Persian carpet

The Persan Tapis is an essential component of art and culture Persian, his weaving became a Art. The Tissage of the carpet is undoubtedly one of the demonstrations most distinguished from the Culture and of the Iranian art, one makes it go back to the Bronze Age.

The Luxe with which the Persian carpet is associated provides a contrast seizing with its modest beginnings among the wandering tribes of Persia. The carpet was then the article necessary against the hard winters. Since, it became an artistic mode of expression by the freedom which in particular the choice of the bright colors and the reasons employed authorizes. The trade secrets passed from Génération in generation. The Artisan S used the Insecte S, the Plante S, the root S, the bark S and other matters like source of inspiration.

As from the 16th century, the manufacture of the carpets developed until becoming an art with whole share.

History

First carpets

With time, materials used in the carpets, whose Wool, Silk and Cotton, are degraded. This is why the archeologists could not make interesting discoveries on the oldest traces.

In only one excavation however, carried out in 1949, exceptional a Tapis Pazyryk was discovered in the middle of the ices of the valley Pazyryk, in the Monts Altaï in Siberia. It was in the tomb of a prince Scythe updated by a Russian group of archeologists S under the supervision of Sergei Ivanovich Rudenko. The tests with the Carbon-14 showed that the Pazyryk carpet had been woven with the O C This carpet measures 1,83 meter broad on 2 meters of length and account 3 600 symmetrical nodes per square decimetre. The advanced technique of weaving used on this carpet indicates an unquestionable experiment in the control of this Article the majority of the experts think that the Pazyryk carpet is the result of long developments in the technology of manufacture of the carpet of at least a millenium. According to this theory, the appearance of the technique of the weaving of carpet would thus date at least 3 500 years.

But all that it remains like traces of the weaving of carpet at old times limits to some parts of carpet badly preserved. These fragments do not help to recognize the characteristics of the techniques of weaving of carpet of the period pre Seldjoukide (11th-12th century) in Perse. There exist however written mentions of the existence of the carpet in Occidental Asia during the preislamic time, but it is impossible to know if they were tied or woven. Some fragments of carpet reached us from the time Sassanide, discovered with Shahr-e Qumis.

The oldest parts discovered are those found in the East of the Turkestan, dating from 3rd at the 5th century from the Christian era, as some weavings with the hand of the Seldjoukide S of minor Asia which are exposed in the mosque Ala' edin to Konya and in the Ashrafoghlu mosque to Beyshehir, in Turkey. These parts drew the attention of the researchers at the beginning of last century and are now preserved at the Museum of arts Turkish and Islamic to Istanbul and at the Molana museum with Konya.

Arrival in Europe

According to Kurt Erdmann, the oriental carpets were not imported in Europe before the 13th century. Indeed, of the supposed carpets of origin Persian appear on the tables of Giotto (1266 - 1337), which seems to be the first to represent them, then on works of Van Eyck (v. 1390 - 1441), Mantegna (1435 - 1506), Van Dyck (1599 - 1641) and Rubens (1577 - 1640). These carpets bought by Europeans were of too great value to be posed on the ground, such as wanted the practice in the East. The terms used in the Venetian inventories indicate that they were placed on tables ( tapedi da desco , tapedi da tavola ) and trunks being used as seats ( tapedi da broke ) (cf the Portrait of a senator of L. Bassano).

Birth of the industry of the carpet in Persia

Many carpets (between 1 500 and 2 000) were preserved since the period Safavide, but the dating and the establishment of the source of these carpets remain very difficult. There also remains about it of the era Qajar and Pahlavi of number even larger. The inscriptions (cf. below) is an invaluable indication to determine the craftsmen, the places of manufacture, the silent partners, etc Moreover, once a carpet was manufactured and remained in a precise place, it makes it possible to identify the other parts which are relative for him.

