These rugs take their name from the nomadic tribes who camp in the south and west of Isfahan, in reality these carpets usually produced in the region village of Chahar-MAJHAL mingling of Persian people, Torques and Armenian. Trades usually horizontal type, are installed in the houses of weavers. The decor is typical and allows easy identification. There, indeed, two separate reasons: -a field divided into small frames forming checkerboards or diamonds polychromatic compartment. They contain stylized plant motifs and repetitive: cypress, willow, flowering bushes and branches, sometimes also animals and birds. The frames can take the form of small medallions. This carpet Bakhtiar called his "patterned garden"or "four seasons ". -The ground-Herati is often used for the border. -Technical specifications: -Warp: Cotton natural white or brown wool for older models -Filling: Cotton natural or blue, sometimes wool or goat hair -Pile: Wool, average height -Knot: symmetrical or asymmetrical -Formats: Sedjadé, Keley, Khali
Products in the town of the same name in Kurdistan in the north west Persia. Bidjar describes those Persian carpets which are immediately distinguishable from others by the thickness of their pile. They have long been manufactured in the city of Bidjar and its environs. The patten of the Bidjar carpets is hardly ever geometrical, but marked by great diversity, ranging from the smallest Herati pattern to very large palmettes, like those in the “vase carpets”. The background may be uniform or covered with a design of corners and medallions or without medallions. Bidjar, a large city to the north west of Hadamdan has long been important as a carpert making center. The characteristic of the Bidjar carpet is a comparatively long pile on a twofold warp. The lengths of yarn so protrude from the foundation that a Bidjar carpet can scarcely be folded in the usual manner, with the back outside. To do so might easily break the warp and weft threads. Bidjar carpets should therefore be folded face outwards.
The Ghashghais, one of the largest Persian tribes, partly nomadic and partly sedentary inhabit the region north-west of Shiraz extending to the border of the Mahallat province. Ghashgai carpets consist entirely of wool, which is of the highest quality, very springy and with a silky lustre. Vegetable dyes are used exclusively, and even among the most recent productions it is rare to find one in which artificial dyes have been used. In many the ground is dark blue, probably so that the dark wool of the sheep can be used in their manufacture; a reddish brown is also used. As to the pattern, a somewhat compressed form of the Farahan design is often seen, while floral ornaments and representation of plans or scrubs are frequent. In former times, the ornaments often included the Indian leaf, and small stylized domestic animals, apparently dogs, sheep, fowls etc. Some decades ago a design not infrequently used was the so called Ashkali pattern. While the basis of the main Ashkali design consists largely of geometric rosettes, the border often has a pattern of rosettes; the border often has a pattern of rosettes separated one from another by a sloping line. Between each pair or rosettes lie two comb-like formations in a slanting position.
Ghom, A holy city south of Tehran, it produces very high quality carpets, finely knotted. They closely resemble Isfahan and Naeens and it often takes an expert to tell them apart. Striking blue, green and red shades are used on an ivory background with various designs, sometimes copying Ardebil, Herati, and Djosheghan patterns, while others use vase, flowers and the tree of life. One type also features animals. Rather, the technical work which is the factor identification Ghom: it is high quality, regular tie, which gives a very compact and durable fabric. These carpets are mostly executed in silk. All colors are vegetable. All tones are used, including red, light green, blue, orange, yellow, brown and black.
A Persian city, lying at an altitude of 6,500 feet (1981,2 m), and an important center of the carpet industry. Since carpets are woven in the whole of the surrounding region, it is out surprising that in the city itself a great number of accessory industries are established. The wool is often spun in the city, and is then sent into the country, where weaving is carried on as in Hamadan itself. Hamadan is also a center for the dyeing of yarn. Though carpets have been produced there for centuries, not all those described as Hamadans come from the city itself, but from the surrounding districts. The older Hamadan carpets were coloured exclusively with vegetable dyes, but in the city itself, since the 1880s the industry has gradually adopted the use of anilne colours. It is principally the red which is an aniline colour, vegetable dyes being employed for the other colours. Formerly madder was used for all tones of red and also a dye which is very seldom met with elsewhere in Persia (its use is known only in certain of the older Shiraz carpets, or saddle-bags) namely Laqi or Shellac, which comes from India. The stuff is produced by an insect that lives under the bark of the banyan tree. The insect makes the tree exude a gum-shellac. This is used in the manufacture of varnishes and lacquers. The residue yields a dyestuff from which a red like cochineal can be obtained. In India it is often used for the finest carpets. The Indians call the colour “laq” or “Persians laqi”.
