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A Persian carpet ( Persian: فرش ايرانى, farš-e irâni [ˈfærʃe ʔiːɾɒːˈniː]) or Persian rug ( Persian: قالی ايرانى, qâli-ye irâni Iranian carpet, is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in [ɢɒːˈliːje ʔiːɾɒːˈniː]), also known as Iran (historically known as Persia), for home use, local sale, and export. Carpet weaving is an essential part of Persian culture and Iranian art. Within the group of Oriental rugs produced by the countries of the "rug belt", the Persian carpet stands out by the variety and elaborateness of its manifold designs.

Persian carpets and rugs of various types were woven in parallel by nomadic tribes, in village and town workshops, and by royal court manufactories alike. As such, they represent miscellaneous, simultaneous lines of tradition, and reflect the history of Iran and its various peoples. The carpets woven in the Safavid court manufactories of Isfahan during the sixteenth century are famous for their elaborate colours and artistical design, and are treasured in museums and private collections all over the world today. Their patterns and designs have set an artistic tradition for court manufactories which was kept alive during the entire duration of the Persian Empire up to the last royal dynasty of Iran.

Carpets woven in towns and regional centers like Tabriz, Kerman, Neyshabour, Mashhad, Kashan, Isfahan, Nain and Qom are characterized by their specific weaving techniques and use of high-quality materials, colours and patterns. Town manufactories like those of Tabriz have played an important historical role in reviving the tradition of carpet weaving after periods of decline. Rugs woven by the villages and various tribes of Iran are distinguished by their fine wool, bright and elaborate colours, and specific, traditional patterns. Nomadic and small village weavers often produce rugs with bolder and sometimes more coarse designs, which are considered as the most authentic and traditional rugs of Persia, as opposed to the artistic, pre-planned designs of the larger workplaces. Gabbeh rugs are the best-known type of carpet from this line of tradition.

The art and craft of carpet weaving has gone through periods of decline during times of political unrest, or under the influence of commercial demands. It particularly suffered from the introduction of synthetic dyes during the second half of the nineteenth century. Carpet weaving still plays a major part in the economy of modern Iran. Modern production is characterized by the revival of traditional dyeing with natural dyes, the reintroduction of traditional tribal patterns, but also by the invention of modern and innovative designs, woven in the centuries-old technique. Hand-woven Persian carpets and rugs have been regarded as objects of high artistic and utilitarian value and prestige since the first time they were mentioned by ancient Greek writers.

Although the term "Persian carpet" most often refers to pile-woven textiles, flat-woven carpets and rugs like Kilim, Soumak, and embroidered tissues like Suzani are part of the rich and manifold tradition of Persian carpet weaving.

In 2010, the "traditional skills of carpet weaving" in Fars Province and Kashan were inscribed to the UNESCO Intangible Cultural Heritage Lists.

The beginning of carpet weaving remains unknown, as carpets are subject to use, deterioration, and destruction by insects and rodents. Woven rugs probably developed from earlier floor coverings, made of , or a technique known as " flat weaving". Flat-woven rugs are made by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. The technique of weaving carpets further developed into a technique known as loop weaving. Loop weaving is done by pulling the weft strings over a gauge rod, creating loops of thread facing the weaver. The rod is then either removed, leaving the loops closed, or the loops are cut over the protecting rod, resulting in a rug very similar to a genuine pile rug. Hand-woven pile rugs are produced by knotting strings of thread individually into the warps, cutting the thread after each single knot.

The Pazyryk carpet was excavated in 1949 from the grave of a Scythian nobleman in the Pazyryk Valley of the Altai Mountains in Siberia. Radiocarbon testing indicated that the Pazyryk carpet was woven in the 5th century BC. This carpet is 183 by 200 centimetres (72 by 79 inches) and has 36 symmetrical knots per cm ² (232 per inch ²). The advanced technique used in the Pazyryk carpet indicates a long history of evolution and experience in weaving. It is considered the oldest known carpet in the world. Its central field is a deep red color and it has two animal frieze borders proceeding in opposite directions accompanied by guard stripes. The inner main border depicts a procession of deer, the outer men on horses, and men leading horses. The horse saddlecloths are woven in different designs. The inner field contains 4 × 6 identical square frames arranged in rows on a red ground, each filled by identical, star-shaped ornaments made up by centrally overlapping x- and cross-shaped patterns. The design of the carpet already shows the basic arrangement of what was to become the standard oriental carpet design: A field with repeating patterns, framed by a main border in elaborate design, and several secondary borders.[citation needed ]

The discoverer of the Pazyryk carpet, Sergei Rudenko, assumed it to be a product of the contemporary Achaemenids. Whether it was produced in the region where it was found, or is a product of Achaemenid manufacture, remains subject to debate. Its fine weaving and elaborate pictorial design hint at an advanced state of the art of carpet weaving at the time of its production.

There are documentary records of carpets being used by the ancient Greeks. Homer, assumed to have lived around 850 BC, writes in Ilias XVII,350 that the body of Patroklos is covered with a "splendid carpet". In Odyssey Book VII and X "carpets" are mentioned. Pliny the Elder wrote ( nat. VIII, 48) that carpets ("polymita") were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no detailed technical information is provided in the Greek and Latin texts.

Flat-woven kilims dating to at least the fourth or fifth century AD were found in Turfan, Hotan prefecture, East Turkestan, China, an area which still produces carpets today. Rug fragments were also found in the Lop Nur area, and are woven in symmetrical knots, with 5-7 interwoven wefts after each row of knots, with a striped design, and various colours. They are now in the Victoria and Albert Museum, London. Other fragments woven in symmetrical as well as asymmetrical knots have been found in Dura-Europos in Syria, and from the At-Tar caves in Iraq, dated to the first centuries AD.

These rare findings demonstrate that all the skills and techniques of dyeing and carpet weaving were already known in western Asia before the first century AD.

Persian carpets were first mentioned around 400 BC, by the Greek author Xenophon in his book " Anabasis":

"αὖθις δὲ Τιμασίωνι τῷ Δαρδανεῖ προσελθών, ἐπεὶ ἤκουσεν αὐτῷ εἶναι καὶ ἐκπώματα καὶ τάπιδας βαρβαρικάς", (Xen. anab. VII.3.18)

Next he went to Timasion the Dardanian, for he heard that he had some Persian drinking cups and carpets.

"καὶ Τιμασίων προπίνων ἐδωρήσατο φιάλην τε ἀργυρᾶν καὶ τάπιδα ἀξίαν δέκα μνῶν." [Xen. anab. VII.3.27]

Timasion also drank his health and presented him with a silver bowl and a carpet worth ten mines.

Xenophon describes Persian carpets as precious, and worthy to be used as diplomatic gifts. It is unknown if these carpets were pile-woven, or produced by another technique, e.g., flat-weaving, or embroidery, but it is interesting that the very first reference to Persian carpets in the world literature already puts them into a context of luxury, prestige, and diplomacy.

There are no surviving Persian carpets from the reigns of the Achaemenian (553-330 BC), Seleucid (312-129 BC), and Parthian (ca. 170 BC - 226 AD) kings.

The Sasanian Empire, which succeeded the Parthian Empire, was recognized as one of the leading powers of its time, alongside its neighbouring Byzantine Empire, for a period of more than 400 years. The Sasanids established their empire roughly within the borders set by the Achaemenids, with the capital at Ctesiphon. This last Persian dynasty before the arrival of Islam adopted Zoroastrianism as the state religion.

When and how exactly the Persians started weaving pile carpets is currently unknown, but the knowledge of carpet weaving, and of suitable designs for floor coverings, was certainly available in the area covering Byzance, Anatolia, and Persia: Anatolia, located between Byzance and Persia, was ruled by the Roman Empire since 133 BCE. Geographically and politically, by changing alliances and warfare as well as by trade, Anatolia connected the East Roman with the Persian Empire. Artistically, both empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch. A Turkish carpet pattern depicted on Jan van Eyck's "Paele Madonna" painting was traced back to late Roman origins and related to early Islamic floor mosaics found in the Umayyad palace of Khirbat al-Mafjar.

Flat weaving and embroidery were known during the Sasanian period. Elaborate Sasanian silk textiles were well preserved in European churches, where they were used as coverings for relics, and survived in church treasuries. More of these textiles were preserved in Tibetan monasteries, and were removed by monks fleeing to Nepal during the Chinese cultural revolution, or excavated from burial sites like Astana, on the Silk Road near Turfan. The high artistic level reached by Persian weavers is further exemplified by the report of the historian Al-Tabari about the Spring of Khosrow carpet, taken as booty by the Arabian conquerors of Ctesiphon in 637 AD. The description of the rug's design by al-Tabari makes it seem unlikely that the carpet was pile woven.

Fragments of pile rugs from findspots in north-eastern Afghanistan, reportedly originating from the province of Samangan, have been carbon-14 dated to a time span from the turn of the second century to the early Sasanian period. Among these fragments, some show depictions of animals, like various stags (sometimes arranged in a procession, recalling the design of the Pazyryk carpet) or a winged mythical creature. Wool is used for warp, weft, and pile, the yarn is crudely spun, and the fragments are woven with the asymmetric knot associated with Persian and far-eastern carpets. Every three to five rows, pieces of unspun wool, strips of cloth and leather are woven in. These fragments are now in the Al-Sabah Collection in the Dar al-Athar al-Islamiyyah, Kuwait.

The carpet fragments, although reliably dated to the early Sasanian time, do not seem to be related to the splendid court carpets described by the Arab conquerors. Their crude knots incorporating shag on the reverse hints at the need for increased insulation. With their coarsely finished animal and hunting depictions, these carpets were likely woven by nomadic people.

The Muslim conquest of Persia led to the end of the Sasanian Empire in 651 and the eventual decline of the Zoroastrian religion in Persia. Persia became a part of the Islamic world, ruled by Muslim Caliphates.

Arabian geographers and historians visiting Persia provide, for the first time, references to the use of carpets on the floor. The unknown author of the Hudud al-'Alam states that rugs were woven in Fārs. 100 years later, Al-Muqaddasi refers to carpets in the Qaināt. Yaqut al-Hamawi tells us that carpets were woven in Azerbaijān in the thirteenth century. The great Arabian traveller Ibn Battuta mentions that a green rug was spread before him when he visited the winter quarter of the Bakhthiari atabeg in Idhej. These references indicate that carpet weaving in Persia under the Caliphate was a tribal or rural industry.

The rule of the Caliphs over Persia ended when the Abbasid Caliphate was overthrown in the Siege of Baghdad (1258) by the Mongol Empire under Hulagu Khan. The Abbasid line of rulers recentered themselves in the Mamluk capital of Cairo in 1261. Though lacking in political power, the dynasty continued to claim authority in religious matters until after the Ottoman conquest of Egypt (1517). Under the Mamluk dynasty in Cairo, large carpets known as "Mamluk carpets" were produced.

Beginning at latest with the Seljuq invasions of Anatolia and northwestern Persia, a distinct Turko-Persian tradition emerged. Fragments of woven carpets were found in the Alâeddin Mosque in the Turkish town of Konya and the Eşrefoğlu Mosque in Beyşehir, and were dated to the Anatolian Seljuq Period (1243-1302). More fragments were found in Fostat, today a suburb of the city of Cairo. These fragments at least give us an idea how Seluq carpets may have looked. The Egyptian findings also provide evidence for export trade. If, and how, these carpets influenced Persian carpet weaving, remains unknown, as no distinct Persian carpets are known to exist from this period, or we are unable to identify them. It was assumed by Western scholars that the Sejuqs may have introduced at least new design traditions, if not the craft of pile weaving itself, to Persia, where skilled artisans and craftsmen might have integrated new ideas into their old traditions.

Between 1219 and 1221, Persia was raided by the Mongols. After 1260, the title "Ilkhan" was borne by the descendants of Hulagu Khan and later other Borjigin princes in Persia. At the end of the thirteenth century, Ghazan Khan built a new capital at Shãm, near Tabriz. He ordered the floors of his residence to be covered with carpets from Fārs.

With the death of Ilkhan Abu Said Bahatur in 1335, Mongol rule faltered and Persia fell into political anarchy. In 1381, Timur invaded Iran and became the founder of the Timurid Empire. His successors, the Timurids, maintained a hold on most of Iran until they had to submit to the "White Sheep" Turkmen confederation under Uzun Hassan in 1468; Uzun Hasan and his successors were the masters of Iran until the rise of the Safavids.

In 1463, the Venetian Senate, seeking allies in the Ottoman-Venetian War (1463-1479) established diplomatic relations with Uzun Hassans court at Tabriz. In 1473, Giosafat Barbaro was sent to Tabriz. In his reports to the Senate of Venetia he mentions more than once the splendid carpets which he saw at the palace. Some of them, he wrote, were of silk.

In 1403-05 Ruy González de Clavijo was the ambassador of Henry III of Castile to the court of Timur, founder and ruler of the Timurid Empire. He described that in Timur's palace at Samarkand, "everywhere the floor was covered with carpets and reed mattings". Timurid period miniatures show carpets with geometrical designs, rows of octagons and stars, knot forms, and borders sometimes derived from kufic script. None of the carpets woven before 1500 AD have survived.

In 1499, a new dynasty arose in Persia. Shah Ismail I, its founder, was related to Uzun Hassan. He is regarded as the first national sovereign of Persia since the Arab conquest, and established Shi'a Islam as the state religion of Persia. He and his successors, Shah Tahmasp I and Shah Abbas I became patrons of the Persian Safavid art. Court manufactories were probably established by Shah Tahmasp in Tabriz, but definitely by Shah Abbas when he moved his capital from Tabriz in northwestern to Isfahan in central Persia, in the wake of the Ottoman-Safavid War (1603-18). For the art of carpet weaving in Persia, this meant, as Edwards wrote: "that in a short time it rose from a cottage métier to the dignity of a fine art."

The "design revolution"

By the late fifteenth century, the design of the carpets depicted in miniatures changed considerably. Large-format medaillons appeared, ornaments began to show elaborate curvilinear designs. Large spirals and tendrils, floral ornaments, depictions of flowers and animals, were often mirrored along the long or short axis of the carpet to obtain harmony and rhythm. The earlier "kufic" border design was replaced by tendrils and arabesques. All these patterns required a more elaborate system of weaving, as compared to weaving straight, rectilinear lines. Likewise, they require artists to create the design, weavers to execute them on the loom, and an efficient way to communicate the artist's ideas to the weaver. Today this is achieved by a template, termed cartoon (Ford, 1981, p. 170). How Safavid manufacturers achieved this, technically, is currently unknown. The result of their work, however, was what Kurt Erdmann termed the "carpet design revolution".

Apparently, the new designs were developed first by miniature painters, as they started to appear in book illuminations and on book covers as early as in the fifteenth century. This marks the first time when the "classical" design of Islamic rugs was established: The medaillon and corner design (pers.: "Lechek Torūnj") was first seen on book covers. In 1522, Ismail I employed the miniature painter Kamāl ud-Dīn Behzād, a famous painter of the Herat school, as director of the royal atelier. Behzad had a decisive impact on the development of later Safavid art. The Safavid carpets known to us differ from the carpets as depicted in the miniature paintings, so the paintings cannot support any efforts to differentiate, classify and date period carpets. The same holds true for European paintings: Unlike Anatolian carpets, Persian carpets were not depicted in European paintings before the seventeenth century. As some carpets like the Ardabil carpets have inwoven inscriptions including dates, scientific efforts to categorize and date Safavid rugs start from them:

I have no refuge in the world other than thy threshold.
There is no protection for my head other than this door.The work of the slave of the threshold Maqsud of Kashan in the year 946.

- Inwoven inscription of the Ardabil carpet

The AH year of 946 corresponds to AD 1539-1540, which dates the Ardabil carpet to the reign of Shah Tahmasp, who donated the carpet to the shrine of Shaykh Safi-ad-din Ardabili in Ardabil, who is regarded as the spiritual father of the Safavid dynasty.

Another inscription can be seen on the "Hunting Carpet", now at the Museo Poldi Pezzoli, Milan, which dates the carpet to 949 AH/AD 1542-3:

By the diligence of Ghyath ud-Din Jami was completed
This renowned work, that appeals to us by its beauty
In the year 949

- Inwoven inscription of the Milan Hunting carpet

The number of sources for more precise dating and the attribution of provenience increase during the 17th century. Safavid carpets were presented as diplomatic gifts to European cities and states, as diplomatic relations intensified. In 1603, Shah Abbas presented a carpet with inwoven gold and silver threads to the Venetian doge Marino Grimani. European noblemen began ordering carpets directly from the manufactures of Isfahan and Kashan, whose weavers were willing to weave specific designs, like European coats of arms, into the commissioned peces. Their acquisition was sometimes meticulously documented: In 1601, the Armenian Sefer Muratowicz was sent to Kashan by the Polish king Sigismund III Vasa in order to commission 8 carpets with the Polish royal court of arms to be inwoven. The Kashan weavers did so, and on 12 September 1602 Muratowicz presented the carpets to the Polish king, and the bill to the treasurer of the crown. Representative Safavid carpets made of silk with inwoven gold and silver threads were erroneously believed by Western art historians to be of Polish manufacture. Although the error was corrected, carpets of this type retained the name of "Polish" or "Polonaise" carpets. The more appropriate type name of "Shah Abbas" carpets was suggested by Kurt Erdmann.

A. C. Edwards opens his book on Persian carpets with the description of eight masterpieces from this great period:

Safavid "Vase technique" carpets from Kirmān

A distinct group of Safavid carpets can be attributed to the region of Kirmān in southern Persia. May H. Beattie identified these carpets by their common structure: Seven different types of carpets were identified: Garden carpets (depicting formal gardens and water channels); carpets with centralized designs, characterized by a large medallion; multiple-medaillon designs with offset medaillons and compartment repeats; directional designs with the arrangements of little scenes used as individual motifs; sickle-leaf designs where long, curved, serrated and sometimes compound leaves dominate the field; arabesque; and lattice designs. Their distinctive structure consists of asymmetric knots; the cotton warps are depressed, and there are three wefts. The first and third weft are made of wool, and lie hidden in the center of the carpet. The middle weft is of silk or cotton, and passes from the back to the front. When the carpets are worn, this third weft evokes a characteristic, "tram line" effect.

The best known "vase technique" carpets from Kirmān are those of the so-called "Sanguszko group", named after the House of Sanguszko, whose collection has the most outstanding example. The medallion-and-corner design is similar to other 16th century Safavid carpets, but the colours and style of drawing are distinct. In the central medallion, pairs of human figures in smaller medallions surround a central animal combat scene. Other animal combats are depicted in the field, while horsemen are shown in the corner medallions. The main border also contains lobed medallions with Houris, animal combats, or confronting peacocks. In-between the border medallions, phoenixes and dragons are fighting. By similarity to mosaic tile spandrels in the Ganjali Khan Complex at the Kirmān bazaar with an inscription recording its date of completion as 1006 AH/AD 1596, they are dated to the end of the 16th or the beginning of the 17th century. Two other "vase technique" carpets have inscriptions with a date: One of them bears the date 1172 AH/AD 1758 and the name of the weaver: the Master Craftsman Muhammad Sharīf Kirmānī, the other has three inscriptions indicating that it was woven by the Master Craftsman Mu'min, son of Qutb al-Dīn Māhānī, between 1066-7 AH/AD 1655-1656. Carpets in the Safavid tradition were still woven in Kirmān after the fall of the Safavid dynasty in 1732 (Ferrier, 1989, p. 127).

