Carpet weaving in Isfahan Qajar era

Carpet weaving in Isfahan Qajar era , Carpet weaving in Isfahan, Iranian handmade carpets of Qajar era, handmade carpets, Iranian carpet weaving art, carpet, Koolleh magazine

The presence of pre-Safavid carpets in villages such as Joshqan shows the long history of this art in Isfahan, Iran. During this period, although Isfahan’s carpet weaving, like the Safavid era, was not at its peak, But due to foreign demand, the production cycle of this native art and industry began to circulate again. Because after the invasion of Afghans and during the Afshar government And Zand, the country’s political center, was shaken, and art and crafts were in a state of semi-recession.

As mentioned earlier, although Iran’s entry into the international arena was associated with dire political and economic consequences, But in the carpet industry, the expansion of foreign relations, especially with European countries, created a thriving market for handwoven carpets by Iranian weavers, especially Isfahani, Kashani and Joshaghani. In the Qajar period, although carpet weaving did not flourish in Joshqan, But its popularity remained. The reason for this is the orders of the rulers and elders of this period Which was produced in Joshqan workshops. For example, Hajib al-Dawlah in 1268 AH, a carpet with unusual dimensions (763/739 cm) And he ordered in the shape of a square, which was woven in Joshqan and is now in the Golestan Palace Museum.

The importance and position of Joshqan carpet weaving in the Qajar period was such Based on a document related to 1316 AH, Muzaffar al-Din Shah issued a decree to hand over three chapters of the carpet weaving room to Professor Ibrahim Qalibaf, who had returned to his homeland after many years. He also warned taxpayers not to harass them He even ordered that his condition be improved so that the welding industry could flourish again.

In the First World War, the Americans prospered the industry by buying carpets from Kashan centers and villages such as Joshqan And on the other hand, the imported Alzirin colors affected the quality of this art.
But with the interest of villagers and government officials in the old carpets and the establishment of Iran Carpet Joint Stock Company The original carpet weaving became popular again, and the living conditions of the carpet weavers improved despite the outbreak of World War II. During the reign of Nasser al-Din Shah Qajar, there was almost no carpet weaving workshop in Isfahan.

Until Zol-e-Sultan, the son of Nasser al-Din Shah and the ruler of Isfahan, brought a carpet weaving machine to Isfahan by marrying a woman from Kurdistan. The reason for this was the prince’s wife’s interest in this art. Professor Abdul Rahim is an individual Who managed the little prince’s workshop.

He continued to work in a private place after Zol-e-Sultan’s opposition to the carpet weaving work continued. At the end of the work, the prince visited the workshop and ordered At the top of each rug is the phrase “Zol-e-Sultan factory”.
The professor was sent to Russia for a while to hold an exhibition Which attracted the attention of the Russians to buy Iranian carpets. At this time, Mirza Abolghasem Naghash and his son Mirza Ali Naghash also provided services in the field of carpet weaving art and industry.

The existence of the name of the factory on the top of the carpet and its suggestion by Zol-e-Sultan indicates the industrial approach of carpet weaving at this time. That is to say, the aesthetic aspect alone did not dominate the carpet, and income generation was one of its main goals.