Gabbeh is a kind of hand-woven carpet, thicker and softer than a rug, but with less imagery. It has a longer fluff and more wefts. Hence, weaving Gabbeh is simpler than weaving a rug and more durable.
The weaving of the traditional Gabbeh was more common than rug weaving in the past, but today Gabbeh is also woven with new motifs, the website Caroun reported.
Gabbeh’s Evolution
The dark ages of colonization, droughts, death and escape from oppression not only helped evolve this original art, but also led to the loss of many designs and originality.
In the late 20th century, Qashqai tribesmen innovated and developed their hand-woven Gabbehs. They produced many valuable Gabbehs, which received much attention because of their originality, quality, color and designs. Tribal weavers follow the weaving method passed down by their elders. The daughter uses the same colors and images that her mother had learned from her grandmother.

Composition
Traditionally, Gabbeh is woven without a design and the weaver is free to create images with as many knots he or she prefers. Images are basically about nature and environment, which are woven in an imaginative manner.
Usually Gabbeh has a margin of 15 to 20 cm and a monochromatic base. Often, it has a simple image in the middle.
Gabbeh’s fluff is about 1 to 1.5 cm long. It has coarse knots and thick fringes.
In the past, Gabbeh was woven even thinner than the rug and featured flowers, a pool of water, lion and a tree.
The different types of Gabbeh are known by the main motif used in it.

Flower
This type of Gabbeh is filled with red roses and small green leaves in rows. The flowers are like shining gems on a beautiful lush field and the margin of such a Gabbeh is very attractive.

Tree
Trees, bushes and pastures on mountains and fields are woven as the base of Gabbeh with bird, flowers, meadows and flowing water added to it. Each weaver designs this type of Gabbeh differently based on his or her own preference.

Lion
Tribes are highly interested in this image, which could be due to the importance of lion in ancient Iran. It is the symbol of bravery and the tribal people, especially of Fars province, manifested this image on coins, stone images and Gabbeh.
The image of lion has found its way to their tents and daily lives. These types of Gabbeh are usually spread in the center of tents. Seeing this type of Gabbeh in the middle of vast fields and mountains lends a special brightness to the tent.

Other Images
Tribal weavers also create other images on the main body or margin of Gabbeh. Some of these images include a warrior, ram, ibex, hunter, horse-rider, Rostam and Sohrab, hawk, wedding ceremonies, white and black tents and other animals.
Preserving customs and handicrafts is necessary, but must be accompanied with diversity and i

A stone water reservoir has been discovered in the northern part of Navazan Village during road construction operations, Markazi province’s deputy head of Iran’s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO), Mohsen Rahmati told ISNA.
He added, “The main construction materials used in the finding are stone and plaster. The reservoir’s entrance is 70 cm wide and its height is 90 cm. There is a bore in the lowest section of the reservoir. The remains of 12 women, men and children with their clothes have also been found in the reservoir.“
Rahmati went on to observe, “Based on preliminary studies, the reservoir and the remains do not belong to contemporary times. However, it has not yet been clarified what era they belong to. Some of the bones and threads have been dispatched to ICHHTO’s laboratory for further examination.“
Rahmati concluded by saying that efforts are underway to register the area as national heritage.

Archeologists expect to find traces of the Achaemenid and Safavid eras in the wake of the start of diggings in Qaleh Shahr in Hormuzgan province, a provincial expert of Iran’s Cultural Heritage, Handicrafts and Tourism Organization (ICHHTO) told Cultural Heritage news agency.
Abbass Norouzi added, “Based on documentations, the castle in the area dates back to the first century AH. However, archeologists think that it is possible that they find works belonging to the Achaemenid period in this year’s excavations.“
History recalls that the area was also used extensively as a trade venue during the Safavid era. Archeologists hope to find sufficient proof for this claim.
The castle complex includes a bathhouse, residential units and water storage.
Norouzi said after the end of diggings, the castle will be renovated.