The end of Shah Abbas II's reign in 1666 marked the beginning of the end of the Safavid dynasty. The declining country was repeatedly raided on its frontiers. Finally, a Ghilzai Pashtun chieftain named Mir Wais Khan began a rebellion in Kandahar and defeated the Safavid army under the Iranian Georgian governor over the region, Gurgin Khan. In 1722, Peter the Great launched the Russo-Persian War (1722-1723), capturing many of Iran's Caucasian territories, including Derbent, Shaki, Baku, but also Gilan, Mazandaran and Astrabad. In 1722, an Afghan army led by Mir Mahmud Hotaki marched across eastern Iran, and besieged and took Isfahan. Mahmud proclaimed himself 'Shah' of Persia. Meanwhile, Persia's imperial rivals, the Ottomans and the Russians, took advantage of the chaos in the country to seize more territory for themselves. With these events, the Safavid dynasty had come to an end.

Iran's territorial integrity was restored by a native Iranian Turkic Afshar warlord from Khorasan, Nader Shah. He defeated the Afghans, and Ottomans, reinstalled the Safavids on the throne, and negotiated Russian withdrawal from Irans Caucasian territories, by the Treaty of Resht and Treaty of Ganja. By 1736, Nader himself was crowned shah. There are no records of carpet weaving, which had sunk to an insignificant handicraft, during the Afsharid and Zand dynasties.

In the aftermath of the Russian Revolution, Persia had become a battleground. In 1917, Britain used Iran as the springboard for an attack into Russia in an unsuccessful attempt to reverse the Revolution. The Soviet Union responded by annexing portions of northern Persia, creating the Persian Soviet Socialist Republic. By 1920, the Iranian government had lost virtually all power outside its capital: British and Soviet forces exercised control over most of the Iranian mainland.

In 1925 Rezā Shāh, supported by the British government, deposed Ahmad Shah Qajar, the last Shah of the Qajar dynasty, and founded the Pahlavi dynasty. He established a constitutional monarchy that lasted until the Iranian Revolution in 1979. Reza Shah introduced social, economic, and political reforms, ultimately laying the foundation of the modern Iranian state. In order to stabilize and legitimate their reign, Rezā Shāh and his son Mohammad Reza Pahlavi aimed at reviving ancient Persian traditions. The revival of carpet weaving, often referring to traditional designs, was an important part of these efforts. In 1935, Rezā Shāh founded the Iran Carpet Company, and brought carpet weaving under government control. Elaborate carpets were woven for export, and as diplomatic gifts to other states.

The Pahlavi dynasty modernized and centralized the Iranian government, and sought effective control and authority over all their subjects. Reza Shah was the first Persian monarch to confront this challenge with modern weapons. Enforced by the army, nomadism was outlawed during the 1930s, traditional tribal dresses were banned, the use of tents and yurts was forbidden in Iran. Unable to migrate, having lost their herds, many nomadic families starved to death. A brief era of relative peace followed for the nomadic tribes in the 1940s and 1950s, when Persia was involved in the Second World War, and Rezā Shāh was forced to abdicate in 1941. His successor, Mohammed Reza Shah consolidated his power during the 1950s. His land reform program of 1962, part of the so-called White Revolution, despite obvious advantages for landless peasants, destroyed the traditional political organization of nomadic tribes like the Qashqai people, and the traditional way of nomadic life. The centuries-old traditions of nomadic carpet weaving, which had entered a process of decline with the introduction of synthetic dyes and commercial designs in the late nineteenth century, were almost annihilated by the politics of the last Iranian imperial dynasty.

After the Iranian Revolution, little information could at first be obtained about carpet weaving in Iran. In the 1970s and 1980s, a new interest arose in Europe in Gabbeh rugs, which were initially woven by nomadic tribes for their own use. Their coarse weaving and simple, abstract designs appealed to Western customers.

In 1992, the first Grand Persian Conference and Exhibition in Tehran presented for the first time modern Persian carpet designs. Persian master weavers like Razam Arabzadeh displayed carpets woven in the traditional technique, but with unusual, modern designs. As the Grand Conferences continue to take place at regular intervals, two trends can be observed in Iranian carpet weaving today. On the one hand, modern and innovative artistic designs are invented and developed by Iranian manufacturers, who thus take the ancient design tradition forward towards the twenty-first century. On the other hand, the renewed interest in natural dyes was taken up by commercial enterprises, which commission carpets to tribal village weavers. This provides a regular source of income for the carpet weavers. The companies usually provide the material and specify the designs, but the weavers are allowed some degree of creative freedom. With the end of the U.S. embargo on Iranian goods, also Persian carpets (including antique Persian carpets acquired at auctions) may become more easily available to U.S. customers again.

As commercial household goods, Persian carpets today are encountering competition from other countries with lower wages and cheaper methods of production: Machine-woven, tufted rugs, or rugs woven by hand, but with the faster and less costly loop weaving method, provide rugs in "oriental" designs of utilitarian, but no artistic value. Traditional hand woven carpets, made of sheep wool dyed with natural colours are increasingly sought after. They are usually sold at higher prices due to the large amount of manual work associated with their production, which has, essentially, not changed since ancient times, and due to the artistic value of their design. Thus, the Persian carpet retains its ancient status as an object of luxury, beauty, and art.

In most Persian rugs, the pile is of sheep's wool. Its characteristics and quality vary from each area to the next, depending on the breed of sheep, climatic conditions, pasturage, and the particular customs relating to when and how the wool is shorn and processed. Different areas of a sheep's fleece yield different qualities of wool, depending on the ratio between the thicker and stiffer sheep hair and the finer fibers of the wool. Usually, sheep are shorn in spring and fall. The spring shear produces wool of finer quality. The lowest grade of wool used in carpet weaving is "skin" wool, which is removed chemically from dead animal skin. Higher grades of Persian wool are often referred to as kurk, or kork wool, which is gained from the wool growing on the sheep's neck. Modern production also makes use of imported wool, e.g. Merino wool from New Zealand, because the high demand on carpet wool cannot be entirely met by the local production. Fibers from camels and goats are also used. Goat hair is mainly used for fastening the borders, or selvedges, of nomadic rugs like Baluch rugs, since it is more resistant to abrasion. Camel wool is occasionally used in Persian nomadic rugs. It is often dyed in black, or used in its natural colour. More often, wool said to be camel's wool turns out to be dyed sheep wool.

Cotton forms the foundation of warps and wefts of the majority of modern rugs. Nomads who cannot afford to buy cotton on the market use wool for warps and wefts, which are also traditionally made of wool in areas where cotton was not a local product. Cotton can be spun more tightly than wool, and tolerates more tension, which makes cotton a superior material for the foundation of a rug. Especially larger carpets are more likely to lie flat on the floor, whereas wool tends to shrink unevenly, and carpets with a woolen foundation may buckle when wet. Chemically treated ( mercerised) cotton has been used in rugs as a silk substitute since the late nineteenth century.

Silk is an expensive material, and has been used for representative carpets. Its tensile strength has been used in silk warps, but silk also appears in the carpet pile. Silk pile can be used to highlight special elements of the design. High-quality carpets from Kashan, Qum, Nain, and Isfahan have all-silk piles. Silk pile carpets are often exceptionally fine, with a short pile and an elaborate design. Silk pile is less resistant to mechanical stress, thus, all-silk piles are often used as wall hangings, or pillows.

The fibers of wool, cotton, and silk are spun either by hand or mechanically by using spinning wheels or industrial spinning machines to produce the yarn. The direction in which the yarn is spun is called twist. Yarns are characterized as S-twist or Z-twist according to the direction of spinning (see diagram). Two or more spun yarns may be twisted together or to form a thicker yarn. Generally, handspun single plies are spun with a Z-twist, and plying is done with an S-twist. Like nearly all Islamic rugs with the exception of Mamluk carpets, nearly all Persian rugs use "Z" (anti-clockwise) spun and "S" (clockwise)-plied wool.

The dyeing process involves the preparation of the yarn in order to make it susceptible for the proper dyes by immersion in a mordant. Dyestuffs are then added to the yarn which remains in the dyeing solution for a defined time. The dyed yarn is then left to dry, exposed to air and sunlight. Some colours, especially dark brown, require iron mordants, which can damage or fade the fabric. This often results in faster pile wear in areas dyed in dark brown colours, and may create a relief effect in antique oriental carpets.

Traditional dyes used in Persian rugs are obtained from plants and insects. In 1856, the English chemist William Henry Perkin invented the first aniline dye, mauveine. A variety of other synthetic dyes were invented thereafter. Cheap, readily prepared and easy to use as they were compared to natural dyes, their use is documented since the mid 1860s. The tradition of natural dyeing was revived in Turkey in the early 1980s. Chemical analyses led to the identification of natural dyes from antique wool samples, and dyeing recipes and processes were experimentally re-created.

According to these analyses, natural dyes used for carpet wool include:

Red from Madder (Rubia tinctorum) roots,

Yellow from plants, including onion (Allium cepa), several chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,

Green by double dyeing with Indigo and yellow dye,

Orange by double dyeing with madder red and yellow dye,

Some of the dyestuffs like indigo or madder were goods of trade, and thus commonly available. Yellow or brown dyestuffs more substantially vary from region to region. Many plants provide yellow dyes, like Vine weld, or Dyer's weed (Reseda luteola), Yellow larkspur, or Dyer's sumach Cotinus coggygria. Grape leaves and pomegranate rinds, as well as other plants, provide different shades of yellow.

In Iran, traditional dyeing with natural dyes was revived in the 1990s, inspired by the renewed general interest in traditionally produced rugs, but master dyers like Abbas Sayahi had kept alive the knowledge about the traditional recipes.

Carmine dyes are obtained from resinous secretions of scale insects such as the Cochineal scale Coccus cacti, and certain Porphyrophora species ( Armenian and Polish cochineal). Cochineal dye, the so-called "laq" was formerly exported from India, and later on from Mexico and the Canary Islands. Insect dyes were more frequently used in areas where Madder (Rubia tinctorum) was not grown, like west and north-west Persia.

With modern synthetic dyes, nearly every colour and shade can be obtained so that without chemical analysis it is nearly impossible to identify, in a finished carpet, whether natural or artificial dyes were used. Modern carpets can be woven with carefully selected synthetic colours, and provide artistic and utilitarian value.

The appearance of slight deviations within the same colour is called abrash (from Turkish abraş, literally, "speckled, piebald"). Abrash is seen in traditionally dyed oriental rugs. Its occurrence suggests that a single weaver has likely woven the carpet, who did not have enough time or resources to prepare a sufficient quantity of dyed yarn to complete the rug. Only small batches of wool were dyed from time to time. When one string of wool was used up, the weaver continued with the newly dyed batch. Because the exact hue of colour is rarely met again when a new batch is dyed, the colour of the pile changes when a new row of knots is woven in. As such, the colour variation suggests a village or tribal woven rug, and is appreciated as a sign of quality and authenticity. Abrash can also be introduced on purpose into a newly planned carpet design.

The weaving of pile rugs is a time-consuming process which, depending on the quality and size of the rug, may take anywhere from a few months to several years to complete.

To begin making a rug, one needs a foundation consisting of warps and wefts: Warps are strong, thick threads of cotton, wool or silk which run through the length of the rug. Similar threads which pass under and over the warps from one side to the other are called wefts. The warps on either side of the rug are normally plied into one or more strings of varying thickness that are overcast to form the selvedge.

Weaving normally begins from the bottom of the loom, by passing a number of wefts through the warps to form a base to start from. Knots of dyed wool, cotton or silk threads are then tied in rows around consecutive sets of adjacent warps. As more rows are tied to the foundation, these knots become the pile of the rug. Between each row of knots, one or more shots of weft are passed to keep the knots fixed. The wefts are then beaten down by a comb-like instrument, the comb beater, to further compact and secure the newly woven row. Depending on the fineness of the weave, the quality of the materials and the expertise of the weavers, the knot count of a handmade rug can vary anywhere from 16 to 800 knots per square inch.

When the rug is completed, the warp ends form the fringes that may be weft-faced, braided, tasseled, or secured in other ways.

Looms do not vary greatly in essential details, but they do vary in size and sophistication. The main technical requirement of the loom is to provide the correct tension and the means of dividing the warps into alternate sets of leaves. A shedding device allows the weaver to pass wefts through crossed and uncrossed warps, instead of laboriously threading the weft in and out of the warps.

The simplest form of loom is a horizontal; one that can be staked to the ground or supported by sidepieces on the ground. The necessary tension can be obtained through the use of wedges. This style of loom is ideal for nomadic people as it can be assembled or dismantled and is easily transportable. Rugs produced on horizontal looms are generally fairly small and the weave quality is inferior to those rugs made on a professional standing loom.

The technically more advanced, stationary vertical looms are used in villages and town manufactures. The more advanced types of vertical looms are more comfortable, as they allow for the weavers to retain their position throughout the entire weaving process. The Tabriz type of vertical loom allows for weaving of carpets up to double the length of the loom, while there is no limit to the length of the carpet that can be woven on a vertical roller beam loom. In essence, the width of the carpet is limited by the length of the loom beams.

There are three general types of vertical looms, all of which can be modified in a number of ways: the fixed village loom, the Tabriz or Bunyan loom, and the roller beam loom.

1. The fixed village loom is used mainly in Iran and consists of a fixed upper beam and a moveable lower or cloth beam which slots into two sidepieces. The correct tension of the warps is obtained by driving wedges into the slots. The weavers work on an adjustable plank which is raised as the work progresses.

2. The Tabriz loom, named after the city of Tabriz, is used in Northwestern Iran. The warps are continuous and pass around behind the loom. Warp tension is obtained with wedges. The weavers sit on a fixed seat and when a portion of the carpet has been completed, the tension is released and the carpet is pulled down and rolled around the back of the loom. This process continues until the rug is completed, when the warps are severed and the carpet is taken off the loom.

3. The roller beam loom is used in larger Turkish manufactures, but is also found in Persia and India. It consists of two movable beams to which the warps are attached. Both beams are fitted with ratchets or similar locking devices. Once a section of the carpet is completed, is rolled on to the lower beam. On a roller beam loom, any length of carpet can be produced. In some areas of Turkey several rugs are woven in series on the same warps, and separated from each other by cutting the warps after the weaving is finished.

The weaver needs a number of essential tools: a knife for cutting the yarn as the knots are tied; a heavy comb-like instrument with a handle for packing down the wefts; and a pair of shears for trimming the pile after a row of knots, or a small number of rows, have been woven. In Tabriz the knife is combined with a hook to tie the knots, which speeds up work. A small steel comb is sometimes used to comb out the yarn after each row of knots is completed.

A variety of additional instruments are used for packing the weft. Some weaving areas in Iran known for producing very fine pieces use additional tools. In Kerman, a saber like instrument is used horizontally inside the shed. In Bijar, a nail-like tool is inserted between the warps, and beaten on in order to compact the fabric even more. Bijar is also famous for their wet loom technique, which consists of wetting the warp, weft, and yarn with water throughout the weaving process to compact the wool and allow for a particularly heavy compression of the pile, warps, and wefts. When the rug is complete and dried, the wool and cotton expand, which results in a very heavy and stiff texture. Bijar rugs are not easily pliable without damaging the fabric.

A number of different tools may be used to shear the wool depending on how the rug is trimmed as the weaving progresses or when the rug is complete. Often in Chinese rugs the yarn is trimmed after completion and the trimming is slanted where the color changes, giving an embossed three-dimensional effect.

Persian carpets are mainly woven with two different knots: The symmetrical Turkish or "Giordes" knot, also used in Turkey, the Caucasus, East Turkmenistan, and some Turkish and Kurdish areas of Iran, and the asymmetrical Persian, or Senneh knot, also used in India, Turkey, Pakistan, China, and Egypt. The term "Senneh knot" is somewhat misleading, as rugs are woven with symmetric knots in the town of Senneh.

To tie a symmetric knot, the yarn is passed between two adjacent warps, brought back under one, wrapped around both forming a collar, then pulled through the center so that both ends emerge between the warps.

The asymmetric knot is tied by wrapping the yarn around only one warp, then the thread is passed behind the adjacent warp so that it divides the two ends of the yarn. The Persian knot may open on the left or the right.

The asymmetric knot allows to produce more fluent, often curvilinear designs, while more bold, rectilinear designs may use the symmetric knot. As exemplified by Senneh rugs with their elaborate designs woven with symmetric knots, the quality of the design depends more on the weaver's skills, than on the type of knot which is used.

Another knot frequently used in Persian carpets is the Jufti knot, which is tied around four warps instead of two. A serviceable carpet can be made with jufti knots, and jufti knots are sometimes used in large single-colour areas of a rug, for example in the field, to save on material. However, as carpets woven wholly or partly with the jufti knot need only half the amount of pile yarn compared to traditionally woven carpets, their pile is less resistant to wear, and these rugs do not last as long.

Flat woven carpets are given their colour and pattern from the weft which is tightly intertwined with the warp. Rather than an actual pile, the foundation of these rugs gives them their design. The weft is woven between the warp until a new colour is needed, it is then looped back and knotted before a new colour is implemented.

The most popular of flat-weaves is called the Kilim. Kilim rugs (along with jewellery, clothing and animals) are important for the identity and wealth of nomadic tribes-people. In their traditional setting Kilims are used as floor and wall coverings, horse-saddles, storage bags, bedding and cushion covers.

Various forms of flat-weaves exist including:

Ghali (Persian: , lit. "carpet"): large format carpets (190 × 280 cm).

Dozar or Sedjadeh: The term comes from Persian do, "two" and zar, a Persian measure corresponding to about 105 centimetres (41 inches). Carpets of Dozar size are approximately 130-140 cm (51-55 in) x 200-210 cm (79-83 in).

Ghalitcheh (Persian: ): Carpet of Dozar format, but woven in very fine quality.

Kelleghi or Kelley : A long format, ca. 150-200 cm (59-79 in) x 300-600 cm (120-240 in). This format is traditionally placed at the head of a ghali carpet (kalleh means "head" in Persian).

Kenareh : Smaller long format: 80-120 cm (31-47 in) × 250-600 cm (98-236 in). Traditionally laid out along the longer sides of a larger carpet (kenār means "side" in Persian language).

Zaronim : corresponds to 1 ½ zar. These smaller rugs are about 150 cm (59 in) long.

Nomadic carpets are also known as Gelim (; including , meaning "rough carpet". In this use, Gelim includes both pile rugs and flat weaves (such as kilim and soumak).

Rug design can be described by the way the ornaments are arranged within the pile. One basic design may dominate the entire field, or the surface may be covered by a pattern of repeating figures.

