Introduction
In contemporary society, critique of an essential tool for dealing with complexity‌The growing arts has become today’s art because of its characteristics.‌like the foundation.‌Discipline, identity rethink, addressing social issues, passing through style.‌Science and beauty.‌Classical Biology, concept.‌Main and pluralism in form, matter and meaning, constantly new dimensions.‌You are.‌And every day, it will be complicated.‌It's more.‌It will become.

In the lack of cash.‌Many, many layers.‌Forms‌Cognitive, beautiful.‌Cognitive, intellectual and social works of contemporary art.‌And that is what it does.‌It can lead to understanding, denying and even exclusion of art from the audience, so artistic critique transcends a purely descriptive role or value.‌It has become an analytical and interpretive paradigm that is capable of layering.‌Multiple Beauty.‌Cognitive, social and context.‌To reveal the works of art and to the possibility of deep understanding.‌More than that.‌And he made it easy for him to do it.‌He moved to the understanding of contemporary art..

In contemporary art and feature.‌capacity,‌and possibilities.‌His counterpart, traditional Iranian arts, also experienced new developments.‌From contemporary art about traditional arts due to the cultural history of these art in Iran’s audience and feature.‌Forms‌Cognitive, semantic, functional and functional.‌It was her.‌Over the course of several centuries, there are double dimensions.‌And thus, the shape.‌Henry's critique to‌As a tool for understanding, discovering and explaining value.‌unique.‌A person of traditional works in contemporary times is of vital importance.‌cash here not only.‌They are among the traditions and traditions.‌Rather, by analyzing the layer.‌Hidden Meaning, Beauty‌cognitive and social, he said possible.‌And the conversation between them.‌generation and between.‌It provides culture.‌This process helps to preserve traditional art.‌And it came and it came.‌Redefinitions in the context of contemporary art developments‌slow..

A hand-made carpet throughout history.‌The title of one of the pillars.‌The exporter has played a role in Iranian identity, as well, from the Safavid period to this, this art is based on the ostensibly.‌special from«Iranian.»It was defined in the global arena and a specific concept.«Iranian rug.»It created modernity and global market mechanisms, the taste of the Western middle class to the Western class.‌with the eastern discourse.‌Biology, this art for the century.‌In this static and stereotype.‌One of the Iranians was locked up and turned into commercial, consumer, functional, and decorative goods.‌The Iranian being a handmade rug in repetition of the collection.‌from the plan.‌and roles.‌That's the cause.‌Old words define.‌He did..

British political envoy to Iran in 1895.‌Clearly this point in the travel.‌They mention it.‌He pointed out.‌He is the one who is in the form of the Lord.‌A new trend of rugs.‌The image of the Qajar period played a role,‌Written by:«He ordered a number of Nazi noodles.‌This is gradually spread, but it is recommended.‌My carpet.‌Buff.‌plans.‌Then he turned to him and asked him to do so.‌They continued the old ones.»(Six, 1336: 233)

Today in the Age of Identity‌There are multi-par, contradictory, and multifaceted.‌The question is, in the era of identity.‌How many, how.‌Can you find a contemporary identity of Iranian handmade rugs?«Iranian rug.»Paying or following the contemporary identity opening and new functions for Iranian handmade rugs?

Iran’s hand-made carpet is always.‌The title of a multi-layered art media has worked with multiple functions today.‌The power of hand-made rug as an art,‌A cliché.‌One of the Iranians and commercial, consumer, and commodity uses, was imprisoned..

In contemporary times, some artists tried.‌In response to social issues and in the context of contemporary art facilities, they create a new identity, new visual language and new functions for Iranian handmade rugs. artists such as Romeola Tria, Amir al-Madi, Wise, and Honey, are striving to strive for a new hand-made rug.‌And they hit.‌They need to be taken into consideration from the artistic critique of their efforts.‌It is a new process that you are doing.‌power from it as title.«Iran's contemporary handmade rug.»By emphasising the contemporary concept of art, he learned that artistic critique creates space.‌It makes the layer.‌The new functions and functions of contemporary Iranian handmade carpets can be understood for the audience, and the hand-made rug of a hand-made rug from a hand-made rug from a hand-made rug.«Commercial goods – consumption.»Spend, to one.«Cultural text of reading.»Become it..

Iran’s contemporary hand-made rug facing challenges‌Identity identities have tried different approaches.‌The most important of these approaches is the self-creation and regenerative of Iran and its integration with the design of hand-made rugs.‌The title of a solution for the opening of Iranian identity for hand-made rugs and the creation of new functions for it.‌Use method.‌Art critique of this new approach in the process of contemporary Iranian hand-made rugs and into the process of this new approach.‌Especially carpets.«War and Peace.»Iranian honey, artist and contemporary designer will pay..

Contemporary Art functions: The Openness of Identity

Contemporary art because of its multifaceted and fluid nature, from the framework.‌conventional beauty.‌Or they spend more time or more decorating.‌Go and wide range.‌One of the new and diverse functions in today’s society.‌Take contemporary art by crossing the boundaries of traditional art and beauty definitions.‌Classical Biology, to Media‌A dynamic to reflect the complexity.‌The world has become today with multiple functions.‌He cares about social issues.‌And at the same time, they are concerned.‌Beauty.‌Biology, the role of identity narrative.‌Contemporary and stimulants said.‌Talks between‌It also plays culture.‌slow this feature.‌The contemporary art is essential to dealing with contemporary social issues such as migration, crisis.‌Ecologicals.‌Environment and especially fracture.‌Identity from modernity and the world‌It made a conversion..