Formely Keleïs were produced in and around Heris, the capital of the Bakshaish territory. The most usual size was about 6 feet 6 inches by 13 feet. Even then the Keleïs produced in the city itself were of better quality and more exact design, the reason being that in the city it was easier to obtain the better wood for the looms than in the country and that the weavers had greater technical facilities at their disposal. The older Heris and Bakshaish carpets can be distinguished from the Keleïs of other parts of Persia by their remarkably soft coloring, due probably to the local water. Elsewhere we find this peculiar softness only in the Caucasus, in the so called Chilas, produced in East Caucasus; and there the phenomenon is attributed to the water.
Ispahan/Isfahan, under Shah abbas the Great, was the Persian capital and possessed a famous royal carpets factory. The favorite designs, apart from familiar animal patterns and hunting scenes, were the richly decorative ones of the safavid period. Thus the well-known Austrian Emperor’s carpet may have been made in Ispahan. During the reign of Shah Abbas, Ispahan was, of course, in close touch with Heart; undoubtedly, Chinese artists also influenced the designs of the royal factory, although it is conceivable that the Chinese emblems which appeared on the carpets of the sixteenth and the early seventeenth centuries-such as banks of clouds, Chintamani, bats, etc- were borrowed by Persian designer from Chinese porcelain. Heart’s influence at Ispahan seems apparent in the motif of the Herati Design and the Herati border which occasionally are traceable in late Ispahan carpets. In addition to this kind of pattern is found a preference for the traditional palmettes, whose origin can be traced to the late classical period. The arabesque, also, which had appeared in the East in the middle ages, was revived in Ispahan, and with it, of course, its components, the forked tendril and the everted calyx. It is uncertain when the court factory ceased production, but it was certainly before the beginning of the eighteenth century.
Although the city of Kashan lies to the north of Isfahan, to the north-east of Djoshegan and to the north west of Yazd and therefore in the centre of a great carpet producing region – it cannot be proved with any certainty that carpets were produced in Kashan in the sixteenth or seventeenth centuries. While no carpets of the classic period are known to have been produced in Kashan, we have carpets of the first half of the nineteenth century which were certainly made there. These are noted for their exceptionally fine knotting. Until quite recently, the Kashan carpet makers remained faithful to their tradition of very close knotting but the very short which it was thus possible to obtain was partly abandoned in favour of the demand for a longer pile, in order that the carpets might stand up to chemical washing. The design of Kashan carpets is the medallion, very definitely arabesque in form, with appropriate corners, but we find also a repeating pattern with large rosettes and palmettes and other floral designs.
A great city of southern Persia and the source of attractive and finely woven carpets. The colour of combinations of Kermans, together with those of Tabriz is perhaps the lightest of any in Persia. It seals that the carpet weavers of Kerman were subject to English influence from a very early period; and their products are therefore suited to English taste. The colours of these early carpets were already very light. Even the purple which is supposed to have been obtained partly by the use of cochineal is never found in a 100% intensity, but generally in light or at all events medium tints. Only the blue, as a contrasting colour, has all the depth of the so called Surmey, and is exclusively the natural indigo.
The capital of Khorassan is an important center of carpet weaving industry. Almost all the carpets produced in the province are marketed there, with those, of course, which are made in the city itself and those made by the beloutchis who are nomadic in the easter part of this region, whose products are known by a name which misleads one into assuming some connection with the country of Beloutchistan. The Mashad carpets are made of the wool peculiar to the whole province of Khorassan: very soft and very lustrous, though perhaps rather less hard wearing that other Persian wools. Formerly the palm leaf pattern in various sizes was much used, as it was for other kinds of Khorassan carpets: the Herati design was used too which made its way into Herat. Khorassan at a comparatively early period owing to the proximity of Herat. Today, besides these patterns which are being used less frequently, a well drawn design of artfully entwine arabesque medallions with corner pieces is particularly noteworthy. Carpets with a plain ground of dark red or more rarely, of dark blue are also produced, the natural dye, one rarely meets artificial colours.
This carpet is knotted in workshops in the city of Nain in central Persia, near Isfahan. The carpet is generally very light with a cream-coloured or deep-blue bottom colour and a large medallion in the center. High knot density and high-class material gives carpets of high quality. They are manufactured in most sizes and the carpet is among the most beautiful in the world and very popular among collectors.
This carpet is handknotted by villagers, who were former nomads in the south of Persia. The carpet often has a geometrical pattern with red and blue colours. The Afshar carpet is thought to be the best examples of nomadic art among carpets, with their primitive and majestic beauty.
