The purpose of this paper is examines the domestic consumer behavior to income changes¡ floor coverings price (calculated income elasticity¡ price elasticity and cross-elasticity)¡ handmade carpets and of carpet by machinery.
The results of the models using OLS method in the 1984-2010 shows that Both handmade carpets and carpet by machinery floor covering products are elastic goods; although¡ carpet by machinery is more elastic than handmade carpets. This implies that the reaction of consumer''s carpet by machinery greater than consumer''s handmade carpets (assuming an identical change in the price of both flooring). Due to the cross-elasticity values ​​obtained¡ in the estimated domestic demand for handmade carpets¡ the carpet by machinery¡ rugs and moquette¡ ceramic tiles are the stronger substitutes for handmade carpets.
Due to the cross-elasticity values ​​obtained in the estimation of demand functions for carpet by machinery¡ the ceramic tile¡ handmade carpets and rugs and moquette¡ carpet by machinery are stronger substitutes. With respect to the values ​​obtained in the estimation of income elasticity of demand functions¡ both handmade carpets and carpet by machinery are luxury goods; although the income elasticity of handmade carpets¡ is more than the income elasticity of carpet by machinery.

Oriental carpets, Persian ones in particular, were not thoroughly known until the early 20th century. These carpets were generally collected by collectors for their mere beauty or material value rather than for their historical or cultural aspects. At the end of the 19th century, some researchers tried to acquire more knowledge about Oriental carpets. Lessing, Bode, Riegel, Martin, and Sarre were among the leading characters. The scientific analysis of carpets in the Western academies began with the two schools of Berlin and Vienna. One of the concerns of these researchers in this period was the explanation of technical and aesthetic models of identification for categorizing and assigning Persian carpets to specific weaving geographies. Since the data in this period were generally obtained by relying on museum carpets and the library method--rather than by survey, there was no accurate knowledge about the variety of the designs, patterns, and methods of weaving and production of Persian carpets. Thus, the classification, dating, and assigning of carpets to a carpet-weaving area was done every now and then with incorrect criteria. Kashan was one of the areas of carpet weaving that were neglected in Western studies in the years between 1901 and 1926 due to the lack of information or incorrect assignments.

The goal of this research is to identify and analyze the method of categorizing and assigning carpets to the weaving geography of Kashan from 1901 to 1926 in Western studies. The authors have tried to answer this question: what methods have Western researchers used in this era to classify and assign carpets to Kashan? The research was carried out adopting a historical approach and a qualitative analysis, based on library data and first-hand documents, by the means of note-taking. Almost all available samples in the time span from 1901 to 1926 were referred to.

According to the findings of the research, from 1901 to 1910, the knowledge about the weaving geography of Kashan was very limited, and carpets weaved both in the Safavid and Qajar eras, including the Kashan silk group, Salting, or Polonaise, were all assigned to other regions. Even in the categories provided by early researchers of the Iranian carpet weaving geography, the name of Kashan, as a carpet weaving region was generally absent. For the first time, Ripley (1904) mentioned Kashan as one of the subsidiary carpet weaving areas in Iran. Also, in this decade, researchers never mentioned the geography of Kashan carpets in the assignment of the Safavid carpets in the European collections except for the Ardabil (Sheikh Safi) carpet, which was attributed to Kashan because of its inscription. Although Lewis (1911) has classified Kashan as one of the subcategories of Azerbaijan textile geography, but between 1910 and 1920 the knowledge and, consequently, the studies about Kashan carpet weaving expanded. Hawley (1913) described Kashan as an important area in the field of carpet weaving in Iran. He carefully investigated the technical and aesthetic characteristics of Kashan’s carpets in the Qajar era. Moreover, Pünter (1917) for the first time introduces the group of Kashan pictorial carpets to the western scientific community. The years between 1920 and 1926 can be considered an important period in the recognition of Kashan’s new woven (Qajar and Pahlavi) and antique (Safavi) carpets. The key figure of this period who played a prominent role in this identification was Pope. By holding the Chicago Exhibition in 1926, he established the name of Kashan as a prominent city in the geography of Iranian carpet weaving, where probably some of the most prominent Safavid carpets were woven. It should be mentioned that in the same period, Kendrick in 1922, for the first time, challenged the hypothesis that Ardabil carpet was woven in Kashan and argued against it. Later, Pope rejected the hypothesis in his "A Survey of Persian Art from Prehistoric Times to the Present," although, in the catalog of the 1926 Chicago exhibition, he clearly considered the carpet to be woven in Kashan.