The issue of identity in civilization‌Like Iran, from the challenge.‌The most important elements of the contemporary world are one of the consequences of modernity in such societies, identity fragmentation and distance from identity elements.‌It was also a cultural instrument by the rise of the global age.‌and«Mixing the horizon.‌They are.»And to live with culture.‌There are various signs of identity.‌It has become a complicated, multi-dimensional, contemporary man among many discourses.‌Differences – from tradition.‌natives to value.‌The world has remained wandering and faced trouble finding lasting identity belongings..

Accordingly, the identity in the contemporary world, fluid, versatile, and based on the opinions of Shaihan,«40‌pieces.»It is the identity of the whole world.‌It is thought that contemporary man is in it.‌They lived.‌and important.‌The most important feature is that on the one hand it is modern and global and on the other hand in response to these two, native and local theoretical discourse.‌Getting this concept always comes with a complementary and seemingly contradictory concept.«Local local‌It becomes becoming.»Each of these two concepts without another doesn’t find its full meaning.‌They and together.‌And its cut.‌There are some theories.‌Mixed term.«The World.–Local local‌It becomes becoming.»To mention the magic between the‌Worlds.‌local and local.‌He created it.‌And they are the world.‌It means, too.‌Cultural form did not occur in this situation, any culture that began to produce art.‌He wanted his national elements with what was modernism and post-modernism.‌Modernism had learned, together (Leod Smith, 17:32).

This is reflected in Iranian art, with greater intensity in contemporary times, from one hand modernity and value.‌The Iranian art of the field.‌Historical and Cultural‌She is away.‌On the other hand, the past and history are the temptation to restore the tradition.‌And they will save them.‌And finally global pressures.‌Many signs.‌Traditional Iranian identity to stereotype‌And the surface is reduced.‌In this situation, the main challenge ahead of contemporary Iranian artists is to create works that fall into the trap of resurgence of the past or nostalgia.‌They jump and do not engage in the exclusion of their history and culture. the contemporary art of Iran‌Title of Mirror‌A sign of this crisis, at the same time.‌This break.‌They tried and tried to recreate the creative elements of identity.‌by way, way.‌solution.‌Provides for this confusion..

This is the same spot.‌You are the contemporary art.‌It can help solve the problem of identity in contemporary times and create a new concept of being Iranian, where artists strive to solve the problem of identity in contemporary times.‌Between the rich cultural heritage and the requirements of the modern world, they have a meaningful balance and define a fluid and multilayered identity that is rooted in the past and responsive to the present needs..

The main strategy in contemporary Iranian art for the restoration of contemporary identity, compounding‌Several and multi-layered between the horizon.‌There are a variety of cultures that are against contemporary Iranian people.‌The most important feature.‌Contemporary times are aware of all the scope of art and culture history.‌Sometimes the landscape.‌A history of art has not experienced the extent that today is against the vision and consciousness of artists.‌One of the various art arches of the history of Iranian art and the world is against them, and the nature between them.‌Culture of contemporary society to‌Title of the World Age‌Convinced.‌And they will be able to do it today’s art.‌Incomparable journalism.‌It is for exploring and perceiving an identity with every impulse.‌You are missing from society.‌They are scared..

Iranian contemporary art plays a double and complex role in identity.‌This artistic current, taking a critical look at the concept of the nation and the boundaries of identity, to destabilize traditional structures and to explore contradictions and tensions.‌The insiders take it.‌This art comes from one hand.‌Adopting visual and even material elements of traditional arts as well as narratives.‌Nationals look at collective memory alive.‌and to preserve and transfer cultural heritage to the generation.‌Futures help.‌And on the other hand, by combining these elements with the universal language and creating language.‌Visual world.‌Inclusive, dynamic and developing identity of Iranianism in the field between.‌International is coming.‌In terms of Iranian modernism, Iranian modernism is not an imitation identity of modernity and completely Western, rather than confrontation with it, but rather.«Iranian modernism is the product of a type of regional reading.‌A modern art narrative is essentially a local narrative of global discourse.»(The Qur’an 8:9)..

Iran’s contemporary art by creating spaces to say‌Between tradition and language.‌Local and global, to the mirror.‌It has become a complex and contradictory image of contemporary humanity in itself.‌and the field.‌It creates a better understanding of the world around us.‌And he will..

with interest.‌From symbols, tradition.‌and narratives.‌National and Cultural, Contemporary Art in Iran plays an unparalleled role.‌There is an alternative to the re-establishment of identity.‌Replicating the history of art, not the past.‌The title of sacred heritage, but as an open text for contemporary interpretations‌The use of Iranian artists from traditional arts not only restores the historical rupture created by modernity.‌It is a clear and present image.«Iranian.»offer.‌He has the roots in the past, and‌The contemporary said.‌They talk.‌slow..

Iran’s contemporary handmade rug because of its characteristic‌Native, local, national and inter-‌International has played an important role in the opening of Iranian identity in contemporary times.The occurrence of modernity, Iran’s rug to Iran.‌The title of decorative, consumer, functional and commercial goods from one traditional, heritage, historical and museum‌On the other hand, he defined contemporary art by creating new spaces for the creation of art based on the heritage of civilization-melli, the capacity of civilization.‌New to contemporary Iranian rug based on complexity‌The contemporary world has created new functions for hand-made rugs, including important.‌Most of these functions are the opening of Iranian identity for Iranian civilization and Iranian handmade rugs..

from it.‌Past self-improvement for identity openness: In contemporary Iranian art.

