Because of the tremendous demand for Kirman rugs, and because of the complex demographics of those generating the demand, a surprising variety of styles and designs were produced. Wefts are in natural colours or dyed red. Yarns are characterized as S-twist or Z-twist according to the direction of spinning (see diagram). 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. Flat woven carpets are given their colour and pattern from the weft which is tightly intertwined with the warp. Their distinctive structure consists of asymmetric knots; the cotton warps are depressed, and there are three wefts. The early eighteenth century saw the end of the Safavid Empire and the decline of the town of Tabriz with its legendary craftsmanship falling into disuse. The fabric is further compacted by vigorous hammering on nail-like metal devices which are inserted between the warps during the weaving. [citation needed]. Coloring of these rugs usually consist of a blue background in most cases, with cream, bright blue, pale red, orange, green, or brown creating the details and patterns. Reza Shah introduced social, economic, and political reforms, ultimately laying the foundation of the modern Iranian state. In Bijar, a nail-like tool is inserted between the warps, and beaten on in order to compact the fabric even more. Village carpets can be identified by their less elaborate, more highly stylized designs. Goat hair is mainly used for fastening the borders, or selvedges, of nomadic rugs like Baluch rugs, since it is more resistant to abrasion. In contrast to manufactory rugs, there is considerable variety in treating the selvedges and fringes. Yalameh carpets more resemble Khamseh designs with hooked medaillons arranged in the field. This extremely tight weave of antique Bijar rugs also makes them exceptionally strong and durable. 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. Many times they are weaved with red, blue, and ivory shades. They are characterized by their use of orange dyes, the boteh motif is often seen. As no early Safavid period carpets survived, research has focused on Timurid period book illuminations and miniature paintings. However, some larger rugs are available as large as ten by eighteen. 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. The quality of the rug largely depends on the tightness of the weave. Parts of the medallion, or similar, corresponding designs, are repeated at the four corners of the field. [43], 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). [36] 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. These rugs represent the ultimate beauty and quality considered an essential aspect of Persian carpetry. In 1473, Giosafat Barbaro was sent to Tabriz. Many plants provide yellow dyes, like Vine weld, or Dyer's weed (Reseda luteola), Yellow larkspur, or Dyer's sumach Cotinus coggygria. Characterized by their subtle color palettes and trellis designs, antique Sultanabads are frequently the choice of designers in search of allover rugs to serve as a more subtle complement to a design scheme. Kurdish sheep wool is of high quality, and takes dyes well. 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. 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. [54] It is difficult to attribute a specific rug to the Khamseh production, and the label "Khamseh" is often used as a term of convenience. Antique Malayer rugs were created by individual weavers during the 1800s and early 1900s for the most part. Carpet designs vary from region to region and often village to village. [36] Representative Safavid carpets made of silk with inwoven gold and silver threads were erroneously believed by Western art historians to be of Polish manufacture. The uniqueness of each piece is assured because the piece is not made in any factory. The AH year of 946 corresponds to AD 15391540, 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. Some of them, he wrote, were of silk. Rather than two or three colors within the design of a rug, antique Malayer rugs generally contain a deep blue background with the design created by multiple colors including sage green, red, light blue, pinkish brown, gold, tan, and brownish red. 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. Famous carpet-making areas include Mashhad, Tabriz, Arak, Isfahan, Kashan and Kirman. As such, the colour variation suggests a village or tribal woven rug, and is appreciated as a sign of quality and authenticity. Antique Senneh rugs are also easily identifiable due to the difference in texture between the front and the back. 