In areas with traditional, time-honoured local designs, such as the Persian nomad tribes, the weaver is able to work from memory, as the specific patterns are part of the family or tribal tradition. This is usually sufficient for less elaborate, mostly rectilinear designs. For more elaborate, especially curvilinear designs, the patterns are carefully drawn to scale in the proper colours on graph paper. The resulting design plan is termed a "cartoon". The weaver weaves a knot for each square on the scale paper, which allows for an accurate rendition of even the most complex designs. Designs have changed little through centuries of weaving. Today computers are used in the production of scale drawings for the weavers.

The surface of the rug is arranged and organized in typical ways, which in all their variety are nevertheless recognizable as Persian: One single, basic design may cover the entire field ("all-over design"). When the end of the field is reached, patterns may be cut off intentionally, thus creating the impression that they continue beyond the borders of the rug. This feature is characteristic for Islamic design: In the Islamic tradition, depicting animals or humans is prohibited even in a profane context, as Islam does not distinguish between religious and profane life. Since the codification of the Quran by Uthman Ibn Affan in 651 AD/19 AH and the Umayyad Abd al-Malik ibn Marwan reforms, Islamic art has focused on writing and ornament. The main fields of Persian rugs are frequently filled with redundant, interwoven ornaments, often in form of elaborate spirals and tendrils in a manner called infinite repeat.

Design elements may also be arranged more elaborately. One typical oriental rug design uses a medallion, a symmetrical pattern occupying the center of the field. Parts of the medallion, or similar, corresponding designs, are repeated at the four corners of the field. The common Persian "Lechek Torūnj" (medaillon and corner) design was developed in Persia for book covers and ornamental book illuminations in the fifteenth century. In the sixteenth century, it was integrated into carpet designs. More than one medallion may be used, and these may be arranged at intervals over the field in different sizes and shapes. The field of a rug may also be broken up into different rectangular, square, diamond or lozenge shaped compartments, which in turn can be arranged in rows, or diagonally.

In contrast to Anatolian rugs, the Persian carpet medaillon represents the primary pattern, and the infinite repeat of the field appears subordinate, creating an impression of the medaillon "floating" on the field.

In most Persian rugs, the field of the rug is surrounded by stripes, or borders. These may number from one up to over ten, but usually there is one wider main border surrounded by minor, or guardian borders. The main border is often filled with complex and elaborate rectilinear or curvilinear designs. The minor border stripes show simpler designs like meandering vines. The traditional Persian border arrangement was highly conserved through time, but can also be modified to the effect that the field encroaches on the main border. This feature is often seen in Kerman rugs from the late nineteenth century, and was likely taken over from French Aubusson or Savonnerie weaving designs.

The corner articulations are a particularly challenging part of rug design. The ornaments have to be woven in a way that the pattern continues without interruption around the corners between horizontal and vertical borders. This requires advance planning either by a skilled weaver who is able to plan the design from start, or by a designer who composes a cartoon before the weaving begins. If the ornaments articulate correctly around the corners, the corners are termed to be "resolved", or "reconciled". In village or nomadic rugs, which are usually woven without a detailed advance plan, the corners of the borders are often not resolved. The weaver then discontinues the pattern at a certain stage, e.g., when the lower horizontal border is finished, and starts anew with the vertical borders. The analysis of the corner resolution helps distinguishing rural village, or nomadic, from workshop rugs.

The field, or sections of it, can also be covered with smaller design elements. The overall impression may be homogeneous, although the design of the elements themselves can be highly complicated. Amongst the repeating figures, the boteh is used throughout the "carpet belt". Boteh can be depicted in curvilinear or rectilinear style. The most elaborate boteh are found in rugs woven around Kerman. Rugs from Seraband, Hamadan, and Fars sometimes show the boteh in an all-over pattern. Other design elements include ancient motifs like the Tree of life, or floral and geometric elements like, e.g., stars or palmettes.

Single design elements can also be arranged in groups, forming a more complex pattern:

The Herati pattern consists of a lozenge with floral figure at the corners surrounded by lancet-shaped leaves sometimes called "fish". Herati patterns are used throughout the "carpet belt"; typically, they are found in the fields of Bidjar rugs.

The Mina Khani pattern is made up of flowers arranged in a rows, interlinked by diamond (often curved) or circular lines. frequently all over the field. The Mina Khani design is often seen on Varamin rugs.

The Shah Abbasi design is composed of a group of palmettes. Shah Abbasi motifs are frequently seen in Kashan, Isfahan, Mashhad and Nain rugs.

The Bid Majnūn, or Weeping Willow design is in fact a combination of weeping willow, cypress, poplar and fruit trees in rectilinear form. Its origin was attributed to Kurdish tribes, as the earliest known examples are from the Bidjar area.

The Harshang or Crab design takes its name from its principal motive, which is a large oval motive suggesting a crab. The pattern is found all over the rug belt, but bear some resemblance to palmettes from the Safavid period, and the "claws" of the crab may be conventionalized arabesques in rectilinear style. This design was first used in the Khorasan district in Persia, and in origin ultimately derives from the Isfahan 'in and out' palmette design.

The Gol Henai small repeating pattern is named after the Henna plant, which it does not much resemble. The plant looks more like the Garden balsam, and in the Western literature is sometimes compared to the blossom of the Horse chestnut.

Common motifs in Persian carpets

Persian carpets are best classified by the social context of their weavers. Carpets were produced simultaneously by nomadic tribes, in villages, town and court manufactures, for home use, local sale, or export.

Nomadic, or tribal carpets are produced by different ethnic groups with distinct histories and traditions. As the nomadic tribes originally wove carpets mainly for their own use, their designs have maintained much of the tribal traditions. However, during the twentieth century, the nomadic lifestyle was changed to a more sedentary way either voluntarily, or by the forced settlement policy of the last Persian emperors of the Pahlavi dynasty. By 1970, it was observed that traditional weaving had almost ceased among major nomadic tribes, but in recent years, the tradition has been revived.

Technical characteristics of Persian nomadic carpets

Ends

Kilim, 2 cm (0.79 in) to very long

Kilim, 2-8 cm (0.79-3.15 in), natural colours or stripes

Kilim, 2-5 cm (0.79-1.97 in)

Kilim, 2-5 cm (0.79-1.97 in), interlaced or brocaded

Kilim, 2-15 cm (0.79-5.91 in), natural colours or dyed stripes

2-25 cm (0.79-9.84 in), coloured stripes and brocaded

The Kurds are an ethnic group, mostly inhabiting the area spanning adjacent parts of southeastern ( Turkey), western ( Iran), northern ( Iraq), and northern ( Syria). The large population and the wide geographical distribution of the Kurds account for a varied production spanning a spectre from coarse and naïve nomadic weavings to the most elaborate town manufacture carpets, finely woven like Senneh, or heavy fabrics like Bijar carpets. Although Kurdish rugs represent a traditional part of Persian rug production, they merit separate consideration.

Senneh carpets

The city of Sanandij, formerly known as Senneh, is the capital of Iran's Kurdistan province. The rugs produced here are still known, also in the Iran of today, under their trade name "Senneh". They belong to the most finely woven Persian rugs, with knot counts up to 400 per square inch (6200/ dm ²). The pile is closely clipped, and the foundation is cotton, also silk was used in antique carpets. Some fine carpets have silk warps dyed in different colours which create fringes in different colours known as "rainbow warps" in the rug trade. Mostly blue colours are used in the field, or a pale red. The predominant pattern used to be the Herati pattern, with a lozenge-shaped central medallion also filled with repeating Herati patterns on a different background colour. More realistic floral patterns are also seen, probably in rugs woven for export to Europe.

Bijar carpets

The town of Bijar lies around 80 kilometres (50 miles) northeast of Sanadij. Together, these two towns and their surrounding areas have been major centers of rug production since the eighteenth century. Carpets woven in Bijar and the surrounding villages show more varied designs than Senneh rugs, which has led to the distinction between "city" and "village" Bijar rugs. Often referred to as "The Iron Rug of Persia", the Bijar rug is distinguished by its highly packed pile, which is produced by a special technique known as "wet weaving", with the help of a special tool. Warps, weft and pile are constantly kept wet during the weaving process. When the finished carpet is allowed to dry, the wool expands, and the fabric becomes more compact. The fabric is further compacted by vigorous hammering on nail-like metal devices which are inserted between the warps during the weaving. Alternate warps are moderately to deeply depressed. The fabric is further compacted by using wefts of different thickness. Usually one of three wefts is consideravly thicker than the others. The knots are symmetrical, at a density of 60 to over 200 per square inch (930-2100/ dm ²), rarely even over 400 (6200/ dm ²).

The colours of Bijar rugs are exquisite, with light and dark blues, and saturated to light, pale madder red. The designs are traditionally Persian, with predominant Herati, but also Mina Khani, Harshang, and simple medallion forms. Frequently the design is more rectilinear, but Bijar rugs are more easily identified by their peculiar, stiff and heavy weaving than by any design. Bijar rugs cannot be folded without risking to damage the foundation. A specific feature is also the lack of outlining, particularly of the smaller patterns. Full-size "sampler" carpets showing only examples of field and border designs rather than a fully developed carpet design are called "vagireh" by rug traders, and are frequently seen in the Bijar area. New Bijar carpets are still exported from the area, mostly with less elaborate Herati designs and dyed with good synthetic dyes.

Kurdish village rugs

From a Western perspective, there is not much detailed information about Kurdish village rugs, probably because there is insufficient information to identify them, as they have never been specifically collected in the West. Usually, rugs can only be identified as "northwest Persian, probably Kurdish". As is generally the case with village and nomadic rugs, the foundation of village rugs is more predominantly of wool. Kurdish sheep wool is of high quality, and takes dyes well. Thus, a rug with the distinct features of "village production", made of high-quality wool with particularly fine colours may be attributed to Kurdish production, but mostly these attributions remain educated guesswork. Extensive use of common rug patterns and designs poses further difficulty in assigning a specific regional or tribal provenience. A tendency of integrating regional traditions of the surrounding areas, like Anatolian or northwestern Persian designs was observed, which sometimes show distinct, unusual design variations leading to suggest a Kurdish production from within the adjacent areas. Also, northwestern Persian towns like Hamadan, Zenjan or Sauj Bulagh may have used "Kurdish" design features in the past, but modern production on display at the Grand Persian Exhibitions seems to focus on different designs.

The early history of the Qashqai people remains obscure. They speak a Turkic dialect similar to that of Azerbaijan, and may have migrated to the Fars province from the north during the thirteenth century, possibly driven by the Mongol invasion. Karim Khan Zand appointed the chief of the Chahilu clan as the first Il-Khan of the Qashqai. The most important subtribes are the Qashguli, Shishbuluki, Darashuri, Farsimadan, and Amaleh. The Gallanzan, Rahimi, and Ikdir produce rugs of intermediate quality. The rugs woven by the Safi Khani and Bulli subtribes are considered among the highest quality rugs. The rugs are all wool, usually with ivory warps, which distinguishes Qashqai from Khamseh rugs. Qashqai rugs use asymmetric knots, while Gabbeh rugs woven by Qashqai more often use symmetric knots. Alternate warps are deeply depressed. Wefts are in natural colours or dyed red. The selvedges are overcast in wool of different colours, creating a "barber pole" pattern, and are sometimes adorned with woolen tassels. Both ends of the rug have narrow, striped flat-woven kilims. Workshops were established in the nineteenth century already around the town of Firuzabad. Rugs with repeating boteh and the Herati pattern, medallion, as well as prayer rug designs resembling the millefleurs patterns of Indian rugs were woven in these manufactures. The Herati design may sometimes appear to be disjointed and fragmented. The Qashqai are also known for their flatweaves, and for their production of smaller, pile-woven saddle bags, flat-woven larger bags ( mafrash), and their Gabbeh rugs.

The Shishbuluki ( lit.: "six districts") rugs are distinguished by small, central, lozenge-shaped medallions surrounded by small figures aligned in concentric lozenges radiating from the center. The field is most often red, details are often woven in yellow or ivory. Darashuri rugs are similar to those of the Shishbuluki, but not so finely woven.

As the truly nomadic way of life has virtually come to an end during the twentieth century, most Qashqai rugs are now woven in villages, using vertical looms, cotton warps, or even an all-cotton foundation. They use a variety of designs associated with the Qashqai tradition, but it is rarely possible to attribute a specific rug to a specific tribal tradition. Many patterns, including the "Qashqai medallion" previously thought to represent genuine nomadic design traditions, have been shown to be of town manufacture origin, and were integrated into the rural village traditions by a process of stylization.

The revival of natural dyeing has had a major impact on Qashqai rug production. Initiated in Shiraz during the 1990s by master dyers as Abbas Sayahi, particularly Gabbeh rugs raised much interest when they were first presented at the Great Persian Exhibition in 1992. Initially woven for home use and local trade, coarsely knotted with symmetric knots, the colours initially seen were mostly natural shades of wool. With the revival of natural colours, Gabbeh from Fars province soon were produced in a full range of colours. They met the Western demand for primitive, naïve folk art as opposed to elaborate commercialized designs, and gained high popularity. In the commercial production of today, the Gabbeh rug patterns remain simple, but tend to show more modern types of design.

The Khamseh ( lit.: "five tribes") federation was established by the Persian Qajar government in the nineteenth century, to rival the dominant Qashqai power. Five tribal groups of Arab, Persian and Turkic origin were combined, including the Arab tribe, the Basseri, Baharlu, Ainalu, and Nafar tribes. It is difficult to attribute a specific rug to the Khamseh production, and the label "Khamseh" is often used as a term of convenience. Dark woolen warps and borders are associated with Arab Khamseh rugs, warps are rarely depressed, the colour scheme is more subdued. Specifically, a stylized bird ("murgh") pattern is often seen on rugs attributed to the confederation, arranged around a succession of small, lozenge shaped medallions. rugs are asymmetrically knotted, brighter in colours, with more open space and smaller ornaments and figure with Orange as the specific color. The Baharlu are a Turkic-speaking tribe settled around Darab, and few carpets are known from this more agricultural region.

The Afshar people are a semi-nomadic group of Turkic origin, principally located in the mountainous areas surrounding the modern city of Kirman in southeastern Iran. They produce mainly rugs in runner formats, and bags and other household items with rectilinear or curvilinear designs, showing both central medallions and allover patterns. Colours are bright and pale red. The flat-woven ends often show multiple narrow stripes.

The Baloch people live in eastern Iran. They weave small-format rugs and a variety of bags with dark red and blue colours, often combined with dark brown and white. Camel hair is also used.

Carpets produced in villages are usually brought to a regional market center, and carry the name of the market center as a label. Sometimes, as in the case of the "Serapi" rug, the name of the village serves as a label for a special quality. Village carpets can be identified by their less elaborate, more highly stylized designs.

Criteria suggesting village production include:

1. A rug of so-called scatter-size (dozar) that has been woven in a settled environment;

2. woven without a cartoon;

3. woven without reconciled corners;

4. woven with possible idiosyncrasies of construction and pattern elements.

Village rugs are more apt to have warps of wool rather than of cotton. Their designs are not as elaborate and ornate than the curvilinear patterns of city rugs. They are more likely to display abrash and conspicuous mistakes in detail. On simple vertical looms, the correct tension of the warps is difficult to maintain during the entire weaving process. So, village rugs tend to vary in width from end to end, have irregular sides, and may not lay entirely flat. In contrast to manufactory rugs, there is considerable variety in treating the selvedges and fringes. Village rugs are less likely to present depressed warps, as compared to manufactory rugs. They tend to make less use of flat woven kilim ends to finish off the ends of the rug, as compared to tribal rugs. The variation in treatment of fringes and ends, and the way the selvedges are treated, provide clues as to place of origin.

Major production centers in the West are Hamadan, Saruk with its neighbouring town of Arak, Minudasht also known under the trade name Lilihan and Serabend, Maslaghan, Malayer and Feraghan.

Carpets from Maslaghan are usually small (120 × 180 cm), the warps are made of cotton, the wefts of wool or cotton. The large medaillon shows a so-called "lobed Göl", the colours of which are in sharp contrast to the field, with small borders. Malayer, Sarouk and Feraghan are located closely to each other. They use cotton for the foundation.

Malayer carpets sre distinguished by their single-weft and the use of the symmetrical knot. Allover and medaillon patterns are common, the boteh motif is frequently used.

The original Sarouk design was distinguished by a round-star medaillon with surrounding pendants. The traditional design of the Sarouk rug was modified by the weavers towards an allover design of detached floral motives, the carpets were then chemically washed to remove the unwanted colours, and the pile was painted over again with more desirable colours. Feraghan carpets are less finely woven than Sarouk. Often the Herati pattern is seen all over. Medaillons, if they occur, show more geometrical designs. A corroding green dye is typical for Feraghan carpets.

The village of Doroksh is known for its carpet production in Eastern Persia. They are characterized by their use of orange dyes, the boteh motif is often seen. Usually, there is only one border. The knots are asymmetric.

Tabriz in the West, Kerman in the South, and Mashhad in the Northeast of Iran, together with the central Iranian towns of Kashan, Isfahan, Nain and Qom are the main centers of town manufacture.

Tabriz has been a center of carpet production for centuries. Many designs are reproduced by Tabrizi weavers, with wool or silk in the pile, and wool, cotton or silk in the foundation.

Kerman is known for finely knotted, elegant carpets with prominent cochineal red, ivory and golden yellow colours. Their medaillons are elegantly designed, and elaborate versions of the boteh design are often seen in the field.

Mashhad carpets are of average quality. Cochineal red is often used. Emogli (Amoghli) carpets are made of silk, and represent the finest carpets manufactured in Mashhad. They show dense arabesque patterns on red ground.

Kashan is the oldest carpet-producing city in Central Iran. Famous for its production of silk carpets, carpet weaving was revived in the late 19th century. The earliest carpets woven in Kashan at the turn of the nineteenth century show some imbalances in their designs, which was overcome, and carpets were produced mainly with a red or ivory field and elaborate ogival central medallions.

, , and revived or started carpet manufacture by the mid-twentieth century. All-silk, or silk pile on cotton foundation carpets are produced with asymmetrical knots. Their design is often inspired by Safavid designs. Carpets from Qom and Nain often have richly decorated medaillons, and tender light blue and ivory colours. Isfahan carpets use more dark red and blue colours.

Iran exported $517 million worth of hand-woven carpets in 2002. Iran's carpet exports amounted to US$635 million in 2004[needs update ], according to the figures from the state-owned Iran Carpet Company. In October 2006, National Iranian Carpet Center revealed that hand-woven carpets have ranked first in country's non-oil exports and hold the third position among overall exports. Nearly five million workers are engaged in the Iranian carpet industry, making it one of the biggest enterprises in the country[citation needed ].

The absence of modern R&D is causing rapid decline in the size as well as market value of this art.

In 2008, Iran's exports of hand-woven carpets was $420 million or 30% of the world's market. Iran exports carpets to more than 100 countries, as hand-woven rugs are one of its main non-oil export items. The United States is the single largest importer of Persian hand woven carpets. In 2011, President Obama signed into law an act that greatly enhanced restrictions on Iranian-origin imports, causing the imports of Iranian carpets to be halted. After certain sanctions were lifted on implementation day on January 16, 2016, Iran's exports of carpets in the first quarter amounted to $60 million. In 2017, Iran exported $24.3 million worth of hand-woven carpets but was far from the top producer Turkey, which exported $1.77 billion worth of hand-woven carpets in the same year.