Contemporary art movement to‌The title of a fluid and multifaceted paradigm, with a feature.‌Fundamentals such as escape from media borders‌A traditional, emphasis on the production process.‌The final form and active engagement with social platforms defined‌This movement, which has been since the decade.‌1960 was formed by negation of the dynasty.‌The Classic Between Media‌Henry, on the way.‌The signs between‌in the field.‌O you, the nature of the matter.‌The contemporary art axis it from beauty.‌To reflect the challenge.‌Social media has also pushed.‌title as well.‌Creator of Creation‌The effect, from the index.‌I am sorry.‌This movement is.‌It is from the passive patterns.‌The artistic reception is distinct.‌Make it..

One of the most important contemporary art strategies for creating visual language between‌in the field.‌O, create a layer.‌Complex meanings and answers to challenges.‌Social,«from it.‌Self-improvement.»In contemporary art, from it.‌Self-made means exploring, choosing, adapting, borrowing, acquisition and ownership of beautiful elements.‌cognitive, form.‌cognitive, style.‌Cognitive and semantics of images, symbols, forms.‌ideas, idea.‌techniques, techniques.‌And even objects and materials and materials of ancient and contemporary artworks for the creation of the new artwork. contemporary artists of themes and images and works of inexplicable works.‌There are a number of things in art history and that is adapted.‌And the ones.«from it.‌Self-improvement.»They would eat.‌(bcola, 521: 1387).‌Self-improvement.‌The title of an artistic strategy is the conscious and creative process of openness and representation of cultural and artistic elements belonging to a particular historical or cultural context in the contemporary context.‌system of shape.‌They are employed.‌And it will be the works,‌Not to create a passive imitation, which is an active revival.‌They will become.

Strategy from it.‌Self-initiation in contemporary Iranian art has occurred in the form of reference to its cultural and artistic heritage and calling its elements to contemporary times. Explore in traditional Iranian arts and select and apply facilities and capacity to apply.‌Its form and concept.‌For the creation of an innovative and contemporary work, it has a greater share of contemporary Iranian art.‌Especially known.‌It was made.‌The most.‌calligraphy and hand-made rugs found a special place in the works of contemporary artists.‌Visual language and concept of artistic heritage, it from the state of the museum.‌They turned out and turned into a live and dynamic language for today’s issues.‌Creative dialogue between the past and the present‌In it, the value.‌Beauty.‌Cognitive tradition, not‌Only keep it.‌They have a new meaning in the face of new conditions.‌They find it.‌Traditional art self-improvement serves as a bridge between cultural memory and artistic innovation.‌and the possibility of the resurrection.‌Then he opened it.‌They provide.‌He brought it..

The works of art derived from its strategy.‌Self-made, combined and integrated works.‌accurate expression.‌They are multilayered and multiple, in terms of the namegoella (11: 1381), the main illusion of contemporary art is combined.‌More, contemporary art is blended.‌They describe different opinions and culture communicators.‌In the contemporary art of Iran, return to traditional arts and from it.‌Self-made it.‌They create works.‌It is the main feature.‌The duality or what Charles Jenx did.«Double Code.»It means combining a modern affair with a traditional matter of art.‌He says, “Jews, 16: 1376.”‌Iran’s most contemporary artistic strategy to resolve conflict between tradition/modernity,«from it.‌St. Self-Emotion for Contemporaryization»In combination.«double double.»It was new and old (a farmer of pressure, 1404)..

Important important.‌The most important aim of this strategy was to open a distinctive and contemporary identity for Iranian artworks, in a world where art influences modernity toward convergence and a hand.‌Iranian artists went through this strategy to redefine tradition.‌And the natives turned it.‌with interest.‌Take this strategy, not‌It was only possible for contemporary Iranian art to create a new and distinct identity of traditional arts, but also to succeed in the boundaries of their distinction with other current trends.‌The world's art is drawn up by Ali's conscience.‌Written by:«Artists around the world of Islam, calligraphy.‌The title of an identity show has been discovered.‌They are the way they do.‌It can be a sign.‌One of the signs of creation,‌A common and distinct identity of Western tradition.» (Ali, 1997: 158). This creative approach led to the creation of works that were rooted in Iran’s rich cultural heritage and, on the other hand, spoken in contemporary visual language.‌Iranian artists said by restoring the technique.‌Traditional themes and themes in the form of new expression were able to move the transformations of global art.‌And he who is in charge of his independent identity.‌and between the‌In fact, this smart strategy was the answer to the challenge.‌Identity that is modern and global‌The modern art of Iran, with this move, was abandoned to mimic Western patterns and escaped traditional isolation and repetitions.«This way in this way.‌similar.‌The visual language of Iranian art with modern European art is doing a bit.‌And, at the same time,‌Easts.‌It is as if necessary to understand and receive these works by the European audience within the painting structure.‌Signs.‌They are investing.‌It will become»(The heart)‌Living, 282: 1401.

