Persian carpet

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A Persian carpet or Persian carpet (Persian: ????????????????????????? ??, also known as Iranian carpets (Persian: ???????? ? hard , meaning "spread"), is heavy textile, made for various utilitarian and symbolic purposes, manufactured in Iran (historically known as Persian), for home use, local sales, and exports. important from the Persian culture and the art of Iran.In the Oriental carpet group produced by the so-called "buggy tapestry" countries, Persian rugs stand out by the diversity and diversity of their manifold designs.

Carpets and Persian rugs of various types were woven in parallel by nomadic tribes, in village and town workshops, and by the royal court factory alike. Thus, they represent a line of different and simultaneous traditions, and reflect the history of Iran and its various societies. The carpets woven in Safavid factories in Isfahan in the sixteenth century are known for their intricate colors and artistic design, and are invaluable in museums and private collections around the world today. Their patterns and designs have established an artistic tradition for the court factory that survived for the entire duration of the Persian Empire until the last royal dynasty of Iran.

Carpets woven in cities and regional centers such as Tabriz, Kerman, Mashhad, Kashan, Isfahan, Nain and Qom are characterized by their special weaving techniques and the use of high quality materials, colors and patterns. City mills like Tabriz have played an important historical role in reviving the carpet weaving tradition after a period of decline. The rugs woven by villages and various tribes of Iran are distinguished by their fine wool, bright and complex colors, and specific, traditional patterns. The nomad and small village weavers often make carpets with bolder and sometimes more rustic designs, which are considered the most authentic and traditional Persian rugs, as opposed to the pre-planned artistic design of the larger workplace. The Gabbeh carpet is the most famous carpet of this tradition line.

The art and craft of carpet wears have gone through periods of decline during periods of political unrest, or under the influence of commercial demands. It mainly suffered from the introduction of synthetic dyes during the second half of the nineteenth century. The carpet weave still plays a major part in the modern Iranian economy. Modern production is characterized by the rise of traditional immersion with natural dyes, the reintroduction of traditional tribal patterns, but also with the invention of modern and innovative designs, which are woven in centuries-old techniques. Hand-woven carpets and Persian rugs are regarded as high-value and utilitarian art objects and prestige from the first time they are mentioned by the ancient Greek writers, to this day.

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

In 2010, "traditional carpet weaving skills" in the UK and Kashan were written to the UNESCO Unique Cultural Heritage List.

Video Persian carpet

Histori

The beginnings of carpet rugs are still unknown, as carpets can be used, damaged, and destroyed by insects and rodents. Woven carpets may have been developed from previous floor coverings, made of felt , or a technique known as "bb> weaving flat ". Flat woven carpets are made by tightly woven weft and weft woven yarn to produce a flat surface without piles. The technique of carpet weaving developed further into a technique known as loop weaving . Loop binding is done by pulling the feed string through the measuring rod, creating a round of yarn that faces the weavers. The trunk is then removed, leaving the loop closed, or the loop cut above the protective bar, producing a carpet that is very similar to the original pile carpet. Hand-woven rugs are produced by yarn knitting yarn individually into the warp, cutting the yarn after every single knot.

Pazyryk Carpets: The earliest pile carpet

The Pazyryk carpet was dug in 1949 from the grave of a Scythian nobleman in the Pazyryk Valley in the Altai Mountains in Siberia. Radiocarbon tests show that Pazyryk carpets were woven in the 5th century BC. The carpet is 183 x 200 cm (72 x 79 inches) and has 36 symmetrical knots per cm² (232 per inch ²). The advanced techniques used in the Pazyryk carpet show a long history of evolution and experience in weaving. This is considered the oldest carpet in the world. The center is dark red and has two borders of animal decoration moving in the opposite direction with a guard line. The main inner border depicts deer processions, outer humans on horses, and humans on horseback. Saddlecloth horses woven in different designs. The inside contains 4 x 6 identical rectangular frames arranged in red ground, each filled by identical star-shaped ornaments made with x-pattern and crossbar overlapping centrally. The design of the carpet has already shown the basic setting of what is to be the standard oriental carpet design: A field with repetitive patterns, framed by the main frontier in intricate designs, and some secondary borders.

The inventor of the Pazyryk carpet, Sergei Rudenko, considers it a product of contemporary Achaemenids. Whether it is produced in the area where it is found, or is an Achaemenid making product, is still debated. Its fine weave and intricate drawing design designs signify the art of carpet weaving at the time of its production.

Initial fragment

There is a record of the carpet documentation used by the ancient Greeks. Homer, assumed to have lived around 850 BC, wrote in Ilias XVII, 350 that Patroklos's body was covered with "beautiful carpets". In Odyssey Book VII and X "carpets" are mentioned. Pliny the Elder wrote (nat VIII, 48) that the carpet ("polymita") was found in Alexandria. It is unknown whether this is a mound or roll of yarn, as there is no detailed technical information provided in the Greek and Latin texts.

Flat woven kilims dating at least the fourth or fifth century are found in Turfan, Hotan Prefecture, East Turkestan, China, an area that still produces carpets today. Carpet fragments are also found in the Lop Nur area, and woven in a symmetrical knot, with 5-7 knitted fabric after each knot line, with striped design, and various colors. They are now at the Victoria and Albert Museum, London. Other fragments woven in symmetrical form and asymmetrical nodes have been found in Dura-Europos in Syria, and from At-Tar caves in Iraq, dated to the first centuries AD.

This rare finding shows that all the skills and techniques of coloring and weaving carpets were well known in West Asia before the first century AD.

Initial history: around 500 BC - 200 AD

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

"???????????????????????????????????????????????????????????????????????????????????? ??????????????????????????????, (Xen Anab.VII.3.18)

Next he went to Timasion the Dardanian, because he heard that he had several drinking cups and Persian rugs.

