Skills and practices of preparing and repairing boots. Master use natural skins for making boots with special tools and forms.

Phù Lãng pottery making was taught to the villagers by the founder of the craft, Mr. Lưu Phong Tú, around the Trần dynasty, 14th century, and has developed to this day. The primary products are pottery with brown glaze and related colors. Product types include religious ceramics, household appliances, and decorative items with the outstanding feature of using the embossing method in the form of bubble engraving, also known as double engraving, with natural, durable, and unique glaze color; The shape of the ceramic is rustic but strong and very bold in shaping sculpture. The production process is specialized with worker teams: furnace team, broaching team, pattern team, enamel team, and cleaning team. The stages include selecting soil and treating clay; shaping on a rotating table (household ceramics and fine art ceramics) and shaping by printing on wooden molds or terracotta molds (worship ceramics); tick, scrape products; glazing (the material used to make glazing is the ash of forest trees, ash as white as lime; currently we use ash from ironwood, bamboo, wood, lime, crushed pebbles, white alluvial mud); fired with wood to create scratches on the ceramic surface (temperature 1000 degrees Celsius, for 3 days and 3 nights continuously). Products made of Phù Lãng ceramics are lustrous, have an echo when tapped, and come in a variety of eel skin tones, including light yellow, dark yellow, brown, and yellow-brown. There are 3 main product lines: altar ceramics (incense burners, altar stands, tops), household ceramics (vases, jars, pipes) and fine art ceramics (paintings, flower pots, vases, animal-shaped kettles). The soul of Phù Lãng ceramic products is created from the rusticity of this eel skin glaze.

Carpet weaving is one of the world's most traditional, conceptual, applied arts. Iranians enjoy a global reputation in carpet weaving and its skills; and carpets of Fars with nomadic and rural characteristics constitute a genuine example. Historically, carpet weaving in Fars province dates back to the seventh century(AH). Carpets of Fars are known as either «Qashqai» or «Khamseh Tribes» carpets. These are the nomads moving between Esfahan and Persian Gulf coasts. Among the tribes of Qashqais, the more prominent are Darre-Shuri, Kashkuli-ye Bozorg, Kashkoli-ye Kuchak, Shesh-Boluki, and Gharache. Due to the immigration requirements, the size of nomadic rugs is usually small; they are, however, beautiful. The stages of Carpet Weaving in Fars Province - Wool cutting The carpets usually utilize wool as the basic material. The men cut the wool of their sheep, skillfully, in spring or autumn. The quality of the wool on each of the eleven sections of the sheep body, and the related colors are different. - Frame(loom) Making The portable frame of nomadic carpets is rectangle in shape, with a metal or wood support; it is placed on the ground. The act of knitting is performed on it. The men construct the frame, too. - Weaving The women convert the wool into strings on spinning wheels or weaving machines. They, masterfully, take care to obtain the best qualities. The spinning wheel is a wooden tool that resembles a big spin; the wool is turned around it from the hand of the knitter, then weaved. The spindle wheel is a wooden structure with the wool being placed in its middle to turn into strings when the wheel turns. - Painting Colors are mainly natural; the main colors are laquer, painted blue, dark blue, brown and white. The plants from whichthe colors are extracted include Madder, Indigo, lettuce leaf, walnut skin, Jashyr, cherry stem and skin of pomegranate. The pigments, so called, Dandane, are elements which allow color stabilization and imprint on the fibers; the most important modants include Alum (Double Aluminum Sulfate), Green Vitriol (Cut Blue), Double Copper Sulfate, Black Vitriol (Double Iron Sulfate). - Knitting While knitting, the women tie the colored strings on the wool web to cover the frame and give shape to the carpet. Two types of ties are common: The ""Persian tie"", an assymetric tie, usually used in places where Persian Language is spoken, where it is referred to as, so called, Farsi-Baf (done in the Persian style), and the Turkish tie, a symmetric tie, in that the two webs are of the same size and the tie is made in the middle; this second tie is more popular in places where Turkish is in use, so the name Torki-Baf (done in the Turkish style). - Completion Completion refers to the activities done for final furnishing. These include sewing the sides (so called, Dowrduzi: Some products will be sewn on the sides to be used as bags, called ""khorjin's"" or ""chante's"" on the region); burning the extra wool to make the designs vivid and enhance the quality of the product (so called, Porzsuzi); double tied roots, and final cleaning. Nomadic Gilims Wraps of Fars are not painted with painted woofs; both sides of the product can be used. Limited materials have led these products to be more geometric in both texture and margin, mirroring the local culture of the community. The most important characteristic of Fars carpet weaving is the unique method of weaving without any maps. One weaver will not be able to weave two carpets of the same design, especially, if she does not enough time to consider the details. Fars carpets include the following types: Simple Gilim(one sided or two sided): A carpet made through passing the colored wool strings, called ""Pud's"" between the vertical strings, called ""Taar's"", without maps. Rug: A carpet with thinner ""Pud's"" and thicker ""Taar's"". The product is thicker in diameter, compared to Gilim's, and is one-sided. Ghaaliche: A rug of smaller dimensions (measuring to less than three square meters). Jaajim: A product of woolen ""Taar's"" and ""Pud's"", with simple and attractive designs, and a variety of usages, including those of carpets, beds, pillows, etc. Gilim-e Naghsh-barjaste(Goljajimi Gilim): A one sided gilom with its main motifs embossed. Somak (Rendy): A one-sided Gilim, out of which ""Ghali's"" (rugs) are believed to have been evolved. Shishe Derme: A Gilim with a simple pattern; it has no knots and naps, is two sided in a way that the mirror patterns of its face are weaved on its back side. Gabbe: A gross nomadic carpet, vastly verified, and done without any map. There are both colored Gabbe's, and Gabbe's of natural colors. So called, ""Shiri"" Gabbe's of Fars mark nomadic courage for the owner.

Iran 2010

The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface. In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style. The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories: Carpeting Tools: 1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used. 2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate. 3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps. 4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet. 5- Bench: as a seat for the weaver, made of wood or metal. Carpeting Materials: 1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame. 2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes. 3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied. Design: in order to prepare the design of the carpet, which is the most artistic activity involved in carpeting, certain rules are followed, the most significant of which can be summarized as follows: A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance. The procedure that is followed in Kashan is as follows: 1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj. 2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj. 3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes. 4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around. 5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface. 6- Koomeh Design: short scattered trees together with birds and animals. B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter. Dyeing: Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using various types of natural pigments. Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in Kashan so that the back side of the carpet is made with equal longitudinal and latitudinal knots.

Iran 2010