The results showed that the lack of identifying models for the extensive geography of Persian carpets caused the carpet experts not to have a detailed knowledge about the weaving geography of Kashan in the initial studies and, thus, they assigned some new (Qajar and Pahlavi) and antique (Safavi) carpets, which today with no doubt are assigned to Kashan to other areas. Even in the categories presented by the first carpet researchers of the geography of Iranian carpet weaving, the name of Kashan, as a carpet weaving region, was absent; however, between 1910 and 1920, studies and consequently the knowledge about Kashan carpet expanded, and with the Chicago exhibition in 1926, the name of Kashan was established as a prominent city in the geography of Iranian carpets, where some of the most prominent Safavid carpets were woven. This path has gradually added up to the knowledge about the carpet weaving geography of Kashan, and it did not happen overnight.

Sharpness of the carpet design is one of the parameters affecting the visual appearance of the carpets. In this paper، some preparatory steps have been taken for measuring the sharpness of the carpet design. First، the influencing parameters on the sharpness of the carpet design have been analyzed and formulated، thus this formula can be used as a theoretical base for measuring the sharpness of the carpet design. Then، by simulation of the carpet design formation، the effect of distinctive steps of carpet product on the sharpness of the carpet design has been studied.

One of the most common procedures for exporting and warehousing handmade carpets is keeping them folded over one another. Handmade carpets come out of their stable states by being folded،while increasing storage time can cause serious and sometimes irreversible changes to them. In this research، a pilot model carpet has kept folded under a load equal to 50 g/cm2 and then the applied load increased respectively to 100، 200، 500، 1000 g/cm2 continuously and uniformly، and at every stage the digital image of the form of folded carpet has been recorded. The received image was analyzed by software programs to identify and determine the morphology of folding curvature of handmade carpet under static pressure. It is possible to propose convenient predictions for storage and packing of carpets، considering the morphology of folding curvature of handmade carpet during successive loading and unloading phases. Accordingly،is this research it was determined that the empty space in folding curvature of handmade carpet after removing the pressure and returning to the first state isalmost 9 times less than the same for the first time the carpet was folded. This research also showed that if the setting height of stored carpets، which are folded over each other، does not change then the damage is much less comparing the time that carpets’ height decreases constantly and forcesapplied to carpets change. Moreover، possibility of carpets falling due to loss of instability of folding curvature length at loading time is much greater than during unloading time. Also in this research، folding curvature height، folding curvature length and empty space in folding curvature were studied and measured.

The French elements and motifs have been entered to Iran art through building moldings. Meanwhile, importing postcards and chocolate boxes having European stencils ,have had important role at stencils of carpet .At the period of Gublan in Kerman province ,by the request of America for using French Golfrang and Gublan,the structure and elements of Kerman carpet was influenced by Aubusson and Savonery carpets.
In this article , by study these two types of carpet, we try to show the relationship between French carpet stencils and the Gublan period carpet in Kerman and by comparing the resemblances and differences to show: How much the Kerman carpet has been influenced by the French carpet, whether the designers copied the designs or incorporated them.
To achieve a precise and accurate result,56 samples of Gublan Period carpet in Kerman were collected by field study .Also 70 samples of French carpets were photographed by library method .By comparing these designs through descriptive, analytical and comparative methods ,their different and common aspects were surveyed and specified that no copy has been done and at the Gublan period ,the Kerman designers have been influenced by French carpet design. In some cases adaptations used ,have resulted to innovation of new designs.
With regard to the similarities between the composition and structure of these two types of carpet, in spite of French carpet ,the colour used in Kerman carpets are bright and opaque.
Though the basis of French carpet design has been originated from the East ,but in comparison to Kerman carpet, less porportions have been observed.

The extensive developments of Iranian arts in Qajar era eventually led to pictorial representation in almost all forms of art. Carpet weaving was no exception too and during this era the so-called pictorial carpets emerged. Although the images of these carpets mostly appeared in the central field، the borders of the carpets also underwent drastic developments. The findings of this essay indicate that despite weakening of the borders، they have never been removed and were always as an indispensible part of such carpets. In some of the carpets، one can see that the proportions of borders are not right but their provenance is identifiable. The methodology of this research is descriptive-analytical one. The statistical population consists of 79 pictorial carpets of Qajar era and the data have been collected using both desk and field studies.