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 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. They are of Indo-European origin. [10][11] Its fine weaving and elaborate pictorial design hint at an advanced state of the art of carpet weaving at the time of its production. They traditionally have had a higher knot count. [44], 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. Woolen wefts lie hidden in the center of the carpet, making up the first and third weft. ~, 19th century Heriz and Bakshaish rugs are among the most striking and recognizable oriental antique carpets within the Persian repertoire. They then threaded the wool wefts, leaving some tight and others sinuous, giving an immediately recognizable wavy finish to the carpet. Bijar rugs cannot be folded without risking to damage the foundation. By 1970, it was observed that traditional weaving had almost ceased among major nomadic tribes,[41][54] but in recent years, the tradition has been revived. Western Persian centers such as Malayer and Senneh developed a reputation for complicated repeats of floral boteh while the finest traditional antique rugs of the nineteenth century were woven in the sophisticated city workshops of Kashan, Malayer and Senneh. The rugs have a dark wool foundation, with two wefts after each row of knots. If the ornaments articulate correctly around the corners, the corners are termed to be "resolved", or "reconciled". High-quality carpets from Kashan, Qum, Nain, and Isfahan have all-silk piles. The border of the rug is often a band of pine and palm leaves surrounded by a smaller band. 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. In 1856, the English chemist William Henry Perkin invented the first aniline dye, mauveine. The wefts are then beaten down by a comb-like instrument, the comb beater, to further compact and secure the newly woven row. 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. 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. Knots are symmetrical or asymmetrical. Artistically, both empires have developed similar styles and decorative vocabulary, as exemplified by mosaics and architecture of Roman Antioch. [49], Carpets produced in villages are usually brought to a regional market center, and carry the name of the market center as a label. Behzad had a decisive impact on the development of later Safavid art. The colors consist of natural vegetable dyes. These rugs are woven with Persian knots, which are asymmetrical, with soft wool thread. ~, According to Doris Leslie Blau: Tehran rugs set the standard for quality and workmanship. [49], The village of Doroksh is known for its carpet production in Eastern Persia. Antique Senneh rugs have a lengthy history. Qashqai rugs use asymmetric knots, while Gabbeh rugs woven by Qashqai more often use symmetric knots. [34], The revival of natural dyeing has had a major impact on Qashqai rug production. 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. Silk pile is less resistant to mechanical stress, thus, all-silk piles are often used as wall hangings, or pillows. He transferred silk merchants and weavers to the new capital of Isfahan and signed trade treaties with Spain, England, and France. Arabian geographers and historians visiting Persia provide, for the first time, references to the use of carpets on the floor. The necessary tension can be obtained through the use of wedges. 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. Modern carpets can be woven with carefully selected synthetic colours, and provide artistic and utilitarian value. In essence, the width of the carpet is limited by the length of the loom beams.[25]. Mahmud proclaimed himself 'Shah' of Persia. Of the scores of carpets exported abroad at this time, the "Polonaise" type was the most popular; over 300 of them are in foreign collections, and many bear the coat of arms of the family that commissioned them. Wool dyed with this agent tends to wear more rapidly than portions dyed in other colors, resulting in a sculptured surface effect. On simple vertical looms, the correct tension of the warps is difficult to maintain during the entire weaving process. [Source: Doris Leslie Blau ~], Designs of antique Persian Tabriz rugs can vary widely. [Source: Doris Leslie Blau ~], The tribal weavers in Malayer were often Turkish, and they employed the Turkish knot, Gourde, to weave these creations. Often, Antique Qum carpets have 400-860 knots per square inch. Nearly five million workers are engaged in the Iranian carpet industry, making it one of the biggest enterprises in the country[citation needed]. The coloring of these rugs includes deep blue, deep red, off-white, and soft neutral tones. In each of these, vegetal motifs replace the figural ones of the previous century. The Gallanzan, Rahimi, and Ikdir produce rugs of intermediate quality. In most Persian rugs, the field of the rug is surrounded by stripes, or borders. The village of Sarab produces runners and galleries with broad main borders either of camel hair or wool dyed in the colour of camel hair. 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. 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 Chelsea Carpet is a famous 16th-century Persian carpet now at the Victoria and Albert Museum in London. The medallion-and-corner design is similar to other 16th century Safavid carpets, but the colours and style of drawing are distinct. [49], The Baloch people live in eastern Iran. These may number from one up to over ten, but usually there is one wider main border surrounded by minor, or guardian borders. According to Doris Leslie Blau: Senneh rugs come from the northwest region of Iran. The unknown author of the Hudud al-'Alam states that rugs were woven in Frs. [25], 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. Geographically and politically, by changing alliances and warfare as well as by trade, Anatolia connected the East Roman with the Persian Empire. One typical oriental rug design uses a medallion, a symmetrical pattern occupying the center of the field. 