Iran’s hand-made rugs in the contemporary era have initiated new cognitive, conceptual and functional experiences, these experiences have created new streams that are required to be categorized as distinct from Iranian handmade rugs.«Iran's contemporary handmade rug.»By emphasising the exact concept of contemporaryity in art, he learned that the contemporary hand-made rug of Iran, at the same time the cognitive, semantic, technical, practical and economic form of Iranian hand-made rug traditions, is a new form of hand-made rugs that is needed to define and accurately define its position, based on the principles of artistic critique.

In other words, the word of magic is an unforgivable,‌Subdivision, rejection or exclusion are not the effect, but the nature of critique, the evaluation of artworks, the precise recognition of artistic, aesthetic and semantic characteristics and the discovery and expression of the specific values of the works and achievements of artists and awareness to audiences in contemporary times, audiences in the art world have become an important place, and the artwork of interpretation to use, confrontation and how the audience interacts with this important artistic point of the artwork is prepared.«Each cash is considered strong enough to give them a understandable assessment, in a way that leads the audience to discover the values of the effect.»(Carol, 17: 1393) Another important feature of contemporary art critique is actually the first text and writing of art, and the rest of art writing are always formed after criticism, so the critique is always needed in the most contemporary artwork and its aim is to locate, locate, classify and determine the precise position of contemporary currents in the art world and history of art.

One of the most important approaches in Iran’s contemporary handmade rug is to use line and calligraphy as an element of cognitive form, identity and cognitive meaning, which is based on the struggle that this particular current art of contemporary hand-made rugs is recognized with the principles of artistic critique and its proportions to the flow of contemporary art as well as Iranian handmade rug traditions.

Hand-made carpet positioning in art. Contemporary Iran

In addition to functional features, art is important for the creation of beauty, creativity and innovation as well as an important medium for expression of ideas, ideas, concepts, and meanings, while the functional product and commercial commodity in the Iranian society is also an important component to the creation of beautiful and inpatient forms for expression of ideas, after the occurrence of modern modernity, with the most important aspects of the art of the Iranian hand-made carpets, and to the beauty of the contemporary value of the art of the art of the art of the art of the art of the museum, and the art of a contemporary value of the art of the art of the art of the art of the art of the art of the art of the art of the art of the art of the museum.

Contemporary times in ancient civilisations such as Iran are the most numerous and most complex and contradictory times that these civilizations have experienced, such societies have experienced from one by modernity and its pleasures and its presumptions, and, on the other hand, have been challenged by the possibilities of modern heritage of their civilization, and at the same time, by the historical values of modern artists.

The contemporary art movement, with its diverse approaches and methods, became a passage of the challenge of tradition and modernity in Iranian art. contemporary art is a distinct movement in the history of art which after artistic and artistic modernism. Since the late 1960s, this art stream of traditional media borders has begun.‌Art has crossed and created new forms of art-based art, contemporary artists sought to create an experimental space in the art world, hence in the field of materials, techniques and forms of art-based experiences, dating back to history and using elements, materials, techniques, ideas, symbols, forms, and art forms, one of the most important contemporary art approaches.‌It can occur in various forms including direct reconstruction, inspiration, implied influences, reinterpretation or even criticism from the past.«From that self-made. (Appropriation)to An approach refers to the artist consciously and the concept of previous artworks aimed at restoring the purpose of restoring the artist. They speak of art. (Recontextualization)  With a new look. Create a new meaning in the creation of their works.‌Take it.» Stokes,2001,125-126))

Another of the most important events in contemporary art was the recognition of the art of non-Western societies. artistic modernism, as art flows before contemporary art, recognized only the arts formed in the standards of modern Western art.

These features became the field of new artistic creations by non-Western artists based on indigenous cultures and identities, Iranian artists also created works within the framework of this movement, the most important feature of the use of traditional Iranian arts facilities in new forms related to contemporary art, although these works use traditional arts but in various aspects of form and content to the other way the traditional art of this movement is used as the new art of Iran.

The most important approach that contemporary Iranian artists used to resolve conflict between Saint-modernity was to return to their civilization’s heritage and adapt and to the self-destruction of this heritage in the works of art. traditional Iranian arts from calligraphy to pottery and ceramics as well as hand-made carpets in this approach were actually considered contemporary artists.‌Iran’s most contemporary art strategy to cross this conflict,"from from from‌And that it.‌St. Self-Emotion for Contemporaryization"In combination."double double."It was new and old.