The idiom "Persian flaw", meaning a deliberate mistake, is said to originate from the notion that Persian weavers would intentionally leave imperfections in each rug in the belief that only God's creations are perfect, and to weave a perfect rug would be an insult to God.

The most famous Persian carpet is the Ardabil Carpet, in the Victoria and Albert Museum in London, which in fact is now a combination of two original carpets, with another piece from the second in Los Angeles. This has been the subject of endless copies ranging in size from small to full scale. There is an 'Ardabil' at 10 Downing Street, and even Hitler had an 'Ardabil' in his office in Berlin.

The most expensive carpet in the world is a 17th-century Persian vase style carpet, afshar collection which was sold in June 2013 in an London auction for $33.8m.

The "Carpet of Wonder" in the Sultan Qaboos Grand Mosque in Muscat, in the Sultanate of Oman, measures 4,343 square metres (46,750 square feet). Its construction required four years of labour by 600 workers, resulting in 12 million man hours of work.

Iran is also the maker of the largest handmade carpet in history, measuring 5,624.9 square metres (60,545.9 square feet).

1. Savory, R., Carpets,(Encyclopaedia Iranica); accessed January 30, 2007.

2. ^ "UNESCO Representative List of the Intangible Cultural Heritage of Humanity".

3. ^ "UNESCO Representative List of the Intangible Cultural Heritage of Humanity".

4. ^ Rudenko, Sergei I., Frozen Tombs of Siberia, The Pazyryk Burials of Iron-Age Horseman (University of California Press, Berkeley and Los Angeles, California, 1970)

5. International Congress of Byzantine Studies ^ Proceedings of the 21st International Congress of Byzantine Studies, London, 21-26 August 2006, Volumes 1-3 pp 29. Ashgate Pub Co, 30 sep. 2006 ISBN 075465740X

6. ^ N. (no author), N. (1993). Splendeur des Sassanides: L'empire Perse entre Rome et la Chine (224-642) / the Splendor of the Sassanians: the Persian Empire between Rome and China (224-642). Brussels: Credit Communal.

7. ^ "Kuwait Dar al-Athar al-Islamiyyah rugs and textiles collection". Dar al-Athar al-Islamiyyah.

8. ^ Erdmann, Kurt (1938). "Kairener Teppiche Teil I. Europäische und Islamische Quellen vom 15.-18. Jahrhundert" [Cairene Carpets Part I. European and Islamic Sources from the 15.-18. Century]. Ars Islamica. Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan. 5 (2): 181. JSTOR 4520928.

9. Kadolph, Sara J., ed.: ^ Textiles, 10th edition, Pearson/Prentice-Hall, 2007, ISBN 0-13-118769-4, p. 197

10. ^ "Oriental rugs: the meanings behind the designs" by Louise Broadhurst, Head ofChristie's Oriental Rugs & Carpets department

11. ^ Tajvidi K. (5 June 2014). "Persian Rugs & The Silent War On Decoration". Rug Academy. Archived from the original on 6 April 2017.

12. Hillyer, L. & Pretzel, B. "The Ardabil Carpet - a new perspective". Conservation Journal. V&A Museum (49).

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A Persian carpet ( Persian: فرش ايرانى, farš-e irâni [ˈfærʃe ʔiːɾɒːˈniː]) or Persian rug ( Persian: قالی ايرانى, qâli-ye irâni Iranian carpet, is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in [ɢɒːˈliːje ʔiːɾɒːˈniː]), also known as Iran (historically known as Persia), for home use, local sale, and export.

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Travels around the European and colonial world to find not just the best garments for display, but the kind that you would find in museums like those of Kings, ancient figures, etc. He was spending a lot of cash. 

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Google "Where to Discover Diamonds in Amsterdam" by Anthony DeMarco

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Made him sad that things would become less beautiful or make him bored

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Made him sad that things would become less beautiful or make him bored

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He stopped obsessing, returned to the opera, and was a bit depressed

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He was listening to music from all over the world, like Africa and Asia, rather than traditional European classical music, which is representative of the Colonial influences of the time where native music was considered “weird.” 

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We continue our journey back in time to explore the history of perfume. After the frenzy that perfumes experienced during the Renaissance, the art of fragrances was completely disrupted in the 19th century thanks in particular to the revolution of synthesis. Perfume, then used as a remedy, began to emancipate itself from its curative mission to become a real hygiene and beauty product. New scents are created and the perfume becomes the symbol of a typically Parisian refinement! Let's discover the evolution of fragrances during this period, an era marked by great changes.
Perfume facing the History

The Revolution put a stop to perfumery. At the time, perfume remained very strongly associated with the court of Louis XVI, the splendour of the monarchy and the wealth of the upper class. Perfume is a symbol of the high society privileges and the population rejects it as a sign of contestation.

Perfumers then tried to create fragrances with suggestive names such as Parfum de la Guillotine or the fragrance Nation, to get closer to the people and separate the image of the Court from the fragrances one. Fortunately, this disenchantment will not last. A few years later, a new frenzy of luxury and pleasure takes over society and Paris becomes the capital of fashion and refinement.

The Empire of perfume

The perfume quickly become likable again and the Empire would once again erect it in a place of honour. This period also marked the arrival in France of the now famous Eau de Cologne, created by Jean-Marie Farina. This fresh and citrus water captivates the country the high society, even the emperor himself. Bonaparte already has a real passion for all types of perfumes, which he uses everywhere: in the bath, on his clothes, in his hair...

From the freshness of the Eau de Cologne...

The Eau de Cologne inspires him to such an extent that it will become his lucky charm. He drank it before each battle and could consume up to 40 liters per month! Napoleon always wanted to show himself at his best, and hygiene and appearance were very important to him. Thus, he took everywhere with him his toiletry bag, containing his precious fragrance. Moreover, Jean Marie Farina very quickly became the emperor's official supplier. He went so far as to create a special bottle called "the emperor's roller" that could easily fit into an officer's boot. During his exile in St Helena, Napoleon, desperate, made himself a still to produce his own Eau de Cologne.

...to opulent perfumes

But Napoleon the First was not the only one to succumb to the charms of perfume. His wife, the Empress Josephine, wears vanilla scents, influenced by the smells of her childhood in Martinique. She will then establish again the trend of heavier and opulent fragrances, including patchouli, tonka bean and wood.

It was thanks to her in particular that patchouli set Europe on fire at that time. Coming from Indonesia, the perfume of this tropical plant finds its place in new compositions. People enjoy wearing chypre, woody and oriental fragrances. Patchouli spreads through the noses and is found everywhere, in particular thanks to the fashion of cashmere shawls brought from India and Indonesia... If you are wondering what connection can exist between patchouli and shawls, we invite you to read (again) our article about this flagship ingredient. The 19th century is also associated with powerful and animal ingredients such as musk and civet, adopted by the Muscadins and their extravagant style. Spices are also fashionable, and nutmeg is very popular. The perfume writes a new page of its history...

Hygiene for all

Cleanliness is set fair

At the dawn of the 19th century, perfumery was mainly present in the form of dry perfumes. We find mixtures reduced to powder, and sold in sachets. They were intended to be integrated into wigs and clothing to hide the bad smells of poorly washed bodies. But under the influence of the Emperor, hygiene and cleanliness became once again essential concerns for all social classes. This era will mark the history of perfume with a real sanitary revolution! The trend is confirmed with the publication of numerous treatises on savoir-vivre and hygiene, which once again promote the merits of washing and bathing, beneficial for the skin and health. Public baths are reopening and the practice is becoming common.

Basic hygiene practices are taught to children at school and to older in the army. Cleanliness once again became the major factor of social distinction, under the influence of the new bourgeoisie. The big winner of this revolution will be the soap. Although it has been known for a long time, it experienced a real boom in the 19th century.

The perfume does not cure anymore

Scented soap, Eaux de Cologne or lavender, toilet vinegars, lotions, oils, hair ointments... spread very quickly among a population who can now afford these products. The most privileged use more concentrated scented extracts in liquid form. At that time, perfume was referred to its only hedonic dimension, and the bad smell of the disease was gradually dissociated in the collective imagination. It becomes a sign of a certain cleanliness and purity, and its use is revealed as an accessory of seduction.

The synthesis revolution

While the first part of the 19th century was marked by light, floral and soft fragrances, thanks in particular to the Eau de Cologne, the Second Empire turned to more heady scents, with animal smells. This was made possible by synthetic chemistry. This is the century of great names, great perfumers, some of whom have come down to us.

The beginning of organic chemistry

At the beginning of the 19th century, some researchers began new work by isolating interesting olfactory molecules in nature. Synthetic materials are emerging and this is a real revolution for the world of perfumery. Synthetic ingredients are created from scratch, with no natural equivalent. Creativity explodes and new fragrances appear. Coumarin, vanillin, artificial musk, aldehydes, ionones and heliotropin... all new products that are now used in many compositions. These molecules were quickly imposed by the great names in perfumery such as Guerlain with its famous Jicky and its vanillin scent.

Gradually, the prices of these new fragrances become more affordable. These scents are incorporated into natural products, bringing new hints to the compositions. Perfumery is starting to become popularized and is no longer reserved for an elite. The synthesis plays its cards right!

New scents

Extraction with volatile solvents also appears and makes possible to obtain different natural raw materials that multiply the creative possibilities for perfumers. All these new products will be widely used in formulas with great influence on the aesthetics of perfumes of that time. With the introduction of these raw materials moving away from nature, a new field of creative exploration is opening up. New and more abstract olfactory families emerge, such as oriental or ferns. Perfumery is an industrial phenomenon throughout Europe. At the end of this century, France now has 300 manufacturers, 2000 retailers and 20000 workers working for this new industry!

The 19th century has thus marked a significant turning point in the history of Perfume, between technical progress and popular belief. This era saw the birth of the modern perfume industry, finally very close to what we know today.

Did you know the history of perfume in the 19th century? Did you think that synthetic chemistry appeared at that time? See you in a month to continue our fragrant journey...
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History of Perfume: the 19th century | Carrément Belle

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We continue our journey back in time to explore the history of perfume. After the frenzy that perfumes experienced during the Renaissance, the art of fragrances was completely disrupted in the 19th century thanks in particular to the revolution of synthesis.

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Every smell creates a feeling or a state of pleasure. 

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Perfume (, ; French: parfum) is a mixture of fragrant essential oils or aroma compounds (fragrances), fixatives and solvents, usually in liquid form, used to give the human body, animals, food, objects, and living-spaces an agreeable scent. The 1939 Nobel Laureate for Chemistry, Leopold Ružička stated in 1945 that "right from the earliest days of scientific chemistry up to the present time, perfumes have substantially contributed to the development of organic chemistry as regards methods, systematic classification, and theory."

Ancient texts and archaeological excavations show the use of perfumes in some of the earliest human civilizations. Modern perfumery began in the late 19th century with the commercial synthesis of aroma compounds such as vanillin or coumarin, which allowed for the composition of perfumes with smells previously unattainable solely from natural aromatics.

The word perfume derives from the Latin perfumare, meaning "to smoke through". Perfumery, as the art of making perfumes, began in ancient Mesopotamia, Egypt, the Indus Valley Civilization and possibly Ancient China. It was further refined by the Romans and the Muslims.

The world's first-recorded chemist is considered to be a woman named Tapputi, a perfume maker mentioned in a cuneiform tablet from the 2nd millennium BC in Mesopotamia. She distilled flowers, oil, and calamus with other aromatics, then filtered and put them back in the still several times.

On the Indian subcontinent, perfume and perfumery existed in the Indus civilization (3300 BC - 1300 BC).

In 2003, archaeologists uncovered what are believed to be the world's oldest surviving perfumes in Pyrgos, Cyprus. The perfumes date back more than 4,000 years. They were discovered in an ancient perfumery, a 300-square-meter (3,230 sq ft) factory housing at least 60 stills, mixing bowls, funnels, and perfume bottles. In ancient times people used herbs and spices, such as almond, coriander, myrtle, conifer resin, and bergamot, as well as flowers. In May 2018, an ancient perfume "Rodo" (Rose) was recreated for the Greek National Archaeological Museum's anniversary show "Countless Aspects of Beauty", allowing visitors to approach antiquity through their olfaction receptors.

In the 9th century the Arab chemist Al-Kindi (Alkindus) wrote the Book of the Chemistry of Perfume and Distillations, which contained more than a hundred recipes for fragrant oils, salves, aromatic waters, and substitutes or imitations of costly drugs. The book also described 107 methods and recipes for perfume-making and perfume-making equipment, such as the alembic (which still bears its Arabic name. [from Greek ἄμβιξ, "cup", "beaker"] described by Synesius in the 4th century).

The Persian chemist Ibn Sina (also known as Avicenna) introduced the process of extracting oils from flowers by means of distillation, the procedure most commonly used today. He first experimented with the rose. Until his discovery, liquid perfumes consisted of mixtures of oil and crushed herbs or petals, which made a strong blend. Rose water was more delicate, and immediately became popular. Both the raw ingredients and the distillation technology significantly influenced western perfumery and scientific developments, particularly chemistry.

There is controversy on whether perfumery was completely lost in Western Europe after the fall of the Western Roman Empire. That said, the art of perfumery in Western Europe was reinvigorated after the Islamic invasion of Spain and Southern Italy in 711 and 827. The Islamic controlled cities of Spain ( Al-Andalus) became major producers of perfumes that were traded throughout the Old World. Like in the ancient world, Andalusians used fragrance in devotion to God. Perfumes added a layer of cleanliness that was needed for their devotion. Andalusian women were also offered greater freedoms than women in other Muslim controlled regions and were allowed to leave their homes and socialize outside. This freedom allowed courtship to occur outside of the home. As a result, Andalusian women used perfumes for courtship.

Recipes of perfumes from the monks' of Santa Maria Delle Vigne or Santa Maria Novella of Florence, Italy, were recorded from 1221. In the east, the Hungarians produced around 1370 a perfume made of scented oils blended in an alcohol solution - best known as Hungary Water - at the behest of Queen Elizabeth of Hungary. The art of perfumery prospered in Renaissance Italy, and in the 16th century the personal perfumer to Catherine de' Medici (1519-1589), René the Florentine (Renato il fiorentino), took Italian refinements to France. His laboratory was connected with her apartments by a secret passageway, so that no formulae could be stolen en route. Thanks to Rene, France quickly became one of the European centers of perfume and cosmetics manufacture. Cultivation of flowers for their perfume essence, which had begun in the 14th century, grew into a major industry in the south of France.

Between the 16th and 17th centuries, perfumes were used primarily by the wealthy to mask body odors resulting from infrequent bathing. In 1693, Italian barber Giovanni Paolo Feminis created a perfume water called Aqua Admirabilis, today best known as eau de cologne; his nephew Johann Maria Farina (Giovanni Maria Farina) took over the business in 1732.

By the 18th century the Grasse region of France, Sicily, and Calabria (in Italy) were growing aromatic plants to provide the growing perfume industry with raw materials. Even today, Italy and France remain the center of European perfume design and trade.

Perfume types reflect the concentration of aromatic compounds in a solvent, which in fine fragrance is typically ethanol or a mix of water and ethanol. Various sources differ considerably in the definitions of perfume types. The intensity and longevity of a perfume is based on the concentration, intensity, and longevity of the aromatic compounds, or perfume oils, used. As the percentage of aromatic compounds increases, so does the intensity and longevity of the scent. Specific terms are used to describe a fragrance's approximate concentration by the percent of perfume oil in the volume of the final product. The most widespread terms are:

parfum or extrait, in English known as perfume extract, pure perfume, or simply perfume: 15-40% aromatic compounds (IFRA: typically ~20%);

esprit de parfum (ESdP): 15-30% aromatic compounds, a seldom used strength concentration in between EdP and perfume;

eau de parfum (EdP) or parfum de toilette (PdT): 10-20% aromatic compounds (typically ~15%); sometimes called "eau de perfume" or "millésime." Parfum de toilette is a less common term, most popular in the 1980s, that is generally analogous to eau de parfum.

eau de toilette (EdT): 5-15% aromatic compounds (typically ~10%); This is the staple for most masculine perfumes.

eau de Cologne (EdC): 3-8% aromatic compounds (typically ~5%). This concentration is often simply called cologne; see below for more information on the confusing nature of the term.

eau fraîche: products sold as "splashes", "mists", "veils" and other imprecise terms. Generally these products contain 3% or less aromatic compounds and are diluted with water rather than oil or alcohol.

There is much confusion over the term "cologne", which has three meanings. The first and oldest definition refers to a family of fresh, citrus-based fragrances distilled using extracts from citrus, floral, and woody ingredients. Supposedly these were first developed in the early 18th century in Cologne, Germany, hence the name. This type of "classical cologne" describes unisex compositions "which are basically citrus blends and do not have a perfume parent." Examples include Mäurer & Wirtz's (created in 1799), and Guerlain's Eau de Cologne impériale (1853).

In the 20th century, the term took on a second meaning. Fragrance companies began to offer lighter, less concentrated interpretations of their existing perfumes, making their products available to a wider range of customers. Guerlain, for example, offered an eau de Cologne version of its flagship perfume . In contrast to classical colognes, this type of modern cologne is a lighter, diluted, less concentrated interpretation of a more concentrated product, typically a pure parfum. The cologne version is often the lightest concentration from a line of fragrance products.

Finally, the term "cologne" has entered the English language as a generic, overarching term to denote a fragrance typically worn by a man as opposed to a woman, regardless of its concentration. The actual product worn by a man may technically be an eau de toilette, but he may still say that he "wears cologne". A similar problem surrounds the term "perfume", which is sometimes used in a generic sense to refer to fragrances marketed to women, whether or not the fragrance is actually an extrait.

Classical colognes first appeared in Europe in the 17th century. The first fragrance labeled a "parfum" extract with a high concentration of aromatic compounds was Guerlain's in 1889. Eau de toilette appeared alongside parfum around the turn of the century. The EdP concentration and terminology is the most recent, being originally developed to offer the radiance of an EdT with the longevity of an extrait. Parfum de toilette and EdP began to appear in the 1970s and gained popularity in the 1980s. EdP is pobably the most widespread strength concentration, often the first concentration offered, and usually referred to generically as "perfume."

The wide range in the percentages of aromatic compounds that may be present in each concentration means that the terminology of extrait, EdP, EdT, and EdC is quite imprecise. Although an EdP will often be more concentrated than an EdT and in turn an EdC, this is not always the case. Different perfumeries or perfume houses assign different amounts of oils to each of their perfumes. Therefore, although the oil concentration of a perfume in EdP dilution will necessarily be higher than the same perfume in EdT from within a company's same range, the actual amounts vary among perfume houses. An EdT from one house may have a higher concentration of aromatic compounds than an EdP from another.