And among them, the magician.‌Important title.‌The most visited art in traditional Iranian arts was considered special attention to contemporary Iranian art.‌It was in the world in order to achieve a universal language for contemporary artists.‌Building and, on the other hand, give the Iranian character to contemporary newist works.‌He did.«Iranian journalist... Most of the national figures‌This art represented historical art in Iran... the legacy of this process continued in modern Iranian artists.‌More in painting.‌In fact, honest scholars and other modern artists showed themselves.»And Abraham’s name is one of the most beautiful.‌Contemporary art seeks identity from artists in sources such as lingerie and indigenous art.‌He knows that Abraham is the Lord..

Contemporary artists with critical review and analysis, of form, composition principles.‌Beauty rules.‌cognitive and feature.‌They used it in their works, and they used it as one of the four paths of Iranian art in contemporary times.‌He knows and explains it.‌slow:«Return to St.‌Different Iranian images, including tradition.‌Multi-year-old background (minimator, calligraphy, Iranian architecture), materials and visual materials of the Qajar era... and the recovery of the aspects of the Qajar era...‌Useable, useful, attractive and shape.‌And it is acceptable.‌In a new format.‌Native color and area.‌And in accordance with the day-to-day visual language of the world.»(The Qur’an, Surah al-Haqir, Al-Malayy, Al-Malayy, and Al-Madiq are among the contemporary artists who use Iranian physiasticism in their works.‌These artists used formative elements to create contemporary decorations..

In the Qur’an, Al-Haqir, Al-Haqir, Al-Qa.‌The old man, Solomon, and the people of the world, spread their hearts.‌beautiful rules and rules.‌Iranian journalisticism for the construction of its form of effect, to the characteristic of the character.‌They also paid attention to the meaning of the Qur’an.«And that it.‌These themes with‌Use of the way of worship.‌They did not provide the same artists as they did, but it did.‌to metaphors.‌Modern and emotional transformations of contemporary reality»(Revelation, 234: p).

relative ratio.‌Between the worship and the hand of Iran.

For a long time, there have been deep links to various forms between Iranian hand rugs and the art of lingerie art.‌He was able to see the power of the palms of the earth, and in many of them.‌The power of hand-made rugs in various applications, from sub-categoing to the symbols of royal power and glory, was visually, aesthetically and intelligible, as well as Iranian journalistic images of hand-made rug images to create a form structure, create a combination of creation.‌grading.‌Integratives, the decoration of the work space and the creation of symbolic meaning and the transfer of symbolic concepts, this artistic interaction refers to the interplay of the two authentic Iranian art which each played in Ghana part to the other.‌They are..

Relations between Iranian hand-made rugs and craftsmen are not limited to the representation of hand-made carpets in the works of craftsmen.‌A turning point between these two art, the design.‌There are common flaws in the design of both areas and roots in tradition.‌Common visuals have Iranian art, including important.‌The most important plan.‌and roles.‌They are.‌power to plan.‌Hunting rooms, gardens, trees and roles.‌That's the cause.‌And they have a little,‌He pointed out that he saw both art.‌In addition, the principles and rules of beauty.‌There is a common understanding in the design of both areas.‌Forms and Beauty‌cognitive, to‌In his turn, he made meaningful contributions.‌Shows.‌A common visual language provider in Iranian art that has persisted over the years..

You will find a more obvious example of the relationship between the painter and the hand-made rug.‌power in the palm.‌to the‌place of place.‌Then he saw it in the evening.‌Indicators such as the Boston Museum Hunting Carpet, carpets Krocau at the Paris Museum of Fine Arts, Carpet Hunting and Sea Wave Museum of the Vienna Art Museum and many other carpets.‌This period, to‌Especially special carpets.‌With a hunting plan, clear elements such as angels, humans.‌Animals, trees and objects directly entered the design of handmade rugs.‌documents and documents.‌place of place.‌From the time of the appointed time,‌Comparative shows.‌In this era, hand-made rug designers and images were identical.‌Researchers like John Thompson (1384) have emphasized this.‌There are many of them.‌Work in the carpet.‌This is the work of the famous priests of this period.‌Only a deep bond between two art.‌It is a sign, but a sign.‌An integrated art system in the Safavid era in which artists play a role.‌Those who are righteous.‌They were beautiful and beautiful.‌Sharedology in different works.‌They left..

John Thompson is similar.‌They are the same as both artists.‌He knows and knows.‌Written by:«Many people who wrote about the art environment about the important Islamic era‌And they made it clear.‌There is a single or individual workshop.«The painter.‌Home home house.‌O you!»There was a guiding center.«from above.»In artistic innovation and design for all materials and art.»(Tomson, 77: 1384) he did not have a symmetry.‌in parts.‌Above and below some rugs.‌You will be able to make this covenant.‌He knows this carpet.‌From painting.‌And those who are prepared.‌They were woven.‌They are and design the Boston Hunting Carpet – from Martin – to Sultan Mohammed, a prominent member of the Safavid court.‌(image 1).

Image 1 – Part of the hunting landscape rug, Safavid period, Boston Museum.

Use visual elements in the rug.‌The image of the Qajar period continues.‌However, the picture system of this rug.‌mainly based on Western images and printed items, card.‌post post.‌Books, stone printing, Qajar painting style and photography are formed, but in some examples,‌Like carpets.‌Hunting or sample.‌It contains love pictures like«Lily and crazy.»from from fromFive military personnel.They,‌The ability to use Iranian visual elements continues to be seen..