It is generally accepted among the specialists that in fact the Safavides made pass the carpet of an artisanal production ensured by wandering tribes the statute of “national industry” whose products were exported in India, in the Ottoman Empire and in Europe. The export of the carpet was flourishing at the period Safavide towards the Europe (sometimes via the Portuguese colony of Goa) and towards the empire Moghol, where the Persian carpets stimulated the local production. Some carpets Safavide S also were transported by the Dutch Compagnie of the Eastern Indies towards Batavia, Ceylon, the Malaysia, Cochin like worms the Holland even. European orders had placed in Perse for the weaving of special carpets: for example, the group of the “Polish carpets” was undoubtedly tied with Ispahan, but some carry the weapons of Poland.

On the basis of account of travellers and other textual sources, it appears that workshops of royal carpets existed with Ispahan, Kashan and Kerman. These workshops produced carpets for the palates and mosques of the Shah, but also to be offered to the close monarchs or to the foreign dignitaries, or to carry out parts on ordering of the nobility or other citizens. The silent partner paid capital in the form of raw materials then and paid wages with the craftsmen throughout tying.

The fast development of the industry of the carpet in Perse at the time Safavide seems to be due to the taste of the sovereigns for this craft industry. Ismaïl I {{er}} then Shah Tahmasp and Shah Abbas Large the is known to be personally interested by the production of the carpets. One even supposed that the last two quoted sovereigns personally invested themselves in the production of carpet, in particular by the drawing of the reasons. During their reign, the productions of Persian carpet were most important of all the time safavide.

Although the Safavide S transformed the manufacture of the carpet into national production, the wandering tribes and the small urban workshops continued to produce Persian carpets, and this same after the Afghan invasion of 1722, which put an end to the reign of the dynasty - thus to their patronage in favor of the production of carpet. It is however proven that Nâdir Châh and Karim Khân Zand made produce carpets in the south of Persia, thus joining again with the royal patronage. It is truly with the establishment of the dynasty Qajar E (1797) that the production of the carpet flowers again, encouraged especially by the local request. Export remained not very widespread until a conjunction of factors explodes exports. Indeed, at the beginning of second half of the 19th century, the Pébrine reaches Persia and strongly makes fall the production of silk, hitherto a major export of the country. In parallel, a European strong demand of oriental carpet following the exposure of Vienna in 1873, as well as the emergence of an important middle-class in Great Britain opens an important market with the Perse, which sought a substitute product to silk for export. Starting from the end of the year 1870, Persia starts to massively export in Great Britain (two companies English, Messrs. Ziegler & Co. and Hotz & Co. manufactures in Iran), France found (a purchaser of the Grands Stores of Louvre provides himself annually) and with the the United States.

Unfortunately, the end of the period Qajar is marked by a paradox. On a side, sumptuous silk carpets, equalizing those of the 17th century are produced. Other side, the general quality of the carpets worsens after the introduction of the dyes of synthesis in Perse, however prohibited by the government in 1877.

Contemporary production

Both world wars represent one period of decline for the Persian carpet. The production sets out again after 1948, and leads to sumptuous carpets thanks to the patronage of the Pahlavi. In 1949, the Iranian government has organized a conference with Teheran to cure the problems of reduction in quality of the carpets, noted for more than sixty years (use of Aniline and dyes to chromium, lowers quality of the drawings, use of the node jofti ). At the time of this conference, series of measure are taken by the government which ends to a revival of the Persian carpet.

The production of Persian carpet strongly decreases after the Islamic revolution because the new mode regards the carpets as a “national treasure” and refuses to export them in Occident. This policy is abandoned in the 1984 being given importance of the carpets like source of revenue. Exports make new great strides at the end of the years 1980 and Guerre Iran-Iraq. They make more than to triple in value (of 35 million US$ to 110 million US$) and to double in weight (of 1154 tons to 2845 tons) between March and August 1986 - what contributes has a world fall in the price of the carpets.

Today, the traditional techniques of weaving are always quite alive, even if the essence of the production of carpet became mechanized. These traditional carpets woven with the hand are bought in the whole world and are generally much more expensive than those achieved by means of a machine. One can admire many very fine parts of Persian carpets to the Musée of the carpet of Iran, with Teheran.