One of the first things artists returned to in the heritage of civilization and the art of their past was the Iranian line and calligraphy.«Artists around the world of Islam have discovered calligraphy as a sign of identity, a way that can have a sign of individual creativity and a sign of collective identity and distinct from Western tradition.» (Ali, 1997:158He writes about the implementation of the line in contemporary Iranian painting:«The most specific trend of modern Iranian art in the way called the line of painting can be considered an Iranian phenomenon.»8:13.Rose. Jesus Jesus. In the book. Signs of signs.‌From Caligraph to Caligraph. Caligraphy She plays calligraphy in contemporary Iranian art.‌and show.‌How Iranian artists use this traditional art to express modern and contemporary concepts‌They will do it.. (Issa,2016)Iran’s contemporary art confrontation with calligraphy art and writing roles transcends simple and accidental composition.This confrontation has not been revitalized or returned, but contemporary Iranian artists revisit the critical approach of line and calligraphy and have had a constructive and ethical encounter with this art.

Hand-made carpets were also one of the most important traditional Iranian arts that contemporary artists returned to create contemporary art experiences. these artists have used Iranian handmade carpets in their works in various ways.‌Visual, aesthetic, identity and historical, as well as known as‌The most Iranian art in the world was played a role in shaping contemporary Iranian art, and as an element of tradition, it became a repetition of art works.The presence of hand-made rugs in the contemporary art world is visible to two main species, the first use of hand-made rugs as one of the traditional arts for creating a contemporary work, in this way the exposure of contemporary artists can be used in the works of the concept of art, as a material, as an idea of art, as an idea.‌A concept or arrangement has been formed. artists such as Marco Gregory, Yuri are among the most important contemporary Iranian artists who have used carpets to create a contemporary work. 

But in the second way, the final created effect remains functional as a hand-made rug, but based on the most important features of contemporary art – the focus on idea and concept, identityism,‌ Problem issue.‌Main,‌ approach.Critical criticism.Several meanings and interpretations, active interaction with the audience, emphasis on the field and interpretation of the viewer,Multimedia.‌Being complex, intervening,Multilayered references, media composition and different styles,Being in the middle.,Beauty.‌Intrusive and challenging.The traditional frontiers and contracts of art – as well as the main approach in contemporary Iranian art, namely the adaptation and self-imposing of Iranian artistic heritage, contributes to new experiences in the field of form and concept, and the new branch of Iranian handmade rugs that can be described as the contemporary handmade rug of Iran.

The line and calligraphy in the carpet. Contemporary hand of Iran.

The line has been used as a form and cognitive element in Iranian handmade rugs. In the first available examples, Iranian poets’ poetry in the form of inscriptions is visible in the hand-made carpets of the Safavid era, as well as in some examples of hand-made rugs until recent times the line and calligraphy has been used as the main element of cognitive aesthetic and semantic beauty in the original design of hand-made rugs.

In the first instance, some artists have chosen areas such as graphics, painting and conceptual arts, hand-made rugs as art media, and used lines to express ideas and concept, as well as a form and aesthetic element, true Abraham, an Iranian well-known contemporary artist in his recent works as the exhibition title of the concept and concept.«In the palm of the hand.»In the Trust Gallery in April 1403, it was displayed, using hand-made rugs as a medium to present its lines, in these works the lines of this graphic artist have been woven into the form of handmade rugs, and the actual objects in these works have the use of handmade rugs, and the handmade rug for him is simply another modern media painting that shows the lines in the form of art, and the shape of the shape of the shape of the shape of the art of the shape of the shape of the shape of the shape of the shape of the shape of the shape of the shape of the shape of the art of the art of the shape of the shape of the shape of the shape of the shape of the shape of the shape of the shape of the art of the shape of the shape of the shape of the shape of the shape of the earth. These two traditional arts are also visible in the works of many other artists, in the exhibition statement also emphasized this feature of hand-made rug as the main reason of use.In the first step in the most important contemporary art approach, the return to traditional Iranian arts and the adaptation and the self-made of these art, the hand-made rug is based on the view of the art of the most important art of Iran.«True Abraham, the rug of this Iranian companion in the ages and centuries as Iran.‌The most prominent symbol of life every day is displayed in fresh mobility and flooding.‌Leave and from the cultural context of ancient Iran, new art.‌He was watching..» 