In contemporary times, apart from the flow of the boarding, as well as the extension of the commercial or exquisite texture of the plan.‌Like hunting and hunting.‌with images – to‌In Isfahan school, some artists invented a new method of adaptation of handmade rug design.‌It is the first of the first contemporary artists in the field of carpets, which is from the gravitation to the artist.‌species of species.‌A different period of time and time.‌They use themselves.‌In some of his works, the scene.‌Iranian journalists like pages.‌Books and articles.Five.From the famous works of Iranian worship.‌He is fully re-created.‌It is also another artist who has used to create hand-made rugs.‌The scene.‌There are indications of Iranian history on the carpet.‌His greatest works in this area,‌There are those in which‌Fellows.‌It is the case of the Basis Point (image number 3)..

This confrontation with journalism must be the first result of Iranian reputation and the importance of finding Iranian journalists at the museum.‌Art circles and art markets and Western antiques, and then focus on the cultural policy of the Pahlavi era on the revival of Iranian arts and to the revitalization of Iranian arts and to the markets of Western art, and then to the cultural policy of the Iranian era.‌In this regard, it was considered special, for this purpose, Arab works.‌The King and the Magician‌Even though you have to.‌Color clarity.‌The website has traditional Iranian arts, but it must.‌He called on to the people of the world, and to the people of the world, and to the people of the world, and to the people of God.‌Written by:«With the arrival of the Qajar, the miniature in Iran was a brief move.‌categories.‌The group came to Iran, and the Safavids of the Safavid era found procratic customers, Iranian painters who saw the Safavid art market warmed, pictured the miniatures of the Safavid covenant.»(The heart)‌Living, 199: 1401.

Image 2 – Handmade rug with title«Sitting on Wednesday in the turquoise dome and legends of the Fifth King's Daughter»Five of them, and they are the ones of the Arabs.

Image 3 – Handmade rug with title«China’s suffocation is in the hands of China.»In the Qur’an, the Qur’an is full of blessings.

Arab.‌And he also created the magic.‌A topic and understanding of the social transformations of the day, which carries meaning and messages, has the choice of title for this series of works representing thematic and meaningful approach of the artist in the use of the lingerie in the hand rug.«And the children of the‌Adam.»This is an example of the Arab tradition.‌And the son of the‌Contemporary like ruin.‌Modern age and feature.‌Savings.‌The spiritual and spiritual part portrays the eastern culture with the possibilities of art and handmade rugs, in combination with modern symbols such as eagles and skeletons of the human skull.‌Kill (image 4) in another work as title.«The word of heart.»(Five 5) The famous scene of Iranian visual culture in which a woman offers a cup to old age‌It is visible, on the side of this carpet.‌And in the context written for this effect, the relation of this rug is related to the poetry and the world.‌I think this is the case.: «It is shaped by the philosophical landscape based on the eternal beliefs of the universe and the eyes of the universe.‌The creation of artists from the truth is unstable and shows the fact that you are not respected.‌Give it.»(Source):Website website website.Arab Museum.‌born born.)

From the CIA.‌Living, the image of the stagnations in the late Qajar and early days, although apparently along the historical tradition and the old book.‌Iranian votes, but the phenomenon.‌It is a new book in the book.‌Iranian votes have not been popular.‌Life, attention to the image of the gravitation and selection of the scene.‌Loveful, loving.‌Drinks and goats in the revival movement of this era in the context of the domination of the Eastern discourse.‌Archaeologists, the sovereignty of the Iranian exhibition order and the Iranian discourse are a city of the Museum.‌O you!‌analyzed.‌And it is the result of Western interest in the lyrics after Edward Fitzgerald's translation, Edward Bernerje.‌Jones and William Morris for the English version‌One of the translations of the Jesuits of 1874, as well as the design of Elho and Hyder, American artist for the 1884th edition.‌He knows, therefore, that is in the form.‌Taking portrait fever in the West and the interest of the Orientals to have a prescription.‌A picture or at least a picture of the‌Live, 1401: 203–227.

In terms of identity.‌Iranian Buddhism, the works of these two Iranian rug masters, though‌Timely formed in contemporary times.‌They are, but in the context of the discourse of return to themselves, the East is an attitude.‌Cognitive, Western interest in the works of Eastern and Iranian art, and within the borders of the Iranian traditional arts revival movement, remains influenced by modernity and the West.‌Like this, these works restore the old Iranian identity.‌And they will pay for it.‌Contemporary and multiplicity identities do not represent it.‌They will do it..

On the other hand, handmade rugs for these artists are some kind of visual art media for scene texture.‌And there are those who are before.‌More in the book.‌There are votes.‌In the end, these works are lost due to numerous subtleties and uncertainty, the main application of hand-made rugs, i.e., the subversion.‌And in the midst of some kind.‌Skill and technical verification in rug tissue.‌They are the ones who are in the right way.‌Special museum.‌O, for the purpose of preserving the legacy that is destroying,‌Today, the presence of these professors at the museum.‌Not in everyday life, this is evidence..

Figure 4 – Handmade rug with title«The people of Adam.»Arab bastard.

Sinai Iran.‌Race is another contemporary artist in the year.‌The recents have used the lingerie to create his works in the field of hand-made rugs.«Night worship.»(Five 6) with interest‌Take the pen technique.‌Black and black.‌Pen in Iranian journalistry, personal, mental space and within‌They offer a sip in the form of hand-made rug.‌slow..