Manufacture

The trade and tools

There exist four kinds of trades: the horizontal trade, the fixed vertical trade, the vertical trade of type Tabriz and the vertical trade with rotary beams.

The horizontal trade is most primitive of the four. It is employed more today only by nomads. It consists simply of two wood bars between which are tended the wool wire in the direction length. During work, the wire of chain are maintained tended thanks to two piles related to the ends of each bar and planted in the ground. This trade is easily transportable when the tribe moves.

The vertical trade fixes , employed almost only in the production centres of less importance, is also a rustic model. It consists of a vertical framework whose amounts support ends of two the round and parallel bars called beams . Between these two beams the wire of chain are fixed. Weaving always starts with bottom. During work, the workman sat on a board which rests on the bars of two scales fixed at the vertical uprights of the trade. As tying progresses, the board being used as seat must rise at the same time as the carpet. This type of trade is used for carpets of which the length will not exceed that of the trade itself, i.e. three meters.

The trade known as of Tabriz represents an improvement of the vertical trade. He was invented by the craftsmen of this city. He is used a little everywhere in the great production centres in Iran. In this type of trade, the wire of chain are held beam higher than the lower reel, under which they pass before returning towards the higher beam. This system offers the advantage of being able to twice tie parts length equal to the height of the trade.

The last type of trade, with rotary beams , represents the most advanced version of the vertical trade. All the warp thread necessary to the tying of the carpet is rolled up on the higher beam, while on the lower reel the carpet progressively work is rolled up. This trade thus makes it possible to make parts any length.

The tools used in the work of the carpet are very few and very simple. The Couteau is used to cut the bits of the node; entirely out of metal, it is sometimes equipped with a hook which is used to tie (especially with Tabriz). The Peigne is made several sheet metal from which the points deviate to form the teeth. It is used to pack weft threads against the line of nodes. The Chisel broad X, dishes and, are used to shave the velvet of the carpet.

Raw materials

The materials necessary to the manufacture of a Persian carpet are the wool, silk and cotton. The wool and silk are especially used for the velvet of the carpet, more rarely for the chain and the screen which are generally out of cotton. The wool of sheep is used, more particularly that with long fiber (taken on the shoulders and the sides of the animal). The wool of lamb is also very required. One calls wool of good quality kurk and that poorest is named tabachi . The most famous wools come from the Khorasan or the Kurdish tribes At the time and .

Cotton is used exclusively for the chain and the screen. Certain types of carpet, like those of Qom or Na' in, one mixes with the wool velvet a silk wire. In the very invaluable carpets, velvet is of silk. For certain old carpets, silk or gold, money wire, surrounded by a noble metal wire were also employed. Currently, the chain and the screen are always out of cotton (except for certain wandering carpets entirely out of wool), because this one is more solid and resistant and it allows the best held of the carpet.

Dyes

The very varied pallet of the Persian carpets is mainly responsible for their reputation.

The wool to be dyed is initially deposited in a concentrated bath of Alun which acts as “corrosive”. Then it is put in dyeing in a coloring bath, and finally put to dry with the sun.

Before the appearance of the synthetic dyes (discovery of the Aniline in 1856 and Persian appearance of the dyes in at the end of the 19th century, the dyers used only natural dyes, coming from vegetable substances. Among the dyes employed:

the Red given by the root of garance, pushing in a wild state in most of the Iran.
the sheets of the Indigo gave Bleu, which could be very dark, almost black.
the sheets of Vigne gave the Jaune S, which were also obtained using the saffron (more delicate color), cultivated in the Khorasan.
the Vert is obtained by mixing blue and yellow with Copper sulfate.
the natural colors of wool provide the Gris and the maroon , that one can also obtain with husks of nut.
One employs natural wool of Mouton or the hair of black Chameau for the color Noir E, for which the iron oxide contained in the nut gall is also used.