Shah’s famous Abu Shah is another artist who uses hand-made rugs as a medium to express his concepts in the form of lines of writings, Abu Witnesses also have a visual and conceptual encounter with hand-made rugs and uses the line as a conceptual and visual element.‌In the year of the carmaker was presented in the gallery, unlike many contemporary artists who deliberately eliminate words in order to achieve a decorative element, they are completely readable, and this artist emphasizes the meanings of writings more than the cognitive form of lines, the use of handmade rugs in the works of Abu Shahi in the most important contemporary art approach of Iran, the use of traditional art facilities and its interpretations of contemporary art.

A line in rugs. The hand of Romeo III

In the second method of applying the line in contemporary handmade rugs, along with visual, visual and conceptual characteristics, hand-made rugs continue to maintain its latein function, but by taking advantage of the main features of contemporary art, it defines itself as a new stream of handmade rugs. Hand-made carpets are not merely an alternative medium for visual expression, but they enter contemporary arts with their full functional identity and shape a new realm of contemporary art, hence they create multiple functions that interact with the audience can be both functional and decorative effects at home, while crossing boundaries with traditional institutions such as art galleries, visualizing and everyday living places.

The works of contemporary artist Romeola Tria are categorized in this second way; he has used more than all lines of calligraphy among artists in his works. – Dieola Tria in the collection of his hand-made rugs as Savan, all, together, all, in his works.‌(b, al-Him, al-Hah, al-Hah, Al-Hah, Al-Hah, Al-Hah, etc., has benefited in different ways than the first-class artists whose artistic origins are often visual arts.‌It is an artist who comes from the art field of hand-made rugs and his deep familiarity with the history of hand-made rugs as well as design, techniques and traditions of weaving has led his works while being placed along inscriptions in hand-made rugs, especially hand-made carpets, because of the use of journalism as the only aesthetic element for design,‌An innovative reading in hand-made rugs is not just a new or alternative medium for journalism, but a hand-made rug is considered for the original art creation, and by carefully understanding and applying the technical and aesthetic possibilities of hand-made rugs and mixing the line element with the structure of hand-made rugs, distinguishing its works from the works of first-class artists, which I see in the works of the way that I will continue to visualize and interact with the concepts of the next.

Munola’s additions occur in the field of formology and conceptualism, in his cognitive form, he often breaks the structure of words together, and by releasing letters of words and remixing them into modernist color domains, aesthetics link Persian line to abstract forms in modern artism. The result of this cognitive form creativity is to reach lines in which text cues are void of explicit meaning and remain only with the identity of their own form and implicit references to Iranian culture in modernist compositions.

His hand-made rug named.«West.»(Five 4) It shows this feature.«Love love.»That, through the restoration of letters, the removal of points and incisions, has lost its clear readership and become a form of cognitive form, forms the main element of the composition of the effect.

Another hand-made rug collection is called dieola.«Sword of Sword.»(image 5) is also interpretable within the framework of this approach.m.m.ola used the black tradition of homework in Iranian calligraphy art and, together breaking words and converting them into a dense mass of letters and numbers in the horizontal line, balanced with the structure of rug tissues, the aesthetics of Persian book into the field of hand-made rug.«b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b»From a distant view, the form of the sword has entered the visual horizon.«West.»By the use of the colorful areas inspired by the hand of the nomadic tribes.‌And modern artcolorology, the aesthetics of the effect are linked to modern abstract paintings, and it becomes contemporary art through this passage, in symbolic terms of recognition, these works of meaning are formed in Bricolagi from two layers of ancient and contemporary visual culture.‌Give them.

This approach incorporates the works of dieola along the mainstream of the use of a line in contemporary Iranian art, a formalist and decorative approach to the Persian line, with the works of many important contemporary artists, such as Hassan Lived,‌And they are the ones who are the ones who are the ones who are the ones who are the ones who are the ones who are the ones who are the ones who are the ones who are the ones who don’t know what they are doing.«Popp extends this feature to all Iranian history, and believes that Iranians have expressed their genius in decorative forms and thought within these decorative forms.»(The living heart, 1401:17), the contemporary decorating point with the decorative spirit of Iranian art, is that contemporary decoration is based on the artist’s personal experience of the form, and decorations in Iranian art are subject to a rule and hence contemporary art works are different from one another and the works of modern Iranian arts are similar to each other.

 In the context of linear conceptualism for dyingola, not just an artistic technique, but also an artistic technique. and deep.‌Creating national-cultural identity They shape his works as he redefinitions the line in his works, to three key objectives.Preservation of history, the creation of contemporary visual language and the attainment of expression Global Worldhands.‌The line forms the conceptual base of the hand-made rugs, and through these hand-made rugs, in addition to the functional side, they find a set of conceptual arts.