Furthermore, some fragrances with the same product name but having a different concentration may not only differ in their dilutions, but actually use different perfume oil mixtures altogether. For instance, in order to make the EdT version of a fragrance brighter and fresher than its EdP, the EdT oil may be "tweaked" to contain slightly more top notes or fewer base notes. is a good example: its parfum, EdP, EdT, and now-discontinued EdC concentrations are in fact different compositions (the parfum dates to 1921, whereas the EdP was not developed until the 1980s). In some cases, words such as extrême, intense, or concentrée that might indicate a higher aromatic concentration are actually completely different fragrances, related only because of a similar perfume accord. An example of this is Chanel's Pour Monsieur and Pour Monsieur concentrée.

Historically, women's fragrances tended to have higher levels of aromatic compounds than men's fragrances. Fragrances marketed to men were typically sold as EdT or EdC, rarely as EdP or perfume extracts. This is changing in the modern fragrance world, especially as fragrances are becoming more unisex. Women's fragrances used to be common in all levels of concentration, but today are mainly seen in parfum, EdP and EdT concentrations.

Perfume oils are often diluted with a solvent, though this is not always the case, and its necessity is disputed. By far the most common solvent for perfume-oil dilution is alcohol, typically a mixture of ethanol and water or a rectified spirit. Perfume oil can also be diluted by means of neutral-smelling oils such as fractionated coconut oil, or liquid waxes such as jojoba oil.

The conventional application of pure perfume (parfum extrait) in Western cultures is behind the ears, at the nape of the neck, under the armpits and at the insides of wrists, elbows and knees, so that the pulse point will warm the perfume and release fragrance continuously. According to perfumer Sophia Grojsman behind the knees is the ideal point to apply perfume in order that the scent may rise. The modern perfume industry encourages the practice of layering fragrance so that it is released in different intensities depending upon the time of the day. Lightly scented products such as bath oil, shower gel, and body lotion are recommended for the morning; eau de toilette is suggested for the afternoon; and perfume applied to the pulse points for evening. Cologne fragrance is released rapidly, lasting around 2 hours. Eau de toilette lasts from 2 to 4 hours, while perfume may last up to six hours.

A variety of factors can influence how fragrance interacts with the wearer's own physiology and affect the perception of the fragrance. Diet is one factor, as eating spicy and fatty foods can increase the intensity of a fragrance. The use of medications can also impact the character of a fragrance. The relative dryness of the wearer's skin is important, since dry skin will not hold fragrance as long as skin with more oil.

The precise formulae of commercial perfumes are kept secret. Even if they were widely published, they would be dominated by such complex ingredients and odorants that they would be of little use in providing a guide to the general consumer in description of the experience of a scent. Nonetheless, connoisseurs of perfume can become extremely skillful at identifying components and origins of scents in the same manner as wine experts.

The most practical way to start describing a perfume is according to the elements of the fragrance notes of the scent or the "family" it belongs to, all of which affect the overall impression of a perfume from first application to the last lingering hint of scent.

The trail of scent left behind by a person wearing perfume is called its sillage, after the French word for " wake", as in the trail left by a boat in water.

Perfume is described in a musical metaphor as having three sets of notes, making the harmonious scent accord. The notes unfold over time, with the immediate impression of the top note leading to the deeper middle notes, and the base notes gradually appearing as the final stage. These notes are created carefully with knowledge of the evaporation process of the perfume.

Top notes: Also called the head notes. The scents that are perceived immediately on application of a perfume. Top notes consist of small, light molecules that evaporate quickly. They form a person's initial impression of a perfume and thus are very important in the selling of a perfume. Examples of top notes include mint, lavender and coriander.

Middle notes: Also referred to as heart notes. The scent of a perfume that emerges just prior to the dissipation of the top note. The middle note compounds form the "heart" or main body of a perfume and act to mask the often unpleasant initial impression of base notes, which become more pleasant with time. Examples of middle notes include seawater, sandalwood and jasmine.

Base notes: The scent of a perfume that appears close to the departure of the middle notes. The base and middle notes together are the main theme of a perfume. Base notes bring depth and solidity to a perfume. Compounds of this class of scents are typically rich and "deep" and are usually not perceived until 30 minutes after application. Examples of base notes include tobacco, amber and musk.

The scents in the top and middle notes are influenced by the base notes; conversely, the scents of the base notes will be altered by the types of fragrance materials used as middle notes. Manufacturers who publish perfume notes typically do so with the fragrance components presented as a fragrance pyramid, using imaginative and abstract terms for the components listed.

The grouping of perfumes can never be completely objective or definitive. Many fragrances contain aspects of different families. Even a perfume designated as "single flower" will have subtle undertones of other aromatics. There are hardly any true unitary-scent perfumes consisting of a single aromatic material.

The family classification is a starting point to describe a perfume, but does not fully characterize it.

The traditional categories which emerged around 1900:

Single Floral: Fragrances dominated by a particular flower; in French called a soliflore. Example: Serge Lutens Sa Majeste La Rose.)

Floral Bouquet: Compound of several flower scents. Examples: Houbigant Quelques Fleurs, Jean Patou .

Amber or "Oriental": Large class featuring sweet, slightly animalic scents of ambergris or labdanum, often combined with vanilla, tonka bean, flowers and woods. Can be enhanced by camphorous oils and incense resins, evoking Victorian era "Oriental" imagery. Traditional examples: Guerlain , Yves Saint Laurent , Chanel Coco Mademoiselle.

Woody: Fragrances dominated by woody scents, typically agarwood, sandalwood, cedarwood, and vetiver. Patchouli, with its camphoraceous smell, is commonly found in these perfumes. Traditional examples: Myrurgia Maderas De Oriente, Chanel Bois des Îles. Modern: Balenciaga Rumba.

Leather: A family of fragrances featuring honey, tobacco, wood and wood tars in the middle or base notes and a scent that alludes to leather. Traditional examples: Robert Piguet Bandit, Balmain Jolie Madame.

(IPA: ): Meaning in French, this includes fragrances built on bergamot, oakmoss, and labdanum. Named after oakmoss scent (chypre powder), popularized with the success of François Coty's (1917). Modern example: Guerlain .

(IPA: ): Meaning in French, built on a base of lavender, coumarin and oakmoss, with a sharp herbaceous and woody scent. Named for Houbigant's Fougère Royale, many men's fragrances belong to this family. Modern examples: Fabergé Brut, Guy Laroche Drakkar Noir, Penhaligon's Douro.

Since 1945, new categories have emerged to describe modern scents, due to great advances in the technology of compound design and synthesis, as well as the natural development of styles and tastes:

Bright Floral: Combining Single Floral & Floral Bouquet traditional categories. Example: Estée Lauder Beautiful.

Green: Lighter, more modern interpretation of the Chypre type, with pronounced cut grass, crushed green leaf and cucumber-like scents. Examples: Estée Lauder Aliage, Sisley Eau de Campagne, Calvin Klein Eternity.

Aquatic, Oceanic, Ozonic: The newest category, first appearing in 1988 Davidoff (1988), Christian Dior Dune (1991). A clean smell reminiscent of the ocean, leading to many androgynous perfumes. Generally contains calone, a synthetic discovered in 1966, or more recent synthetics. Also used to accent floral, oriental, and woody fragrances.

Citrus: An old fragrance family that until recently consisted mainly of "freshening" eau de colognes, due to the volatility of citrus scents. Development of newer fragrance compounds has allowed for the creation of more tenacious citrus fragrances. Example: Penhaligon's Quercus.

Fruity: Featuring fruits other than citrus, such as peach, cassis (black currant), mango, passion fruit, and others. Example: Ginestet Botrytis.

Gourmand (French: ): Scents with "edible" or "dessert-like" qualities, often containing vanilla, tonka bean, and coumarin, as well as synthetic components designed to resemble food flavors. A sweet Example: Thierry Mugler's Angel (sweet).

This newer classification method is widely used in retail and the fragrance industry, created in 1983 by the perfume consultant Michael Edwards. The new scheme simplifies classification and naming, as well as showing the relationships among the classes.

The five main families are Floral, Oriental, Woody, Aromatic Fougère, and Fresh, the first four from the classic terminology and the last from the modern oceanic category. Each of these are divided into subgroups and arranged around a wheel. In this scheme, Chanel No.5, traditionally classified as an aldehydic floral, is placed under the Soft Floral sub-group, while amber scents are within the Oriental group. Chypre perfumes are more ambiguous, having affinities with both the Oriental and Woody families. For instance, Guerlain Mitsouko is under Mossy Woods, but Hermès Rouge, a more floral chypre, is under Floral Oriental.

Plants have long been used in perfumery as a source of essential oils and aroma compounds. These aromatics are usually secondary metabolites produced by plants as protection against herbivores, infections, as well as to attract pollinators. Plants are by far the largest source of fragrant compounds used in perfumery. The sources of these compounds may be derived from various parts of a plant. A plant can offer more than one source of aromatics, for instance the aerial portions and seeds of coriander have remarkably different odors from each other. Orange leaves, blossoms, and fruit zest are the respective sources of petitgrain, neroli, and orange oils.

: Commonly used barks include cinnamon and cascarilla. The fragrant oil in sassafras root bark is also used either directly or purified for its main constituent, safrole, which is used in the synthesis of other fragrant compounds.

and : Undoubtedly the largest and most common source of perfume aromatics. Includes the flowers of several species of rose and jasmine, as well as osmanthus, plumeria, mimosa, tuberose, narcissus, scented geranium, cassie, ambrette as well as the blossoms of citrus and ylang-ylang trees. Although not traditionally thought of as a flower, the unopened flower buds of the clove are also commonly used. Most orchid flowers are not commercially used to produce essential oils or absolutes, except in the case of vanilla, an orchid, which must be pollinated first and made into seed pods before use in perfumery.

: Fresh fruits such as apples, strawberries, cherries rarely yield the expected odors when extracted; if such fragrance notes are found in a perfume, they are more likely to be of synthetic origin. Notable exceptions include blackcurrant leaf, litsea cubeba, vanilla, and juniper berry. The most commonly used fruits yield their aromatics from the rind; they include citrus such as oranges, lemons, and limes. Although grapefruit rind is still used for aromatics, more and more commercially used grapefruit aromatics are artificially synthesized since the natural aromatic contains sulfur and its degradation product is quite unpleasant in smell.

and : Commonly used for perfumery are lavender leaf, patchouli, sage, violets, rosemary, and citrus leaves. Sometimes leaves are valued for the "green" smell they bring to perfumes, examples of this include hay and tomato leaf.

: Valued since antiquity, resins have been widely used in incense and perfumery. Highly fragrant and antiseptic resins and resin-containing perfumes have been used by many cultures as medicines for a large variety of ailments. Commonly used resins in perfumery include labdanum, frankincense/olibanum, myrrh, balsam of Peru, benzoin. Pine and fir resins are a particularly valued source of terpenes used in the organic synthesis of many other synthetic or naturally occurring aromatic compounds. Some of what is called amber and copal in perfumery today is the resinous secretion of fossil conifers.

: Commonly used terrestrial portions in perfumery include iris rhizomes, vetiver roots, various rhizomes of the ginger family.

: Highly important in providing the base notes to a perfume, wood oils and distillates are indispensable in perfumery. Commonly used woods include sandalwood, rosewood, agarwood, birch, cedar, juniper, and pine. These are used in the form of macerations or dry-distilled (rectified) forms.

Rom terpenes. Orchid scents

: Lumps of oxidized fatty compounds, whose precursors were secreted and expelled by the sperm whale. Ambergris should not be confused with yellow amber, which is used in jewelry. Because the harvesting of ambergris involves no harm to its animal source, it remains one of the few animalic fragrancing agents around which little controversy now exists.

Castoreum: Obtained from the odorous sacs of the North American beaver.

: Also called civet musk, this is obtained from the odorous sacs of the civets, animals in the family Viverridae, related to the mongoose. World Animal Protection investigated African civets caught for this purpose.

: Commonly known as "Africa stone", is the petrified excrement of the rock hyrax.

: From the honeycomb of the honeybee. Both beeswax and honey can be solvent extracted to produce an absolute. Beeswax is extracted with ethanol and the ethanol evaporated to produce beeswax absolute.

: Originally derived from a gland (sac or pod) located between the genitals and the umbilicus of the Himalayan male musk deer Moschus moschiferus, it has now mainly been replaced by the use of synthetic musks sometimes known as "white musk".

: Commonly used lichens include oakmoss and treemoss thalli.

: Distillates are sometimes used as essential oil in perfumes. An example of a commonly used seaweed is Fucus vesiculosus, which is commonly referred to as bladder wrack. Natural seaweed fragrances are rarely used due to their higher cost and lower potency than synthetics.

Many modern perfumes contain synthesized odorants. Synthetics can provide fragrances which are not found in nature. For instance, Calone, a compound of synthetic origin, imparts a fresh ozonous metallic marine scent that is widely used in contemporary perfumes. Synthetic aromatics are often used as an alternate source of compounds that are not easily obtained from natural sources. For example, linalool and coumarin are both naturally occurring compounds that can be inexpensively synthesized from terpenes. Orchid scents (typically salicylates) are usually not obtained directly from the plant itself but are instead synthetically created to match the fragrant compounds found in various orchids.

One of the most commonly used classes of synthetic aromatics by far are the white musks. These materials are found in all forms of commercial perfumes as a neutral background to the middle notes. These musks are added in large quantities to laundry detergents in order to give washed clothes a lasting "clean" scent.

The majority of the world's synthetic aromatics are created by relatively few companies. They include:

Each of these companies patents several processes for the production of aromatic synthetics annually.

Natural and synthetics are used for their different odor characteristics in perfumery

Naturals

Synthetics

Variance

Natural scents will vary from each supplier based on when and where they are harvested, how they are processed, and the extraction method itself. This means that a certain flower grown in Morocco and in France will smell different, even if the same method is used to grow, harvest, and extract the scent. As such, each perfumer will prefer flowers grown in one country over another, or one extraction method to the next. However, due to a natural scent's mixed composition, it is easy for unscrupulous suppliers to adulterate the actual raw materials by changing its source (adding Indian jasmine into Grasse jasmine) or the contents (adding linalool to rosewood) to increase their profit margin.

Much more consistent than natural aromatics. However, differences in organic synthesis may result in minute differences in concentration of impurities. If these impurities have low smell (detection) thresholds, the differences in the scent of the synthetic aromatic will be significant.

Components

Contains many different organic compounds, each adding a different note to the overall scent. Certain naturally derived substances have a long history of use, but this cannot always be used as an indicator of whether they are safe or not. Possible allergenic or carcinogenic compounds.

Depending on purity, consists primarily of one chemical compound. Sometimes chiral mixtures of isomers, such as in the case of Iso E Super.[41] Due to the almost pure composition of one chemical compound, the same molecules found diluted in nature will have a different scent and effect on the body, if used undiluted.

Scent uniqueness

Reminiscent of its originating material, although extraction may capture a different "layer" of the scent, depending on how the extraction method denatures the odoriferous compounds.

Similar to natural scents yet different at the same time. Some synthetics attempt to mimic natural notes, while others explore the entire spectrum of scent. Novel scent compounds not found in nature will often be unique in their scent.

Scent complexity

Deep and complex fragrance notes. Soft, with subtle scent nuances. Highly valued for ideal composition.

Pure and pronounced fragrance notes. Often monotonous in nature, yet reminiscent of other natural scents.

Price

Dependent on extraction method. More expensive, but not always, as prices are determined by the labor and difficulty of properly extracting each unit of the natural materials, as well as its quality. Typically the relationship between, longevity of a perfume, cost and the concentration of essential oils follows the graph below:

[42]
Dependent on synthesis method. Generally cheaper, but not necessarily. Synthetic aromatics are not necessarily cheaper than naturals, with some synthetics being more costly than most natural ingredients due to various factors such as the long synthesis routes, low availability of precursor chemicals, and low overall yield. However, due to their low odor threshold, they should be diluted when making a perfume.

Before perfumes can be composed, the odorants used in various perfume compositions must first be obtained. Synthetic odorants are produced through organic synthesis and purified. Odorants from natural sources require the use of various methods to extract the aromatics from the raw materials. The results of the extraction are either essential oils, absolutes, concretes, or butters, depending on the amount of waxes in the extracted product.

All these techniques will, to a certain extent, distort the odor of the aromatic compounds obtained from the raw materials. This is due to the use of heat, harsh solvents, or through exposure to oxygen in the extraction process which will denature the aromatic compounds, which either change their odor character or renders them odorless.

Maceration/Solvent extraction: The most used and economically important technique for extracting aromatics in the modern perfume industry. Raw materials are submerged in a solvent that can dissolve the desired aromatic compounds. Maceration lasts anywhere from hours to months. Fragrant compounds for woody and fibrous plant materials are often obtained in this manner as are all aromatics from animal sources. The technique can also be used to extract odorants that are too volatile for distillation or easily denatured by heat. Commonly used solvents for maceration/solvent extraction include ethane, hexane, and dimethyl ether. The product of this process is called a "concrete."

Supercritical fluid extraction: A relatively new technique for extracting fragrant compounds from a raw material, which often employs Supercritical CO₂. Due to the low heat of process and the relatively nonreactive solvent used in the extraction, the fragrant compounds derived often closely resemble the original odor of the raw material.

Ethanol extraction: A type of solvent extraction used to extract fragrant compounds directly from dry raw materials, as well as the impure oily compounds materials resulting from solvent extraction or enfleurage. Ethanol extraction from fresh plant materials contain large quantities of water, which will also be extracted into the ethanol.

Distillation: A common technique for obtaining aromatic compounds from plants, such as orange blossoms and roses. The raw material is heated and the fragrant compounds are re-collected through condensation of the distilled vapor.

Steam distillation: Steam from boiling water is passed through the raw material, which drives out their volatile fragrant compounds. The condensate from distillation are settled in a Florentine flask. This allows for the easy separation of the fragrant oils from the water. The water collected from the condensate, which retains some of the fragrant compounds and oils from the raw material is called hydrosol and sometimes sold. This is most commonly used for fresh plant materials such as flowers, leaves, and stems.

Dry/destructive distillation: The raw materials are directly heated in a still without a carrier solvent such as water. Fragrant compounds that are released from the raw material by the high heat often undergo anhydrous pyrolysis, which results in the formation of different fragrant compounds, and thus different fragrant notes. This method is used to obtain fragrant compounds from fossil amber and fragrant woods where an intentional "burned" or "toasted" odor is desired.

Fractionation: Through the use of a fractionation column, different fractions distilled from a material can be selectively excluded to modify the scent of the final product. Although the product is more expensive, this is sometimes performed to remove unpleasant or undesirable scents of a material and affords the perfumer more control over their composition process.

Expression: Raw material is squeezed or compressed and the essential oils are collected. Of all raw materials, only the fragrant oils from the peels of fruits in the citrus family are extracted in this manner since the oil is present in large enough quantities as to make this extraction method economically feasible.

Enfleurage: Absorption of aroma materials into solid fat or wax and then extraction of odorous oils with ethyl alcohol. Extraction by enfleurage was commonly used when distillation was not possible because some fragrant compounds denature through high heat. This technique is not commonly used in the modern industry due to prohibitive costs and the existence of more efficient and effective extraction methods.

