Introduction Iran’s contemporary hand-made rug from few phenomenaIn the world of art,It can too.Cover the floor time and conquer the gallery wall.«Also, too.Time time.»Not a simple event, which is the modern and reflectable nature of Iran’s handmade rug, in that unit, an applied object for everyday life, an artwork with the visual system of the organization.It was an economic product and a skilled product.Carpet, rug, carries Iran’s historical and cultural memory and sequencing style style.tradition, tradition.Visual and transformation.And the taste.Beauty.← Psychologists.O thou who dwells in the centuries.In this continued civilization, they maintain themselves.and return.They are shining. In contemporary times, on this layer.Before available, layer.new ones.And it is the one who has made it.Especially in the realm of art, complex.On the one hand, contemporary art is made with the logic of concept.Question and question.No, no, no.title of a decorative commodity, whichas media.For an idea.The narrative,and worries.Today’s people are served.«Art of texture.[1] »From the second half of the twentieth century, the boundaries between the high art and the crafts of hands-on, fibers, nodes and textures to the light.The title of the independent language of artistic expression is recognized. in this new situation, technique is the technique.Traditional ovens are no longer just the means of producing a commodity, but the media itself.For the creation of art.They come too.Time, expansion.«Design design.»toThe title of a paradigm that blurs the boundary between the functional object and the artistic object has shown carpets in a new realm, where a rug is a rug.It can too.Time of a floor.A visual statement is a consumer product and a collection effect, thus, Iran’s hand-made rug that previously floated across the borders of art, culture, history, economics and industry, now within the realm of art itself with a new multiplicity.Amidst traditional art, contemporary art, the art of texture and design is encountered and«Being in the middle.»Contemporary rug to a very complicated situation.He has become more. This is a few characters.Ability through two distinct theoretical concepts but complementary facial expressionsThe first concept,«border object.[2]»Star and Ferrari in the communityScience is introduced.They are concept.«border object.»In this theory, to object.It points out that while maintaining its material integrity, it is possible to interpret differently among the system.They provide knowledge and social heterogeneity.They will do it.(Star & Griesemer, 1989)This concept provides an efficient framework for understanding Iran’s contemporary handmade rug.It makes sense because hand-made carpets operate in their contemporary state not in a single semantic system, but at the intersection of several knowledge regimes, including art, design and market,Along this reading, the situation.«Among theIt was you.[3]»They will.power toAs a cultural dimension.–Theoretically understood that it refers to the possibility of generating meaning in midway spaces, where identity, meaning and value are attributed to the possibility of producing meaning in midway spaces where identity, meaning and value.face stabilized.They do not exist, but in the process of continuous exposure and translation.They take this situation.power in relation to concept.«Third space.[4]»Father's face.He said, where the meaning is.Liquid space between tradition and modernity, center and around, and the domestic and global production.It will become (Bhabha, 1994)As a result, the contemporary rug would take Iran.power totitle of a title.«Border object is translating.»He also considered it.Time is present in several systems of knowledge and its meaning and value not through stability, but through the same situation, suspended and intertwined.It was shape.Take it. Combining these two concepts, the exact picture.More of Iran’s contemporary handmade rugs.And the carpet, on the one hand, as a«border object.»Between the world.There are different social groups and between them.Translated.On the other hand, as a phenomenon.with a feature.«Among theIt was you.»In none.One of these worlds.to them.Not completely solved.And it keeps a unique, fluid and multiple identity.From this point of view, the contemporary rug of Iran’s hand-made rug.power of one.«border object.»He knew that his identity was not exclusive to a field, which is exactly the same.«Being in the middle.»And floating between different realms.It is the boundary that is the horizon.The future of the hand-made carpet.Maybe the carpet is hand-made.It can too.Time of a floor.Applications are at home, a luxury in the market, a visual document at the museum, a conceptual statement in the gallery and a design effect.Based on a design event,And none.One of these roles.They will reject other things.You need an analytical framework that can.Time for all these funds. There are literature on Iran’s handmade rugs, with all breadth and length.It was mostly based on approaches that each given one aspect of this border phenomenon.They are research.Historical, hand-made carpet toAs a document from the period.Previous studies.And cultural and cultural studies, it tosymbol of Iranian identity.Technical and economic approaches also analyze hand-made rugs in a workshop product.They are based on theNumber, raw materials and scalable market mechanismsIt's also packed.Time, an interpretation of the design and role, followed by decryption of hidden symbols and meanings, and the style of interpretation is hidden.Regional Biology.And they tried to do it.Organize them according to texture geography, each of these approaches has made a part of the truth of hand-made rug.They are, but nothing.One as one.«border object.»I haven’t seen it.His identity is not in compliance with a framework, which is right in line.«Among theIt was you.»And a sail between it.shape.Take it. Understanding and recognizing contemporary handmade rugs as one«border object.»It still requires a conversation that can handle these few steps, not in history.He is a journalist.It can be found, not in style.Biology, not in analysis.Technical and economic approaches, because each of these approaches, according to its nature, inevitably sink the hand-made rug into one of its funds.They are the discourse they make.It can not be a few.title of a class issue.by which,The title of the basic nature of the hand-made rug, and from the heart of this acceptance, it is possible.new ones.You will open for the future of Iran’s contemporary hand-made rug,«Henry's critique.»However, such a discourse has always been absent in Iranian hand-made rug studies. What criticism of history← Style, Style.Biology and technical description are separate.Not only the method of analysis,It's time-consuming history.Poetry to the past.Do not look at it, nor do it.Biology within the framework of known rules.to the floor.The works.Paying.In fact, in his own nature,«Contemporary contemporary contemporary»It's now, he's going.and possible.They will take the future.Maybe they are.(Belting, 1987)If history.Ask the hand hand-made carpet.«How do you find this magic?Does it take?»cash,Asked.«What is the possibility of this hand-made rug for the future of Iranian handmade carpets?Or maybe?»This direction.The future.Then he turned the cash into a conversation.It slows it.It can also be with contemporary handmade rug dynamics.Take a step, unlike history.And the past is fixed.Kennedy, it's from the past.And the way.He will bring them to the new generation, and the horizon.new ones.Open for this artistic heritage.
