Khatai design in Iranian carpet
Thin and delicate line, diagram of a design of seedlings but with a gentle curvature in the form of a bow or semi-bow, which usually includes and joins the roles of flowers, buds, leaves and bands and creates harmony between them. : Sometimes alone and sometimes with Islamic lines.
In the Khatai plant, the stem, with its beautiful twists and turns, is a combination of arched lines and sometimes rarely right. Stem lines are sometimes spiral circles and sometimes broken or straight arches. From this point of view, in order to fill the map in the carpet, “tile” and “gilding” and to create a connection between the role of flowers, leaves and buds, the artist is forced to use Khatai painting and to achieve this harmony, Khatai painting like Islamic painting It adapts to the space and sometimes uses Islamic circulation. One of the features of Khatai’s painting is that it is designed in a fast and slow way, that is, the first part of the stem is “thicker” and “thicker” and the final part is thinner and thinner, and in this respect it is closer to nature than other paintings.
Another is that in each Khatai painting, there is a main flower that has colors and patterns, and the leaves that grow on the Khatai branches should be around the main flower, and in this sense, Khatai’s role is to make the main flower look better. Third, drawing the leaves, flowers, and buds used to fill the stalk should be in line with the original flower and match it. Various flowers and most of all Shah Abbasi’s flowers are used for Khatai’s arrangement. The use of these flowers became common in Khatai from the Safavid period onwards, and along with Khatai, Shah Abbasi’s flowers can be seen more and more often. The arrangement seems to have the flowers attached to it.
In addition to carpets, Khatai paintings are also used in tiles and gilding. In carpets, more ornate and with more colors and in simpler tiles and with fewer colors, it is said that Khatai means attributed to “Khata” and Khatai, a relic of the influence of Chinese art in Iran after the Mongol invasion, from the name of “Khata” tribe. “Qarakhta” is taken from the end of the third century AH. AH acquired lands in northern China, “East Turkestan”, “Multan” and “Manchuria”, which in Islamic sources are known as “Khata” (error). Some designers believe that Khatai is derived from “Khat” meaning “continuation of Khat” and write it as “error”.