Today, the majority of the dyers use synthetic dyes (except among the nomads, which still use the natural colors), a great number of them being dyes with the Chrome, which has advantages compared to aniline and made it possible to lower the costs.

On certain carpets, and at certain places or on the bottom, it is possible that the color changes. This modification of color is called abrash . It is the proof that the carpet was dyed with vegetable dyes.

The chain and the screen

The chain is the whole of vertical wire tended between the two ends of the trade. The fringes of the carpets are the ends of wire of chain.

The screen is made of one or more transverse wire (generally two, one releases and the other tended), laid out between two lines of nodes. The screen is used to tighten the nodes in parallel lines and ensures the solidity of the carpet. The screen is packed by means of a special comb (see photo higher).

Nodes

There exist two types of node: the ghiordes or turkbâf and the senneh, or farsbâf . The turkbâf is used primarily in Turkey and in the the Caucasus. The farsbâf (fars meaning “Persan)” is especially used in Perse.

In the turkbâf, the wool bit is rolled up around two wire of chain, in order to form a spiral whose ends arise between two wire (see drawing opposite).

In the farsbâf, the wool bit forms only one spiral around one of two wire of chain. Certain craftsmen, wanting to save time (but the quality of the carpet is some decreased) tie the wool bits on two wire of chain. The nodes are then called turkbâf jofti or farsbâf jofti .

The craftsman always starts by weaving an edge in bottom of the carpet. An edge is a made tight band several weft threads which will prevent the carpet from fraying or to see the nodes slackening itself. Borders finished, tying can start. Each wool bit is tied on two contiguous wire of chain. These are the wool bits which will form the “velvet” of the carpet. When a row is finished, the craftsman made pass a wire of screen, sometimes in front of, sometimes behind each warp thread. After each node, the craftsman cuts the wool bit has approximately seven centimetres of the node and it draws it downwards; it is what will determine the “direction” of the carpet. Indeed, one of the characteristics of the Persian carpet is that it appears completely different according to the visual angle and the incidence from the light. All the four or six lines, the craftsman carries out the first shaving of velvet. It is only at the end of the tying of the carpet that the velvet section is equalized. If the carpet is very fine, it will be equalized very close-cropped. On the contrary, it will be higher for a carpet whose quality of tying is lower.

It is the quality of the tying which makes the quality and the price of a Persian carpet. A carpet of average quality counts 2 500 nodes with the square decimetre, a basic carpet quality 500 nodes with the square decimetre only. A carpet of excellent quality can count until 10 000 nodes with the square decimetre.

Formats

Ghali (literally “carpet”): indicate the carpets of great dimension, more than 190x280 cm.
Dozar or Sedjadeh : employees indifferently. The name comes from C , “two” and zar , a Persian measurement corresponding to approximately 105 cm. These carpets roughly measure 130-140 centimetres of width for 200-210 centimetres length.
Ghalitcheh : Of the same carpet format than the precedents but of very fine quality.
Kelleghi or Kelley : carpet of lengthened format, measuring approximately 150-200x300-600 cm. This carpet is traditionally reserved for being had at the head ( kalleh means “head” in Persan) carpet ( ghali ).
Kenareh : format also lengthened but smaller; 80-120cmx250-600 cm. It is traditionally positioned on the sides ( kenār means “side” in Persan) of larger carpet.
Zaronim : correspondent with a zar and half. These carpets are thus approximately 150 cm long.

Difference between Anatolian carpet and Persian carpet

The difference between the Anatolian carpets (Turkish) and Persan is largely a question of manufacture and tradition in the use of the reasons.

Typically, a traditional Persian carpet is tied with an asymmetrical node (Persan node or senneh ), whereas the traditional Anatolian carpet is tied with a symmetrical double (Turkish node or ghiordes ). Finally, this process of “symmetrical node” used in the Anatolian/Turkish traditional carpet gives an impression which the image is built per blocks in comparison with the traditional Persian carpet with simple node whose drawing is much finer. Traditional style Anatolian tiny room also the number of nodes to the square meter. These factors contributed to create the old and international reputation of quality of the Persian carpets.