Although fragrant extracts are known to the general public as the generic term " essential oils", a more specific language is used in the fragrance industry to describe the source, purity, and technique used to obtain a particular fragrant extract. Of these extracts, only absolutes, essential oils, and tinctures are directly used to formulate perfumes.

Absolute: Fragrant materials that are purified from a pommade or concrete by soaking them in ethanol. By using a slightly hydrophilic compound such as ethanol, most of the fragrant compounds from the waxy source materials can be extracted without dissolving any of the fragrantless waxy molecules. Absolutes are usually found in the form of an oily liquid.

Concrete: Fragrant materials that have been extracted from raw materials through solvent extraction using volatile hydrocarbons. Concretes usually contain a large amount of wax due to the ease in which the solvents dissolve various hydrophobic compounds. As such concretes are usually further purified through distillation or ethanol based solvent extraction. Concretes are typically either waxy or resinous solids or thick oily liquids.

Essential oil: Fragrant materials that have been extracted from a source material directly through distillation or expression and obtained in the form of an oily liquid. Oils extracted through expression are sometimes called expression oils.

Pomade: A fragrant mass of solid fat created from the enfleurage process, in which odorous compounds in raw materials are adsorbed into animal fats. Pommades are found in the form of an oily and sticky solid.

: Fragrant materials produced by directly soaking and infusing raw materials in ethanol. Tinctures are typically thin liquids.

Products from different extraction methods are known under different names even though their starting materials are the same. For instance, orange blossoms from Citrus aurantium that have undergone solvent extraction produces "orange blossom absolute" but that which have been steam distilled is known as "neroli oil".

Perfume compositions are an important part of many industries ranging from the luxury goods sectors, food services industries, to manufacturers of various household chemicals. The purpose of using perfume or fragrance compositions in these industries is to affect customers through their sense of smell and entice them into purchasing the perfume or perfumed product. As such there is significant interest in producing a perfume formulation that people will find aesthetically pleasing.

The job of composing perfumes that will be sold is left up to an expert on perfume composition or known in the fragrance industry as the perfumer. They are also sometimes referred to affectionately as a " Nez" (French for nose) due to their fine sense of smell and skill in smell composition.

The composition of a perfume typically begins with a brief by the perfumer's employer or an outside customer. The customers to the perfumer or their employers, are typically fashion houses or large corporations of various industries. The perfumer will then go through the process of blending multiple perfume mixtures and sell the formulation to the customer, often with modifications of the composition of the perfume. The perfume composition will then be either used to enhance another product as a functional fragrance ( shampoos, make-up, detergents, car interiors, etc.), or marketed and sold directly to the public as a fine fragrance.

Although there is no single "correct" technique for the formulation of a perfume, there are general guidelines as to how a perfume can be constructed from a concept. Although many ingredients do not contribute to the smell of a perfume, many perfumes include colorants and anti-oxidants to improve the marketability and shelf life of the perfume, respectively.

Perfume oils usually contain tens to hundreds of ingredients and these are typically organized in a perfume for the specific role they will play. These ingredients can be roughly grouped into four groups:

Primary scents (Heart): Can consist of one or a few main ingredients for a certain concept, such as "rose". Alternatively, multiple ingredients can be used together to create an "abstract" primary scent that does not bear a resemblance to a natural ingredient. For instance, jasmine and rose scents are commonly blends for abstract floral fragrances. Cola flavourant is a good example of an abstract primary scent.

Blenders: A large group of ingredients that smooth out the transitions of a perfume between different "layers" or bases. These themselves can be used as a major component of the primary scent. Common blending ingredients include linalool and hydroxycitronellal.

Fixatives: Used to support the primary scent by bolstering it. Many resins, wood scents, and amber bases are used as fixatives.

The top, middle, and base notes of a fragrance may have separate primary scents and supporting ingredients. The perfume's fragrance oils are then blended with ethyl alcohol and water, aged in tanks for several weeks and filtered through processing equipment to, respectively, allow the perfume ingredients in the mixture to stabilize and to remove any sediment and particles before the solution can be filled into the perfume bottles.

Instead of building a perfume from "ground up", many modern perfumes and colognes are made using fragrance bases or simply bases. Each base is essentially modular perfume that is blended from essential oils and aromatic chemicals, and formulated with a simple concept such as "fresh cut grass" or "juicy sour apple". Many of Guerlain's Aqua Allegoria line, with their simple fragrance concepts, are good examples of what perfume fragrance bases are like.

The effort used in developing bases by fragrance companies or individual perfumers may equal that of a marketed perfume, since they are useful in that they are reusable. On top of its reusability, the benefit in using bases for construction are quite numerous:

1. Ingredients with "difficult" or "overpowering" scents that are tailored into a blended base may be more easily incorporated into a work of perfume

2. A base may be better scent approximations of a certain thing than the extract of the thing itself. For example, a base made to embody the scent for "fresh dewy rose" might be a better approximation for the scent concept of a rose after rain than plain rose oil. Flowers whose scents cannot be extracted, such as gardenia or hyacinth, are composed as bases from data derived from headspace technology.

3. A perfumer can quickly rough out a concept from a brief by combining multiple bases, then present it for feedback. Smoothing out the "edges" of the perfume can be done after a positive response.

Creating perfumes through reverse engineering with analytical techniques such as Gas chromatography-mass spectrometry (GC/MS) can reveal the "general" formula for any particular perfume. The difficulty of GC/MS analysis arises due to the complexity of a perfume's ingredients. This is particularly due to the presence of natural essential oils and other ingredients consisting of complex chemical mixtures. However, "anyone armed with good GC/MS equipment and experienced in using this equipment can today, within days, find out a great deal about the formulation of any perfume... customers and competitors can analyze most perfumes more or less precisely."

Antique or badly preserved perfumes undergoing this analysis can also be difficult due to the numerous degradation by-products and impurities that may have resulted from breakdown of the odorous compounds. Ingredients and compounds can usually be ruled out or identified using gas chromatograph (GC) smellers, which allow individual chemical components to be identified both through their physical properties and their scent. Reverse engineering of best-selling perfumes in the market is a very common practice in the fragrance industry due to the relative simplicity of operating GC equipment, the pressure to produce marketable fragrances, and the highly lucrative nature of the perfume market.

It is doubtful whether perfumes qualify as appropriate copyright subject matter under the US Copyright Act. The issue has not yet been addressed by any US court. A perfume's scent is not eligible for trademark protection: the scent serves as the functional purpose of the product.

In 2006 the Dutch Supreme Court granted copyright protection to Lancôme's perfume Tresor ( Lancôme v. Kecofa).

The French Supreme Court has twice taken the position that perfumes lack the creativity to constitute copyrightable expressions ( Bsiri-Barbir v. Haarman & Reimer, 2006; Beaute Prestige International v. Senteur Mazal, 2008).

Sometimes, a knock-off perfume would use an altered name of the original perfume (for instance, now-discontinued Freya by Oriflame perfume has a similar-designed copy produced as " Freyya").

It is still questionable if perfume's "functional purpose" can be protected with technical patent (one which lasts 15 years). Apparently, Russian "Novaya Zarya" labels their colognes as "hygienic lotions" for a similar reason. A counterexample: NovZar's more-than-century-old Shipr chypre and Troinoi cologne are being produced by other companies in Russia in similar bottles.

Numbered perfumery, "analogs"

A different kind of copying perfumes is known in ex-USSR countries as " номерная парфюмерия" (literally "numbered perfumery"):

A "number-making" company with perfumery equipment would use their own, one-style-for-all bottle; de jure labeling a knock-off perfume as "aroma in the direction of [the well-known perfume]" or "versions" of certain branded perfumes.

This way, the production costs are reduced, since the bottle is used neither for plain counterfeiting nor for subtle re-designing and re-copyrighting of the bottle and packaging.

The questionable part of numbered perfumery naming is the idea to openly mark perfume #XXX (say, #105) as either "type" or "version", or " аромат направления" (literally "aroma in the direction of") of a well-known perfum.

Live resellers in offline stores (in malls, airport shops) can offer "fillable" perfumery, sometimes using weasel wording to justify the price.

Such perfumes usually get three-digit numbers as an officially registered name, stickered to bottles.

When it comes to propellant, a "number" usually has an alcohol base [almost] without stabilization (which may give strong "alcohol base stench", altering perfume's scent into the "smell of cheapness" phenomenon).
To avoid this, some "numbers" can be made with (di)propylenglicol base, labelled "perfume oil(s)" (usually sold in 50ml plastic and purposed for tiny rollers; (D)PG is not usable in spray bottles)(not affected by the "smell of cheapness" issue nonetheless). Some companies offer most of their own "numbers" in both bases.

In small online "bulk", however (in purchases over 5000RUB), a whole 100ml bottle of such perfume (or 50ml bottle of "scent oil" of same "direction") costs only around 4 EUR (or up to 5 EUR (~450 RUB) for a "selective" perfume made to resemble a "niche" rare expensive aroma instead of a popular luxe).

Perfume ingredients, regardless of natural or synthetic origins, may all cause health or environmental problems when used. Although the areas are under active research, much remains to be learned about the effects of fragrance on human health and the environment.

Immunological; asthma and allergy

Evidence in peer-reviewed journals shows that some fragrances can cause asthmatic reactions in some individuals, especially those with severe or atopic asthma. Many fragrance ingredients can also cause headaches, allergic skin reactions or nausea.

In some cases, an excessive use of perfumes may cause allergic reactions of the skin. For instance, acetophenone, ethyl acetate and acetone while present in many perfumes, are also known or potential respiratory allergens. Nevertheless, this may be misleading, since the harm presented by many of these chemicals (either natural or synthetic) is dependent on environmental conditions and their concentrations in a perfume. For instance, linalool, which is listed as an irritant, causes skin irritation when it degrades to peroxides, however the use of antioxidants in perfumes or reduction in concentrations can prevent this. As well, the furanocoumarin present in natural extracts of grapefruit or celery can cause severe allergic reactions and increase sensitivity to ultraviolet radiation.

Some research on natural aromatics have shown that many contain compounds that cause skin irritation. However some studies, such as IFRA's research claim that opoponax is too dangerous to be used in perfumery, still lack scientific consensus. It is also true that sometimes inhalation alone can cause skin irritation.

A number of national and international surveys have identified balsam of Peru, often used in perfumes, as being in the "top five" allergens most commonly causing patch test reactions in people referred to dermatology clinics. A study in 2001 found that 3.8% of the general population patch tested was allergic to it. Many perfumes contain components identical to balsam of Peru.

Balsam of Peru is used as a marker for perfume allergy. Its presence in a cosmetic is denoted by the INCI term Myroxylon pereirae. Balsam of Peru has been banned by the International Fragrance Association since 1982 from use as a fragrance compound, but may be present as an extract or distillate in other products, where mandatory labelling is not required for usage of 0.4% or less.

There is scientific evidence that nitro-musks such as musk xylene could cause cancer in some specific animal tests. These reports were evaluated by the EU Scientific Committee for Consumer Safety (SCCS, formerly the SCCNFP) and musk xylene was found to be safe for continued use in cosmetic products. It is in fact part of the procedures of the Cosmetic Regulation in Europe that materials classified as carcinogens require such a safety evaluation by the authorities to be allowed in cosmetic consumer products.

Although other ingredients such as polycyclic synthetic musks, have been reported to be positive in some in-vitro hormone assays, these reports have been reviewed by various authorities. For example, for one of the main polycyclic musks Galaxolide (HHCB) these reviews include those of the EU Scientific Committee on Consumer Safety, the EU's Priority Substances Review, the EU Scientific Committee on Health and Environmental Risk, and more recently also the US EPA. The outcome of all of these reviews over the past decade or so is that there are no safety concerns for human health. Reviews with similar positive outcomes also exist for another main polycyclic musk (AHTN)-for instance, on its safe use in cosmetics by the EU.

Many natural aromatics, such as oakmoss absolutes, basil oil, rose oil and many others contain allergens or carcinogenic compounds, the safety of which is either governed by regulations (e.g. allowed methyl eugenol levels in the EU Cosmetics Regulation (Entry102, AnnexIII of the EU Cosmetics Regulation.) or through various limitations set by the International Fragrance Association.

Synthetic musks are pleasant in smell and relatively inexpensive, as such they are often employed in large quantities to cover the unpleasant scent of laundry detergents and many personal cleaning products. Due to their large-scale use, several types of synthetic musks have been found in human fat and milk, as well as in the sediments and waters of the Great Lakes.

These pollutants may pose additional health and environmental problems when they enter human and animal diets.

The demands for aromatic materials such as sandalwood, agarwood, and musk have led to the endangerment of these species, as well as illegal trafficking and harvesting.

The perfume industry in the US is not directly regulated by the FDA, instead the FDA controls the safety of perfumes through their ingredients and requires that they be tested to the extent that they are Generally recognized as safe (GRAS). Due to the need for protection of trade secrets, companies rarely give the full listing of ingredients regardless of their effects on health. In Europe, as from 11 March 2005, the mandatory listing of a set of 26 recognized fragrance allergens was enforced. The requirement to list these materials is dependent on the intended use of the final product. The limits above which the allergens are required to be declared are 0.001% for products intended to remain on the skin, and 0.01% for those intended to be rinsed off. This has resulted in many old perfumes like chypres and fougère classes, which require the use of oakmoss extract, being reformulated.

Fragrance compounds in perfumes will degrade or break down if improperly stored in the presence of heat, light, oxygen, and extraneous organic materials. Proper preservation of perfumes involves keeping them away from sources of heat and storing them where they will not be exposed to light. An opened bottle will keep its aroma intact for several years, as long as it is well stored. However, the presence of oxygen in the head space of the bottle and environmental factors will in the long run alter the smell of the fragrance.

Perfumes are best preserved when kept in light-tight aluminium bottles or in their original packaging when not in use, and refrigerated to relatively low temperatures: between 3-7 °C (37-45 °F). Although it is difficult to completely remove oxygen from the headspace of a stored flask of fragrance, opting for spray dispensers instead of rollers and "open" bottles will minimize oxygen exposure. Sprays also have the advantage of isolating fragrance inside a bottle and preventing it from mixing with dust, skin, and detritus, which would degrade and alter the quality of a perfume.

There exist several archives and museums devoted to the preservation of historical perfumes, namely the Osmothèque, which stocks over 3,000 perfumes from the past two millennia in their original formulations. All scents in their collection are preserved in non- actinic glass flasks flushed with argon gas, stored in thermally insulated compartments maintained at 12 °C (53.6 °F) in a large vault.

Klymentiev, Maksym. "Creating Spices for the Mind: The Origins of Modern Western Perfumery". The Senses and Society. Vol. 9, 2014, issue 2.

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Perfume (, ; French: parfum) is a mixture of fragrant essential oils or aroma compounds (fragrances), fixatives and solvents, usually in liquid form, used to give the human body, animals, food, objects, and living-spaces an agreeable scent.

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Don’t talk about life, just live it.

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While the word religion is hard to define, one standard model of religion used in religious studies courses defines it as a

[...] system of symbols which acts to establish powerful, pervasive, and long-lasting moods and motivations in men by formulating conceptions of a general order of existence and clothing these conceptions with such an aura of factuality that the moods and motivations seem uniquely realistic.

Many religions have narratives, symbols, traditions and sacred histories that are intended to give meaning to life or to explain the origin of life or the universe. They tend to derive morality, ethics, religious laws, or a preferred lifestyle from their ideas about the cosmos and human nature. According to some estimates, there are roughly 4,200 religions, churches, denominations, religious bodies, faith groups, tribes, cultures, movements, ultimate concerns, which at some point in the future will be countless.

The word religion is sometimes used interchangeably with the words " faith" or "belief system", but religion differs from private belief in that it has a public aspect. Most religions have organized behaviours, including clerical hierarchies, a definition of what constitutes adherence or membership, congregations of laity, regular meetings or services for the purposes of veneration of a deity or for prayer, holy places (either natural or architectural) or religious texts. Certain religions also have a sacred language often used in liturgical services. The practice of a religion may also include sermons, commemoration of the activities of a God or gods, sacrifices, festivals, feasts, trance, rituals, rites, ceremonies, worship, initiations, funerals, marriages, meditation, invocation, mediumship, music, art, dance, public service or other aspects of human culture. Religious beliefs have also been used to explain parapsychological phenomena such as out-of-body experiences, near-death experiences and reincarnation, along with many other paranormal and supernatural experiences.

Some academics studying the subject have divided religions into three broad categories: world religions, a term which refers to transcultural, international faiths; Indigenous religions, which refers to smaller, culture-specific or nation-specific religious groups; and new religious movements, which refers to recently developed faiths. One modern academic theory of religion, social constructionism, says that religion is a modern concept that suggests all spiritual practice and worship follows a model similar to the Abrahamic religions as an orientation system that helps to interpret reality and define human beings, and thus believes that religion, as a concept, has been applied inappropriately to non-Western cultures that are not based upon such systems, or in which these systems are a substantially simpler construct.

Religions that originated in East Asia, also known as Taoic religions; namely Taoism, Confucianism, Shenism, Muism and Shintoism, and religions and traditions related to, and descended from them.

Confucian philosophy schools

The four main religions that originated in the Indian subcontinent; namely Hinduism, Jainism, Sikhism and Buddhism and religions and traditions related to, and descended from them.

Religions that originated in the Middle East; namely Zoroastrianism, Judaism, Christianity, and Islam, and religions and traditions related to, and descended from them.

Certain Christian groups difficult to classify as "Eastern" or "Western." Many Gnostic groups were closely related to early Christianity, for example, Valentinism. Irenaeus wrote polemics against them from the standpoint of the then-unified Catholic Church.

Mandaeism (Sabianism)

Indigenous (ethnic, folk) religions

Religions that consist of the traditional customs and beliefs of particular ethnic groups, refined and expanded upon for thousands of years, often lacking formal doctrine.

Note: Some adherents do not consider their ways to be "religion," preferring other cultural terms.

Religions that cannot be classed as either world religions or traditional folk religions, and are usually recent in their inception.

Clarke, Peter B., ed. (2006). Encyclopedia of New Religious Movements. London; New York: Routledge. ISBN 9-78-0-415-26707-6.</ref>

Doniger, Wendy, ed. (2006). Britannica Encyclopedia of World Religions. Encyclopaedia Britannica. ISBN 978-1593392666.

Eliade, Mircea, ed. (1987). The Encyclopedia of Religion. Vol. 16-volume Set. New York: MacMillan. ISBN 0029094801.

Melton, J. Gordon (2003) [1978]. Encyclopedia of American Religions (7th ed.). Farmington Hills, MI: Gale Group. ISBN 978-0-7876-6384-1.

Melton, J. Gordon; Baumann, Martin, eds. (2010). Religions of the world: a comprehensive encyclopedia of beliefs and practices. Vol. 6-volume Set (2nd ed.). Santa Barbara; Denver; Oxford: ABC-CLIO. ISBN 978-1-59884-203-6.

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List of religions and spiritual traditions - Wikipedia

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While the word religion is hard to define, one standard model of religion used in religious studies courses defines it as a [...] system of symbols which acts to establish powerful, pervasive, and long-lasting moods and motivations in men by formulating conceptions of a general order of existence and clothing these conceptions with such an aura of factuality that the moods and motivations seem uniquely realistic.

