Timcheh group; It was formed in May of 2013 with the presence of a group of top artists producing Qom handwoven rugs. The main goal of this group is to introduce exquisite and authentic Iranian silk rugs, as a mixture of Iranian culture, art, creativity, civilization and identity. The Timcheh group was founded by Mohammad Reza Rashtizadeh, the son of Master Ali Rashtizadeh, with the collective support of veterans of hand-woven rug producers, and has the support of a number of important rug trade unions.

In the long-term goals of this group, confirming the authenticity and providing a valid birth certificate for each rug, branding and introducing the hand-woven rug art and craft, and using the virtual space platform to display and supply authentic Iranian rugs have been emphasized. Also, Timcheh's organizational mission is to expand and develop the authentic Iranian culture through the presentation of handwovens with confirmed authenticity and the continued presence of the handwoven rug cluster in the world markets.

Reza Erami is one of the well-known faces of Qom silk rugs. He was born in rug family. He says: The first thing that drew my attention after my parents was the hand-woven rug. In this way, he has been doing various things related to rug weaving since childhood; Sometimes he ran away; Sometimes he weaves rugs and sometimes dyes. The first Armenian rug was woven as a craft on a small loom during high school; A rug that is woven and woven by him himself. After completing his secondary education, due to his father's illness and his reduced ability to work, Reza Erami steps into the official rug market.

Reza Erami has a special interest in colors and the color of the year is one of his main concerns in rug production. As a result, his rugs are among the works that are produced without referring to the rug birth certificate and name, it is distinct and different from others. During the period when the producers abandoned the old designs, he started "Secret Weaving" and got new ideas by referring to foreign sources, books and magazines, especially Versace magazine. Erami got familiar with Versace has caused a part of his works to be dedicated to the designs of this well-known brand and to produce rugs as the official representative of this brand. His most important concern in the production of hand-woven rug as a work of art is quality.

As a result, continuous inspection of the production stages, especially the texture quality, is one of the priorities of his production work, and therefore he controls the texture step by step. Reza Earmi believes that the relationship between producers and weavers should not be just work. Producers should also look for cultural and educational activities while producing rugs; Listen to the heartache of the weavers and take steps to solve their problems. Referring to the fact that ``nothing starts all at once and no success is achieved overnight,'' Earmi believes that the production of exquisite Iranian rugs requires a long experience and deep knowledge of Iranian art and culture. Name of the rug: Asman Dimensions: 211 * 137 Year of production: 2016

Feizollah Safdarzadeh Haghighi was born in 1321 in Isfahan. His father, Master Mehdi Khan, was a descendant of artists and craftsmen of Isfahan and a revivalist of this forgotten art in the second half of the Qajar dynasty at the end of the last century. Feizollah, the son of Master Mehdi Khan, followed his father's path like other brothers. At the same time, his father sent him to Isfahan Fine Arts Academy to enjoy the presence of Professor Rostam Shirazi in the field of Iranian painting. He quickly went through the stages of progress in art, until in the years 1347 to 1350, together with the Italian delegations, he restored and restored the wall paintings of Safavid historical monuments.

All fifty eras were fruitful of his teachings and creation of important and brilliant works. The context of the live designs of Master Issa Bahadori with the live collaboration of Master Gholam Ali Safdarzadeh; Among these works are the weaving of the faces of celebrities and invited guests in the 2500-year celebrations and the weaving of the 121-meter historical rug of the National Assembly in 1350. Meanwhile, he never forgot Isfahan and its special roles. The pattern and curvature of the turquoise dome of the Abbasi Jame Mosque, the facade of the porch and the only dome of the Abbasi Mosque, such patterns that are manifested in his works and in collaboration with masters Rostam Shirazi and Norouz Hafizi and master Jafar Qoli Fadakar, are his special attention to heritage. Henry Isfahan testifies.

The attention that led to a new achievement in creating space, coloring and the structure of the rug design. Based on the designs and patterns, we can mention the structure and harmony in the shape and texture of the rugs of the Haghigi family and consider it as the result of the inference of life in Isfahan and the traditional arts of Iran such as painting and a response befitting the times. Rug Name: Father's House, Dimensions: 170*230, Production Year: 1395

Morteza Mirmehdi learned the art of rug weaving from childhood with his mother, from root to root and with love and passion, and from the age of 18 he entered the field of handwoven rug art and design. Morteza Mirmehdi started his productions using the pen of Abbas Malek and continued to benefit from the presence of teachers such as Afsari and Sanei in Kashan. Master Ali Rashtizadeh also had a tremendous impact on his artistic style. Also, visiting specialized exhibitions and numerous trips have greatly contributed to his innovations. Mir Mehdi believes that in the production of handwoven rugs, wandering and "what do I do" are part of the essence of production.