The lack of cash in the studies. Iran Iran The lack of cash in the field of Iranian hand-made rug studies requires a moment-to-day shift.That is what this is.As a field of study, it was formed in the West. the point of departure must be made in the 19th century and both.Time with two parallel trends.On the one hand, the rising wave of the east.Knowledge of researchers, collection.Owners and museums.They turned to Iranian hand rugs, and on the other hand, shape.A booming market for hand-made rugs in the West, which made it a luxury and rewarding commodity, these two streams, although in practice, each different path to define and value.Creating the base hand.They planned. First step in this path, with the museum.You are a carpet.They were removed.From the 16th century to Europe, in the 19th century they became the subject of serious attention to Western cultural institutions.There are many of these.The series was set up,Owners and museums.Important to collect and display it.The first works of research were published in Iran.First, mostly on history.← Style, Style.Imography, he poured.Conceptualism and role, symbolism and interpretation, technology.Biology and geo recognition of texture were focused and based on it.The rugs,on the floor.grading.Historical, geographical and beautiful.cognitive organization.They found this attention to the museum’s studies.O, I have made the Iranian carpet in the West a valuable object.shape.It was a great market for it.He created a place for the Western audience, which is based on the production of carpets in Iran and the company.Foreign production and trade carpets organized the mass supply of Iranian handmade carpets for Western markets by taking a substantial portion of production. This double confrontation of the museum.Market, two categories of criteria for valueFinding the hand-made carpet at the museum's glance.O, researchers, by definition of the period.title title title.«The shining age.»Iranian Art, Beauty StandardsAstronomers consolidated hand-made rug based on the works of that period. within this framework, the artistic value of a hand-made rug in the form of a hand-made rug.«Historical history.»And by the way of his obedience.And the magic of thespecial decoration.abstract, measured.He looked at the Iranian carpet.title of a luxury and its value based on«Bachelor of Science.»Measured technical standards becauseNumber, type of nodes, texture style, raw materials and regional authenticityO, you are determined.What was absent in both sights is attention to hand-made rugs.As a living and evolving phenomenon, phenomenon.You are worth it.Not with the sample.Historical constants, which must come from innovation.She took it. This face.The discourse,gradually to a value system.Beauty.He became a scientist who«Good good good.»and«Bad bad.»Iranian handmade rug based on the degree of compliance with sampleThe shining museums.i.e. the market definesAnd he did it.To produce hand-made rugs in Iran based on stabilized criteriaIt was the rejection of any innovation.Pictures in the late Qajar period, from the first current.Innovative in Iranian handmade rugs, the first victim of this kind.In this movement, artists moved to this movement.Rather than repetitions,«Imageography.»They came and the faces of kings and men.stories of stories.Iranian mythological and historical myths, and even everyday events, played people’s lives on the rug.Unlike the carpet.The traditional space that comes from time to time.They,«The narrative.»They entered the texture, a narrative of history, myth, and of contemporary life.influenced by modernity and global visual culture, including photography, cardsPost and European painting were formed, butSpecial attention time to Iranian visual culture,A special story and story.Iranian people demonstrated and reacted to the texture of time and the transformations of political and social accelerations of the Qajar era (image 1). Image 1: The image rug with the subject of the conquest of Tehran during the constitutional revolution, 1327 (Glorified and Merciful, 1,400). Example of the exclusion of innovation.power in position.Arthur Epstein Phamp, the face of the Iranian Art Studies Index in the West, against the rug.He saw the image of the Qajar.Doubtful service.I have to identify and introduce Iranian art in the world, in his speech in Tehran in 1304, while the Safavid era.«Golden Age.»Iran's carpet.read,He tried to enter his face.And to the carpet.«A sorry desire.Data.»And he called it the carpet.It has been shown to be an unequal competition with painting and in which it is doomed to failure (pip, 47:1355).It was clear that the original art of Iranian rug was based on the design of Iran’s design.This is the foundation of the covenant, and it is the first.Creating hand-made rugs was thus the Qajar image movement, which happened to be the first current.It was innovative in Iran’s contemporary rug before the opportunity to explore, because of the incompatibility with stabilizing criteria.museum.O, he was rejected. This pattern of exclusion varies in a different way but with the same logic, in the market approach as well.It can be found.[1]Britain’s political envoy in Iran, on his trip to Kerman in 1895, is concerned about the prevalence of the plot.Pictures in the rug.Kerman intervened directly in the process of production. he traveled in his autobiography.Written by«by the recommendation.My carpet.Buff.plans.Then he turned to him and asked him to do so.They continued the old ones.»(Six, 23:3:1336) What happens in the reportAnd, beyond one statement of taste.A British diplomat, whose country is important.Iran’s most export markets were ordered directly to the owners.It gives the plan.Put aside images and design.The old ones returned to this intervention was a clear example of the following of the production of the tastes of the market that would only take the Iranian rug on its traditional board.He accepted that vision in writing.Cecil Edwards, businessman and From Iran’s first hand-made rug researchers, and ancient Donald Wilbur,As well as Iranian art researcher, we also see.And it becomes.This works.«Lack of regret.and taste.» (Edwards, 1953,) and«Bad taste.»(Wilber, 1979) They sang. Thus, the first innovative current in Iran’s contemporary hand-made rugs, by the criteria derived from the face.Double museum.A. A. A. market was attacked and eventually dismissed.And by the way of the beauty.The art of the time,«Aversion.»He called the spirit of art, and the look of the market, relying on the taste of the Western buyer, it.«Trade threat»The result of this double rejection was the shape.Giving a lasting pattern in Iranian rug studies was in which,«originality.»Always in the past.They ask.Any attempt to exit this framework or ignore.Or they will either be left behind.It becomes the rug movement.and with it,The spirit of experience.Gary and innovation.You who are.It was the foundation of a new stream in Iran’s hand-made rug, the first deleted process based on this series.They were far. In such space,«cash.»In the absence of cash, there is nothing to do with the new.title title title.