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The multivarious cultural contact of the Mughal dynasty and the Iranian coeval dynasties is historically traceable. Although the Indo-Iranian close relations were political on the surface, they were substantially influential in cultural fields. Golestan design combines a reticular layer and a layer of bunched flowers in horizontal rows. The main purpose of this study is to analyze the high frequency of this design in the light of the Indo-Iranian cultural relations. What are the contributing factors to the prevalence of the use of the Golestan design in Iran during the 18th century? The available pictorial evidence throughout the history of Iranian art indicates the acceptance of the patterns belonging to the "other" and their indigenization within the cultural framework of the "self". Paisley floral design (golo- boteh in Persian) is one of the instances where the Iranian and Indian cultures meet. The assumptions are that first, Ghiyath al-Din 'Ali-yi Naqshband's (Ghiyath) textiles that were offered to Indians transformed the designs of Indian machine-made woven products and then, the paisley floral pattern was popularized when Indian textiles were imported to Iran in the Naderi period. This is a qualitative descriptive-analytical study, adapting a desk-based method in data gathering. Findings suggest that the paisley floral pattern was sent to India during the Safavid period via Ghiyath textiles and then returned to the cultural context of Iran. To put it in the terminology of garden carpets, the bird's point of view was replaced by the observer's point of view. It is believed that the first time, the donation and sending of pieces of Ghiyath Naqshband cloths to India changed the design of Indian woven fabrics, and the second time, with the arrival of Indian textiles in the Nadir era, the "flower and bush" pattern gained a significant boost. The findings indicate the return of the "flower and bush" pattern from the Safavid era to India through the "Ghiyath" textiles and then return to the cultural context of Iran in a rare era. From another point of view, the point of view has been transformed from the bird's view in the garden carpet to the observer's view. The fact that after the various patterns of carpets in the Safavid era, the examples and pictures of the 18th century represent the repetition of a frame pattern, it is questionable what factors have made this happen? The author considers the main reason for the entry of the "flower and bush" design into the domain of Iranian textiles in that period after the conquests of Nadir Shah Afshar, the war of Karnal and the spoils of North Indian textiles. But the study of the life and artistic productions of Ghiyath opened a new project and refuted the previous hypothesis. [ABSTRACT FROM AUTHOR]

The area of Chahar-mahal and Bakhtiari is highly distinguishable in regard to traditional arts and handicrafts particularly hand-woven rugs. The rugs of this region are globally recognizable for their design, pattern and unique color. In many areas of this region including Saman and Chaleshtar, despite their close adjacency in terms of geographical and socio-cultural closeness predominantly in the art of weaving; many similarities and dissimilarities are present and each area bestows its own visual foundations. One of the most famous and well-known designs of Chahar-mahal and Bakhtiari especially in the mentioned areas is the Kheshti design. The design displays unique patterns and motifs that are highly diverse and the main purpose of this paper is centered on introducing the Kheshti design and its characteristics. In this paper, examples of the most renowned Kheshti rugs of the two areas are chosen and their antiquity and visual eminence is explored. Furthermore, their context and background are concentrated upon to both identify their connections and divergences and also a structure is presented with the intention of reviving the patterns for contemporary production in order to boost their place in national and global economy. Additionally, the distinctive motifs of the rugs that include principal, subsidiary and miniature motifs are introduced and analyzed.