In this black effect.‌White and colorless, mythological picture.‌One of them.‌The dragon with milk, along with the trunk.‌Human and animal, and even objects such as tight, jars, and conjudges, with white lines on the ground.‌Black is covered.‌from form.‌Bright geometrics – similar to network connections‌Nerves of the brain – you see.‌It will become.

In an artist's statement about this work.: «This effect is the result of the integration of inner look and spiritual concepts with the ancient tradition of the rug.‌It is Iranian.«Night worship.»by mixing color.‌Deep doors, symbols of silence, night, prayer, and reflection, narrate a mysterious and quiet atmosphere in the form of blurry and loud.‌slow..» (sinairannejad.com)

In this case, in the form of the‌And the soul.‌cognitive and unconscious.‌They are a kind of contemporary imagination from the past.‌A legend.‌You are showing up.‌However, the use of lingerie in this hand-made rug affects some Iranian identity.‌Make it, but finally, Iran’s attitude.‌A race with a person, a personal and psychological encounter.‌They remain agnostic.‌And that's the identity.‌collectiveism.‌They are scared..

On the other hand, dragons and milk in this tissue.‌They can represent Old Man.‌Unconscious patterns are collective and transform the personal characteristics of the effect into collective matter.‌The race is due to the type of incarnation and rug collision, this effect of its functional feature.‌The title of a rug is lost.‌and in the category.(Textile Art)  group of categories.‌They are counting.‌It will become.

Figure 6 – Handmade rug with title«Night worship.»Sinai Iran's Race

dual duality.‌Visual-conceptual and open-minded Iranian identity: From it‌In fact, in the palm of the hand.«War and Peace.»The faithful effect of honey.

«War and Peace.»It is the name of a hand-made rug that has been designed and created by the contemporary artist and designer (image 7.‌The most important feature of this effect is that it can be used for contemporary critiques to a subject.‌Thoughts are turning.‌Then, and from it.‌Iranian self-made and use it.‌The title of an element of design and concept is in the main structure of the rug design..

The artist in this carpet.‌Journalists for Idea‌Create forms.‌Cognitive, beautiful.‌It is a matter of understanding and understanding.‌Then it is placed in the palm of the hand.‌He will be in the palm of the day.‌Classical Towns.‌Iranian tissue is visible..

But on the other hand, by breaking the tradition.‌Official and fixed.‌Designed by Iranian handmade rug based on texture areas, based on the creative experience of the artist, his type of confrontation with the photographer and of it.‌Self-made for design, giving the title to its conceptual impact, creating the layer.‌Rumi, meaning and social, and ultimately combine it in the structure of a nomadic rug, this works for example.‌In the category.‌Iran’s contemporary hand-made rug is converted.‌Make it..

Image 7 with the title«War and Peace.»faithful honey.

Theoretically and intuitively, the main idea of this hand-made rug is based on the foundation.‌One of the dualities.‌layers.‌The layer is built that starts from the title.‌And then in all layers.‌Forms, Beauty‌cognitive, style.‌Knowledge and understanding of the broad effect.‌Select the title.«War and Peace.»And they reveal the fundamental duality.‌Not that it is not.‌It is only reflected in the conceptual layer but also in the visual structure of the effect.‌The artist.‌Not for confrontation, but to create.‌The complex dialogue between different and contradictory elements has finally been used together.‌Concept and form, layer.‌Several things will come back.‌Finally, make deep analysis.‌More Iranian identity in the conflict.‌Historical conflicts and contradictions in contemporary times.‌He is paying attention..

First and important.‌The most dual form.‌You know that you are looking at this palm.‌Eat, share and combine the role.‌geometric-grades and forms‌Video images are continuous motion between the form.‌And, as well as, to return.‌Iranian journalists in modern fashion‌Primary power.‌The most important characteristic of this effect was known, in this rug, central and marginalization with repeated rhythms of abstract patterns-based syndications based on the role of the intertwined fish, in a clear interactive interaction with the visible object of the ethered fish.‌Portraits of Iranian Literature and Literacy in Lech‌They are in the text of the rug, but this deep interaction.‌It is more than appearance: the center symbolizes geometric balance and precise mathematical order, while‌Which is the sign of history,‌Literary stories, stories.‌Human and living culture are the same qualities that Arthur Popp makes it Iranian art.‌He knows:«According to Pop, the relationship of religion, poetry and mathematics in the form of pap‌And give it to the whole thing.‌The title of Iranian art.‌It is very important...Pp implies an aspect.‌Abstract Iranian art in understanding and receiving certain Iranian artists from mathematics‌See... then.‌by this ability.‌They are able to make abstract representations in the form.‌They are decorations.‌They become.»(The heart)‌Live, 180:14–79.