«Assessment»stabilized,«Bachelor of Science.»Museum of MuseumIt was a market that had its mission in determining the age, recognizing the type and quality of texture and raw materials, and recognizing the area of search tissue.They ask.This tradition, which borrows its criteria from the same concept machine of the 19th century.It has persisted until today, though the Bachelor is accurate and necessary in its field, but never.It can fill the place of cash.Look at the effect with pre-established criteria.They are.سنج, now.And the cash from now on.He begins and has the future. Iran's contemporary hand-made rug, in search ofSearch for cash. In the decade.Recent trends in Iranian hand-made rugs are met which they are doing.power from it as title.«Iran's contemporary handmade rug.»He taught and from other streams.The palms.He distinguished himself..Iran’s contemporary handmade rug, before and above all, one thing, one thing.«border object.»This is the carpet.And too.Time of a floor.Wearable clothing.They are an artwork with complex visual system, a conceptual statement, and a design product.Based on this border nature, the product of confrontation.It is a creative with artistic heritage that is no longer a repetition of sex, but of the sex of adaptation, re-reading, and of it.The artists of this stream, such as Romeola Tria, Amir al-Madiq, who are from the New Generation of Iranian Designers, consciously seek to store the image of Iranian art.Trends and with a critical and open-minded look, the visual elements of the past are used as raw material for creating a new language.This is the opposite of tradition.Conservatives.I think you get the tradition out of the museum.And he is living in today’s art.(Photos 2 to 4). Image 2: The effect of Romanola Tria from the Dragon CollectionThey are. 3: Peace be upon the throne, Image 4: TangAnd the wise man, This border position itself in the feature.This is a clear and clear sign.Iran’s contemporary hand-made rug makes many rules of stability.Then they questioned the old.They are in these works.Ability to sign.He saw double coding, composition.Time of modern and traditional, local and global, decorative and conceptual elements, a contemporary rug may combine calligraphy in the heart of the composition.grading.Either he or she does,From the main bed.They separate and re-establish in a new space to become a question of identity or memory.«And the goods,»Not to spend, but to one.«Cultural text of reading.»It has become. This is this.«bordering.»Unlike what might be at first sight of an infinity.Identity or crisis.It seems, important.Iran’s most contemporary hand-made rug in today’s art world is precisely at this point where the necessity of cash shows itself more than ever.Give it one.«border object.»They do not.The ability to be judged by the criteria of a particular territory; the contemporary hand-made rug of Iran, because of its multilayered and floating nature, again with traditional standards of rug evaluation, such as the order of the modern hand-made rug,Number of nodes, type of nodes, area authenticity.Either, or in accordance with the patterns of worship, it is not judgmental.In none.One of the categories.Market and museum are not.They are treasure.They have a new entity, the system.class.and value.It is challenging traditional investment from the foundation.Kill it.«Bachelor of Science.»Which is the traditional instrument of carpet assessment in the market and museum, in contrast to these works, ask questions.They respond.They don’t have enough credit anymore.No, no, no, no, no, no, that is a reminder.Time to its artistic, conceptual, functional and economic aspectsThey pay. The new generation of Iranian rug artists, the ones who are in Atley today.Personal and Academic SpacesAnd they will andAnd they made it a reminder.They are it.By creating works that float across the boundaries of art, design and market, virtually from the face.Double museum.The market goes beyond.But this escape would be unfinished without cash.It is the cash that it takes.It can remove the works of this generation from the turmoil of the market and from the silence of the museum.And he said to him,Dialogue turns and stabilizes their position in the history of Iranian art, in this middle, not a luxury option, which is a necessity of the method.Knowledge is for understanding and judging the contemporary Iranian handmade rug. Henry's critique as the future discourse.Looking. In the mid-1980s, Hans Belling[2]German art historian, with the publication of the Waves book, but controversyIt's your own title. «Is the history of art finished?»A fundamental question at the heart of history society.Art journalists show what Belling.«The end.»They would eat.It was neither the death of art nor the closing of research.Historical ideas, but the end of a certain imagination of art history, were the only, linear and meaningful notion of the progressive art of the beginning from the Renaissance and to modernism, in his sense, the perception of the history of art, which kept the works in the sequence of styles of style.courses and courses.chains.He made a predetermined order.And it is on it.They imposed.He understood what was in contemporary art.It was not necessary, nor did the same old narrative, which was a fundamental turn towards the readings in the context of the ancient narrative.It was a reminder that, instead of the past, the eye was possible.Fresh openings.(Belting, 1987). Belling’s idea is an important outcome for understanding the ratio.«cash.»and«History of history.Journalism.»He followed history.Poetry, so.It was established in the Western tradition, looking at the past following the documentation, class.and explain the chain.A cause.and disabled.It is a matter of fact, and it is a matter of questioning.«How this works in the continuation of the traditionDoes it take?»It goes beyond.They are cashing.Asked.«What is it possible for the art of tomorrow?Or maybe?»This direction.The future.Then he turned the cash into a conversation.It is also with contemporary art dynamics.No, Henry, who else is in the box.predetermined.It was not.The treasure and its boundaries are defined.slow. This distinction between criticism and history.They take the journalism.Power by using concept.«Bachelor of Science.[3]»In the tradition of Western art studies, it is also clear.The bachelor, rooted in the European tradition of the 18th and 19th centuries, is mainly focused on three axes:«by the[4]»That is, the Creator of the Effect;«History of history.Investing.»It means time of production, and«Confirmation of authenticity.[5]»This is to distinguish the original effect from the fake.Hatt & Klonk, 2006Expert, relying on deep technical knowledge of materials, techniqueand style.Historical, effect within the framework.documented and confirmed documents.In contrast, artistic critique is based on three different axes:«interpretation of interpretation»The discovery of meaning and meaning.Effects,«Assessment»The judgment on the quality and importance of its art; and«Field field.to forgive.»It means putting an effect on the cultural, social and discourse of time.(He)Barrett, 2011(b) In other words, you are a master.Asked.«What is this effect, who is made and by whom?»And now,And he who criticizes.Asked.