Hand-woven carpet is one of characteristics of Iranian identity which is worldwide known. Studying antiquity of carpet shows its connection with the myths of this country. This research will consider the carpet in Pishdadi and Kiyani era according to Ferdowsi’s Shahnameh in order to recognize and analyze its usage. Since carpet’s yarns are dissoluble and due to the lack of antique samples, the history of Iranian carpet should be reviewed in written sources. Therefore, current study will use Ferdowsi’s Shahnameh specifically as an important source of Iranian civilization for analyzing carpet during Pishdadi and Kiyani era. The method of this research for collecting data is library research based on descriptive –analytical approach. Findings of this research show that in addition to literal usage of carpet in Ferdowsi’s language, and indicating the process of carpet waving, there are seven usages for carpet during aforementioned period: wedding and feast ceremonies, funeral and mourning, gift and present, bride’s dowry, war spoil, trade and home property.

Na’in carpet is an eclectic mixture of Kerman and Arak carpets’ style, which in a short time established an independent identity on the basis of indigenous components and became known as a distinct style from other types. However, the expansion of production beyond the city boundaries caused changes in it, so that in many cases, due to the apparent similarities, this carpet style has led to ambiguities. In fact, such carpets with all their differences from the original source are marketed under the same name of Na’in original products. The purpose of this research is to make a comparison between the original Na’in carpets and those woven in other areas with qualitative and visual changes. The main questions are as follows: What was the effect of Na’in carpet’s displacement on the main structures of this hand-woven textile? And what is the criterion for final evaluation of such carpets?
The issue is significant from the perspective that a variety of carpets in the form of luxurious and well-known styles and from earlier historical periods have been produced in Iran, but none of them have crossed their geographical borders widely, like what happened to the Na’in carpet. Other carpets have actually been produced and marketed in the same native areas, but Na’in carpet with large-scale production not only has been produced in Na’in city, but also in many other geographical areas that are famous for producing Iranian hand-woven carpets, such as South Khorassan, Mazandaran, Shiraz, Isfahan, etc. In fact, some regions have embarked upon producing Na’in carpets which have a special and exclusive style of Iranian carpets by their own. This issue is important and necessary to investigate for the reason that Na’in style of carpet weaving produced in areas other than this city bears in many cases only superficial similarities with genuine carpets. Such secondary textiles are far from Na’in carpets in terms of quality, but they have been marketed under the title of Nain carpet. This issue has caused serious damage to the original carpets.
The research methodology in this article is descriptive-analytical with a comparative approach. The scope of research incorporates the generality of Na’in carpet as a well-known style in the Iranian carpet field. The comparison in this scope is based on two groups of carpets produced in Na’in and those produced in the style of Na’in in other regions. The method of collecting data in here is based on observation as well as studying the few written sources. The results of the research show that the displacement of Na’in carpet from its native place has led to changes in the quality of such hand-woven textiles, the type of knots, dyeing, etc., so that the fibers have been reduced from grade 1 to grade 2 and 3. Knots have changed from fārsi-ye tak-bāft (single-woven Persian type) to jofti-bāfi (knots in pairs) and U knot, and the dyeing of 90% of fibers in other areas has converted to chemical. Finally, the lack of order and organization in production and lack of proper knowledge and expertise in the market have led to the replacement of substandard carpets with the genuine Na’in products. However, in some new places, such as Mazandaran, the production of Na’in carpet has increased in quality, which has exerted marked effects on the production and export of the original Na’in carpets.

In examining the situation of Arak carpet designers in the contemporary period (the last two decades), the sharp decline in the number of designers and the remaining six semi-active workshops in the traditional market of Arak indicate the existence of problems in the community of Arak carpet designers. The purpose of this study is to diagnose the condition of Arak carpet designers and identify the causes.With the possibility that there are many and various reasons involved in creating the current situation of Arak carpet designers, the method of grounded theory has been used to avoid taste opinions.For this purpose, the required information has been collected in the form of in-depth semi-structured interviews with a statistical community consisting of six designers as well as six merchants or carpet manufacturers. Designers 'sampling method is standard purposeful and traders' sampling is snowball targeted.Interviews according to the process of grounded theory, first with open coding in the first level has led to the production of concepts and in the second level has led to the production of several categories. Then, with axial coding and their analysis, the existence of ten core categories is effective in creating the unfavorable situation of Arak carpet designers, which is divided into three levels:micro and medium and macro.It can be concluded that the current situation of the community of Arak carpet designers is in unfavorable conditions that based on the paradigm of the grounded theory, most of these factors are related to the performance of the designers themselves