This dual form.‌In the first step, we have some sort of understanding.‌I knew in this carpet.‌In the effect statement, the artist of the work, as opposed to the static design method in the rug.‌And the people of the tribe, and in the garden.‌The city remembers.‌In fact, one of the features.‌This effect is attributed to that.‌contemporary.‌And the way of escape,‌Convincing.‌Iranian handmade rug based on regions and cultures‌It's weaving..

in a division.‌Overall, Iran’s handmade rug based on culture‌They are divided into three towns, villages and tribes.‌And the carpet.‌Villages and to‌Especially the tribe in terms of design is generally part of the role.‌geometric uses.‌They and the carpet.‌City of Form‌curves, this effect combines two style methods.‌Understanding in Iran’s rug, i.e. the culture of tribal fabric of the Persian Empire and the unique design of the Persian Empire.‌to‌Fred of the carpet.‌Towns – cross the traditional boundaries of hand-made rug art‌A new facility ahead of Iran’s hand-made rug‌Give it..

crossing the boundaries of consolidation.‌style.‌Cognitive in art history, one of the most important‌The most important feature.‌Contemporary art is contemporary artists with an experimental and interplayed approach.‌in the field.‌O thou who dwells,‌Light styles.‌Cognitive art is it.‌Questioning boundaries.‌Classics Between Media‌Different things, new discourse in beauty.‌Contemporary Creation.‌They are based on the light.‌and cross the categories.‌grading.‌conventional art..

It should also be noted that the use of the geometric role in this rug is shown alongside the lingerie.‌Give the artist purely.‌Follow an emphasis on a technical excellence in the microbe and achieve subtleness in the texture for the representation of representation.‌There is no magic in the palm of the hand..

in the layer.‌deep.‌More and even in the text of the rug, hidden.‌Most of the work, the role of the fish in the entire carpet.«War and Peace.»Wide, network.‌He has made a series of double contradictions.‌It only works on visual richness.‌but the layer,‌The forms and meanings deepen it.‌This role, which has emerged since the late Safavid era in Iran, is seen in most areas of Iranian handmade rug tissue.‌The fish, the city,‌The most important role of hand-made rug is to measure the design and geometric order and mathematical balance in the end of perfection (Pam and Freedom, 1371).‌This is a known role.‌Iranian handmade rug from a double structure based on two curved fish leaves‌It is like one that is in the opposite directions.‌diaspora, around a center — usually a flower —‌In terms of symbolism, the double and cross structure of the leaf.‌This role is a symbol of confrontation.‌The dualities of life/death and light/temporal are therefore, the artist uses this role, duality in all text of the work and layer.‌There are different forms and meanings..

A duality, in the main feature of this hand-made rug that distinguishes it from the common flow of Iranian handmade rug.‌And it means in it.‌and use it in design.‌A clear pink is depicted. tension, conflict, confrontation and duality in this effect, where the two armies against one another.‌He voted.‌And they have their height.‌Two armies came in a similar form but with different سرکردگs, one on a white horse with a sign.‌The image of Rome and Ferra, and the other on the black compound, from the uninhabitable place of the Iranian history, and from the rug to the rug.‌Then he turned away, and he was full.‌and the scene.‌A familiar history and visual culture of Iran‌They are a history of war.‌The contrast,‌The contradictions and conflicts that have been brought to contemporary times with this effect, for this reason, this effect of history is not narrative, but re-reading.‌slow..

In the visual structure and on the edge.‌text, sticking to the margin, character.‌Journalists are preparing for confrontation and the illustrated battle.‌They are armed riders and soldiers with arrows from outside the frame.‌towards the center of the effect in motion.‌Type of composition.‌and the horse,‌Warriors and horses.‌clothes, clothes.‌All of them are reminders.‌King's word.‌They are the scene.‌Fights that display the volatile and dynamic atmosphere of war‌They are a symbol of the chaotic and pre-existing nature.‌See you.‌Inconsistent with this volatile fringe, the center of the space rug has a quiet and geometric atmosphere that creates regular and symmetrical patterns, sense of order and peace.‌This duality of movement/continence, tension between chaos.‌The war and peace order are visualised and show the space.‌Not war and peace.‌There are consecutive times, but at the same time..

One feature.‌Creative works, visual translation is the role of the intertwined fish in the center of the relocating. in this section, the artist of the square structure.‌Preserves the role of the fish, but to‌There are two distinct leaves, from the form.‌Portraits of Use‌Posted in the section of the‌The artist uses a limited element of the artist.‌and with intelligent behavior, form.‌← Fiorative to the boundaries of the role.‌They are the magic.‌In part of the plot, two armies are equal.‌vote votes.‌and in the shape of the leaf.‌The roles of the fish appear.‌They will be divided into the shape and shape.‌Deep visual link.‌They create more.‌This is contrary to many of the works that only copy the past.‌They are being taken.‌This carpet has a critical approach.The artist has traditional elements from the main place.‌They left and put themselves in a new setting that makes them.‌And the audience of it.‌Look at them with a fresh look..

In the semantic layer, the pictured journalist in this rug tells the story of two brothers based on what happened in the statement.‌After the death of the Father, he has divided the country into two halves, and each reigns over the part.‌They are two brothers on the two sides of the larger side of the carpet, along with two.‌The face sits on the bed and is depicted behind each other.‌There is another picture translation of the leaf.‌The role of the fish,‌My face has occurred here. the main piece of carpet scene.‌He described the greed of the expansion of power over all the land of the Father, bringing these two brothers to war with one another.‌And when there is a clash between the two armies, all wars are displayed.‌As far as the sound of the horse.‌and cry of man.‌They listen from the picture.‌But at this point, the opposite element of war, peace, is among the two armies in the height of the woman sitting on the bed and two women.‌The title of the Negman is symbolic of his side.‌More than the end of the war.‌He will give his two sons to invite the two.‌Sending and loving two.‌They are.‌And finally peace comes.‌The title of the rug means.«War and Peace.»to‌The direct face of this narrative is derived. this layer of effect is not the effect.‌Only literature and carpets are linked together.‌It also refers to the role of women in contemporary society.‌Give it..