Today, it is common to see carpets woven at the same time in Turkey or Iran using one or the other of the styles. When carpets are compared, the only way of identifying the type of node used is to even fold the carpet against him and to look at the base of the node.

Structure of a carpet

Like a work of architecture, the carpet is produced according to a plan (called “paperboard”), which indicates the composition, the fitting of the decoration and the provision of the reasons. Paperboard is drawn by Master ( ostad in Persan), which is not inevitably tapestry maker, but can be a painter. The diagram of a carpet often shows that of a binding of manuscript, two arts being closely dependant because their originators are often the same painters.

Two types are distinguished: directed and not directed diagrams.

Parts of a carpet

The various parts of a carpet bear the following names:

secondary Edges: they can be interior or external (compared to the principal edge) and are more or less many, more or less narrow. the external edges are sometimes of plain color.
principal Edge: it supplements the ornamentation of the carpet and gives a balance to the unit.
Field: the field is consisted of the internal part of the carpet, delimited by the edges of framing.
Corner pieces: the corner pieces are formed by the angles of the field.
central Medallion: The medallions are various forms: circular, ogival, spangled or polygonal. They can be together with the pendentive ones.

Directed diagrams

They are drawn around a single axis of symmetry and impose a direction on the carpet, which can be looked at only one point of view. The figurative carpets are frequently designed in this way. It is also the case of the prayer mats, which have a field decorated with a niche called Mihrab .

Not directed diagrams

These carpets can be looked from any point of view because their drawings are not directed. Decoration is made either of continuous reasons, or of similar reasons all repeated until covering the totality of the field.

Diagram with centered reason

This type of carpet is also conceived to be looked from any point of view, but its composition has an central element dominating around which one finds reasons secondary.

Decoration

Carpet with geometrical decoration

They represent the particular taste of a craftsman or the traditions of a tribu.
These carpets are decorated with linear elements (milked vertical, horizontal and oblique). The drawing very simple and is often formed by the repetition of the same reason. The geometrical drawings are generally in the carpets of the nomads, the small villages of Anatolia and the the Caucasus. The geometrical reasons being transmitted from generation to generation, it is easy with the eye exerted to recognize the tribe from which they come.

Carpet with curvilinear or floral drawing

They are the result of an evolution which followed that of the Islamic art, to which they belong.

It is at the time of the Safavides and more particularly starting from Shah Tahmasp (1523 - 1576) that the first carpets with floral decorations are created, in order to satisfy the tastes of Safavides. The difference between the carpets of the nomads and the carpets floral is due to the role of the “Master” ( ostad ). It is him which draws the paperboard which will be reproduced by the noueurs. The drawings of the carpets of the nomads, them, are transmitted by the tradition.

Reasons

The reasons for field are a drawing repeated until invading all the surface of the field. Most known are the following:

the boteh : its drawing is in form of Amande or represents for some a Cyprès. It is most known of the reasons employed in Persia.
the gol : Persan word meaning “flower”. The reason is of octagonal form.
the reason hérati : reason made up of a central rosette locked up in a rhombus. The tops of the rhombus are overcome smaller rosettes.
the joshagan : it is made of a succession of rhombuses decorated with stylized flowers.
the Kharshiang : into Persan, “crab”. Reason invented under the reign of Shah Abbas.
the minah khani : reason which evokes a flowered field. It is composed of four flowers laid out in order to draw a rhombus and of a smaller flower in the center.
the zil-e sultan : it is made of two superimposed vases, decorated of pink and flowered branches. Sometimes, of the birds are posed on the vase. Its origin is relatively recent (19th century).
Shah Abbasi : under this name a whole series of drawings invented under the reign of Abbas Shah is gathered. They are decorations containing flowers, inspired of the flower of Lys.

