Carpet

The purpose of this study is to investigate the role of e-commerce marketing capabilities in enhancing Iranian carpet export capabilities via a paradigmatic model. In fact, the present study seeks to identify various factors that may influence the role of electronic marketing capabilities in promoting Iranian carpet export capacity. The identified strategies obtained from the paradigmatic model in this study are ranked in order to develop an understanding of the strength of their effects on the outcomes of e-marketing at the international level. In terms of research philosophy, the present study is based on interpretive paradigm and is considered an applied-developmental research in terms of research orientation. The data were collected using semi-structured interviews and a standardized questionnaire. The study population consisted of experts and managers of the carpet industry in Iran, who were selected using purposive sampling. Data analysis was carried out using theme analysis approach in MAXQDA software, and quantitative data were analyzed using interpretive structural modeling in Excel software. The main finding of the present study is to introduce a paradigmatic model of the role of e-commerce marketing capabilities in promoting Iranian carpet export capability. This model identifies and introduces contextual, causal, strategic, and intervening factors as well as the implications of developing e-marketing capabilities with the primary concern of promoting the country's carpet export capabilities. In addition, in the quantitative phase of the study, thirteen strategies affecting two categories of short-term and long-term outcomes were ranked based on the strength of their impact on outcomes.

The impetus behind this s tudy is to discover the aes thetic and semantic patterns of the cypress tree and show how this element has been employed by Iranian artis ts. The ques tion of this research is how a cons tant element (the cypress tree) has been transfigured in different Iranian arts. Four categories of miniature, carpet, textile and architecture decoration. The present research is qualitative in nature and is descriptive-analytic and mainly uses the available published data. Data were analyzed inductively and interpreted in the light of Ges talt theory. Exploratory results reveal that the cypress as a cons tant element in Iranian art has been transfigured differently in different arts. With the aid of Ges talt laws, the visual appearance of the cypress tree was analyzed in the different samples a few of them are presented in the s tudy. It was found that dis tinguishing the cypress element has been made: by highlighting the role of the cypress and reducing the visual significance of the field while increasing the visual emphasis of the cypress. Application of different ges talt laws such as proximity, figure, and ground, similarity, continuity in Persian carpet mos tly makes the cypress at the center of attention and reduces the visual importance of the other elements. In some of the other Persian carpet designs, this element has semantic and extraterres trial concepts and sits is in the center (eg. Mehrabi carpets. In the miniature and fabric textiles, cypress tree has not received the urgent priority and often been on the margins of the image.

The wave scroll motif is among the designs that, nowadays, are mainly seen in rural and nomadic carpets in a wide geographical area, from Central Asia to Anatolia and the Caucasus, as well as Iran. Historically, this motif originates from Hellenistic art and is still used in oriental carpets today. The purpose of this article is to find out how and the possible time of the arrival of this pattern from Greek art to Iranian carpets using archaeological evidence, including old museum carpets. Using valuable motifs of Sassanian Carpets, this article tracks the transfer of this motif from the Hellenic-Byzantine civilization to the art of pre-Islamic Iran and in various artistic disciplines such as pottery and textiles to clarify this motif’s long journey from pre-Islamic art to the Islamic period. This study shows that the motif was most likely known since the Seleucid period in the Persianate world, but the most evidence of it can be seen in the art of the Parthian and Sasanian periods, furthermore the findings show that this motif was used at least from late Parthian era on the border of hand-made textiles like carpets.