At the height of the contemporary approach, this effect is happening with a journalist somewhere.‌The Artist of the Persecution of War in St. Book‌Iranian votes focus on the character of the female narrative into a picture of peace‌slow in the book tradition.‌Iranian votes,‌Especially in classic works such as the Five or Military, Scene‌Men's battle and battle are strong,‌Which is the story.‌Peaceful peace.‌The role or role of less women is depicted.‌The contemporary artist in this work changes the narrative of the warrior’s men to women and transform the atmosphere of war into peace, not‌Only the previous visual tradition is challenging.‌Kill, but it offers a modern redefinition of women’s identity and social role in Iranian history and art.‌This will re-create.‌It can.‌It is regarded as an artistic-social statement, which also said with Iranian artistic heritage.‌It’s a critical look at the story, and a critical look.‌The war and male dominant in Iranian journalisticism, the artist, by critical rereading this common scene in Iranian journalisticism, makes it a picture of peace.‌and his influence.‌The title of a contemporary artist to‌You are leaving.‌This is a reminder of some.‌Contemporary art in the Middle East, which combines tradition and modernity, reflects a rethink of historical and cultural concepts.‌They pay..

From a conceptual perspective, this effect goes beyond an ornamental object.‌and to‌The visual title of the position of Iranian society in the face of modernity in contemporary times.‌It is in the layer of society.‌Cognitive, carpet.«War and Peace.»dual duality.‌The contrast,‌The contradictions and contradictions of contemporary Iranian society have opened the contemporary Iranian society in the middle of the field of conflicts and duality.‌various, to‌Special duality.‌Identity identities are caught, where the escape forces from the identity center.‌The instrument is in constant confrontation with one another, the Iranian man in a space of tension.‌There have been deep presences.‌The biggest confrontation.‌They take them.‌In the struggle between tradition/modernity, the past/future, self/other, ethnic/national and ...‌And every one of them.‌Alone.‌They can be the basis of the identity crisis..

Iranian art to‌as a mirror.‌A transitional society is also involved in this identity dilemma.‌Title is one of the most important.‌The most important art of this land today is in a complex confrontation between the preservation of creative originality and innovation.‌It's a tension.‌Society by Henry.‌They are in such a historical context.‌O thou art,‌Maybe it's important.‌The most important task of art in these circumstances is not to resolve these conflicts, which are to display it.‌In a beautiful way, the artist is like a mediator.‌O you who are past and present.‌and the heart of this dispute.‌They provide a new definition of Iranian identity.‌This is the way.‌In accordance with the principles of contemporary art, in which the art object is due to the principles of contemporary art.‌It becomes an identity and social problem to rethink.‌It will become.

Iran’s contemporary rug is facing a fundamental challenge in its identity-opening path: how they are:‌To preserve the sovereignty of thousands.‌The answer to this question must be achieved in the concept of the year, in contemporary language?«Open the identity.»Search for search.‌He sought a dynamic process in which traditional elements are not denied.‌And they will not imitate.‌They will return, but in a new way.‌They become carpets.«War and Peace.»The honey sample.‌This is a sign of this.‌Smart from the role.‌The traditional carpet and shape.‌Iranian journalists and its combination with contemporary concepts have succeeded in confrontation with contemporary concepts.‌Doubles translate Iranian society into the language of art. the use of a journalist in this context, more than a simple return to tradition, some kind of kind.«And the magicians again.‌It was made.»It was counted.‌It is in a conversation with contemporary art.‌identities.‌And it is a place in which the‌Iranian artists tried.‌They define their position in the contemporary world by reciting visual heritage.‌Forms of Iranian hand-made rug art and on the other hand, by asking questions.‌You are.‌Contemporary cognitive, this effect is redefinition of Iranian rug identity in the present time.‌He is paying attention..

A remarkable point.‌In this case, the way it is confronted is disputed.‌To deny or remove one of the poles.‌Opposed effects by accepting this duality‌to them.‌Part of the reality of contemporary Iranian society, of which‌to them.‌The title of the creative force.‌In addition to the conflict-based structure, the role of the fish is a symbol of the cycle of life and reprocessing.‌That's what she does.‌power from the framework.‌Convincing.‌It was abandoned and a new identity for Iranian rugs is built..

What you need to pay attention is that hand-made rug.«War and Peace.»Despite the layer.‌Multiple forms, meaning, conceptual and social, as well as subtleties.‌Technical textures are still a hand-made rug that is based on the original four-sided layout of Ledor and Termination, for wide range.‌It is designed to be on earth and to interact with it.‌They say the identity crisis in Iranian art.‌It can become an opportunity to create a new art language, a language that is rooted in tradition and said to contemporary world issues.‌They talk.‌slow the path ahead.‌No return to the past, not a break from it, but a constant revitalization of identity.‌Between the conversation.‌A generation, intercultural and intertwined..

This is the path that you take.‌It can take Iranian carpets from the museum.‌Historical and markets to the world of art and, important,‌More than that, the life of contemporary man transplants the way he goes.‌It can transform Iran’s rug from a commercial/dural commodity into a live document of civilization, which is also heritage.‌It is the past and the future.‌Looking..

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- https://sinairannejad.com