«What does this effect do?Why is it important and where is the world of art today?»In the field of Iranian handmade carpets, what has so far been referred to as«Assessment»It was common, mostly, the same traditional master, which was on the pitch.The number, type of nodes, raw materials and the texture area is focused, but what the contemporary hand rug Iran is doing.It is an artistic critique that can go beyond this indicator.Technically, in other words, innovation and the capacity of the work to say.Talk to the time. This distinction, in St.Other art, toEspecially contemporary visual arts, in particular.It is well understood and established in this tradition.And, too,Time by transformation.Modern art and postmodern art became a pillar of artistic discourse, because it was the only critique that it would take.He was able to logic with logic.«rupture.»and«Innovation innovation.»It was in modern and contemporary art,History and bachelor, with their traditional tools, come from the description of the works that are common of tradition.They are broken back.Like, but cash, with a future character.You see, exactly in this break.They have the opportunity to breathe.In fact, he found what Belling.«End of Art History»It was called, not an end point, which was the moment of the birth of the necessary cash, the moment of the moment.O thou who is the only one who dwells.and a lot of reading.Maybe they are coming.He brought it. Now, the question is, what does this shift have to do with Iranian rug status? the field of Iranian hand-made rugs, unlike the visual arts, never this transition from the Iranian state?«History of history.Journalism.»and«Bachelor of Science.»to«cash.»He did not experience the truth, and he did, and he did,It was made.It is the one who has declared the end of it in Western art.Based on style, period and floor area.They are counting.and value.They are set with technical standards and predetermined rules.They are.In this space,«Innovation innovation.»Or as a reminder of the tradition.Or at the same time,Old as old ones.«Modern design.»against«traditional design.»The category,They are counting.Returned. Similarly, Iran’s contemporary rug, which is now in line with one.«border object.»Between traditional art, contemporary art, the art of texture and design has appeared again with class standards.Traditional classification and tradition of the Bachelor’s is not understandable.It can determine the date of a rug, recognize its texture area, and type and quality of texture and raw materials.Then he turned away, but in the face of the carpet.You who do not define themselves in these coordinates.It is inevitable that it will remain silent.Ask him.Those who are one.«border object.»ahead.A question of meaning, from innovation,It is with tradition and time, andThose who are in the future.Perhaps it is out of the field of the master.You only criticize them.It can answer the cash that can take the border position of contemporary carpets.He will judge and judge.A method.He will give them a few things. For a new generation active in Iran’s rug, the necessity of this double situation is standing in the midst of two necessity, on the one hand, the need to understand and re-read tradition, and on the other hand, confront the new standards of art at the global level of artistic critique, as the future of the discourse.Look, exactly a tool for the mediator.Gary is a necessity between the two. critiques of the young artist.It teaches that tradition is not a historical monument.He didn’t eat a living source to say.It is a reminder, and it is a reminder.It teaches that the value of a rug is not only in the quality of texture and raw materials or texture area, which lies in its ability to speak with today’s language. In this way, artistic critique of Iran’s rug must be understood beyond a complementary skill, a discourse that breaks down the linear narrative of history, the horizon of the future for this art.If we accept that, in the words of Belling, what is finished, not the art itself.A certain one of its stories,In fact, art is the same force that you are doing.Can the story.It makes new stories possible,In which the Iranian rug is not merely a souvenir from the past, which is a statement.A day and a plan for tomorrow. map.The way of artistic critique for the new generation of Iranian handmade rugs: towards a unified framework. If we accept that the art of the future.Looking, it.The fundamental question is how this transition might be.What new generation is analytical tools.It needs to be able to give contemporary hand-made rugs.As a living art work and a judgment?The answer to this question requires the implementation of a method framework.It is a reminder of the magic, which is a reminder.They will use other things, and with the multi-layered nature of the contemporary hand.title of a title.«border object.»It should be coordinated.Time to visual, material, functional, process and context.O thou who art a hand,And he who forgives one another. On this path, the first step is to be equipped with an analytical system model.In the field of visual arts critique, one of the most influential patterns is the four-step model.Edmond Burkefeldman, which includes«description.»,«Form analysis.»,«interpretation of interpretation»and«Assessment»They would eat.It will become(Feldman, 1994)feldman has this model aimed at guiding students towards confrontation.He created a structure with works of art.«description.»The critic is just what he does.See, color.Form, form.texture,and visual elements.You who have the effect.Create, register without judgment or interpretation.slow at stage.«Form analysis.»These elements are investigating each other in relation to the overall effect.At this point the question is how to combine.Classification, rhythm, balance and fit, shaped the visual structure of the effect.The third step,«interpretation of interpretation»Where the critic transcends the surface of the form.Go and go.In the sense of effect,The message and the message they send.They will find it, and finally,«Assessment»In fact, the judgment on whether or not it is revealed in earlier stages. What the feldman model is perfect for cash.Create, not just the structure of the step.toAnd it is the one that is determined.«Seeing.»from from from«Judges.»More in the book. Art critique. reasoning.Art arbitration is valid when based on accurate description, deep form analysis and misinterpretation, not on personal tastes or pre-imposition criteria.It was made.(Barrett, 2011)This principle is in the evaluation and traditional master of the rug.Kelly is ignored.In the master, value.Usually before any visual analysis.Measures, materials and materials, quality of texture, discipline,Number and texture area, predetermined.They have a rug.«Good good good.»Or not, but in the feldman model, the assessment is the last step, and only after the effect.Looked carefully, analyzed and interpreted,He was able to judge his art..This way, space to explore quality.Beyond technical standards.and the quality.For example, the power of expression, innovation in design, and the ability to influence reflection. However, the feldman model, with all the accuracy of the method.cognitive cognitive.To him, to him.Alone to face the phenomenon.The complexity of the contemporary Iranian rug is not enough.Ask him.How do you find more like a rug in which category?Do you have to be able to do so in a personal way?Where is the starting point?Like to answer this question.One of these patterns should go to complementary patterns. one of these patterns is the Noel Carroll model, which is based on complementary patterns.