"??????????????????????????????????????????????????????????????????????????????????? ????? ???? ????. "[Xen. anab. VII.3.27]

Timasion also drank his health and gave him a silver bowl and a ten-mine rug.

Xenophon describes the Persian carpet (lit.: "barbarian", meaning: non-Greek) as something of value, and worthy of use as a diplomatic gift. It is unknown whether the carpet is stacked, or produced with other techniques, for example, flat weave, or embroidery, but it is interesting that the first reference of Persian rugs in the world literature has put them in the context of luxury. , prestige, and diplomacy.

No Persian carpets are alive from the reign of Achaemenian (553-330 BC), Seleucid king (312-129 BC), and Parthia (ca. 170 BC - 226 AD).

Sasanian Empire: 224-651

The Sasanian Empire, which replaced the Parthia Empire, was recognized as one of the major powers of its time, in addition to its neighboring Byzantine Empire, for a period of more than 400 years. Sasanids set up their empire roughly within the borders set by the Achaemenids, with the capital of Ctesiphon. This last Persian dynasty before the advent of Islam adopted Zoroastrianism as a state religion.

When and how Persia began weaving the pile carpets is currently unknown, but the knowledge of carpet weaves, and designs suitable for floor coverings, is certainly available in areas that include Byzance, Anatolia and Persia: Anatolia, located between Byzance and Persia, ruled by The Roman Empire since 133 BC. Geographically and politically, by altering alliances and warfare and trade, Anatolia connects East Rome with the Persian Empire. Artistically, the two empires have developed the same decorative style and vocabulary, as exemplified by the mosaics and architecture of Roman Antioch. The Turkish carpet pattern depicted in the painting "Paele Madonna" Jan van Eyck is traced back to the late Roman origins and linked to an early Islamic floor mosaic found in the Umayyad Khirbat al-Mafjar palace.

Flat and embroidered weaves are known during the Sasanian period. The sophisticated Sasanian silk textiles are well preserved in European churches, where they are used as a cover for relics, and survive in the treasury of the church. More of this textile is housed in Tibetan monasteries, and displaced by monks who fled to Nepal during the Chinese cultural revolution, or were excavated from burial sites such as Astana, on the Silk Road near Turfan. The high artistic level achieved by the Persian weavers is further exemplified by the al-Tabari historian's account of the Spring of Khosrow tapestry, taken as a spoil by the Arab conqueror Ctesiphon in 637 AD. The carpet design description by al-Tabari made it seem unlikely that the carpet was stacked.

Fragmented carpet stacks from search venues in northeastern Afghanistan, reportedly from Samangan province, have carbon-14 dated the time span from the turn of the 2nd century to the early Sasanian period. Among these fragments, some show depictions of animals, such as deer variety (sometimes arranged in processions, given the design of Pazyryk carpets) or mythical winged creatures. Wool is used for twining, weaving, and stacking, the yarn is roughly spun, and the fragments are woven with an asymmetrical knot associated with Persian and far east carpets. Every three to five lines, pieces of unbranded wool, pieces of fabric and leather woven. These fragments are now in the Al-Sabah Collection in Dar al-Athar al-Islamiyyah, Kuwait.

The fragment carpet, though reliably date to the earliest Sasanian time, seems unrelated to the beautiful court rug described by the Arab conquerors. The raw nodes they combine make love on the inverse clue on the need for increased isolation. With animal depictions and harsh hunting, these carpets are probably woven by nomadic people.

The rise of Islam and the Caliphate: 651-1258

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

Arab geographers and historians who visited Persia provided, for the first time, reference to the use of carpet on the floor. The unknown author of Hudud al-'Alam stated that the tapestries were woven in F? Rs. 100 years later, Al-Muqaddasi refers to the carpet in Qain? T. Yaqut al-Hamawi tells us that carpets were woven in Azerbaijan in the thirteenth century. A great Arab traveler, Ibn Battuta, mentions that the green carpet spread before him when he visited a winter quarter of bakhthiari atabeg in Idhej. These references show that weaving carpets in Persia under the Caliphate is a tribal or rural industry.

The Caliph's rule over Persia ended when the Abbasid Caliphate was overthrown in the Baghdad siege (1258) by the Mongol Empire under Hulagu Khan. The Abbasid ruling line put themselves back in the Mamluk capital in Cairo in 1261. Despite the lack of 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, a large carpet known as the "Mamluk carpet" was produced.

Seljuq Invasion and Turko-Persian tradition: 1040-1118

Beginning with the latest invasion of Saljuq Anatolia and northwest Persia, different Turko-Persian traditions emerged. Fragment of woven carpets found in mosque a la  ¢ eddin in Turkey city Konya and E it? Refo? Lu mosque in Bey? Ehir, and the date for the Saljuk of the Anatolian Period (1243-1302). More fragments are found in Fostat, today a suburb of Cairo. These fragments at least give us an idea of ​​how the Seluq carpet looks. Egypt's findings also provide evidence for export trade. If, and how, this carpet influenced Persian carpet weaving, is still unknown, as no different Persian rugs are known to exist from this period, or we can not identify them. It is assumed by Western scholars that Sejuqs may have introduced at least a new design tradition, if not the craft of the weaving pile itself, into Persia, where skilled craftsmen and craftsmen may have integrated new ideas into their old traditions.

The Mongol Ilkhanate (1256-1335) and Timurid Empire (1370-1507)

Between 1219 and 1221, the Persians were raided by the Mongols. After 1260, the title "Ilkhan" was borne by the descendants of Hulagu Khan and then another Borjigin prince in Persia. At the end of the thirteenth century, Ghazan Khan built a new capital in ShÃÆ'Âμm, near Tabriz. He orders the floor where he lives to be covered with carpet from the Fjord.