Based on this, one should always search and explore and question so that every rug, after design and texture, is in accordance with the current and desirable taste. Since his production workshops were located in the villages around Qom, seeing the pristine scenery of nature became his source of inspiration and he always brought a petal with him as a sample of color for the rose color of nature. One of the distinctive artistic features of Morteza Mir Mehdi rugs is the use of three-dimensional designs in Qom rugs. Also, he has a special interest in weaving ritual rugs inspired by ancient poets and stories. His special interest in the myths, poets and elders of Iran is clearly visible in his works of art. Name of the rug: Boteh Mohtsham. Dimensions: 160 * 237

He started working in a rug factory since he was ten years old. But after enduring many hardships during his apprenticeship, he decided to start producing rugs independently. In this way, at the age of twelve, he built his first rug store and joined the Jirga of rug manufacturers. He could never accept imitation and copying, so he did not remain faithful to the classic style of Iranian rugs and very boldly created his own style with new designs. Jamshidi was also innovative in color and invented a new dyeing in his own style to achieve a color that is out of the ordinary and does not follow the colors available in the rug market. For this purpose and in the way of producing natural colors, he started a special initiative.

He combined the colors in silk thread and produced 600 new plant colors in this way. With this work, he became the founder of a style in the production of silk thread, which later became known as Sport. This was not the end of the work and he dyed the silk coils with a special technique to have a range of colors. This style also got the name Abaresh later. In this way, he became the creator of a style that gained world fame under his own name. Supervision of the production process in all stages is the responsibility of himself only when you see the satisfaction on his face when he goes directly to the rug weaving workshops and sees and examines the stages of weaving a rug. Rug Name: Island Dimensions: 300*200

From the age of 13, he studied and was an apprentice in the market of Qom. In that period, selling rugs was considered one of the good and lucrative jobs, and this had strengthened his motivation to enter the rug selling profession. In this way, at the age of 18 and after finishing high school, he started buying and selling independently. As a result, he got acquainted with the technical issues of rug weaving and gained a good understanding of the texture and quality of rugs. It was at that time that he conceived the idea of ​​a high-quality rug texture different from what was in the market with a new design and plan.

The style of his rugs is known as "Golriz Masoumi". A style that was from his own mental emanations and without the use of a special master. For Masoumi, rug weaving is not only a profession, but she loves it and says that seeing the beauty of the rugs woven by her weavers, she gets rid of all the tiredness of the work. At all times, he has been doing work related to designing, producing and selling rugs, or thinking about developing and introducing a new design in rugs. Masoumi says about her hand-woven rugs: "I have prepared the designs, plans and colors of all the rugs that are woven in our production with great care and obsession. I have followed the high stability.

He participated in the curtain and furniture exhibition in Japan in 1987, and it was during this trip that he got to know the taste of the Japanese people. Since then, it mostly uses blue, navy, green and purple colors and has been widely accepted by the Japanese market. Seyyed Ali Masoumi considers rug weaving to be the best hand art. Name of the rug: Praise Dimensions: 202 * 303 Year of production: 2010

Abolfazl Rajabian is one of the well-known faces of Qom silk rugs at the international level. The Rajabian family, the creator of the rose design, is known by the Rajabian name in all domestic and foreign markets. His father starts the production of hand-woven rugs with designs in the style of Isfahan and from the works of Master Archang and Mosavarolmalek. But on one of the green days of May in Shiraz's Eram Garden, he was impressed by the enchanting beauty of the roses in this garden and stared at them for a long time. This observation becomes his inspiration for the initial design of roses in rug motifs. Gradually, this design is welcomed by the audience and it is as if Rajabian's name is eternally linked with roses.

Rajabian shows his talent and artistic taste since he was a teenager. Therefore, at the request of his father, he enters the field of hand-woven rug art and industry, and along with his studies, he works in the production of hand-woven rugs and cooperates with his father. After her father's death, she remains loyal to the Rose style. But Abolfazl Rajabian's passion for innovation does not stop him from facing any risks and dangers. Therefore, with the aim of finding and observing all kinds of roses in the world, he goes on many foreign and domestic trips. In this way, the abstract style of roses in the Rajabian rug gradually gives way to real flowers.

In this regard, he says: My attempt has been to preserve the pattern of rug colors from my father's time and implement innovation in the form of the same colors. Among the art and craft of Iranian rugs, Rajabian has a special interest in Kerman rugs. This connection has made his products always have the color and smell of Kerman rug. In addition to producing rugs, Rajabian has also developed industries related to this production and has taken positive steps by establishing a modern vegetable dyeing workshop for hand-spun fibers and designing special machines for this workshop for the first time.