«group of categories.grading.»toThe title is an essential step before analysis and interpretation.Carol believes that before any arbitration, it should be clear which genre, style, or tradition, because evaluation criteria depend on the category category.You are the one that works.Take it.(Carroll, 2009)This stage is of double importance for contemporary hand-made rug critique, because the rug is a cross-border and multiple entity in which one belongs to several categories.and to,Instead of removing this multiplicity, it to it.recognition.He knows and knows it.The title is used for analysis.Brad. class floor.In Carol’s method, this is possible.Rather than on the floor.grading.Let's place conventional systems, system.class.Question the traditional classification system.In Iran, which is the carpet.Mainly based on the geographical area of texture or the historical art school of the class.They are counting.And every one of them before and above all.«Location.»and«Time time.»It is clear.The consequence of this system is that every rug before it is seen in a predetermined category.and the value.It is based on the same criteria.But what we are dealing with today is the carpet.It is in none.One of these things.Not traditional.This is the same situation in the section.«Iran's contemporary handmade rug.»It was described, carpet.Those with logic.Double self-making and coding have a new entity and the class system.They challenge the traditional setting from the foundation.They kill. Carol's model, ifIt is the right thing to do, and it is an invitation.His emphasis on him.«group of categories.grading.»In order to impose the category.The old ones are not new, but rather an invitation.If we accept that the evaluation criteria depend on the category.You are the one that works.Take it, it.The first critical task of dealing with a contemporary hand rug is to determine which category it belongs, but not necessarily the category.Those who already existed.They are the ones who are the ones who are the ones who are.You are new.Creation and critic must make this new category.Recognize and formulate evaluation criteria appropriate to it. this redefinition allows the new generation to do so.Not their works.title title title.«And the carpet.Without Iranian origin.»which toThe title of serious works is read and judged in an artistic category. Another complementary pattern is Robert Clements’ model.Meaning of the Magician.(Geahigan, 1996)Inspired by the scientific method, Clements model inspired the cash process in a way.«View important events.»,«The hypothesis.»and«Hypothesis test against new evidence»Face face.They are counting.In the cash, he criticizes.After careful observation of the effect, the hypothesisThen, he said, “Let’s go back to the other side of the plot, and he said.Talk to a designer or designer..This approach takes cash from an intuitive action to the test process.It becomes flexible.Make it.. Along with these patterns of the tradition of visual arts critique, the field of the field.«The design.»It also provides valuable analytical tools for dealing with contemporary Iranian rugs.In this tradition, the evaluation of a design effect.Based on three dimensions.Time time.«Beauty.»,«functional function.»and«authenticity/no innovation.»Faces.Take it.(Christensen & Ball, 2016)Assessment.«Beauty.»Analysis of form and sensory effect.Assessment, evaluation.«functional function.»They need similar.Mental constructing is how to use carpets in real space, and evaluate.«originality.»It works in relation to tradition as well as in relation to other contemporary works.This three model.For the contemporary Iranian handmade rug, which continues to be a«functional object.»It is special.He has it. However, the framework.Structured structures of feldman, Carol, Clements, as well as Chrissen and Bale, with all the accuracy of the method.cognitive cognitive.They have this common vacuum, none.One point of cash.«Life experience.»Not intended.That’s where Tom Anderson’s model is strategically important.Model seven.Stage stage.Ian Anderson, unlike the model.Previous, with«reaction.»Starting.Before any analysis, the critic must be informed of his inner sense and response to the effect.(Anderson, 1993)This approach is especially important for Iranian rug cash, unlike a painting that is seen from distance.Then, the object.It is for you.«Living.»A hand-made rug, unlike painting, not for painting.«seen.»Which for«Long watching.»It was created with a place that was created before and above.It must be the point of departure of any criticism.Before we ask.«What does this carpet do?Does he say?»We have to ask,«What is this carpet with me?slow?». This distinction between this.«seen.»and«Long watching.»A fundamental distinction in understanding.It is a sign, and it is a place.Especially in Iran’s cultural context, for«Living.»And it was built upon it.It turns the floor into a space for everyday life.slow to.For the Magician, the Magician«Social space.»To live, the space that means it, not at a moment of confrontation, manifests over time and through the ecological experience.It will become(Spooner, 2010). Ask questions.«What is this carpet with me?slow?»They will.power through theory.«Beauty.The Day of Judgment.[6]»He also expanded. ~ Yuriko Siteo (Saito, 2007) reasoning.It is a beautiful experience.Cognitive limited exposure to artwork in the gallery.It is not in the hearts of everyday objects and spaces.From this point of view, Iranian handmade rug is precisely the media.for you.«Living in art.»Not from the distance.A museum.O, but through the experience of touch, habitation and everyday coexistence.This approach with theory.«Beauty of relationship.O you!»[7]Nicolas Burio also argues.The contemporary art should not be purely.as object.You can see it, but you have to see it.title of the collection.One of the relationships and interactions understood between the effect, the audience and the social space.It will become(Bourriaud, 2002)In this framework, the Iranian handmade rug,Especially in the everyday environment, exactly such a relational nature.A rug has no passive object to look, which is a space for living, which means continuous interaction with the body, movement and presence of the audience.From this perspective, beautiful experience.I don’t see the museum at a moment.O, but in time and through the relationship.It will become.The cash of the carpet, therefore, must also enter this daily and ecological dimension in its analysis and not only the rug.as one.«Show object.»but toThe title is part of the world of the audience’s life. The importance of Andy’s approach to Iranian cash doubles onceLet us remember that the rug is for the Iranian audience, not an alien object, which is part of the cultural and personal memory of the rug, so a.«The text.»It’s a culture that read through the biologic experience.The text that Roland Barrett has.«The Pleasure.Part of section.»They would eat.It is said that not only through rational reading, through sensory and emotional conflict, its meaning is clear to the reader.It will become(Barthes, 1977)However, the emphasis on emotional reaction should not be the meaning of the mood of analytical rationality.And he himself said.It’s not an alternative to analysis by feeling, but rather to start feeling out of feeling for a deep analysis.More and personal.It's more.(Anderson, 1993). However, what has so far been proposed in artistic critique patterns and design critiques, mostly in analysis.