A hand-made rug.«resident.»(image 6.) is an indicator of the way we face the same form and concept of dyingola with the Persian line, breaking the structure of words and converting letters into pure cognitive and decorative cues and creating a concept-chid effect.“intersection.”And you have a few things.‌The main feature of this hand-made rug is known in terms of shape.‌Immaola's design is the whole effect on the first layer of the frame.‌And the doors.‌and the pattern of the puzzle.‌He shaped the species. In addition to the contemporary form of creation.‌It is a reference to how to frame line parts and images in Mark’s legacy.‌Iranian journalist in layer.‌Nearly close.‌To the audience, the artist brings together colored layers.‌And the range.‌Color from painting.‌Expressing is an abstract and hand-made.‌Iranian Illyati and nomadic tribes, in particular, complex color pattern.‌One of the layers.‌China is vertical and horizontal leveling against the eye of the audience.‌Give them.

In the last layer, a dense mass of linear elements intertwined in horizontal and vertical seat lines has created dynamic, yet balanced visual textures, in this layer of dieola, by breaking the link between letters and recompositioning them and by deliberately removing the possibility of readability, it has transformed letters into a visual and decorative element.

Although the work of the instrument has a clear reference to the history of Iranian art, multiple layers of the effect are ruptured from traditional time and the accumulation of past time, present and future, the gate of the gate.‌to the«Time time.‌Other.»They would eat.‌Create and layer.‌Chinese form by cutting.‌Time.‌I knew.‌They are mixed and kind."Dreman." «Heterochronies»shape.‌Give them.

Technique.‌They shape another layer of dieola’s work.‌They are not merely skillful, but a decisive role in making forms, meaning,‌Feelings and how they perceive the effect by audiences are combining techniques.‌From tradition.‌Old Iranian weavings in rug and glam, in addition to some kind of reference.‌Cognitive for effect.‌They come, a field."Several miles."They create a sense experience."A few senses."They provide an audience when touching with hands and steps on hand-made rugs, a perception that engages the sense of vision and touch of the audience and to create the sense of location and creating meaning in the space where the effect is widespread.‌It helps,‌slow.

In this effect, the artist somehow loses the structure and liberation of stereotypical parts and regular rectangles in hand-made rugs.The total structure of hand-made rugs is designed as a set of several layers on hand-made rugs, which are reminiscent of the book-written versions in the Iranian ballot book.Textile ArtThe visual effect and effect of the concept and the arrangement, and to find different functions and applications than the interaction of the audience and the multi-faceted cadres of the effect, along with the vertical and horizontal cross design of layers and even letters, the point of entry into the working world for the audience, both visually and in touch, becomes interactive and at the point where the effect becomes another of contemporary art ends.

Meaningfully, this hand-made rug makes sense in Bricolagi of the layer.‌Multiple contemporary art and art forms.‌Let merola break the letters from the original text.‌They and their transfer.‌In the context of the hand.‌It is built, creatively changing the meaning of these letters.‌And in the field of meaning,‌She is layered.‌Crossing effects connect the audience to distant and near moments in history, present and future.‌It is at this point that the effect of dieola separates from linear time.‌It becomes an intersection point of time, a point that is capable of several space with a characteristic of time.‌Put a different time together without each one.‌It can be cut off as a museum.‌Things of all time.‌The arts and art have gathered together in a space, the hand-made Romanola becomes a crossroads of different times.‌It becomes.

Contemporaryness in art is hard, and it becomes more complicated in traditional arts like hand-made rugs.‌power version.‌Today he created the arts that"traditional."It is thought.‌They make art complex in these art.The way of dyingola Tria with hand-made and calligraphy rugs, idea.‌Our constants in Bob that a contemporary Iranian artwork"must have"What is challenging?‌They will be able to display a number of contemporary possibilities in hand-made rugs.‌Leave it.

Sources of Sources

Living heart, Siamek, (1401), the visual transformation of Iranian art, critical review, Tehran: Press publication.

[1997] The Iranian modernism, Tehran: the publication of opinion.

Carol,‌No, [133]‌In the Qur’an, the Qur’an says, “No, no. No.

-Ali, Wijdan, (1997), Modern Islamic Art: Development and Continuity, University Press of Florida.

- Issa, Rose, Juliet Cestar, Venetia Porter, (2016), Signs of Our Times: From Calligraphy to Calligraffiti, Merrell Publishers.

- Stokes, S. (2001). Art and Copyright. North America and Canada: Hart Publishing Oxford and Portland, Oregon.