Among the carpet-producing regions of the Middle East none is as varied and extensive in its output, or perhaps as ancient, as Iran. It is possible that fragments of ninth century pile carpets discovered at Fostat near Cairo were imported from Iran. In any case, large-scale carpet weaving is attested in Iran by the Mongol or Ilkhanid period c. 1300, as well as for the subsequent Timurid period up through the late fifteenth century.

But the great era of Persian carpet weaving really begins after 1500 with the foundation of the Safavid dynasty by Shah Ismail. In the course of the sixteenth and seventeenth centuries Iran produced many of the great masterpieces of Oriental carpet weaving that are still extant today. Major enters of production seem to have been Tabriz, Kerman, and Isfahan, although there is no firm historical documentation for attributing carpets to the last site.

During this period Persian carpets were exported all over the world, from Japan to Western Europe. It is perhaps significant that the lavish carpets captured as booty from the Ottoman Turks after the Battle of Vienna in 1683 consisted primarily of Persian pieces, even though the Turks were themselves major producers of pile carpets. Persian carpets reached their maximum production in the later nineteenth century by which time they had become virtually synonymous with the concept of the Oriental rug.

During this time a great revival, Iranian weavers recaptured much of the range and quality of the classical Persian predecessors, both at old centers like Tabriz and Kerman, as well as in many new areas of Production like Sultanabad or Kashan. Since that time Persian carpets have been made in an almost dizzying array of styles from the finest urban productions to the boldest village and nomadic pieces.

Beginning with the Safavid conquest of Persia in 1499 and lasting 175 years these royal rulers established several factories to manufacture carpets in the major cities of Kashan and Kerman. To the untrained eye many of these rugs from these regions are difficult to distinguish from one another. The towns of Kirman and Kashan in Central Persia are geographical neighbors and the designs of these rugs are closely related but upon further inspection there are subtle differences between them.

After the break up of the empire Kerman like Kashan experienced a revival of weaving in the early part of the 19th century. Kerman had been one of the leading producers of shawls decorated with boteh’s or paisley designs. It is not surprising that many Kerman carpets in the early days were woven by former shawl makers and employed similar designs. Tree carpets, hunting and garden carpets were based upon the Safavid period. Kerman was also well known for its silk carpets and produced a series of portrait rugs, numbered and inscribed representing famous historical personalities from Moses to Napoleon. Typically, Kerman rugs are more elaborate in design compared to Kashan’s and are densely woven. They reflect a slightly French or European style of representing flowers. Patterns are rich with roses, daisies, peonies and carnations. In general when compared to Kashan’s they use similar colors though Kerman’s have more uniformity and the dyes vary, especially the reds. Kerman reds are more cranberry compared to the Kashan’s madder reds. The finest examples of Kerman’s are called Lavar Kerman, made in the town of Ravar. Know for their fineness of weave, elegant designs of classical derivation and all over or central medallion designs.

The revival of carpet weaving in Kashan in the 19th century was in large part to the merchant Hajji Mollah Hassan whose wife was also a weaver. He imported merino wool and because of that Kashan carpets differed from the weaves of the rest of Persia. Some historical reference suggests that Hajji’s wife might have been the creative force behind this movement. But given the politics of the times she never received the accolades she deserved. The favored designs are complicated floral or floral medallion escutcheons arranged in arabesques over the field. The design of the Kashan is not as busy as the Kerman design. The flowers are bigger, with flowering vines, scrolls and blossoming branches used more frequently. Kashan also produced crude pictorial rugs many illustrating Sufi religious subjects. Kashans typically employ more colors and patterns compared to Kermans.

The finest and very best Kashan carpets dating from the end of the 19th century or the beginning of the 20th century are called Mohtashem Kashan. The weaver’s spared no expense and used quality Manchester or cork wool with lots of luster, the knot count was high, blue weft was common and the weave was finely woven. When signed and dated these extremely rare rugs are some of the most valuable in existence.

Antique Bidjar rugs from Persia are distinct among Persian rugs for their extremely tight weave. Known in the trade as “Third Generation Rugs” or “Iron Rugs,” Bidjars were made to last. Combined with a rich color scheme and unlikely motifs for a Persian rug — such as the gulfarang — Bidjars seamlessly harmonize masculine structure and color with softer feminine designs to create a unity of function and design. Read more about Bidjar rugs here.

Check out Nazmiyal’s new article on Tabriz rugs!

Carpets from Tabriz are considered to be among the most lovely and desirable of all Persian carpets. The city of Tabriz has been a known carpet production center since the Safavid period (1501 to 1722 A.D.), and historical accounts indicate carpets were produced there as early as the Sassanid era (224 to 651 A.D.). Tabriz carpets embody the graceful rendering of motif and precise weaving typical of Safavid works. Carpets from the Safavid period are felt to represent the pinnacle of woven art in Iran; Tabriz carpets continue this tradition. [read more]

Bidjar Rug

This wonderfully unique Persian Bidjar features a pattern of regal lions woven in ivory and orange on an abrashed navy blue ground. Behind the lions winds an open yet ornate crimson trellis and accompanying green flora that add layers to the rug and elicit perspective within the design. A classic herati motif runs through the border and frames this piece perfectly. It is a rug that can be used for both its decorative and refined features and is also very collectible for its unique design.

This antique Heriz-Serapi piece exhibits an extraoridinary medallion design with a unique style and bold color schema. The medallion itself draws immediate attention to the center of the rug, which then propagates through the deep blue field with its earthy extensions. The guards mimic the medallion in a dichotic color-reversal and complimentary design. The geometric tendencies of the medallion are also beautifully paired with the linear flora that flow through the border and are inscribed in the guards and inner medallion. The blue-tinged abrash that garnishes the piece provides a natural depth to the rug that is simply defined as brilliant.

This Kerman rug boasts an intricate floral pattern, symmetrical through the length of the piece, with swirling vines and budding flowers dominating the field and a similarly rich border. The cream and blue colors of this piece make it highly desirable in a modern market. The large-scale buds in the field also make this piece extraordinary, especially for a Kerman with such a fine weave. The immense size of this rug only helps to fortify its grandiose presence.

Gabbehs were not originally produced for the retail market. I was introduced to Gabbehs about twenty years ago, when Jason Nazmiyal exhibited his collection in Millburn, N.J. It was the first time that Gabbehs would be presented in the United States. George Bornet, leading expert on Gabbehs, introduced the collection. Because they became a favorite of mine, I have included them in my own personal collection.
Different from other antique rugs they were not influenced by commercial demand. These works of art were not created to order, but to fulfill the weaver’s own artistic endeavors, and for their own personal use.

by Joan Guryan