Tea-house painting is an Iranian painting style combined with European techniques (oil and color on wall and canvas). It was about eighty years ago that this method was formed among people. The characteristic of this art is its popularity and distance from court arts. According to Iranchamber website, unknown artists who had some experience in painting on tiles were influenced by the atmosphere and ambience of tea houses, along with Shahnameh-Khani (reading verses from Shahnameh or book of the king) endeavored to create simple and beautiful views on the walls of tea-houses and on cloths. Though they did not have any academic instructions, these artists succeeded to occupy a place in Iranian artistic history for themselves. For its presence in narrations and Shamayel Gardani (carrying the icons) tea-house painting may be regarded as part of Iranian painting art. And on other hand due to its distance from painting features it may be considered among visual arts. But, prior to illustration of this traditional and true Iranian art, we should acquire knowledge about tea-houses. These places with their old history have safeguarded our old traditions, thoughts and tastes. In tea-houses (Qahveh Khanehs) the narrators of Shahnameh told about national stories with much enthusiasm. Therefore, in the course of long centuries, Qahveh Khanehs (tea-houses) took many characteristics, which are important for their extensive contact with people. In fact tea-houses of old days played the role of mass media in modern times. This role had its due rules and traditions, one of which being ’Tea-House painting’.
In this style of painting, one can easily detect some elements of miniature painting. As narration of stories in its climax incline towards poetry, the paintings of tea-house sometimes tend to delicateness of miniature.
Not much record on the history of this national art exists, because in its present form, it has been customary since 80 years ago. But the remaining paintings and plaster molding indicate that some kind of this art existed in 18th and 19th centuries.
For example the paintings on tiles of Chehel Sotoun Palace in Isfahan have been made under Shah Abbass II and Nader, of course most of them have been simulated and they are inspired by feasts, while tea-house painting is purely imaginary and the painter does not have any model and what he draws is merely that which goes in his mind.
Observing the present evidences he draws an imaginary picture of, for example, Karbala desert, Ashura epic, and Resurrection Day and some epical pictures which indicate the imagination and enthusiasm of painting.
Tea-house painting which is called imaginary painting by many people is an art with its own principles and rules. Its main feature is retaining the genuineness of portraits, in a way that even in dealing scenes of feasts or epics, the painter makes outmost effort to paint the faces. This feature is due to the fact that “state“ and “motion“ are limited in this type of painting.
In each painting the faces convey the subject intended by painter to onlookers. The painter of this style is an earnest narrator who consciously or unconsciously represents the protagonists or antagonists with due emotions towards them. For example in Rostam and Sohrab, Rostam’s face occupies a large place in the painting and this shows the painter’s love of Rostam. In a religious painting the face of enemies and vicious people are as ugly as possible.
In tea-house painting there is no limitation of subject and the painter’s hands are free to draw whatever he desires. Due to this reason, no painting could be ever considered a criterion for other works. In general one may divide the subjects into three groups: religious, epic, feast and amorous paintings.

An exhibition of Persian manuscripts and rare books opened in New Delhi on Thursday at Dr. Zakir Husain Library of Jamia Millia Islamia University as part of Iranian Cultural Week in India organized by the university.
Visiting head of Iran’s Cultural Heritage Organization, Esfandiyar Rahim Mashaei, opened the exhibition, reported IRNA.
The exhibition showcases some important manuscripts in Persian language. There are also a number of Manuscripts on Hinduism in Persian language such as Mahabharata compiled in 1873, the transition of Upanishad and Bhagvad Geeta, Majma-ul-Bahrain, by Darashikoh (1615-1659).
Other notable works are the Kashful Mahjub of Abdul Hasan, Dataganj-Baksh and the Awariful-Maa’rif by Syed Mohd Banda Nawaz Gisudraz.
The exhibition will remain open for 20 days.
A Memorandum of Understanding (MoU) was also signed for the establishment of ’Iran Technology Center’ at Jamia Millia University to share the knowledge of Iran’s expertise in different sectors, on the same occasion.
Addressing the gathering on the same occasion, Rahim Mashaei said: “Mysticism, philosophy, mathematics and medicine are some areas where India and Iran have been working and can work further to strengthen the bilateral ties.“
Rahim Mashaei noted that holding of cultural week of Iran in India would strengthen not only the solidarity and the cultural ties between two nations of India and Iran but it will also help development of the tourism infrastructures in both countries.