The reasons for edge are those which decorate the edge lines of the carpet. Most known are the following:

the hérati of edge : they are different from the hérati of field. They are composed of an alternation of rosettes and flowers, and branches flowered.
the boteh of edge : similar to the boteh of field.
the borders coufic : it bears this name because of its resemblance to the style of writing of the same name. They are always in white.
the borders with notched sheets : it is made of a succession of notched sheets, laid out in skew.

The reasons for ornamentation are drawings intended to supplement the decoration of the field and edge. The following reasons there are found:

the star with eight branches
the Rosette
the Swatiska
the Greek cross , inter alia those with hooks.
the reason known as for the dog which runs .

The inscriptions and the dates appear on the edge of certain carpets and are various inscriptions: verses of the Coran, towards, dedications, date of manufacture, mention of the place of production.

Symbols and significance

The carpet always filled up in the East a double function, practice and symbolic system, whose direction is lost sometimes today. It constitutes a magic space where the edges represent the terrestrial elements set up as defenders of the field, inhabited by the sphere of the universe and the divine one

One of the most current decorations is the tree, Arbre of life representing the fertility, continuity and being used as bond between the basement, the ground and the divine one. This largely ante-Islamic reason is often represented in the Persan prayer mats.

The clouds, which in very stylized form can be transformed into clover, symbolize the communication with the divine one and divine protection.

The central medallion represents as for him the sun, the divine one, the supernatural one. In certain carpets, the corner pieces include the reasons for the central medallion; these four elements then have the significance of doors of approach and protection of the divine center.

The garden, which is associated with the paradise (the word indeed derives from the Old man-Persan pairideieza which means “garden”, “enclosed”, which gave pardis in Persan) gives place to a type of composition which appears as of the 17th century in Perse in order to imitate the gardens of the Shah, divided into rectangular or square pieces by alleys and canals irrigation ( chahar bagh ).

One can also find carpets with topic hunting: the Chasse is an appraisal activity of the Shah, applicant addresses, force and knowledge of nature. This topic is also related on the paradise and the spiritual activities, since hunting often proceeds in a nature which can point out the gardens of the paradise. The Tapis of Mantes, dated from second half of the 16th century and preserved at the Musée of Louvre is for this reason exemplary.

Center traditional of production of carpet in Iran (Persian)

The major traditional production centres in Persia with were located at Tabriz (1500-1550), Kashan (1525-1650), Herat (1525-1650), and Kerman (1600-1650).

The majority of the carpets originating in Tabriz have a central medallion and quarters of medallions in the corners recovering an interlaced, sometimes punctuated made ornamentation of a vineyard by hunters with horse, animals alone or scenes of combat of animals. Most known works of Tabriz are perhaps the twin carpets of Ardabil - preserved today in the collections of the Victoria and Albert Museum in London and of the Los Angeles County Museum.

Kashan is known for its carpets of Soie. The most famous works are the three silk carpets representing of the scenes of hunting with hunters with horse and their animal preys which are true chiefs of work, preserved in the collections of the Museum of applied arts of Vienna (or MAK), with the Musée of the Art schools of Boston, and with the Musée of Stockholm. The carpets of Kashan are among most required. In 1969, a carpet for example was sold in Germany for 20 000 US dollars.

Carpets of Herat, or those with the similar drawing created with Lahore and Agra in India, are most numerous in the Western collections. They are characterized by a red field of interlaced vines and blue palmettes green dark or edges.

The seven classes of carpet of Kerman were defined by May Beattie. It identified their single structure and called it “technique of the vase”. The types of carpet in this group include the carpets garden (decorated with formal gardens and running water channels) and the carpets with the lattice in oval. A very known and perfect example of this last type was bought by the Victoria and Albert Museum under the councils of William Morris. The influence of the Persian carpets is obvious in the drawings of its carpets.

Types of carpet

The salesmen of carpet developed a classification of the Persian carpets based on the drawing, the type of manufacture and the technique of weaving. The categories were named according to the cities and the areas associated with each type of reasons. The list which follows presents the principal types of Persian carpets.

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