It is not possible to explain the art of the master of Rasht without the recognition and definition of rural rugs. It should be known that rural women of Persian civilization did not hand in rug tissue for income or material production. Our early ancestors believed that the world did not comply with laws outside our minds, and that the outer world was built or dependent on our intellectual structure, and that for the realization of our dreams and desires, we would only be mentally focused on that desire or wish, then in the outer world. The rural woman did not intend to sell or create artworks to carpet tissue, but believed that if she created her dreams in a world like rugs, she would be found in the outer world. It is media. The mass media of the people of this land, however, came when the West realized the importance of these historical documents and tried to collect these documents. As the demand for the media increased, other artists were added to the Jerga and made plans for the rug that had been mentally ill until then and produced in urban workshops. But the master of the city had abandoned the race of the city, and he started his first rug with a plan that had not reached anyone’s mind until that time. ... Read more

it can be said that the flowers of the master's master are famous for the birth. in this case, i am going to find out how to design them. in short, it is said that their art is understanding and restoring the garden of persian civilization. the hand-mades that are woven by rural women of this border and canvas are a hallmark of the mind. this means that they did not use any pre-designed plan for their rugs. it is not possible to explain the art of the master of rasht without the recognition and definition of rural rugs. it should be noted that rural women of persian civilization did not hand in rug tissue to earn or prepare flooring. the answer to the question of what the ultimate destination of rug tissue in ancient times requires the recognition of the culture of distant pasts, with a bit of consistency in those days that our early ancestors believed that the universe does not comply with laws outside our minds, and the outer world is at least dependent on our intellectual structure, and that it is sufficient to fulfill our dreams and desires and desires only to be focused on it. the root of creating the role of a deer on a rock board with many details and very limited possibilities of that time was not the creation of artwork but a way to get the strength of the next day. also, the rural woman did not intend to sell or create art, but her goal was to fulfill her wishes and focus on them. he believed that if he created his dreams in a world like a rug, he would be present in the outer world. wishes such as protecting the fountain or the village, a successful marriage, a child and the eyes of the wound and the journey of the hereafter, and a paradise of their diverse aspirations. he is a symbol of his dreams. the symbol that is still visible today in verbs such as bridge or closures in today’s world. it is media. the media of the people of this land. rural women's media of this border and canvas. a media with strength and strength reminds us of how our past girls and mothers lived and how they thought, and what they wanted, and what they wanted, this persistent medium that was a historical document and inherited from ancient times to today’s humanity, needs to be a mystery because it wasn’t the first time of reading literacy and writing between women and rural women, and women, as long as possible to be a symbolic role. but when the westerners realized the importance of these historical documents, they tried to collect these documents, and chom theft comes with lights, a more selective crop. from that time on, the persian carpet had lost its concept and turned into artistic goods. as the demand for the media increased, other artists were added to the jerga, and for the rug that had been mentally ill until then, and produced it in urban workshops, but still the rural rug whose role was closed in the minds of rural women continued to live in parallel to the formation of urban rugs, but every day he painted more color and commercial odor, to the point where he became purely commercial in the past century. rural rug has its own profile. for example, because the mind is unable to map the angles of 45 degrees, the flower of its edges is broken or the rug flowers are each unique, or the flowering is not placed in the middle of the rug, or it is crooked except the nature of which it does not mention all the rural specifications of the rug. when the master of rashi began to produce, the city was at its peak, and the golden age of the safavid and qajar, and the rug of kashan and kerman had reached a peak that could no longer be reached. but they knew or did not know, and asked, or unwanted, to leave the city’s carpet, and began their first rug with a plan that had not been brought to anyone’s mind. in a bold decision, he combined the simple role of zulu, which is other than the hands of the land of persia and has deep roots in the iranian religious old culture with a new margin and made it the first time of hand-made to the hand-made adorn and created a original but original plan along with the new color and then greeted the audience. it’s interesting to note that they were fully aware of their success in the creation of the first rug, and were able to analyze the cause of their success well, because from that day to the end of life, the same way and the less it violated. he continued to investigate and analyze iran’s traditional and rural turmoil and found a deep understanding of them. he spent less than a rural rug during his artistic career, but he took the rural rug with literature that had been less than that day. and he turned to the people of the village. for example, he placed the trumpet in the center of the rug, the colors were fresh and original while preserving originality and creating a role that was unique in its kind. of all the above mentioned, it was more important to combine the flaws in a disciplined way. they tried to reach the border of two regions. for example, he was able to create a new role and create a new role. he then went to the town of the village, which was made by the most complex parts of the century, and the producers did not show much attention to their mothers. master ali rashi kisses the hands of the women of the village and gave them enough. the last word was that the spirit of the women’s dreams was the boundary, which was nothing but the maintenance of our children, which we certainly did not have the people of this day, continued in the carpet of the birth and became a new and original form. in addition to the new identity of the rise of the urban carpet, he also forgave johnny. and the shame of muhammad. https:// www.raymonrugs.com https:// www.instagram.com/raymon rugs art group/