«The final product.»It's focused, but one.«border object.»For a hand-made rug, its meaning is not only in«The result.»which in«process.»And also search.They ask.slow down the team.(Ingold, 2013)Man, man.British scholar, in the book. Building: ManArchaeology, ancient.Biology, Art and Architecture reasoning.The creation of art should not be considered merely the realization of an already existing idea.«Thoughtful thinking.»In the process of building.To interpret him, artist or industryer, in constant interaction with matter, tools, hand movement and resistance.The production process takes effect.Creation and creation.Time through this build,This approach is especially important for understanding Iranian handmade rugs because carpets, more than many other arts, art time.It’s a fan and process-oriented; the meaning of the rug is not only in its final image, but in the rhythm of the knot.In hand contact with fibers, in gradual changes during the tissue, and in a presence where the booze body is placed throughout the production process.They also shape.In this view, the cash of the carpet must not only be.«What they saw.It will become»but to«How to build»The effect also pays attention. This attention to the process makes us important.The most important thing is the distinction between other art, dialectical.«substance.»and«Meaning.»They would eat.In the palm of the earth, the light of the light, or the light of the light.plant,It is not merely a plan to run, but a part of itself.«artistic expression.»The critic should be able to analyze how the artist works through material selection.Reese and self-interest in a contemporary effect is not just a technical choice, but a critical reference to the concept of the concept.«originality.»and«Return to Nature.»In the era of machine reproductions. Such as suchThat is, Gogrey. (Semper, 2004) In his theory of interdependence.«Technique.»and«substance.»in shape.The form emphasised, too, the cash.«Material logic.»Search the effect.Question: Ask if the material is chosenIt works in the service of the concept, or in contrast to it. Glenn gumon, historian of design and theoryThe art department, also argues.That the hand objects.Create meaning not only through the picture, but through the way.«substance.»,«construction process.»and«Man's hand is rejected.»transferred.They will do it.(Adamson, 2007)From this point of view, the Iranian handmade rug is not a visual level, but an object.It is a matter which means it in the palm of thetouch, touch.Level and even time spent.It is also hidden to produce it, so it must,«substance.»and toThe title carries serious meaning. In this regard, theory.«Presidious material.and boiling.[8]»Jane Bennett.It can be a deep theoretical framework.It was better to understand the role of matter in the carpet. - Bennett argues.Not a passive level.John waiting for shape.It is by man’s hand, but it has some kind of kind.«factor.»Active power to influence meaning and experience.(Bennett, 2010) From this perspective, wool, silk, color.Plant and hand-made carpets are not merely primary materials.A neutral, but also active perpetrators that shape the meaning of the effect with their physical, historical and sensory characteristics.They have a story of mountains and mountains.He said, “The light of the soul, the memory.”And he is the one who has the right to enjoy.slow, and color.Plant, with time.And the change of time will be a sign of time.Write a copy, so.«Language of Article»Take seriously and analyze how to choose.The artist’s material statements are part of his artistic statement.A contemporary rug that comes from wool.and color.Natural uses.Not just a technical choice, but a position.Measured.It is a great deal against industrial modernity and mass production.Measured.He who speaks through himself.It becomes. On the other hand, the material in the carpet carries some kind.«Historical and Climate Memory»There is also a wool that comes from the mountains or the colour that comes from the desert, not just a raw material, but also.«Geographic Effect»And he speaks.The critic must analyze how the physical conflict with the material means of meaning.«suffering and time.»It has been injected into the body of the carpet.Go and go to one.«Touch text.»It turns.It is a reminder of the depth.More than the visual level.slow. The set of these approaches, from the form analysis of feldman and group.Caroling up to the critique of Kristen’s design and wing, the endogenous experience, the process-oriented process of thisgul, and the dialectic of matter and the meaning of poison and gumon, when to, to the time, to the point,It works right.They are in an intervening framework.«border object.»Iran’s contemporary hand-made rug, due to its border nature, is against every single approach.They even resist.The cash in the form ignores its function.And then, the pure, pure, pure, and purely.Meanings.They lose it.and date,Traditional journalism, innovation.And to him.«Aversion.»And they will fall.But there’s a combination framework that is both.Time pays attention to form, meaning, function, construction process, matter and cultural context,It can be used by these multiplicity frameworks, saying cash from a limited assessment to one.And a few things are made with an effect.Kennedy said,In which the carpet is not a silent commodity,«The text.»It is open to future interpretations. This way, the map.The way of art cash for the new generation is a combination of accuracy.Cognitive, sensitivity to personal and cultural experience, attention to the process of building, and the conflict with matter. the new generation must learn that the rug is not determined by predetermined criteria.Marketed by a fresh look, take a look.It can make color beyond.«Good good good.»and«Bad bad.»Traditional to find the form beyond.«original.»and«Except for the»Analyze the matter not just a technical feature, which is part of the language of art, and extends the meaning beyond.«Known plan.It was made.»and«New plan.»Search for search.Looking at this is what they do.It can convert carpets from a decorative commodity to an artistic statement, which is precisely the skill that the new generation needs to create the future of the Iranian rug, however, a question continues to be unquestionably.Reply.Where does this critique occur? cash is not merely an individual and subjective act, but rather for it.It is right, needs one.«position position.»and one.«Society said.Talker.»It is. From the market to the gallery and beyond: to redefine the institutional position of the contemporary Iranian handmade rug. If we accept that artistic criticism requires a method.To analyze this framework without one.«position position.»The right thing is not possible.Cash is not merely subjective action or individual interpretation, but also the product of the space in which it is contained.«border object.»Get out of daily consumer circulation and to one.«The object of reflection.»It turns.It will be so.Arthur Danto argues.It is possible to see something.As art, it requires a existence.«The art world.»And the network.A theory.institutions and discussions.Those who are artistic.They forgive.(Danto, 1964). in one case.Wide theoretical.More importantly, it rotates towards the institutions.power in light.«A new creation.