With the death of Ilkhan Abu Said Bahatur in 1335, the Mongol government stalled and the Persians fell into political anarchy. In 1381, the East invaded Iran and became the founder of the Eastern Empire. His successors, Timurids, retained much of Iran until they were subject to the Turkmen "White Sheep" confederation under Uzun Hassan in 1468; Uzun Hasan and his successors were rulers of Iran until the advent of Safavids.

In 1463, the Venetian Senate, seeking allies in the Ottoman-Venetian War (1463-1479) established diplomatic relations with the Uzun Hassans court in Tabriz. In 1473, Giaroaf Barbaro was sent to Tabriz. In his report to the Venetian Senate he mentions more than once the beautiful rugs he saw in the palace. Some of them, he writes, are silk.

In 1403-05 Ruy González de Clavijo was ambassador Henry III of Castile to the Eastern palace, the founder and ruler of the Empire of the East. He described that in the East palace in Samarkand, "everywhere floors are covered with carpets and reed mattings". The miniature of the Eastid period features carpets with geometric designs, rows of octagos and stars, node shapes, and borders sometimes derived from manuscripts of kufik. None of the carpet woven before 1500 AD has survived.

Safavid Period (1501-1732)

In 1499, a new dynasty appeared in Persia. Shah Ismail I, its founder, is associated with Uzun Hassan. He was considered the first national ruler of Persia since the Arab conquest, and established Shia Islam as a Persian state religion. He and his successors, Shah Tahmasp I and Shah Abbas, I became the patron of Persian Safavid art. The court factory was probably founded by Shah Tahmasp in Tabriz, but it was clear by Shah Abbas when he moved his capital from Tabriz in the northwest to Isfahan in central Persia, behind the Ottoman-Safavid War (1603-18). For the art of carpet weaving in Persia, this means, as Edwards wrote: "that in a short time he rose from a hut tied to the dignity of art."

The Safavid period marked one of the greatest periods in Persian art, which included carpet weaving. Then the Safavid periods of carpets still exist, which include the finest and most elaborate weavings known today. The phenomenon that the first carpet that is physically known to us shows such attained designs leads to the assumption that the art and craft of carpeted fabrics must have existed for some time before the magnificent carpet of the Safavids palace could be woven. Since there was no safavid carpet of the earliest surviving period, research has focused on the illumination of the book of the eastern period and the miniature painting. These paintings depict colorful rugs with repetitive designs of the same geometric patterns, arranged in designs such as resin boards, with borderless "kufi" ornaments derived from Islamic calligraphy. The design is very similar to the Anatolian carpet period, especially to the "Holbein carpet" that the common source of the design can not be ruled out: EastID designs may survive both in the Persian and Anatolian rugs of the early Safavids, and Ottoman periods.

"Design revolution"

At the end of the 15th century, the design of the carpet depicted in miniature changed significantly. Large-format Medaillons emerged, ornaments began to show intricate arch designs. Spiral and large vines, flower ornaments, flower and animal depictions, often mirrored along long or short shafts of carpets to obtain harmony and rhythm. The previous "kufic" border design was replaced by vines and arabesque. All of these patterns require more complicated weaving systems, compared to weaving straight lines, straight lines. Likewise, they need artists to create designs, weavers to execute them in looms, and an efficient way to communicate artist ideas to weavers. Today is achieved by template, termed cartoons (Ford, 1981, p.Ã, 170). How Safavid manufacturers achieve this, technically, is currently unknown. Their work, however, is what Kurt Erdmann calls the "carpet design revolution" .

Apparently, the new design was developed first by mini painter, when they began to appear in the illumination of books and on the book cover at the beginning of the fifteenth century. This marks the first time when the "classic" design of Islamic carpets was established: The medaillon and corner design (press: "Lechek Tor? Nj") was first seen on the cover of the book. In 1522, Ismail I hired miniature painter Kam? L ud-D? N Behz? D, the famous painter of the Herat school, as director of the royal atelier. Behzad has a decisive impact on the future development of the Safavid arts. The Safavid carpets we know are different from the carpets as depicted in miniature paintings, so they can not support any attempt to differentiate, classify, and date period rugs. The same goes for European painting: Unlike Anatolian rugs, Persian rugs are not depicted in European paintings before the seventeenth century. Because some carpets such as Ardabil carpets have inscriptions that are woven including dates, scientific endeavors to categorize and date Safavid carpets ranging from them:

I have no protection in the world other than your threshold There is no protection for my head other than this door.
The slave's work from Maqsud's threshold from Kashan in 946.

The year AH of 946 corresponds to AD 1539-40, which dates Ardabil's rug to the Shah Tahmasp rulings, which donated the carpets to Shaykh Safi-ad-din shrine of Ardabili in Ardabil, regarded as the spiritual father of the Safavid dynasty.

Other inscriptions can be seen on the "Hunting Carpet", now at Museo Poldi Pezzoli, Milan, which has carpets up to 949 AH/AD 1542-3:

With the persistence of Ghyath ud-Din Jami finished
This famous work, which appeals to us by its beauty In 949

The number of sources for the more precise calendar and the attribution of the increase in provenience during the 17th century. The Safavid carpet is presented as a diplomatic gift to European cities and countries, as diplomatic relations intensify. In 1603, Shah Abbas presented a carpet with gold and silver threads woven into the Venetian Marino Grimani Doge. European nobility began ordering carpets directly from the manufacturing of Isfahan and Kashan, whose weavers were willing to weave special designs, like European coats, into the ordered bags. Their acquisitions are sometimes well documented: In 1601, Armenian Sefer Muratowicz was sent to Kashan by the king of Poland, Sigismund III Vasa to order eight rugs with a courtyard of Polish kingdom to be woven. The Kashan weavers did, and on September 12, 1602 Muratowicz presented the carpet to the king of Poland, and billed to the treasurer of the crown. Represented silver-colored Safavid carpets of gold and silver threads are mistakenly believed by Western art historians to become Polish manufactures. Although the error was corrected, this type of carpet retains the name of the "Polish" or "Polonaise" rug. The name of carpet "Shah Abbas" is more appropriate suggested by Kurt Erdmann.

