Superb Handicraft(s) Reflection of excellent Iranian creativity   Persian Geleam Most of traditional floor coverings such as Jajim, Zilou, and Geleam have unfairly been overlooked at the expense of the extraordinary attention paid to and mere promotion of the exquisite Persian carpets--by Western merchants and tourists alike. Geleams are peculiar to Iranian country-dwellers and except for a few specific types woven by tribesmen, namely Kurdish, Ghashgha'ie and Bijar Geleams, the rest are not for export. Persian Geleams are mainly categorised into certain groups based upon the tribes traditional methods of weaving, their special weavers and of course the regions in which they are crafted. Each tribe has its own long-established tradition of designing unique Geleams and currently not only they stand among the most eye-catching floor coverings, but also constitute an imperative export item. The following presents a list of most precious and sought after Persian Geleams: Sah'savan, Varamin, Lour, Balouch, Khamse, Turkman and Mazandaran.   Contemporary Pottery and the New Movement The excavated pottery artifacts from "Sialk Hills" in Kashan and the ancient statues unearthed from the outskirts of Hamadan are certainly an undisputed testimony to 8,000 years of existence of pottery in Iran. Essentially, the art of pottery finds its origins in the simple relation between Man and Nature. A natural relation which later began an intriguing journey towards perfection due to ingenuity and creativity of the artisans who endeavoured to link the mystery and complexity of the art with beauty and skills of the craftsmanship. Pottery intermingled with the metaphysical beliefs associated with daily routine of ancient Iranians about 4th Millennium BC. A new phenomenon which was further enriched with Persian art and innovation and soon became an invaluable and perpetual part of the Iranian history of art and industry. Just like their exquisite and creative designs and images, the enamel(s) on Iranian pottery display a unique beauty -- particularly mixed with Islamic Architecture and Tilework. Accordingly, on historical and artistic grounds, during post-revolution years utmost attention was paid to pottery and therefore well-orchestrated efforts were also made to revive this ancient art which constitutes yet another indispensable feature of Iranian creativity and precision Qalamzani The art of engraving images on metal Repousse or the Chiselwork, known as "Qalamzani" in Persian language, is one of the most meticulous types of the fine arts in which the lasting decorative works engraved on metal objects made of gold, silver, copper, brass or other inexpensive alloy(s) elaborately depicts marvelous images of various plants and animals. Historically, the original form of this art dates back to "the Cave-dewelling Age" when the Primitive Man skillfully carved his own image on stones making up the inner walls of his cave. The ancient Persians mastered "Qalamzani" several millenniums ago and particularly after the advent of Islam many cities in Persia such as Samarghand, Ray, Hamedan and Isfahan earned enviable reputation for their superb chiselworks--only within several centuries. In thorough preparation for his work, the master craftsman fills the objects to be embossed with a hot mixture of pitch and fine sand or ashes, that after cooling is sufficiently hard and heavy, to act as a base yet plastic enough to give way when the embossing chisel drives the metal back. The creative engraver certainly needs the talents of a master painter plus the great skills of driving and hammering the various chisel on to a hard metal surface which is not flat like those of water colour or oil painting bases.