He is a member of the strategic council of Iran's national carpet center and a member of the jury of Iran's top national rug festival, and he is a member of the joint chamber of Iran and England and the joint council of Iran and Japan. It has also won the golden plaque of the excellent quality mark from Spain and the golden statue of quality from America and Switzerland. Name of the rug: Rose vase, dimensions: 153 * 102

His father, Master Ali Rashtizadeh, was one of the founders and rug weavers of Qom hand-woven rugs. At the age of 13, he was sent to France to continue his studies. But after living in Paris for 33 years, he returned to Iran at his father's request to start a new chapter of his life with his parents. Despite his great interest in architectural art, when he started designing rugs for the first time, it was as if he had found a new language for artistic expression. As a result, he joined the Jirga of rug manufacturers.

In this way, he benefited a lot from the guidance of his father, who considers him a master of design and understanding of color harmony. Mohammad Reza Rashtizadeh, I have adopted my own special style as a work of art in design and color, I continue my father's style as a part of my productions. Rashtizadeh believes that a rug is not a manufactured product but a work of art: we can see the story of our lives and the weavers and all those who contributed to the creation of a rug in it.

With this thought, he came to the conclusion that at this point in time, hand-woven rug as a work of art needs a new introduction and branding, but to achieve this goal, a collective and group will is not possible alone. As a result, in 2013, he shared the idea of ​​establishing the Timcheh Group with a group of Qom hand-woven rug elders and put it into practice. He believes that in the rug production process, precision in the technique and technical specifications is necessary and necessary, but there should be a limit to it so that the identity of the hand-woven rug is not lost and it does not take the rug out of the artistic form. He who believes that the best pleasure in life is to create a work of art.

In order to show the real status of our country's artists to the world and to keep his father's memory and character alive, he founded the Golden Knot Conference of Master Rashtizadeh. This conference, which is held annually, has had a significant impact in honoring the unassuming artists of Qom's rug weaving art. Rug name: Dahlia Dimensions: 540 * 397 Year of production: 2014

Most producers and weavers of hand-woven rugs in Iran inherited this profession from their families and continued it. But Soheil Bigdeli, contrary to this tradition, grew up in a family that was not familiar with the production of handwoven rugs. However, his artistic taste and interest in combining colors and patterns in Iranian rugs made him enter the field of rug weaving art and with great talent and taste in using unusual colors for original designs, in less than ten years to become one of the familiar names in the art and craft of exquisite Qom rugs.

Bigdlei started his career by producing carpets and small rugs. He has always been fascinated by the style and school of Isfahan. Bigdeli believes that the field of hand-woven rug art-industry is the campaign of elders and there is no place for negligence. At the same time, it is believed that the rug should be found for the audience, even if it does not match the producer's personal taste.

The basis of his design is the taste and opinion of customers, designers and decorators. He emphasizes that Iranian rugs are rooted in wool. As a result, he has created new designs using the combination of wool and silk. Originality, variety, is one of the most obvious features of Soheil Bigdeli's handwovens Name of the rug: Zarih. Dimensions: 198 * 308. Year of production: 2016

He believes that Iran's classic rug has become far from the taste of the new generation audience and has stagnated. But with a little effort and innovation, it can once again stand on top of the world's handwoven rugs. Masoud Mohammad Beigi founded a company a few years ago with the aim of organizing the production and sale of hand-woven silk rugs with an organized attitude and with the formation of an expert and young staff. But today, he has taken an independent path and used his personal experiences to create new works in the exquisite Iranian rug.

One of the main production policies of Mohammad Beigi rugs is direct involvement in all stages of production, from the purchase of raw silk to the supervision of the final stages of rug finishing. In this way, the desired quality of raw materials is one of the main policies of Mohammad Beigi rug production. The use of different colors and keeping calm at the peak of busy work are among the distinctive features of his rugs. In this field, the design and role of the work is not limited to one color and has its own technique in this regard. In rug design, Mohammad Beigi has distanced himself from the abstract world of traditional patterns and from the designs and patterns found in nature; Like the clouds in the sky, the rotation of the seasons, the change of sunlight, the change of nature's color, the wind, rain and snow, and even the recorded movement of the galaxies, it has used and created a new design.

He believes that copying the works of the predecessors is futile and in vain, and it is much more difficult than producing a new work of art. In this way, his rugs have deeply moved away from the traditional texture of Iranian carpets and are closer to the independent form of the work of art. Masoud Mohammad Beigi believes that the benefits of the resurgence in the rug art-industry are aimed at all factors of rug production, including the weavers who are currently among the vulnerable sections of the society. He says: Every new design will be like breathing a new spirit into the hand-woven rug industry, and if as a result of this prosperity, we witness an increase in the level of welfare in a part of the weaving community, and if we spend a lifetime in this direction, maybe it will not be in vain.