The masterpiece of Safavid woven carpet

A. C. Edwards opens his book on Persian rugs with descriptions of eight works from this great period:

• Ardabil Carpet - Victoria and Albert Museum
• Hunting Carpets - Museum of Applied Arts Austria, Vienna
• Chelsea Carpets - The Victoria and Albert Museum
• Allover Animal and Floral Carpet - Museum of Applied Arts Austria, Vienna
• Vase Rose Carpet - Victoria and Albert Museum
• Medaillion Animal and Floral Carpet with Guard Inscription - Museo Poldi Pezzoli, Milan
• Medaillon Carpet Engraved with Animals and Flowers and Border Inscriptions - Metropolitan Art Museum, Access Number: 32.16
• Medaillon, Animal and Tree Carpets - Musà © à © e des Arts Dà ©  © coratifs, Paris

Safavid "Technique vase" carpet from Kirm? n

Different groups of Safavid carpets can be attributed to the Kirm region? N in southern Persia. May H. Beattie identifies these rugs with their common structure: Seven different carpet types are identified: Garden carpets (depicting formal gardens and waterways); carpet with a centralized design, characterized by a large medal; multiple-medaillon designs with offset medaillons and compartment repeats; directional design with small scene settings used as individual motives; sickle leaf design in which long, curved, jagged and sometimes multiple leaves dominate this field; Arab; and lattice design. Their typical structure consists of asymmetric nodes; cotton warps are depressed, and there are three wefts. The first and third feeds are made of wool, and are hidden in the middle of the carpet. The middle feed is silk or cotton, and moves from back to front. When the carpet is worn, this third bait generates a distinctive "tram line" effect.

The most famous "vase technique" rug from Kirm? N is the so-called "Sanguszko group", named Rumah Sanguszko, whose collection has the most extraordinary example. The medallion-and-corner design is similar to other 16th-century Safavid carpets, but the colors and style of the drawing are different. In the medallion center, attach the human figure in a smaller medal around the central animal battle scene. Other animal battles are depicted in the field, while horsemen are shown in the medal corner. The main border also contains a sandy medal with Houris, animal battles, or confronting a peacock. Among the border medals, phoenix and dragon fight. With resemblance to the mosaic tile spandrels at Ganjali Khan Complex in the Kirm bazaar? N with a recording date inscription finished as 1006 AH/AD 1596, they date to the end of the 16th or early 17th century. The other two "vase techniques" carpets have inscriptions with dates: One of them bears the date 1172 AH/AD 1758 and weavers name: Master Craftsman Muhammad Shar? F Kirm? N ?, others have three inscriptions indicating that it was woven by Master Craftsman Mu'min, son of Qutb al-D? N M? H? N ?, between 1066-7 AH/AD 1655-6. The rugs in the Safavid tradition are still woven in Kirm? N after the fall of the Safavid Dynasty in 1732 (Ferrier, 1989, p. 127).

The end of Shah Abbas II's rule in 1666 marked the beginning of the Safavid dynasty. The declining state was repeatedly raided at its border. Finally, a Ghilzai Pashtun tribe named Mir Wais Khan started a rebellion in Kandahar and defeated Safavid troops under the Georgian governor of the region, Gurgin Khan. In 1722, Peter the Great launched the Russian-Persian War (1722-1723), catching many Iranian Caucasus region, 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 proclaims himself 'Shah' from Persia. Meanwhile, imperial rival Persians, Ottomans and Russians, took advantage of the country's turmoil to seize more territory for themselves. With this incident, the Safavid dynasty ended. Gallery

: Persian carpet from Safavid Era

The Afsharid (1736-1796) and Zand (1750-1796) dynasties

The territorial integrity of Iran was restored by a genuine Turkish Afgan warlord from Khorasan, Nader Shah. He defeated the Afghans, and the Ottomans, reinstalled Safavids on the throne, and negotiated the Russian withdrawal from the Caucasian territory, by the Treaty of Resht and the Treaty of Marijuana. In 1736, Nader himself was crowned shah. There is no record of weaving carpets, which have sunk into unimportant crafts, during the Afsharid and Zand dynasties.

The QajÃÆ'Â £ r dynasty (1789 - 1925)

In 1789, Mohammad Khan Qajar was crowned king of Persia, the founder of the Qajar dynasty, which gave the Persian a long period of order and comparative peace, and the industry had a chance to rise again. Three important Qajà £ kings, Fath-Ali Shah Qajar, Naser al-Din Shah Qajar, and Mozaffar ad-Din Shah Qajar rekindled the ancient tradition of the Persian monarchy. The Tabriz weavers took a chance, and circa 1885 became the founder of the modern weaving carpet industry in Persia. The Pahlavi Dynasty (1925-1979)

In the aftermath of the Russian Revolution, Persia has become a battleground. In 1917, the British used Iran as a springboard for an attack on Russia in a failed attempt to reverse the Revolution. The Soviet Union responded by annexing parts of northern Persia, creating the Soviet Persian Socialist Republic. By 1920, the Iranian government had lost almost all power outside its capital: British and Soviet troops controlled much of Iran's land.

