inscriptions, themes and concepts of patterns, forms, etc. were not equally affected in the face of the industrial revolution. Some features of metalworking underwent fundamental changes and some features did not change much. Some became very weak, some rode in the eric of these developments, and some continued to live with changes. were not equally affected in the face of the industrial revolution. Some features of metalworking underwent fundamental changes and some features did not change much. In general, from the late Safavid period to the middle of the Qajar period and the beginning of the reign of Nasser al-Din Shah (1848-1895 ) AD, the import of industrial and artistic products of the West to Iran was less and from the reign of Nasser al-Din Shah, the relationship between Iran and the West became wider and wider. And led to travel and reciprocal travel. The concern of the present article was that the industrial developments and the corresponding introduction of various products of factories and also the change of deep attitude towards art in comparison with the past in Europe have caused changes in which of the decorative, formal, technical and structural features of traditional Iranian metalwork.? What is the situation of these possible changes in Iran's metalworking position compared to the past? A general view of a variety of past metal products reinforced the assumption that all disciplines and products related to metalworking, including construction, shape, decoration, motifs, subject matter and concepts of motifs and applications gradually and after the Industrial Revolution Has been influenced by the industrial and artistic developments of the West, This effect has not caused complete oblivion or transformation of the works and the products produced, with traditional concepts and functions and the type of construction and to some extent the decoration in the Western way has continued its life. Knowing the original characteristics of Iranian metalwork and its distinction from the characteristics of Western art doubles the need for research. Accordingly, the aim of this study is to identify the hypertextual effects of the West on Iranian metalworking to revive the indigenous and traditional characteristics of this broad and long-standing field and re-compete in this field. The research method was to study and describe the documents before and after the period of transformation (before and after the period of Naser al-Din Shah) in Iranian metalwork in terms of material, decoration, artistic skills, engravings, etc. that can be based on the information obtained. Recognized the originality or effectiveness of the work. Metal works that could be studied in written sources, museums and private collections inside and outside Iran were very numerous and highly scattered this situation made them difficult to access and beyond the size of an article. For this reason, by using the non-probabilistic and random selection method, from the multitude of metal utensils, objects and tools, 300 works belonging to the pre-transformation period and 300 works belonging to the post-transformation period were selected. Since the features associated with metalworking were varied, including construction, polishing, decoration, engraving, inscriptions, and the like, To describe and analyze each of them, the following options were considered: role, form, application, line, gender, technique, subject matter and product type. Each of these options, due to its breadth and variety, was divided into sub-options and sub-options. . For example, the "decorations" variable included more detailed options such as embossing, plating, wire work, carving, machining. Studying 600 metal works with structures, forms, ornaments, patterns and other features produced results almost in line with the hypotheses. Circular-shaped works, from the middle of the Qajar period onwards, have become much more diverse due to the use of new tools, and despite the continuation of past methods, industrial casting has affected the production of more metal products in the second Qajar period. The diverse uses of former metalwork, especially government objects and jewelry, have continued into the new era, but their general use has declined ( Figure 1, 9-12). The writing on the metal works in the first period, with the greater use of the third line in the second period, shows the construction of the necessary equipment for mourning, taziyeh ceremonies and other religious performances (Figure 4, 18-21). Which includes all kinds of signs, boilers, signs, gauges and the like. Reduction of metals such as bronze in the new period compared to the previous period, and the use of new metals such as Warsaw, the use of iron and gold in the second period compared to the previous one, explains the excessive interest of the later Qajar kings and after them in collecting jewelry and using iron in new constructions (Figure 5). The prominent presence of decorations on coatings, machine lathes, TAPESTRIES and enamels, while showing more variety of colors in the second Qajar period onwards, is a reason for using new techniques and sometimes foreign orders for metal works (Figure 6, 13-15). Also, in relation to the subjects used, it can be said that the change in the use of works from the military and folklore of the pre-transformation period to decorative applications determines the gradual functional shift of metalworking in the two periods before and after the Industrial Revolution (Figure 7, 16-17). In response to the second question: "What is the situation of these possible changes in Iran's metalworking position compared to the past "? It can be answered that Iran's metalworking continued before the industrial developments in the West, with changes in the period after the Industrial Revolution.