“I learned from a child that every node is not just a task; it is a responsibility for the history of my land...”

I am Kashani, born in 1337 in the village of Kilno, a green and beautiful village on the border between Kardstadt and Chavis. If I have a 49-year history of art and 30 years of history, if UNESCO’s show, seal of originality, art degree, patent, entrepreneurship, and dozens of honors and titles recorded in my record, its root dates back to the same simple house of childhood; a house in its courtyard always held two six meters, and our lives of the newly resolved wool, natural colors, the rugs and the natural sound of the sense of the rugs..

My father, Qasimi, was the CEO of rural cooperatives, but like most of the men in the village, he was also farming and livestock. However, the art foundations of my life left my grandmother, Kakasakii, a powerful woman who carried out all the steps of her hand-made rug—from the string and coloring to the whim and setting up. There are still days in front of my eyes when neighboring women — 10 to 15 — came to the solution, worked with Sean and then scrumbled with Duke. They came back to my grandmother’s hand and live again..

I was a kid who came from school, left his bag and sat in the middle of unfinished rugs. I learned from a child that every node is not just a task; it is a responsibility for the history of my land.. So I started the carpet from the age of twelve. Barnards, at the time many of them had no reading or writing literacy, but they had amazing mental designs, making me look. I reached a point where I could think all the plans and combine a few maps..

Image 1: Master of Kawasaki at the root of the Colardstadt area

I remember two six-meter rugs that I was woven into the construction of the Turkmen and Colillard were so valuable that my father was able to buy a house in Chasos by selling them — a house that still stands. I went home after my marriage and I sat there for years..

Photo 2: An example of textured rugs in the area of the 50s solar solar decade.

But my path wasn’t just in the texture.. I continued to study: Diploma and graduate of handmade rugs, Bachelor of Cultural Affairs Management, and finally Master of Arts Research. With this knowledge, I returned to the heritage of my region; the revival of Sachim and Jajim, the acquisition of the original seal for both, the receipt of UNESCO International Show for Sachim, the formulation of the Sachi educational standard for the technical and professional organization, and the national registration and then the Universal Register of the Allied Carpet. For many years, research and research, writing articles, recording in the field of textures and new ways of stagnation became part of my everyday life..

In 1889 I founded my technical and professional school with 12 specialized disciplines; from design, coloring, repairing, puniting, and jihad to carpet and glamorous. Today I am the only active city school and teach students, students, rural women and native arts enthusiasts. In addition to teaching at the University and the Arts, I have created an art workshop to not only keep the art of the region, but the new generation beautifully closes it..

Image 3: The technical and professional schools of carpets are being taught to women in the Kardstadt region.

Over the years, I have redesigned 25 of the forgotten carpets of Colillard and 50 new designs, devised a new method for pulsation, brought the traditional pockets of the province on the metal, discovered a new color in the region, and hand-made rugs such as the Bam-made map, the geography texture and various logos..

Figure 4 and 5: Master of Qasiris is in your handmade texture and a view of his works.

In my resume titles such as “Iran’s persistent educational figure,” “employment,” “the influential lady of the province,” “The Guardian of the Interior rug” and more than 115 decencys, but none of me is worth the moment I see a young artman, like my childhood years, the first node of his artistic life.. I learned Buffett from a grandmother who lived with his hands, and all my life I tried to keep the same legacy alive and move to the next generation..

Image 6: Professor C. C.K., along with a series of his gravitations

My cooperation with the relief committee, well-being, mobilisation, and projects such as the Gelim province of Mazandaran is part of the task I have always defined for myself.And:
Preserving and continuing indigenous arts, transferring them, and building a future in which the rug and flowering of Mazandaran are still alive..

Image 7: Carpet woven the Golden Cillard Cup by Professor Kashan

Image 8: The rug woven from the Cillard Geographic map by Professor Fatima Sisi

Today, when I look, my path started from the very simple house of Kaleno, from the hands of the grandmother you laughed, from the bats in the courtyard, and from the passion that never turned off. Whatever I learned, I came from the heart of the Tard, and whatever I built, it was for me to remain this legacy and the next generations continue to hear the voice of the dead shoulder..

And at the end of the day, I am grateful for my wife, who, in all this journey, was with me and my unwavering support and always gave me the motivation to continue the way.

Image 9: Along with the generation of children and adolescents in the school of Qadfi