In 1925 Rez? Sh? H, backed by the British government, ousted Ahmad Shah Qajar, the last Shah of the Qajar dynasty, and founded the Pahlavi dynasty. He founded a constitutional monarchy that lasted until the Iranian Revolution in 1979. Reza Shah introduced social, economic, and political reforms, which ultimately laid the foundations of a modern Iranian state. To stabilize and legitimize their government, Rez? Sh? H and his son Mohammad Reza Pahlavi aimed to revive the ancient Persian tradition. The rise of carpet weaving, often referred to as traditional design, is an important part of this effort. In 1935, Rez? Sh? H founded the Iranian Carpet Company, and brought the carpet weaving under the control of the government. The intricate carpets are woven for export, and as a diplomatic gift to other countries.

The Pahlavi dynasty modernized and centralized the Iranian government, and sought effective control and authority over all of their subjects. Reza Shah was the first Persian king to face this challenge with modern weapons. Enforced by the army, nomadism was banned in the 1930s, tribal clothing was forbidden, the use of tents and yurts was banned in Iran. Unable to migrate, after losing their livestock, many nomadic families starve to death. A brief era of relative peace followed for nomadic tribes in the 1940s and 1950s, when the Persians were involved in the Second World War, and Rez? Sh? H was forced to abdicate in 1941. His replacement, Mohammed Reza Shah consolidated his power during the 1950s. His land reform program in 1962, part of the so-called White Revolution, despite obvious advantages to landless peasants, destroyed the traditional political organization of nomadic tribes like the Qashqai, and the traditional way of nomadic life. The centuries-old tradition of woven nomad carpets, which have entered the process of decline with the introduction of synthetic dyes and commercial designs in the late nineteenth century, was virtually obliterated by the politics of the last Iranian imperial dynasty.

Modern time

After the Iranian Revolution, little information could initially be obtained about weaving carpets in Iran. In the 1970s and 1980s, renewed interest in Europe was in the Gabbeh tapestry, which was originally woven by nomadic tribes for their own use. The design is rugged and simple, their abstract appeals to Western customers.

In 1992, the first Persian Grand Conference and Exhibition in Tehran presented for the first time the design of modern Persian rugs. Persian parent artisans such as Razam Arabzadeh display carpets that are woven with traditional techniques, but with unusual modern designs. As the Great Conference continues on a regular basis, two trends can be observed on Iranian carpets woven today. On the one hand, modern and innovative artistic designs are created and developed by Iranian producers, thereby taking on ancient design traditions forward towards the twenty-first century. On the other hand, a renewed interest in natural dyes is taken up by a commercial company, which commissioned carpets for the tribal village weavers. It provides a regular source of income for carpet weavers. Companies usually provide materials and designs, but the weavers are allowed some degree of creative freedom. With the end of the US embargo on Iranian goods, as well as Persian rugs (including antique Persian rugs obtained at auction) can become more readily available to US customers again.

As commercial household goods, Persian rugs today face competition from other countries with lower wages and cheaper production methods: Woven machines, tufted carpets, or hand-woven rugs, but with faster loop weaving methods and cheaper, provides carpets in "oriental" utilitarian designs, but no artistic value. Traditional hand-woven rugs, made of sheep's wool dyed with natural colors are increasingly sought after. They are usually sold at a higher price because of the many manual work associated with their production, which has essentially unchanged since ancient times, and because of the artistic value of their design. Thus, the Persian rug retains its ancient status as an object of luxury, beauty, and art.

Maps Persian carpet

Materials

Wool

In most Persian rugs, the pile is sheep's wool. Its characteristics and qualities vary from region to region, depending on the type of sheep, climatic conditions, pastures, and specific habits associated with when and how wool is shaved and processed. Different areas of wool fur produce different wool qualities, depending on the ratio between thicker and more rigid sheep hair and finer wool fibers. Usually, sheep are shaved in spring and fall. Shear spring produce better quality wool. The lowest level of wool used in the woven carpet is "wool" leather, which is chemically removed from the skin of dead animals. Higher values ​​of Persian wool are often referred to as kurk , or wool kork , obtained from wool growing on the neck of the sheep. Modern production also uses imported wool, eg. Merino wool from New Zealand, due to high demand on woolen carpets can not be fully met by local production. Fiber from camels and goats is also used. Hair goats are mainly used for binding borders, or selvedges, nomadic rugs such as Baluch carpets, as they are more resistant to abrasion. Camel wool is sometimes used in Persian nomad rugs. It is often dyed in black, or used in natural colors. More often, wool is said camel wool was dyed sheep's wool.

Cotton

Cotton forms the foundations of warps and wefts of the majority of modern carpets. Nomads who can not afford to buy cotton on the market use wool for warps and wefts, which are also traditionally made of wool in areas where cotton is not a local product. Cotton can be spun more dense than wool, and tolerate more stress, which makes cotton a more superior material for carpet foundations. Especially larger carpets are more likely to lie flat on the floor, whereas wool tends to shrink unevenly, and carpet with wool foundation can be curved when wet. Chemically processed cotton (mercerized) has been used in carpets as a substitute for silk since the late nineteenth century.

Silk

Silk is an expensive material, and has been used for representative carpet. Its tensile strength has been used in silk, but silk also appears on the carpet pile. Silk stacks can be used to highlight special elements of the design. High quality carpets from Kashan, Qum, Nain, and Isfahan have silk piles. Carpets of silk piles are often excellent, with short stacks and intricate designs. Silk piles are less resistant to mechanical stress, so silk piles are often used as wall hangings or pillows.