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. These rugs are also an object of interest for museums and collectors. ~, According to Doris Leslie Blau: Hamadan is an ancient city in the area formerly known as Persia and now Iran. [25], In 1789, Mohammad Khan Qajar was crowned king of Persia, the founder of the Qajar dynasty, which provided Persia with a long period of order and comparative peace, and the industry had an opportunity of revival. Today this is achieved by a template, termed cartoon (Ford, 1981, p.170[34]). Some of the largest Persian rugs are Joshegan rugs. The simplest form of loom is a horizontal; one that can be staked to the ground or supported by sidepieces on the ground. Other designs may include landscapes or depictions of historic events. In fact, some contain two layers of silk. Because the fibers are constantly held erect, when you step on the rug, it has a cushioned feel that is incredibly luxurious to walk on. 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. The Herati design may sometimes appear to be disjointed and fragmented. [19] 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. Workshops were established in the nineteenth century already around the town of Firuzabad. Under the Qajar Dynasty (1786-1925) the workshops of Tabriz were gradually revived and by the 1880's another golden age was underway and Tabriz again began to reestablish its position as the center for the export of Persian rugs to the West. : "five tribes") federation was established by the Persian Qajar government in the nineteenth century, to rival the dominant Qashqai power. : "Lechek Tornj") was first seen on book covers. Exhibition catalogue.. Washington, D.C.: Textile Museum, 1987. Their crude knots incorporating shag on the reverse hints at the need for increased insulation. 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. In their traditional setting Kilims are used as floor and wall coverings, horse-saddles, storage bags, bedding and cushion covers. Meanwhile, Persia's imperial rivals, the Ottomans and the Russians, took advantage of the chaos in the country to seize more territory for themselves. Antique Tehran rugs are not only high quality, they are also rare. 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. Text Sources: New York Times, Washington Post, Los Angeles Times, Times of London, Lonely Planet Guides, Library of Congress, U.S. government, Comptons Encyclopedia, The Guardian, National Geographic, Smithsonian magazine, The New Yorker, Time, Newsweek, Reuters, AP, AFP, Wall Street Journal, The Atlantic Monthly, The Economist, Foreign Policy, Wikipedia, BBC, CNN, and various books, websites and other publications. There are documentary records of carpets being used by the ancient Greeks. ~, Fully hand-made Persian rugs may be rare however, antique Shiraz rugs are fully created by hand. 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.[41]. 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. Other time-honored Persian motifs include bold medallions, spandrels, repeating arabesques, dramatic borders often utilizing repeated Herati patterns of flowers centered within diamonds, with four curled leaves that resemble fish issuing from each diamond. The history of the city may even be traced to the Biblical story of Esther. Their designs are not as elaborate and ornate than the curvilinear patterns of city rugs. The highest quality of these rugs are less than sixty years old. The knots are asymmetric. 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. Haji Jalili, master weaver of the Qajar era is renowned for producing some of the most superlative oriental Tabriz rugs. The end of Shah Abbas II's reign in 1666 marked the beginning of the end of the Safavid dynasty. Nomadic, or tribal carpets are produced by different ethnic groups with distinct histories and traditions. The demand for these rugs is quite high as buyers appreciate the beauty, comfort, and durability of Sarouk carpets. For those of whom sensuousness is important, this is a unique and compelling feature. Iran exported $517 million worth of hand-woven carpets in 2002. Carpets woven in towns and regional centers like Tabriz, Kerman, Ravar, Neyshabour, Mashhad, Kashan, Isfahan, Nain and Qom are characterized by their specific weaving techniques and use of high-quality materials, colours and patterns. [27][28] More fragments were found in Fostat, today a suburb of the city of Cairo. ~, According to Doris Leslie Blau: Sarouk rugs derive their name from a village found twenty miles north of Arak, Iran. The Shishbuluki (lit. Cochineal dye, the so-called "laq" was formerly exported from India, and later on from Mexico and the Canary Islands. [42] As the Grand Conferences continue to take place at regular intervals, two trends can be observed in Iranian carpet weaving today. [49], Indigo, historical dye collection of the Dresden University of Technology, Germany, Section (central medallion) of a South Persian rug, probably Qashqai, late 19th century, showing irregular blue colours (abrash). Both beams are fitted with ratchets or similar locking devices. Initially woven for home use and local trade, coarsely knotted with symmetric knots, the colours initially seen were mostly natural shades of wool. The tradition of natural dyeing was revived in Turkey in the early 1980s. [33], By the late fifteenth century, the design of the carpets depicted in miniatures changed considerably. 