Cultural contexts of carpet weaving in Iran
The art of carpet weaving is one of the best and most beautiful arts of Iranians and has nurtured many artists in its field.
A) Cultural field of West and East Azerbaijan
During the Safavid period, the cultural sphere of Azerbaijan, influenced by Iran and the Ottoman government, produced carpets and rugs. Azerbaijani artists have even produced very exquisite carpets in the central cities of Iran and the Ottoman city of Istanbul, Diyarbakir, Izmir and Harakkeh with the characteristics of each region or in combination. Mianeh, Meshkinshahr, Harris, and Ahar have expanded and are still of economic and artistic importance today as major centers of carpet production and weaving. Mental-agonistic maps in Harris and Marand region with broken folds and twigs and engineering designs with vertical and horizontal lines and inclined colors of light, light garlic, Shah Abbasi, Afshan, Sheikh Safi, termeya, fish, peony and pottery flowers. The miniature, thematic and thematic maps with fictional and epic themes are the features of the productions of the cultural sphere of Azerbaijan.
B) Isfahan Cultural Center
It is one of the most important areas of Iranian culture because it was Isfahan that invited carpet weavers from villages and all over the country due to its cultural location and attractions, and it can be said that the first centralized carpet weaving workshop was built by order of Shah Abbas Kabir in Isfahan. Later, since Shah Tahmasb was very interested in the carpet industry, he turned it into a center for the production of a valuable art and ordered that special carpets be woven for the Suleimaniyah Mosque in Istanbul, and he gave them as gifts. Their plan has been prepared. In Siri’s book on Iranian art, Pope refers to the artists’ association with carpet designers and mentions the letters of three painters, including Behzad, Sultan Mohammad, and Seyyed Ali. At the beginning, Isfahan Cultural Center became famous for its artistic and valuable products with Kashan inscriptions, and for its use of plant designs and adaptation of mosque altars, it reached its peak of fame and in terms of softness and use of cream colors and very small miniature motifs. It is the taste and patience of the people on the edge of the desert. Nain has been able to maintain the reputation of Isfahan’s carpet industry to this day.
C) Fars Cultural Center
Fars is famous for its production of carpets, the share of tribes and nomads, and the carpets of this region are known as Iliati. The Qashqai, Khamseh tribes are part of the most important tribes in this cultural field, and almost all of their active population is engaged in the production of handicrafts and handicrafts. The carpets and rugs of Fars tribes and nomads have become famous even abroad, and they have gained a place for themselves with their beautiful, symbolic, stylized and stylized weaving patterns, and abstractions that are transparent in terms of color. The type of maps has different names among the tribes and they have a special name for each type of role. Among the most important of these names are the role of the moderator, the tangled fish or the inflorescence, the idol of Ghobad Khani, the motifs with the central bergamot, the role of animals and birds in the form of engineering. It should be noted that the role of Nazem among the Qashqais has a very old design and role, which in the Safavid era was known as the potted role, and the Kashkuli clan are engaged in weaving this role. This role in Tehran market is known as Haj Khanami’s role and because this carpet has almost an altar design and sometimes it is also called a sofa and it is famous for its carpet rugs and sometimes a large fabric is produced and woven with this role and it is more of a curtain. .
In general, the Qashqai tribes exceed two hundred tribes, and the products of the tribes that have settled together have the quality of color, design, and the role of texture quality. Carpet study participants classified maps of the original Qashqai and Illyrian maps into six groups, including the moderator, the role of the taboos, the role of the tangled fish, the role of the idol, the role of the plant, and the role of the sprinkler.
D) Kurdistan cultural area
In the cultural field of Kurdistan, there are several carpet weaving areas, each of which has a relative reputation, such as Saneh, which is the old name of the city of Sanandaj, and today its native inhabitants know the city by the same name. The beautiful carpets that are woven in and around Sanandaj are original in terms of elegance and color, and famous designs such as cauliflower, flowers and nightingale, Mohammadi flower, Mirza Ali flower, Herati design are some of the beautiful examples of this region. Herati and enamel designs are mostly used in Bijar textile carpets, and the colors blue, red, lacquer, and brown give it a special beauty.
E) Khorasan Cultural Center
The Khorasan region has a considerable extent, and since it is one-fifth of Iran’s territory and on the other hand, the art of Greater Khorasan (North Khorasan) and part of the eastern neighbors of India and Pakistan are somehow seen in the products of the people of this land, diversity in texture and There is a role and center of carpet and rug weaving. Famous cities of Khorasan carpet weaving such as: Neishabour, Kashmar, Gonabad, Ghainat (Birjand), Sabzevar, Bojnourd can be mentioned. The maps that have been reflected in the field of carpets and rugs in Khorasan include: Lanchak Toranj, Afshan, Geometric, Fish, Shrubs, Roses and Muharrams, among which the maps of fish and idols have still retained their fame. Kashmar carpet with a special lacquer color and Birjand fashion carpet with gold color and fish pattern is known to experts. In the early twentieth century, Uncle Aghli’s famous workshop in the city of Mashhad produced large-scale carpets that adorned part of the palaces.
In the cultural sphere of Khorasan, the Turkmen produce carpets of “very mental and aesthetic beauty”, the motifs of which are mainly broken and detached geometric motifs and flowers that are repeated by different tribes. The relationship between the role and its preservation and originality has always been of interest to weavers, and in the beginning this art was for women, but now it is considered as a lucrative business by creating a public workshop. Attractive drawings, including sari flowers, carousels, flower mirrors, and flower fragments, are more popular. The proliferation of Turkmens in Khorasan, Mazandaran, and large parts of Turkmenistan and the former Soviet Union has taken the texture and variety of roles and colors of this cultural sphere beyond the Caucasus.
F) Kerman Cultural Center
After the Safavid period, the fame of Kerman carpet became global earlier than other cultural areas. Kerman attracted the world market by promoting Shah Abbasi, Afshan, Toranji, Farang Barghi tree, tree, idol, hunting ground, Quranic frame, celebrities and face weaving maps, and this city gathered many artists in it. Valuable carpet weavers were trained to the point where foreign investment was made in the city, and foreign companies set up carpet weaving workshops. It was during this period that, according to the tastes of the Persians and their order, carpets were also produced. The original carpet of Kerman is the whole background of its role and its tree role has a special kind of tenderness and naturalism. At first, Kerman carpets had asymmetrical texture or Persian knot weaving, and gradually symmetrical or Turkish weaving knots became common in Kerman region.