Spinning

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

Immersion

The dyeing process involves the preparation of the yarn to make it vulnerable to proper dye by immersion in the mordan. The dye is then added to a fixed thread in the dyeing solution for a specified time. The colored yarn is then left to dry, exposed to air and sunlight. Some colors, especially dark brown, require an iron mordan, which can damage or fade the fabric. This often results in faster pile wear in dyed areas in dark brown, and can create a relief effect on antique oriental rugs.

Plants

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. Various other synthetic dyes were created thereafter. Inexpensive, easy to prepare and easy to use as compared to natural dyes, its use has been documented since the mid-1860s. The natural immersion tradition was revived in Turkey in the early 1980s. Chemical analysis leads to the identification of natural dyes from antique wool samples, and prescriptions and dipping processes experimentally remade.

According to this analysis, natural dyes used for wool carpets include:

• Red from Madder (Rubia tinctorum) root,
• Yellow from plants, including onions (Allium cepa), some chamomile species (Anthemis, Matricaria chamomilla), and Euphorbia,
• Black : Oak apples, oak beans, Tanner sum,
• Green with double immersion with Indigo and yellow dye,
• Orange with double immersion with angry red and yellow dyes,
• Blue : Indigo is obtained from Indigofera tinctoria.

Some dyes such as indigo or anger are trade goods, and thus are generally available. Yellow or brown dye varies from region to region. Many plants provide yellow dyes, such as Vine welds, or Dyer grasses (Reseda luteola) , Yellow larkspur, or enumerator Dyer Cotinus coggygria. The grape leaves and pomegranate skin, as well as other plants, give different yellow shades.

In Iran, traditional dyeing with natural dyes was revived in the 1990s, inspired by renewed general interest in traditionally produced carpets, but major suckers like Abbas Sayahi have retained knowledge of traditional recipes.

Red insects

Carmine dye is obtained from the secretion of scale insect resins such as Cochineal Coccus cacti scale, and certain Porphyrophora species (Armenian and Polish cochineal). Cochineal dye, called "laq" was previously exported from India, and later from Mexico and the Canary Islands. Insect dyes are more commonly used in areas where the Madder (Rubia tinctorum) does not grow, such as western and northwestern Persia.

Synthetic dyes

With modern synthetic dyes, almost every color and shadow can be obtained so that without chemical analysis it is almost impossible to identify, in finished carpets, whether natural or artificial colors are used. Modern carpets can be woven with carefully chosen synthetic colors, and provide artistic and utilitarian value.

Abrash

The appearance of slight aberrations in the same color is called abrash (from Turkish abra), literally, "mottled, spotted"). Abrash is seen on traditionally dyed oriental rugs. Events show that a single weaver may weave the carpet, which does not have enough time or resources to prepare enough yarn dyed to finish the carpet. Only a small amount of wool is dyed from time to time. When one wool strand wears out, the weavers continue with the newly dyed batch. Because the right color tone is rarely encountered again when new batches are dyed, the color of the stack changes as new node strands are woven. Thus, the color variations indicate a village or tribal woven carpet, and are valued as a mark of quality and authenticity. Abrash can also be introduced deliberately into the design of newly planned carpets.

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Engineering and structure

Carpet weave process

Carpet weave pile is a time consuming process, depending on the quality and size of the carpet, it can last from several months to several years to complete.

To start making carpets, one needs a foundation consisting of warps and wefts: strong Warps, thick threads of cotton, wool or silk flowing along the rug. Similar threads passing under and above the curvature from one side to the other are called wefts. The warps on both sides of the carpet are usually planted into one or more strings with varying thickness to form a woven woven edge.

The weave usually starts from the bottom of the loom, by passing a number of wefts through the warp to form the base to begin. Knots of dyed wool, cotton or silk thread are then tied in rows around adjacent warps sets. Since more rows are tied to the foundation, these knots become piles of tapestries. Between each node row, one or more shots are passed to keep the knot fixed. The wefts are then beaten by instruments such as combs, combat beers, for a more compact and secure new wicker line. Depending on the fineness of the weave, the material quality and expertise of the weavers, the number of knots of handmade carpets can vary between 16 to 800 knots per square inch.

When the tapestry is finished, the warp tip will form a fringe that may be faced with feed, braided, fastened, or otherwise secured.

Loom

Looms do not vary greatly in important details, but their size and sophistication vary. The main technical requirement of the loom is to provide the correct voltage and how to divide the warp into a set of alternating leaves. The shield allows the weavers to cross the wefts through crossed and uncrossed warps, instead of laboriously threading in and out of the warp.

Horizontal loom

The simplest form of the loom is horizontal; one that can be stalked to the ground or supported by sidepieces on the ground. The required tension can be obtained through the use of slices. This loom style is ideal for nomadic people as it can be assembled or dismantled and easily moved. The carpets produced on horizontal looms are generally quite small and the quality of the woven is lower than the carpets made on professional stand looms.

Vertical loom

More sophisticated and sophisticated stationary vertical looms are used in villages and towns. The more advanced vertical loom type is more convenient, because it allows the weavers to maintain its position throughout the weaving process. Tabriz type vertical looms allow for weaving of carpets 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 loom. In essence, the width of the carpet is limited by the length of the weaving blocks.

There are three common types of vertical looms, all of which can be modified in several ways: fixed village looms, Tabriz or Bunyan looms, and roller spinner.