[9]»In the history of contemporary art, this approach, formed in the 1970s with institutional critiques of artists such as Michael Usher, Marcel Rodriguez and Andre A Fraser, is based on the principle that artistic value is an innate, but within the network.He created a word and a discourse.It will become(Fraser, 2005)In the form of Fraser, institutions in contemporary art are not merely spaces.The side to show, but the active perpetrators in making sense and valueFrom this perspective, Iran’s contemporary handmade rug is only through the arrival of this institutional network that includes the gallery.Shows, exhibitions.Events, events, specialized publications, and critique discourse,They would eat.can from the situation.«commodity market.»to«artwork of art.»He goes through, so he doesn’t criticize Henry.The ability to separate from its institutional context is understood; critique is itself part of the institutional infrastructure that enables the production and reproduction of artistic value.He brought it. In such a framework, the basic strategy for understanding and the face.grading.«map.The way of cash.»Iran’s contemporary hand-made rug, not market negation, but the redefinition of its institutional position and the creation of parallel routes to supply.As a cultural-art effect, this shift requires the movement of purely market logic to exhibition spaces and finally entering the contemporary art discourse system.Media media.You, the concept and design.In fact, in fact, the experience of such a shift.Somewhere somewhere.It is the works in the gallery.contemporary design events and events.And they will be, too.Time is in two different logics.Say: The logic of the functional object and the logic of the artistic object. this double situation, it to a single situation.«border object.»It turns.It is located at the intersection of contemporary art, design and visual culture (Five 5) New generation artists, creating works that are both created.Time of a floor.Wearable and a critical visual statement, paste the rug into the interior.«The art world.»Duncan.This is the move.A symbolic place removes carpets from traditional market monopolies and exposes it to fresh audiences, artistic critics, chronology, designers and cultural buyers.That their criteria differ from the criteria of a traditional rug buyer. Image 5: Show the works of Romeola Tria in Tehran’s design week event, 1404 The importance of this institutional rotation is beyond the physical change of the supply place. in the gallery space or design events, the relation of the audience with rug from the buyer pattern.–and the shape of the viewer.–The effect changes.In this space, he said.Another conversation around the index.Traditional things like gravitation.No number, age or material value is formed.Rather, it is organized around form, design, meaning, innovation and effect capacity to produce question.Find this shift.Somewhere, the shape bed.It’s what Stanley Fish is doing.«Society of interpretation.»They would eat.He calls.(Fish, 1980)Where does not mean.A person’s face, but in the context of collective action and said.They produce a conversation.In such a structure,«Bachelor of Science.»Take your place.«Critical judgment.»They would eat.and a piece of a place,«Cultural text can be readable»It turns.And the text that they are.It can be replicated with artistic critique tools, cultural theory and visual analysis. Image 6: The show of Abraham's true works as a line.In carpets, Trust Gallery, 1403 Image 7 – Go to LuziSeveral, Persecrated works, group exhibition as«to the throne.»,Galleryless, 1404 Along with this change in the regime.Meaning production, the role of interface institutions in contemporary artIt becomes important.The most.Homs and ExhibitionsIn contemporary art, the process of shape.Meaning does not occur only through written criticism.It is also a part of the critical discourse.They are so.Hans Ulrich Oberman and Nicole BourioThey are no longer just a space show, but to one.«The narrative.Constitution.»It has become through choice,sit and land.Getting works, possible.They produce certain meanings.slow (Obrist, 2014; Bourriaud, 2002In this sense, Kissinger is not only the organization.The exhibiter is a mediator between the work, artist and audience.Power along theory.«The art world.»Arthur Danto and George Dicki’s institutional theory of art, where art is an effect within the network.A sign of acceptance and interpretation.(d)Danto, 1964; Dickie, 1974For Iran’s contemporary hand-made rug, this transformation is of double importance because many of these works will only occur if onlyThey can go beyond the frame of decorative goods, which is in the context of a chronological narrative that can be attributed to it.It manifests itself with contemporary art, design, cultural memory and everyday life, in this sense, kidori is not a secondary layer of supply, but a part of the means production mechanism that allows the entry into contemporary art discourse.Give it. Among them,«Credits.[10]Artist.»They too.It can.title of one component.In the modern culture of cash in contemporary Iranian handmade rugs, in the world of contemporary art, the artist is not merely a producer, but must be able to play the position of his work in relation to tradition, media and issue.Time of Face.They are counting. In this framework, not replace cash, but one layer.Productions mean that between the artist’s biological experience, the logic of chronology and critical reading of the mediator.Gary.and possible shape.Bringing a few space and distribution.To interpret contemporary Iranian rugs.Make it. in one case.The final draft is not an artistic critique.The ability to be understood only at the level of a written or individual interpretation, but it must be placed in the heart of an institutional network of meaning production in the contemporary art world; the network of the network.O thou who dwells in it,to build.The title of the operation of cash.In this framework, the exhibition is not merely the location of the presentation of the works, but rather a narrative mechanism.Converting the instrument.through the organization.Building relationships between works, possibilities.It activates specific reading and interpretation.Iran's contemporary hand-made rug, to Iran,title of a title.«border object.»In such a structure, not in a single system of value.Investing, but at the intersection of several discourse regimes – including criticism, design and art institutions – meansFrom this perspective, the passage of the rug from the state of the consumer or historical object requires its entry into the network.One of the signs.There are indications which point not to be fixed, but rather toAlways produce and reprocess.Therefore, artistic criticism is only included.Staying with the logic of material chronology and the institutional structure of the world of art that we eat.It can reach its full capacity, where the effect is not.as object.A constant, buttitle of a title.«Meaning event.»appearance.It is in the interaction between artist, photographer, critic and audience.He continually redefines.Returned. The horizon.Previous post: Culturecash.A hand-made rug.For a new generation. If the argumentLet us accept this writing so far, that the art of the future is a discourse.Look, which is the flow.«Contemporary Iranian rug»The need to double it, which they do.Ability to map the way.He taught him to teach him, and that he is in charge.The final question is what should he do now?From this point of view, to one.