A large village in the neigbourhood of Sultanabad where Sedjadés are made and little else. They are close cut and finely drawn. All the floor carpets referred to in the trade as Saruks are not produced in this village, but in Sultanabad. It is possible that these carpets were originally described as Saruks, instead of Sultanabad, in order to conceal the precise place of their origin from competitors.
These carpets are knotted in workshops in the city of Tabriz in northwestern Persia. They are sturdy durable carpets with a short rough pile. The patterns can consist of a centrally placed medallion surrounded by arabesques, weeping willows and cypresses. Another popular motif is the four seasons, describing the Persian farmers life during spring, summer, autumn and winter.
Very beautiful rugs and carpets come from the town of Varamin, a little to the south-east of Teheran and a short distance from the caravan route to Mashad. They are mostly large rugs, Kenarés, about 3 feet 4 inches wide and 10 feet to 11 feet long. They are made of very lustrous wool and the pile is of medium depth. In colour, they are sometimes so dark that they often remind one of the Savodjbulaghs Small flowers and leaves form the patterns. These carpets should properly have a splendid and often a purplish red (madder from ripened root) also for their deepest tone Surmey, and their lightest a parchment white.
Ghom rug 100% SILK 114 x 75 cm signature mohammadi Ghom rug 100% SILK 114 x 75 cm signature mohammadi
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Bijar/Persian carpet, 100% Wool 110 x 75 cm Bijar/Persian carpet, 100% Wool 110 x 75 cm
302 X 102 cm Iran,Shahr Bafte Hamedan 100% Wool 302 X 102 cm Iran,Shahr Bafte Hamedan 100% Wool
320 x 112 cm, 100% Wool, 320 x 112 cm, 100% Wool,
150 x 100 cm Contemporary rug 100% Wool 150 x 100 cm Contemporary rug 100% Wool
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190 x 120 cm, Iran,Sarough Wool 190 x 120 cm, Iran,Sarough Wool
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192 x 115 cm, Iran, Naeen Wool and silk 192 x 115 cm, Iran, Naeen Wool and silk
89 x 51 cm, Wool 89 x 51 cm, Wool
150 x 103 cm, Iran,Veramine,design zelosoltan Wool 150 x 103 cm, Iran,Veramine,design zelosoltan Wool
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181 x 132 cm, Wool 181 x 132 cm, Wool
Ghom carpet 100% silk, 120 x 75 cm Ghom carpet 100% silk, 120 x 75 cm
440 x 95 cm, Iran,Hérez,Geometric 100% Wool 440 x 95 cm, Iran,Hérez,Geometric 100% Wool
Order No.: Sn-1042Colors: Red,Production: HandmadeSize: 149 x 96 cmDesign: modern, azarbayejanAge: 0-20 yearsOrigin: carpet Gabbeh contemporary Velvet: wool Warp and weft: CottonKnotting density: 600 000 knots/m² Order No.: Sn-1042Colors: Red,Production: HandmadeSize: 149 x 96...
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213 x 140 cm, Iran,Sarouk Wool, Design floral 213 x 140 cm, Iran,Sarouk Wool, Design floral
235 x 147 cm, Iran,Bakhtiar Wool 235 x 147 cm, Iran,Bakhtiar Wool
210 x 120 cm, Iran, Naeen Wool and Silk 210 x 120 cm, Iran, Naeen Wool and Silk
207 x 151 cm, Iran, Tabriz, Benam design, medallions,Vase,Eslimi Wool and silk 207 x 151 cm, Iran, Tabriz, Benam design, medallions,Vase,Eslimi...
240 x 158 cm, Iran,Sannandaj Wool 240 x 158 cm, Iran,Sannandaj Wool
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160 x 152 cm, 100% Wool 160 x 152 cm, 100% Wool
395 x 295 cm, Iran, Kerman Wool 395 x 295 cm, Iran, Kerman Wool
210 x 115 cm, Iran, Varamin, Design Minakhani Wool 210 x 115 cm, Iran, Varamin, Design Minakhani Wool
Article REF.: Si-053 Colors: beige, salmon, blueManufacture: Hand made dimension: 255 cm x 180 cmDrawing: geometric Age: nine Origin: Ardebil province Azarbayejan of Iran PersianVelvet: wool Warp and weft: cotton Knotting density: 700 000 knots/m² Article REF.: Si-053 Colors: beige, salmon, blueManufacture: Hand...
400 x 322 cm, Dorokhsh/Iran Mashad Dorokhsh 400 x 322 cm, Dorokhsh/Iran Mashad Dorokhsh
160 x 110 cm, Design Dabir, Wool 160 x 110 cm, Design Dabir, Wool