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The mind is the set of faculties responsible for mental phenomena. Often the term is also identified with the phenomena themselves. These faculties include thought, imagination, memory, will and sensation. They are responsible for various mental phenomena, like perception, pain experience, belief, desire, intention and emotion. Various overlapping classifications of mental phenomena have been proposed. Important distinctions group them together according to whether they are sensory, propositional, intentional, conscious or occurrent. Minds were traditionally understood as substances but it is more common in the contemporary perspective to conceive them as properties or capacities possessed by humans and higher animals. Various competing definitions of the exact nature of the mind or mentality have been proposed. Epistemic definitions focus on the privileged epistemic access the subject has to these states. Consciousness-based approaches give primacy to the conscious mind and allow unconscious mental phenomena as part of the mind only to the extent that they stand in the right relation to the conscious mind. According to intentionality-based approaches, the power to refer to objects and to represent the world is the mark of the mental. For behaviorism, whether an entity has a mind only depends on how it behaves in response to external stimuli while functionalism defines mental states in terms of the causal roles they play. Central questions for the study of mind, like whether other entities besides humans have minds or how the relation between body and mind is to be conceived, are strongly influenced by the choice of one's definition.

Mind or mentality is usually contrasted with body, matter or physicality. The issue of the nature of this contrast and specifically the relation between mind and brain is called the mind-body problem. Traditional viewpoints included dualism and idealism, which consider the mind to be non-physical. Modern views often center around physicalism and functionalism, which hold that the mind is roughly identical with the brain or reducible to physical phenomena such as neuronal activity[need quotation to verify ] though dualism and idealism continue to have many supporters. Another question concerns which types of beings are capable of having minds (New Scientist 8 September 2018 p10).[citation needed ] For example, whether mind is exclusive to humans, possessed also by some or all animals, by all living things, whether it is a strictly definable characteristic at all, or whether mind can also be a property of some types of human-made machines.[citation needed ] Different cultural and religious traditions often use different concepts of mind, resulting in different answers to these questions. Some see mind as a property exclusive to humans whereas others ascribe properties of mind to non-living entities (e.g. panpsychism and animism), to animals and to deities. Some of the earliest recorded speculations linked mind (sometimes described as identical with soul or spirit) to theories concerning both life after death, and cosmological and natural order, for example in the doctrines of Zoroaster, the Buddha, Plato, Aristotle, and other ancient Greek, Indian and, later, Islamic and medieval European philosophers.

Psychologists such as Freud and James, and computer scientists such as Turing developed influential theories about the nature of the mind. The possibility of nonbiological minds is explored in the field of artificial intelligence, which works closely in relation with cybernetics and information theory to understand the ways in which information processing by nonbiological machines is comparable or different to mental phenomena in the human mind. The mind is also sometimes portrayed as the stream of consciousness where sense impressions and mental phenomena are constantly changing.

The original meaning of Old English was the faculty of memory, not of thought in general. Hence call to mind, come to mind, keep in mind, to have mind of, etc. The word retains this sense in Scotland. Old English had other words to express "mind", such as "mind, spirit".

The meaning of "memory" is shared with Old Norse, which has . The word is originally from a PIE verbal root , meaning "to think, remember", whence also Latin "mind", Sanskrit "mind" and Greek μένος "mind, courage, anger".

The generalization of mind to include all mental faculties, thought, volition, feeling and memory, gradually develops over the 14th and 15th centuries.

The mind is often understood as a faculty that manifests itself in mental phenomena like sensation, perception, thinking, reasoning, memory, belief, desire, emotion and motivation. Mind or mentality is usually contrasted with body, matter or physicality. Central to this contrast is the intuition that minds exhibit various features not found in and maybe even incompatible with the material universe as described by the natural sciences. On the traditionally dominant substantialist view associated with René Descartes, minds are defined as independent thinking substances. But it is more common in contemporary philosophy to conceive minds not as substances but as properties or capacities possessed by humans and higher animals.

Despite this agreement, there is still a lot of difference of opinion concerning what the exact nature of mind is and various competing definitions have been proposed. Philosophical definitions of mind usually proceed not just by listing various types of phenomena belonging to the mind but by searching the "mark of the mental": a feature that is shared by all mental states and only by mental states. Epistemic approaches define mental states in terms of the privileged epistemic access the subject has to these states. This is often combined with a consciousness-based approach, which emphasizes the primacy of consciousness in relation to mind. Intentionality-based approaches, on the other hand, see the power of minds to refer to objects and represent the world as being a certain way as the mark of the mental. According to behaviorism, whether an entity has a mind only depends on how it behaves in response to external stimuli while functionalism defines mental states in terms of the causal roles they play. The differences between these diverse approaches are substantial since they result in very different answers to questions like whether animals or computers have minds.

There is a great variety of mental states. They fall into categories like sensory and non-sensory or conscious and unconscious. Various of the definitions listed above excel for states from one category but struggle to account for why states from another category are also part of the mind. This has led some theorists to doubt that there is a mark of the mental. So maybe the term "mind" just refers to a cluster of loosely related ideas that do not share one unifying feature. Some theorists have responded to this by narrowing their definitions of mind to "higher" intellectual faculties, like thinking, reasoning and memory. Others try to be as inclusive as possible regarding "lower" intellectual faculties, like sensing and emotion.

In popular usage, mind is frequently synonymous with thought: the private conversation with ourselves that we carry on "inside our heads". Thus we "make up our minds", "change our minds" or are "of two minds" about something. One of the key attributes of the mind in this sense is that it is a private sphere to which no one but the owner has access. No one else can "know our mind". They can only interpret what we consciously or unconsciously communicate.

Epistemic approaches emphasize that the subject has privileged access to all or at least some of their mental states. It is sometimes claimed that this access is direct, private and infallible. Direct access refers to non-inferential knowledge. When someone is in pain, for example, they know directly that they are in pain, they do not need to infer it from other indicators like a body part being swollen or their tendency to scream when it is touched. But we arguably also have non-inferential knowledge of external objects, like trees or cats, through perception, which is why this criterion by itself is not sufficient. Another epistemic privilege often mentioned is that mental states are private in contrast to public external facts. For example, the fallen tree lying on a person's leg is directly open to perception by the bystanders while the victim's pain is private: only they know it directly while the bystanders have to infer it from their screams. It was traditionally often claimed that we have infallible knowledge of our own mental states, i.e. that we cannot be wrong about them when we have them. So when someone has an itching sensation, for example, they cannot be wrong about having this sensation. They can only be wrong about the non-mental causes, e.g. whether it is the consequence of bug bites or of a fungal infection. But various counterexamples have been presented to claims of infallibility, which is why this criterion is usually not accepted in contemporary philosophy. One problem for all epistemic approaches to the mark of the mental is that they focus mainly on conscious states but exclude unconscious states. A repressed desire, for example, is a mental state to which the subject lacks the forms of privileged epistemic access mentioned.

One way to respond to this worry is to ascribe a privileged status to conscious mental states. On such a consciousness-based approach, conscious mental states are non-derivative constituents of the mind while unconscious states somehow depend on their conscious counterparts for their existence. An influential example of this position is due to John Searle, who holds that unconscious mental states have to be accessible to consciousness to count as "mental" at all. They can be understood as dispositions to bring about conscious states. This position denies that the so-called "deep unconscious", i.e. mental contents inaccessible to consciousness, exists. Another problem for consciousness-based approaches, besides the issue of accounting for the unconscious mind, is to elucidate the nature of consciousness itself. Consciousness-based approaches are usually interested in phenomenal consciousness, i.e. in qualitative experience, rather than access consciousness, which refers to information being available for reasoning and guiding behavior. Conscious mental states are normally characterized as qualitative and subjective, i.e. that there is something it is like for a subject to be in these states. Opponents of consciousness-based approaches often point out that despite these attempts, it is still very unclear what the term "phenomenal consciousness" is supposed to mean. This is important because not much would be gained theoretically by defining one ill-understood term in terms of another. Another objection to this type of approach is to deny that the conscious mind has a privileged status in relation to the unconscious mind, for example, by insisting that the deep unconscious exists.

Intentionality-based approaches see intentionality as the mark of the mental. The originator of this approach is Franz Brentano, who defined intentionality as the characteristic of mental states to refer to or be about objects. One central idea for this approach is that minds represent the world around them, which is not the case for regular physical objects. So a person who believes that there is ice cream in the fridge represents the world as being a certain way. The ice cream can be represented but it does not itself represent the world. This is why a mind is ascribed to the person but not to the ice cream, according to the intentional approach. One advantage of it in comparison to the epistemic approach is that it has no problems to account for unconscious mental states: they can be intentional just like conscious mental states and thereby qualify as constituents of the mind. But a problem for this approach is that there are also some non-mental entities that have intentionality, like maps or linguistic expressions. One response to this problem is to hold that the intentionality of non-mental entities is somehow derivative in relation to the intentionality of mental entities. For example, a map of Addis Ababa may be said to represent Addis Ababa not intrinsically but only extrinsically because people interpret it as a representation. Another difficulty is that not all mental states seem to be intentional. So while beliefs and desires are forms of representation, this seems not to be the case for pains and itches, which may indicate a problem without representing it. But some theorists have argued that even these apparent counterexamples should be considered intentional when properly understood.

Behaviorist definitions characterize mental states as dispositions to engage in certain publicly observable behavior as a reaction to particular external stimuli. On this view, to ascribe a belief to someone is to describe the tendency of this person to behave in certain ways. Such an ascription does not involve any claims about the internal states of this person, it only talks about behavioral tendencies. A strong motivation for such a position comes from empiricist considerations stressing the importance of observation and the lack thereof in the case of private internal mental states. This is sometimes combined with the thesis that we could not even learn how to use mental terms without reference to the behavior associated with them. One problem for behaviorism is that the same entity often behaves differently despite being in the same situation as before. This suggests that explanation needs to make reference to the internal states of the entity that mediate the link between stimulus and response. This problem is avoided by functionalist approaches, which define mental states through their causal roles but allow both external and internal events in their causal network. On this view, the definition of pain-state may include aspects such as being in a state that "tends to be caused by bodily injury, to produce the belief that something is wrong with the body and ... to cause wincing or moaning".

One important aspect of both behaviorist and functionalist approaches is that, according to them, the mind is multiply realizable. This means that it does not depend on the exact constitution of an entity for whether it has a mind or not. Instead, only its behavioral dispositions or its role in the causal network matter. The entity in question may be a human, an animal, a silicon-based alien or a robot. Functionalists sometimes draw an analogy to the software-hardware distinction where the mind is likened to a certain type of software that can be installed on different forms of hardware. Closely linked to this analogy is the thesis of computationalism, which defines the mind as an information processing system that is physically implemented by the neural activity of the brain.

One problem for all of these views is that they seem to be unable to account for the phenomenal consciousness of the mind emphasized by consciousness-based approaches. It may be true that pains are caused by bodily injuries and themselves produce certain beliefs and moaning behavior. But the causal profile of pain remains silent on the intrinsic unpleasantness of the painful experience itself. Some states that are not painful to the subject at all may even fit these characterizations.

Broadly speaking, mental faculties are the various functions of the mind, or things the mind can "do".

Thought is a mental act that allows humans to make sense of things in the world, and to represent and interpret them in ways that are significant, or which accord with their needs, attachments, goals, commitments, plans, ends, desires, etc. Thinking involves the symbolic or semiotic mediation of ideas or data, as when we form concepts, engage in problem solving, reasoning, and making decisions. Words that refer to similar concepts and processes include deliberation, cognition, ideation, discourse and imagination.

Thinking is sometimes described as a "higher" cognitive function and the analysis of thinking processes is a part of cognitive psychology. It is also deeply connected with our capacity to make and use tools; to understand cause and effect; to recognize patterns of significance; to comprehend and disclose unique contexts of experience or activity; and to respond to the world in a meaningful way.

Memory is the ability to preserve, retain and subsequently recall knowledge, information, or experience. Although memory has traditionally been a persistent theme in philosophy, the late nineteenth and early twentieth centuries also saw the study of memory emerge as a subject of inquiry within the paradigms of cognitive psychology. In recent decades, it has become one of the pillars of a new branch of science called cognitive neuroscience, a marriage between cognitive psychology and neuroscience.

Imagination is the activity of generating or evoking novel situations, images, ideas or other qualia in the mind. It is a characteristically subjective activity, rather than a direct or passive experience. The term is technically used in psychology for the process of reviving in the mind percepts of objects formerly given in sense perception. Since this use of the term conflicts with that of ordinary language, some psychologists have preferred to describe this process as " imaging" or " imagery" or to speak of it as "reproductive" as opposed to "productive" or "constructive" imagination. Things imagined are said to be seen in the " mind's eye". Among the many practical functions of imagination are the ability to project possible futures (or histories), to "see" things from another's perspective, and to change the way something is perceived, including to make decisions to respond to, or enact, what is imagined.

Consciousness in mammals (this includes humans) is an aspect of the mind generally thought to comprise qualities such as subjectivity, sentience, and the ability to perceive the relationship between oneself and one's environment. It is a subject of much research in philosophy of mind, psychology, neuroscience, and cognitive science. Some philosophers divide consciousness into phenomenal consciousness, which is subjective experience itself, and access consciousness, which refers to the global availability of information to processing systems in the brain. Phenomenal consciousness has many different experienced qualities, often referred to as qualia. Phenomenal consciousness is usually consciousness of something or about something, a property known as intentionality in philosophy of mind.

The mental phenomena brought about by the faculties of the mind have been categorized according to various distinctions. Important distinctions group mental phenomena together according to whether they are sensory, qualitative, propositional, intentional, conscious, occurrent or rational. These different distinctions result in overlapping categorizations. Some mental phenomena, like perception or bodily awareness, are sensory, i.e. based on the senses. These phenomena are of special interest to empiricists, who hold that they are our only source of knowledge about the external world. They are contrasted with non-sensory phenomena like thoughts or beliefs, which do not involve sense impressions. Sensory states are closely related to qualitative states, which have qualia and are therefore associated with a subjective feeling of what it is like to be in this state. Sensory and qualitative states are often contrasted with propositional states, which are sometimes said to be non-sensory and non-qualitative. Propositional states involve attitudes, like belief or desire, which a subject has towards a proposition. One problem with this contrast is that some propositional attitudes may have a subjective feeling to them, which would make them qualitative phenomena. This is the case, for example, when actively desiring something. Another problem with this contrast is that some mental phenomena, like perceptions, are both sensory and propositional. Propositional attitudes are intentional states, which have as their characteristic that they refer to or are about objects or states of affairs. Some philosophers see intentionality as the mark of the mental, i.e. as what is shared by all and only by mental phenomena. Opponents of this position have argued that there are various mental phenomena, like pains and itches, that lack the representational aspect associated with intentionality and therefore count as non-intentional. This claim is sometimes even extended to all sensory phenomena. It sometimes held that all intentional states are propositional. While this is true for the paradigmatic cases, it has been argued that there is a form of object-directed intentionality, like the fear of snakes, that does not involve propositional attitudes, like the fear that one will be bitten by snakes.

Another important distinction among mental states is whether they are or not. Often two types of consciousness are distinguished: phenomenal consciousness and access consciousness. Phenomenal consciousness refers to actual experience. A common view is that some states, like sensations or pains, are necessarily associated with phenomenal consciousness while other states, like beliefs and desires, can be present both with and without phenomenal consciousness. According to some views, conscious mental states are more basic while unconscious states only count as mental if they can arise in phenomenal consciousness. Access consciousness, on the other hand, refers to mental states that are accessible: they carry information that is available for reasoning and guiding behavior. This notion is closely related to occurrent mental states, which are not just accessible but also currently active or causally efficacious within the owner's mind. All phenomenally conscious mental states are occurrent but there may also be unconscious occurrent states, like repressed desires, that influence our behavior. Occurrent mental states contrast with standing or dispositional mental states, which are part of the subject's mind even though they currently play no role in it. Mental phenomena are if they are well justified or obey the norms of rationality. Irrational mental phenomena, on the other hand, violate these norms. But not all mental phenomena are rationally evaluable: some are and exist outside the domain of rationality. They include urges, dizziness or hunger while beliefs and intentions are the paradigmatic examples of rationally evaluable states. Some hold that rationality depends only on structural principles that govern how different mental states should relate to each other while others define rationality in terms of responding correctly to reasons.

Mental contents are those items that are thought of as being "in" the mind, and capable of being formed and manipulated by mental processes and faculties. Examples include thoughts, concepts, memories, emotions, percepts and intentions. Philosophical theories of mental content include internalism, externalism, representationalism and intentionality.

Memetics is a theory of mental content based on an analogy with Darwinian evolution, which was originated by Richard Dawkins and Douglas Hofstadter in the 1980s. It is an evolutionary model of cultural information transfer. A meme, analogous to a gene, is an idea, belief, pattern of behaviour (etc.) "hosted" in one or more individual minds, and can reproduce itself from mind to mind. Thus what would otherwise be regarded as one individual influencing another to adopt a belief, is seen memetically as a meme reproducing itself.

In animals, the brain, or encephalon ( Greek for "in the head"), is the control center of the central nervous system, responsible for thought. In most animals, the brain is located in the head, protected by the skull and close to the primary sensory apparatus of vision, hearing, equilibrioception, taste and olfaction. While all vertebrates have a brain, most invertebrates have either a centralized brain or collections of individual ganglia. Primitive animals such as sponges do not have a brain at all. Brains can be extremely complex. For example, the human brain contains around 86 billion neurons, each linked to as many as 10,000 others.

Understanding the relationship between the brain and the mind -the mind-body problem - is one of the central issues in the history of philosophy, a challenging problem both philosophically and scientifically. There are three major philosophical schools of thought concerning the answer: dualism, materialism, and idealism. Dualism holds that the mind exists independently of the brain; materialism holds that mental phenomena are identical to neuronal phenomena; and idealism holds that only mental phenomena exist.

Through most of history many philosophers found it inconceivable that cognition could be implemented by a physical substance such as brain tissue (that is neurons and synapses). Descartes, who thought extensively about mind-brain relationships, found it possible to explain reflexes and other simple behaviors in mechanistic terms, although he did not believe that complex thought, and language in particular, could be explained by reference to the physical brain alone.

The most straightforward scientific evidence of a strong relationship between the physical brain matter and the mind is the impact physical alterations to the brain have on the mind, such as with traumatic brain injury and psychoactive drug use. Philosopher Patricia Churchland notes that this drug-mind interaction indicates an intimate connection between the brain and the mind.

In addition to the philosophical questions, the relationship between mind and brain involves a number of scientific questions, including understanding the relationship between mental activity and brain activity, the exact mechanisms by which drugs influence cognition, and the neural correlates of consciousness.

Theoretical approaches to explain how mind emerges from the brain include connectionism, computationalism and Bayesian brain.

The evolution of human intelligence refers to several theories that aim to describe how human intelligence has evolved in relation to the evolution of the human brain and the origin of language.