«Culture of critique.»Should the response be taken in three directions to the Iranian carpet?Also, too.And they are constantly searching.He searched. First and foremost.The most important,«Teaching education.»It is an art critique, so much.And he who is more steadfast.It is an act of understanding and communication.Barrett, 2011(So, plan.University's curriculum.In the field of carpets, it must be independent to a unit.«and cash.»Be equipped with this double education, on the one hand, must have the ability to read forms, material, process and meaning of the effect, relying on the model.Contribute presentations.He was raised in the previous section and, on the other hand, wrote skills and said.critical conversation toThe title of a creative action must be strengthened. the new generation must learn to«Life experience.»personal reaction.No, no, no, no.O, which is a valid departure point for a deep, intoxicated analysis,O thou who dwells in the light of theGive it parallel to this skill.A student, a new generation of rug researchers should also focus on exclusive history.Speech and discourse.The most dominant research goes further and to artists.Remember their age, because the shape.To create an example, to produce an analytical literature and method.Not the works of these artists.TitleAnd the signs.O, whoThe title is a serious part of Iran’s contemporary art history. The second,«Create and strengthen the publishing and said.Talk about the conversation.»cash, without space to be heard and seen.One of the main reasons for the continuation of the undergraduate tradition and the absence of criticism, the lack of specialized publications, analytical websites and events said.It is a conversation that comes to.Especially to Iran’s contemporary rug and its critique, in this vacuum, the newspaper.«hand hand hand.»They will.The ability of the initial but strategic step along the way to fill the gap is known as the journal, by distance from the purely scientific and historical approach.It can.title of a title.«A dispute.»It works new, and with the release of the methods.and sit.Critical, in the form.A gradual one.«Society of interpretation.»Helping Iran’s contemporary rug, this interpretative society.browsing.New criteria for valueCreating carpets beyond traditional market metrics, and creating a common language to discuss innovation and authenticity in this art (image 8.). Image 8: The lead event, he said.andGo, critique and review of Iran’s contemporary rug, the Iranian collectionThe Museum of Tehran, 1403 Third and important.The most important,«Between tradition and innovation.»tomediator.Gary is the new generation of Iranian rug artists, that isIn this article, he created it.«border objects.»In the middle of tradition, contemporary art and design, a new path.O thou art open.It is the duty of criticism, consolidation and theory of this path.The future.I think you are going to this generation.It teaches that tradition is not a historical monument.Not for protection, which is a living and end source.Unable for it.Self-made said,The conversation and revival are creative.A critical measure of tradition has left it out of the risk of repetition and transformation and throws into the dynamics of contemporary art flow.St., it.When you pass the cash.It is not only an obstacle to innovation, which provides its raw material.He brought it. Finally, it must be acknowledged that cultureReview of the project.It is a long-term change.«Bachelor of Science.»Spending.«Critical judgment.»from,«Market market market.»to«Gallery gallery.»and from«Preserve retention.»to«Re-created.»Not in the sense of past exclusion, which means opening a new space next to it.by border nature.In the heart of this world,Several booms have grown and now the future.And he said to him.There is a dynamic and lasting dialogue between tradition and innovation, market and gallery, undergraduate and cash, past and now, in this case, criticism not a top arbitrator, which is a possibility to think about these links, the space in which they are.He said, “The power of the word, and the power of the word.”And one of the other was the one who made it a great deal.He is still being woven, and the new generation opened up with a deep understanding of tradition and eye-opening possibilities.Freshs, the future of this art will come from these links. List of sources. - Pop, Arthur Apham (1355), Iranian art in the past and future, translation of Jesus Sadiq, Tehran: Higher School of Tourism Services and Information. Saix, Sergio (1336), Saix’s journey, the translation of the blissful of light, Tehran: the publication of the library of Ibn Sina. میرزایی, Abdul.A merciful, merciful, and merciful,The image of the Qajar period, the publication of art, the year 13, number 5, p.. -Adamson, G. (2007). Thinking through craft. Berg. -Anderson, T. (1993). Defining and structuring art criticism for education. Studies in Art Education, 34(4), 199–208. -Barrett, T. (2011). Criticizing art: Understanding the contemporary (3rd ed.). McGraw-Hill. -Barthes, R. (1977). Image, music, text (S. Heath, Trans.). Fontana Press. -Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press. -Belting, H. (1987). The end of the history of art? (C. S. Wood, Trans.). University of Chicago Press. -Bhabha, H. K. (1994). The Location of Culture. London: Routledge. -Bourriaud, N. (2002). Relational aesthetics (S. Pleasance & F. Woods, Trans.). Les presses du reel, (Original work published 1998) -Carroll, N. (2009). On criticism. Routledge. -Christensen, B. T., & Ball, L. J. (2016). Dimensions of creative evaluation: Distinct design and reasoning strategies for aesthetic, functional and originality judgments. Design Studies, 45, 116–136. -Danto, A. (1964). The artworld. The Journal of Philosophy, 61(19), 571–584. -Dickie, G. (1974). Art and the aesthetic: An institutional analysis. Cornell University Press. -Edwards, A. C. (1953). The Persian carpet: A survey of the carpet-weaving industry of Persia. Duckworth. -Feldman, E. B. (1994). Practical art criticism. Prentice Hall. -Fish, S. (1980). Is there a text in this class? The authority of interpretive communities. Harvard University Press. -Fraser, A. (2005). From the critique of institutions to an institution of critique. Artforum, 44(1), 278–283. -Geahigan, G. (1996). Conceptualizing art criticism for effective practice. Journal of Aesthetic Education, 30(3), 23–42. -Hatt, M., & Klonk, C. (2006). Art history: A critical introduction to its methods. Manchester University Press. -Ingold, T. (2013). Making: Anthropology, archaeology, art and architecture. Routledge. -Obrist, H. U. (2014). Ways of curating. Faber & Faber -Saito, Y. (2007). Everyday aesthetics. Oxford University Press. -Semper, G. (2004). Style in the technical and tectonic arts; or, Practical aesthetics (H. F. Mallgrave & M. Robinson, Trans.). Getty Research Institute. (Original work published 1860–1863) -Spooner, B. (2010). Weavers and dealers: The authenticity of an oriental carpet. In A. Appadurai (Ed.), The social life of things: Commodities in cultural perspective (pp. 195–235). Cambridge University Press. -Star, S. L., & Griesemer, J. R. (1989). Institutional ecology, 'translations' and boundary objects: Amateurs and professionals in Berkeley's Museum of Vertebrate Zoology, 1907-39. Social Studies of Science, 19(3), 387–420. -Wilber, D. N. (1979). Persia: The land and its people. The Hillingdon Press. 
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