1. Village looms are still used primarily in Iran and consist of fixed top beams and lower rays or removable fabrics into two sidepieces. The correct tension of the warps is obtained by riding wedges into slots. Weavers work on customized boards that are raised during work.
2. Tabriz weaving, named after the city of Tabriz, is used in northwestern Iran. The arch is continuous and passes behind the loom. Tension warp obtained with slices. The weavers sit on a fixed seat and when part of the carpet is finished, the tension is released and the carpet is pulled down and rolling around behind the loom. This process continues until the carpet is finished, when the arch is disconnected and the carpet is taken from the loom.
3. The roller loom looms are used in larger Turkish plants, but are also found in Persia and India. It consists of two movable beams that are looped by the warp. Both beams are equipped with a ratchet or similar locking device. After the carpet part is finished, rolled into the lower beam. In a roller beam loom, any length of carpet can be produced. In some areas of Turkey some carpets are woven in series on the same warp, and separated from each other by cutting the warp after the weaving is complete.

Tools

Weavers need a number of important tools: a knife to cut the thread when a knot is tied; instruments like a heavy comb with a handle for flapping the ropes; and a pair of scissors to trim the stack after a row of knots, or a small number of rows, has been woven. In Tabriz, a knife is combined with a hook to tie a knot, which speeds up the work. Small steel combs are sometimes used to comb the yarn after each knot line is finished.

A variety of additional instruments are used for packing feed. Some weaving areas in Iran are known to produce very fine pieces using additional tools. In Kerman, instruments such as saber are used horizontally in the warehouse. In Bijar, nail tools were inserted between the warp, and beaten to solidify more cloth. Bijar is also renowned for their wet woven technique, which consists of wetting the warp, weft, and yarn with water during the weaving process to condense the wool and allow for heavy compression especially from piles, warps, and wefts. When the carpet is finished and dried, wool and cotton swell, which produces a very heavy and rigid texture. Carpet Bijar not easily supple without damaging the fabric.

A number of different tools can be used to cut the wool depending on how the carpet is trimmed during the weaving process or when the carpet is finished. Often on Chinese carpets, the threads are trimmed when finished and the trimmed pruning where the colors change, gives a three-dimensional effect that arises.

Knots

The Persian rugs are mainly woven with two different knots: The symmetrical Turkish knots or "Giordes", also used in Turkey, the Caucasus, East Turkmenistan, and some Turkic and Kurdish regions in Iran, and asymmetric Persians, or Senneh knots , also used in India, Turkey, Pakistan, China, and Egypt. The term "Senneh knot" is somewhat misleading, because the carpet is woven with a symmetrical knot in the city of Senneh.

To tie a symmetrical knot, the thread is passed between two adjacent windings, brought back down one, twisted around forming a collar, then pulled through the center so that both ends appear between the warp.

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

Asymmetric nodes make it possible to produce smoother, more curved, bolder designs, straight line designs can use symmetric nodes. As exemplified by the Senneh rugs with their intricate designs woven with symmetrical knots, the quality of the design is more dependent on the weavers' skill, than on the type of node used.

Another commonly used knot on the Persian rug is the Jufti knot, which is tied around four coils instead of two. Serviceable rugs can be made with jufti knots, and jufti knots are sometimes used in large single color areas of carpeting, for example in the field, to save materials. However, since carpets woven entirely or partially with jufti knots require only half the amount of pile threads compared to traditional woven rugs, the stacks are less resistant to wear, and these rugs do not last long.

Flat woven carpet

The flat woven carpet is colored and the pattern of the feed is tightly intertwined with the warp. Instead of the actual pile, this carpet foundation gives them design. The scroll is woven between the warp to new color is required, it is then looped back and knotted before the new color is implemented.

The most popular of flat-weaving is called Kilim. The Kilim carpet (along with jewelry, clothing and animals) is important for the identity and wealth of the nomadic tribes. In its traditional setting, Kilims are used as floor and wall coverings, horse saddles, storage bags, blankets, and pillowcases.

Berbagai bentuk tenun datar meliputi:

• Herati
• Jajim
• Gelim (Kilim)
• Beranda
• Sirjan
• Soumak (Soumakh)
• Suzani

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desain

By 2016 Iran has 40 carpet designs that each belong to different geographical areas including 29 internationally-listed designs with the World Intellectual Property Organization.

Custom formats and types

• Ghali (Persian: ???? , lit. "carpet"): large format carpet (190 cm - 280 cm).
• Dozar or Sedjadeh : This term is from Persian do , "two" and zar , a corresponding Persian size of about 105 cm (41 inches). Dozar size carpet about 130-140 cm (51-55 inches) x 200-210 cm (79-83 inches).
• Ghalitcheh (Persian: ?????? ): Carpet from Dozar format, but woven with excellent quality.
• Kelleghi or Kelley Ã,: Long format, ca. 150-200 cm (59-79 inches) x 300-600 cm (120-240 inches). This format is traditionally placed in carpet head ghali ( kalleh means "head" in Persian).
• Kenareh Ã,: Smaller format length: 80-120 cm (31-47 inches) ÃÆ'â € "250-600Ã, cm (98-236Ã, in). Traditionally styled along the longer side of the larger carpet ( ken? R means "side" in Persian).
• Zaronim Ã,: corresponds to 1 Ã,½ zar . This smaller carpet has a length of about 150 cm (59 inches).

The nomad carpet is also known as Gelim ( ???? ; includes ???? Zilu , which means "rough carpet." In this use, Gelim includes a flat and flat weave carpet (such as kilim and soumak).

Field design, medal and boundary

The design of the carpet can be explained by way of decoration arranged in a pile. One basic design can dominate the entire field, or the surface may be covered by repetitive pattern numbers.

In areas with traditional, time-honored local designs, such as the Persian nomad tribe, weavers are able to work from memory, since the specific pattern is part of a family or tribal tradition. This is usually enough for a less complicated design, mostly squares. For more complicated designs, especially arches, patterns are carefully drawn in precise colors on graph paper. The resulting design plan is called "cartoon". Weavers weave knots for each square on a scale paper, allowing for accurate preparation of even the most complex designs. The design has changed little through the centuries of weaving. Today computers are used in the production of scaled images for the weavers.