100 years later, Al-Muqaddasi refers to carpets in the Qaint. 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. These rugs display uniqueness in the broad range of designs and choice of colors and have a diversity of design and color that is somewhat atypical for other styles of Persian rugs. The Kurds are an ethnic group, mostly inhabiting the area spanning adjacent parts of southeastern (Turkey), western (Iran), northern (Iraq), and northern (Syria). Another inscription can be seen on the "Hunting Carpet", now at the Museo Poldi Pezzoli, Milan, which dates the carpet to 949 AH/AD 15423: By the diligence of Ghyath ud-Din Jami was completedThis renowned work, that appeals to us by its beautyIn the year 949, The number of sources for more precise dating and the attribution of provenience increase during the 17th century. In the late 1800s, the art of Persian weaving experienced a revival of popularity, and Tehran became the locus for Persian rug production. On a roller beam loom, any length of carpet can be produced. Looms do not vary greatly in essential details, but they do vary in size and sophistication. Amongst the repeating figures, the boteh is used throughout the "carpet belt". The heavy, densely-packed wool pile is so tight that it cannot lay down. Persian carpets are best classified by the social context of their weavers. Together, these two towns and their surrounding areas have been major centers of rug production since the eighteenth century. New Bijar carpets are still exported from the area, mostly with less elaborate Herati designs and dyed with good synthetic dyes. ), overcast and reinforced, natural or dyed wool (Kh. Silk or cotton makes up the middle weft, which crosses from back to front. Traditional local dying techniques were improved and brought up to the standards of the latest methods of the time, creating new possibilities of color and tonality. 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. Qum rugs have many names. [57], 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. Describing teenage sisters at work in the oasis town of Khvor, Fen Montaigne wrote in National Geographic, Sitting erect behind the vertical frame, Taherehwho has been weaving since she was 11deftly threaded wool through the string guides and fired off instructions to her sisters. woven with possible idiosyncrasies of construction and pattern elements. [38] 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 Sharf Kirmn, the other has three inscriptions indicating that it was woven by the Master Craftsman Mu'min, son of Qutb al-Dn Mhn, between 1066-7 AH/AD 16551656. Camel wool is occasionally used in Persian nomadic rugs. [Source: Marika Sardar, Institute of Fine Arts, New York University, Metropolitan Museum of Art \^/], According to Doris Leslie Blau: The Golden Age of Persian carpet weaving occurred during the Safavid dynasty, when Shah Tahmasp (1524-1587) began establishing court factories for carpet production. Prior to this time, the production of rugs in the region was primarily a village craft, defined by use of simple rectilinear patterns. The carpets woven in the Safavid court manufactories of Isfahan during the sixteenth century are famous for their elaborate colors and artistical design, and are treasured in museums and private collections all over the world today. Each rug is painstakingly created and reflects a tradition of pride and attention to detail in workmanship and heritage. 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. [51], Design elements may also be arranged more elaborately. Turkish knots, which are symmetrical, are used in antique Hamdan rugs. Within the span of nineteenth century decorative arts, it is still generally acknowledged that the finest antique Tabriz carpets and rugs are unsurpassed for both quality and beauty. ~, Tabriz rug expert Nader Bolour was quoted in CJ Dellatores blog as saying: "While many Tabriz rugs have central medallions with symmetrical designs - and typical coloration based in reds and blues, this rug is woven quite differently. [56] Although Kurdish rugs represent a traditional part of Persian rug production, they merit separate consideration. The pile is closely clipped, and the foundation is cotton, also silk was used in antique carpets. [Source: Doris Leslie Blau ~], The appeal of Sultanabads to Western eyes is not the result of random chance. These rugs are the thinnest of Persian rugs, often with a single layer. These Persian tapestries are some of the most beautiful in existence, and they are also one of the easiest types to identify.

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characteristics of persian carpets