The timeline of human evolution spans some 7 million years, from the separation of the genus until the emergence of behavioral modernity by 50,000 years ago. Of this timeline, the first 3 million years concern Sahelanthropus, the following 2 million concern Australopithecus, while the final 2 million span the history of actual species (the Paleolithic).

Many traits of human intelligence, such as empathy, theory of mind, mourning, ritual, and the use of symbols and tools, are already apparent in great apes although in lesser sophistication than in humans.

There is a debate between supporters of the idea of a sudden emergence of intelligence, or " Great leap forward" and those of a gradual or continuum hypothesis.

Theories of the evolution of intelligence include:

Robin Dunbar's social brain hypothesis

Geoffrey Miller's sexual selection hypothesis concerning Sexual selection in human evolution

The ecological dominance-social competition (EDSC) explained by Mark V. Flinn, David C. Geary and Carol V. Ward based mainly on work by Richard D. Alexander.

The idea of intelligence as a signal of good health and resistance to disease.

The Group selection theory contends that organism characteristics that provide benefits to a group (clan, tribe, or larger population) can evolve despite individual disadvantages such as those cited above.

The idea that intelligence is connected with nutrition, and thereby with status. A higher IQ could be a signal that an individual comes from and lives in a physical and social environment where nutrition levels are high, and vice versa.

Philosophy of mind is the branch of philosophy that studies the nature of the mind, mental events, mental functions, mental properties, consciousness and their relationship to the physical body. The mind-body problem, i.e. the relationship of the mind to the body, is commonly seen as the central issue in philosophy of mind, although there are other issues concerning the nature of the mind that do not involve its relation to the physical body. José Manuel Rodriguez Delgado writes, "In present popular usage, soul and mind are not clearly differentiated and some people, more or less consciously, still feel that the soul, and perhaps the mind, may enter or leave the body as independent entities."

and are the two major schools of thought that attempt to resolve the mind-body problem. Dualism is the position that mind and body are in some way separate from each other. It can be traced back to Plato, Aristotle and the Nyaya, Samkhya and Yoga schools of Hindu philosophy, but it was most precisely formulated by René Descartes in the 17th century. Substance dualists argue that the mind is an independently existing substance, whereas Property dualists maintain that the mind is a group of independent properties that emerge from and cannot be reduced to the brain, but that it is not a distinct substance.

The 20th century philosopher Martin Heidegger suggested that subjective experience and activity (i.e. the "mind") cannot be made sense of in terms of Cartesian "substances" that bear "properties" at all (whether the mind itself is thought of as a distinct, separate kind of substance or not). This is because the nature of subjective, qualitative experience is incoherent in terms of - or semantically incommensurable with the concept of - substances that bear properties. This is a fundamentally ontological argument.

The philosopher of cognitive science Daniel Dennett, for example, argues there is no such thing as a narrative center called the "mind", but that instead there is simply a collection of sensory inputs and outputs: different kinds of "software" running in parallel. Psychologist B.F. Skinner argued that the mind is an explanatory fiction that diverts attention from environmental causes of behavior; he considered the mind a "black box" and thought that mental processes may be better conceived of as forms of covert verbal behavior.

Philosopher David Chalmers has argued that the third person approach to uncovering mind and consciousness is not effective, such as looking into other's brains or observing human conduct, but that a first person approach is necessary. Such a first person perspective indicates that the mind must be conceptualized as something distinct from the brain.

The mind has also been described as manifesting from moment to moment, one thought moment at a time as a fast flowing stream, where sense impressions and mental phenomena are constantly changing.

Monism is the position that mind and body are not physiologically and ontologically distinct kinds of entities. This view was first advocated in Western Philosophy by Parmenides in the 5th Century BC and was later espoused by the 17th Century rationalist Baruch Spinoza. According to Spinoza's dual-aspect theory, mind and body are two aspects of an underlying reality which he variously described as "Nature" or "God".

Physicalists argue that only the entities postulated by physical theory exist, and that the mind will eventually be explained in terms of these entities as physical theory continues to evolve.

Idealists maintain that the mind is all that exists and that the external world is either mental itself, or an illusion created by the mind.

Neutral monists adhere to the position that perceived things in the world can be regarded as either physical or mental depending on whether one is interested in their relationship to other things in the world or their relationship to the perceiver. For example, a red spot on a wall is physical in its dependence on the wall and the pigment of which it is made, but it is mental in so far as its perceived redness depends on the workings of the visual system. Unlike dual-aspect theory, neutral monism does not posit a more fundamental substance of which mind and body are aspects.

The most common monisms in the 20th and 21st centuries have all been variations of physicalism; these positions include behaviorism, the type identity theory, anomalous monism and functionalism.

Many modern philosophers of mind adopt either a reductive or non-reductive physicalist position, maintaining in their different ways that the mind is not something separate from the body. These approaches have been particularly influential in the sciences, e.g. in the fields of sociobiology, computer science, evolutionary psychology and the various neurosciences. Other philosophers, however, adopt a non-physicalist position which challenges the notion that the mind is a purely physical construct.

Reductive physicalists assert that all mental states and properties will eventually be explained by scientific accounts of physiological processes and states.

Non-reductive physicalists argue that although the brain is all there is to the mind, the predicates and vocabulary used in mental descriptions and explanations are indispensable, and cannot be reduced to the language and lower-level explanations of physical science.

Continued progress in neuroscience has helped to clarify many of these issues, and its findings have been taken by many to support physicalists' assertions. Nevertheless, our knowledge is incomplete, and modern philosophers of mind continue to discuss how subjective qualia and the intentional mental states can be naturally explained. Then, of course, there is the problem of Quantum Mechanics, which can be understood as a form of perspectivism. Though the so called " Copenhagen Interpretation" is not unilaterally accepted, and an exact mechanism in the collapse of the wavefunction remains elusive. So, the role and emergence of mind in fundamental physical theory still is unclear.

Neuroscience studies the nervous system, the physical basis of the mind. At the systems level, neuroscientists investigate how biological neural networks form and physiologically interact to produce mental functions and content such as reflexes, multisensory integration, motor coordination, circadian rhythms, emotional responses, learning, and memory. The underlying physical basis of learning and memory is likely dynamic changes in gene expression that occur in brain neurons. Such expression changes are introduced by epigenetic mechanisms. Epigenetic regulation of gene expression ordinarily involves chemical modification of DNA or DNA-associated histone proteins. Such chemical modifications can cause long-lasting changes in gene expression. Epigenetic mechanisms employed in learning and memory include the DNMT3A promoted methylation and TET promoted demethylation of neuronal DNA as well as methylation, acetylation and deacetylation of neuronal histone proteins. Also, long term excitation of neural pathways and subsequent endocrinal signaling, can provide a capacity for structural activation of gene expression in the histone code; allowing a potential mechanism of throughput epigenetic interaction with the nervous system.

At a larger scale, efforts in computational neuroscience have developed large-scale models that simulate simple, functioning brains. As of 2012, such models include the thalamus, basal ganglia, prefrontal cortex, motor cortex, and occipital cortex, and consequentially simulated brains can learn, respond to visual stimuli, coordinate motor responses, form short-term memories, and learn to respond to patterns. Currently, researchers aim to program the hippocampus and limbic system, hypothetically imbuing the simulated mind with long-term memory and crude emotions.

By contrast, affective neuroscience studies the neural mechanisms of personality, emotion, and mood primarily through experimental tasks.

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Cognitive science examines the mental functions that give rise to information processing, termed cognition. These include perception, attention, working memory, long-term memory, producing and understanding language, learning, reasoning, problem solving, and decision making. Cognitive science seeks to understand thinking "in terms of representational structures in the mind and computational procedures that operate on those structures".

At the birth of cognitive science in the 1960s and 1970s, the paradigm of the computational theory of mind was widely adopted. This paradigm holds that the mind is essentially a computational system, and its explanation needs to be provided in terms of a computational description. More recently, rival paradigms gained ground within cognitive science, namely the neurophysical description and the intentional description.

Though the interface between neuroscience and an exact model of cognition is yet not made, progress in biological neuron models help to mathematically quantify cognitive neuroscience; and elaborate a theory of mind that can be provable. However a theoretically fundamental synthesis in psychology, cognitive science, neuroscience, and biophysics must made; for the problem of mind and its faculties to gain tractable scientific ground.

Psychology is the scientific study of human behavior, mental functioning, and experience. As both an academic and applied discipline, Psychology involves the scientific study of mental processes such as perception, cognition, emotion, personality, as well as environmental influences, such as social and cultural influences, and interpersonal relationships, in order to devise theories of human behavior. Psychological patterns can be understood as low cost ways of information processing. Psychology also refers to the application of such knowledge to various spheres of human activity, including problems of individuals' daily lives and the treatment of mental health problems.

Psychology differs from the other social sciences (e.g. anthropology, economics, political science, and sociology) due to its focus on experimentation at the scale of the individual, or individuals in small groups as opposed to large groups, institutions or societies. Historically, psychology differed from biology and neuroscience in that it was primarily concerned with mind rather than brain. Modern psychological science incorporates physiological and neurological processes into its conceptions of perception, cognition, behaviour, and mental disorders.

Psychiatry, Neurology and Neurosurgery

Psychiatry, Neurology and Neurosurgery are the specialties within the field of Medicine that are devoted to the study of the mind and to the treatment of humans with mental disorders and other medical conditions affecting the mind and nervous system. Psychiatrists, Neurologists and Neurosurgeons conduct research in clinical, academic and industry settings.

By analogy with the health of the body, one can speak metaphorically of a state of health of the mind, or mental health. Merriam-Webster defines mental health as "a state of emotional and psychological well-being in which an individual is able to use his or her cognitive and emotional capabilities, function in society, and meet the ordinary demands of everyday life". According to the World Health Organization (WHO), there is no one "official" definition of mental health. Cultural differences, subjective assessments, and competing professional theories all affect how "mental health" is defined. In general, most experts agree that "mental health" and " mental disorder" are not opposites. In other words, the absence of a recognized mental disorder is not necessarily an indicator of mental health.

One way to think about mental health is by looking at how effectively and successfully a person functions. Feeling capable and competent; being able to handle normal levels of stress, maintaining satisfying relationships, and leading an independent life; and being able to "bounce back" or recover from difficult situations, are all signs of mental health.

Psychotherapy is an interpersonal, relational intervention used by trained psychotherapists to aid clients in problems of living. This usually includes increasing individual sense of well-being and reducing subjective discomforting experience. Psychotherapists employ a range of techniques based on experiential relationship building, dialogue, communication and behavior change and that are designed to improve the mental health of a client or patient, or to improve group relationships (such as in a family). Most forms of psychotherapy use only spoken conversation, though some also use various other forms of communication such as the written word, art, drama, narrative story, or therapeutic touch. Psychotherapy occurs within a structured encounter between a trained therapist and client(s). Purposeful, theoretically based psychotherapy began in the 19th century with psychoanalysis; since then, scores of other approaches have been developed and continue to be created.

Animal cognition, or cognitive ethology, is the title given to a modern approach to the mental capacities of animals. It has developed out of comparative psychology, but has also been strongly influenced by the approach of ethology, behavioral ecology, and evolutionary psychology. Much of what used to be considered under the title of "animal intelligence" is now thought of under this heading. Animal language acquisition, attempting to discern or understand the degree to which animal cognition can be revealed by linguistics-related study, has been controversial among cognitive linguists.

In 1950 Alan M. Turing published "Computing machinery and intelligence" in , in which he proposed that machines could be tested for intelligence using questions and answers. This process is now named the Turing Test. The term Artificial Intelligence (AI) was first used by John McCarthy who considered it to mean "the science and engineering of making intelligent machines". It can also refer to intelligence as exhibited by an artificial ( man-made, non-natural, manufactured) entity. AI is studied in overlapping fields of computer science, psychology, neuroscience and engineering, dealing with intelligent behavior, learning and adaptation and usually developed using customized machines or computers.

Research in AI is concerned with producing machines to automate tasks requiring intelligent behavior. Examples include control, planning and scheduling, the ability to answer diagnostic and consumer questions, handwriting, natural language, speech and facial recognition. As such, the study of AI has also become an engineering discipline, focused on providing solutions to real life problems, knowledge mining, software applications, strategy games like computer chess and other video games. One of the biggest limitations of AI is in the domain of actual machine comprehension. Consequentially natural language understanding and connectionism (where behavior of neural networks is investigated) are areas of active research and development.

The debate about the nature of the mind is relevant to the development of artificial intelligence. If the mind is indeed a thing separate from or higher than the functioning of the brain, then hypothetically it would be much more difficult to recreate within a machine, if it were possible at all. If, on the other hand, the mind is no more than the aggregated functions of the brain, then it will be possible to create a machine with a recognisable mind (though possibly only with computers much different from today's), by simple virtue of the fact that such a machine already exists in the form of the human brain.

Many religions associate spiritual qualities to the human mind. These are often tightly connected to their mythology and ideas of afterlife.

The Indian philosopher-sage Sri Aurobindo attempted to unite the Eastern and Western psychological traditions with his integral psychology, as have many philosophers and New religious movements. Judaism teaches that "moach shalit al halev", the mind rules the heart. Humans can approach the Divine intellectually, through learning and behaving according to the Divine Will as enclothed in the Torah, and use that deep logical understanding to elicit and guide emotional arousal during prayer. Christianity has tended to see the mind as distinct from the soul (Greek ) and sometimes further distinguished from the spirit. Western esoteric traditions sometimes refer to a mental body that exists on a plane other than the physical. Hinduism's various philosophical schools have debated whether the human soul (Sanskrit ) is distinct from, or identical to, , the divine reality. Taoism sees the human being as contiguous with natural forces, and the mind as not separate from the body. Confucianism sees the mind, like the body, as inherently perfectible.

Buddhist teachings explain the moment-to-moment manifestation of the mind-stream. The components that make up the mind are known as the five aggregates (i.e., material form, feelings, perception, volition, and sensory consciousness), which arise and pass away continuously. The arising and passing of these aggregates in the present moment is described as being influenced by five causal laws: biological laws, psychological laws, physical laws, volitional laws, and universal laws. The Buddhist practice of mindfulness involves attending to this constantly changing mind-stream.

According to Buddhist philosopher Dharmakirti, the mind has two fundamental qualities: "clarity and cognizes". If something is not those two qualities, it cannot validly be called mind. "Clarity" refers to the fact that mind has no color, shape, size, location, weight, or any other physical characteristic, and "cognizes" that it functions to know or perceive objects. "Knowing" refers to the fact that mind is aware of the contents of experience, and that, in order to exist, mind must be cognizing an object. You cannot have a mind - whose function is to cognize an object - existing without cognizing an object.

Mind, in Buddhism, is also described as being "space-like" and "illusion-like". Mind is space-like in the sense that it is not physically obstructive. It has no qualities which would prevent it from existing. In Mahayana Buddhism, mind is illusion-like in the sense that it is empty of inherent existence. This does not mean it does not exist, it means that it exists in a manner that is counter to our ordinary way of misperceiving how phenomena exist, according to Buddhism. When the mind is itself cognized properly, without misperceiving its mode of existence, it appears to exist like an illusion. There is a big difference however between being "space and illusion" and being "space-like" and "illusion-like". Mind is not composed of space, it just shares some descriptive similarities to space. Mind is not an illusion, it just shares some descriptive qualities with illusions.

Buddhism posits that there is no inherent, unchanging identity (Inherent I, Inherent Me) or phenomena (Ultimate self, inherent self, Atman, Soul, Self-essence, Jiva, Ishvara, humanness essence, etc.) which is the experiencer of our experiences and the agent of our actions. In other words, human beings consist of merely a body and a mind, and nothing extra. Within the body there is no part or set of parts which is - by itself or themselves - the person. Similarly, within the mind there is no part or set of parts which are themselves "the person". A human being merely consists of five aggregates, or skandhas and nothing else.

In the same way, "mind" is what can be validly conceptually labelled onto our mere experience of clarity and knowing. There is something separate and apart from clarity and knowing which is "Awareness", in Buddhism. "Mind" is that part of experience the sixth sense door, which can be validly referred to as mind by the concept-term "mind". There is also not "objects out there, mind in here, and experience somewhere in-between". There is a third thing called "awareness" which exists being aware of the contents of mind and what mind cognizes. There are five senses (arising of mere experience: shapes, colors, the components of smell, components of taste, components of sound, components of touch) and mind as the sixth institution; this means, expressly, that there can be a third thing called "awareness" and a third thing called "experiencer who is aware of the experience". This awareness is deeply related to "no-self" because it does not judge the experience with craving or aversion.

Clearly, the experience arises and is known by mind, but there is a third thing calls Sati what is the "real experiencer of the experience" that sits apart from the experience and which can be aware of the experience in 4 levels. (Maha Sathipatthana Sutta.)

1. Body

2. Sensations (Changes of the body mind.)

3. Mind,

4. Contents of the mind. (Changes of the body mind.)

To be aware of these four levels one needs to cultivate equanimity toward Craving and Aversion. This is Called Vipassana which is different from the way of reacting with Craving and Aversion. This is the state of being aware and equanimous to the complete experience of here and now. This is the way of Buddhism, with regards to mind and the ultimate nature of minds (and persons).

Due to the mind-body problem, a lot of interest and debate surrounds the question of what happens to one's conscious mind as one's body dies. During brain death all brain function permanently ceases. According to some neuroscientific views which see these processes as the physical basis of mental phenomena, the mind fails to survive brain death and ceases to exist. This permanent loss of consciousness after death is sometimes called " eternal oblivion". The belief that some spiritual or incorporeal component ( soul) exists and that it is preserved after death is described by the term " afterlife".

Parapsychology is a study of certain types of paranormal phenomena, or of phenomena which appear to be paranormal or not have any scientific basis, for instance, precognition, telekinesis and telepathy.

The term is based on the Greek para ('beside, beyond'), psyche ('soul, mind'), and ('account, explanation') and was coined by psychologist Max Dessoir in or before 1889. J.B. Rhine tried to popularize "parapsychology" using fraudulent techniques as a replacement for the earlier term "psychical research", during a shift in methodologies which brought experimental methods to the study of psychic phenomena. Parapsychology is not accepted among the scientific community as science, as psychic abilities have not been demonstrated to exist. The status of parapsychology as a science has also been disputed, with many scientists regarding the discipline as pseudoscience.

Outline of human intelligence - topic tree presenting the traits, capacities, models, and research fields of human intelligence, and more.

Outline of thought - topic tree that identifies many types of thoughts, types of thinking, aspects of thought, related fields, and more.

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The mind is the set of faculties responsible for mental phenomena. Often the term is also identified with the phenomena themselves. These faculties include thought, imagination, memory, will and sensation. They are responsible for various mental phenomena, like perception, pain experience, belief, desire, intention and emotion.

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Mysticism - exploration of things not Christian, like connection to the devil or other spirits. People who were considered to be immoral were exploring these things during the late Victorian period.

Darwinism- the theory of the evolution of species by natural selection was advanced by Charles Darwin, a 19th century scientist. Theory was very controversial as it contradicted creationism.

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Roman Catholicism in Nineteenth-Century Great Britain

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Dorian never fell into the error of arresting his intellectual development by any formal acceptance of creed or system.

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Considered Joining the Catholic Church