Carpet surfaces are arranged and arranged in distinctive ways, which in all their variations remain recognizable as Persians: A single basic design can cover the whole field ( "overall design" ). When the end of the field is reached, the pattern can be cut intentionally, thus creating the impression that they continue to exceed the carpet boundary. This feature is characteristic for Islamic design: In Islamic tradition, describing animals or humans is forbidden even in the profane context, because Islam does not distinguish between religious and profane life. Since the codification of the Quran by Utsman Ibn Affan in 651 M/19 H and the reform of Umayyad Abd al-Malik ibn Marwan, Islamic art focuses on writing and ornaments. The main areas of Persian rugs are often filled with hollow ornaments, often in the form of spirals and intricate tendrils in a way called infinite repetition .

Design elements can also be set more thoroughly. One of the typical oriental carpet designs uses medallion , a symmetrical pattern that occupies the center of the field. The part of the medal, or similar, of the corresponding design, is repeated on the four angle fields. The general Persian "Lechek Tor? Nj" (medaillon and angle) design was developed in Persia for book covers and the illumination of fifteenth-century ornamental books. In the sixteenth century, it was integrated into carpet design. More than one medal can be used, and these can be arranged at intervals over the field in different sizes and shapes. The carpet fields can also be broken into different rectangular, square, diamond or candy compartments, which can in turn be arranged in rows, or diagonally.

Unlike the Anatolian rugs, the carpet of Peren medaillon symbolizes the main pattern, and the infinite repetition on the field appears lower, creating the impression of a "floating" medaillon in the field.

In most Persian rugs, rugs are surrounded by lines, or borders. This can amount from one to more than ten, but there is usually a larger main border surrounded by a minor, or protective border . The main frontier is often filled with intricate or complicated rectangular or curved designs. Small border lines show simpler designs like vines. Traditional Persian border settings are strongly conserved over time, but can also be modified to the effect that the terrain violates the main boundary. This feature is often seen on the Kerman rugs of the late nineteenth century, and possibly taken over from French Aubusson or Savonnerie weaving designs.

Articulation of angles is a very challenging part of the carpet design. Ornaments must be woven in a way that the pattern continues uninterrupted around the corner between the horizontal and vertical borders. This requires initial planning either by a skilled weaver who is able to plan the design from scratch, or by a designer who crafts the cartoons before the weaving begins. If the ornaments articulate correctly in the corners, the corners are called "solved", or "reconciled". In village or nomadic rugs, which are usually woven without a detailed initial plan, the border corners are often unresolved. The weavers then stop the pattern at some stage, for example, when the lower horizontal boundary is complete, and start the new one with the vertical border. Analysis of angular resolution helps to distinguish rural, or nomadic, villages from workshop carpets.

Smaller and composite design elements

The fields, or parts thereof, can also be covered with smaller design elements. The overall impression may be homogeneous, although the design of the element itself can be very complicated. Among the recurring numbers, boteh is used throughout the "carpet belt". Boteh can be described in a curved or straight-line style. The most intricate boteh is found on carpets woven around Kerman. Carpets of Seraband, Hamadan, and Fars sometimes show boteh in a thorough pattern. Other design elements include ancient motifs such as the Tree of life, or floral and geometric elements such as, for example, stars or palettes.

Single design elements can also be arranged in groups, forming more complicated patterns:

• The Herati pattern consists of a candy with a flower figure in corners surrounded by a lancet-shaped leaf that is sometimes called "fish". The Herati pattern is used throughout the "carpet belt"; usually, they are found in the field of Bidjar rugs.
• The Mina Khani pattern consists of flowers arranged in rows, spliced ​​with diamonds (often curved) or circular lines. often across the field. Mina Khani's designs are often seen in Varamin carpets.
• Design Shah Abbasi consists of a group of palmettes. Shah Abbasi's motives are often seen on Kashan, Isfahan, Mashhad, and Nain rugs.
• The Bid Majn? n , or Weeping Willow design is actually a combination of willow, cypress, poplar and fruit trees in straight lines. Its origins are attributed to the Kurds, because the earliest known examples are from the Bidjar region.
• The Harshang or Crab design takes its name from its main motif, which is a large oval motif that shows crabs. This pattern is found throughout the carpet belt, but bears a resemblance to the palmettes of the Safavid period, and "claw" crabs can be conventionalized arabesque in a straight-line style.
• The Henai Gol a small repetitive pattern is named after the Henna plant, which is not much like it. This plant is more like a garden balm, and in Western literature is sometimes compared to the blossoming of Horse chestnut.

Motif umum di karpet Persia

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Klasifikasi

The best Persian rugs are classified according to the social context of their weavers. Carpets are produced simultaneously by nomadic tribes, in villages, towns and courts producing, for home use, local sales, or exports.

Carpet nomad/tribal

The nomadic carpets, or tribes are produced by different ethnic groups with different histories and traditions. Since nomadic tribes initially weave carpets primarily for their own use, their designs have retained many tribal traditions. However, during the twentieth century, the nomadic lifestyle changed into a more settled way either voluntarily, or by the forced settlement policy of the last Persian emperor of the Pahlavi dynasty. In 1970, it was observed that traditional weaving almost stopped among the main nomadic tribes, but in recent years, the tradition has been revived.

Technical characteristics of Persian nomad carpets

Kurdish

The Kurds are an ethnic group, predominantly inhabiting areas that include adjacent parts of the southeast (Turkey), west (Iran), northern (Iraq), and northern (Syria). The large population and extensive geographic distribution of the Kurds contributed to the varied production that included the specter of abrasive and nomadic naïf to the most ru-made urban rugs

Source of the article : Wikipedia