dÌ¿z»ZÀ¼ÁdÌ¿¹Â¸ »Öf{Ä],§d§Z]ÁxËZe0 ½ZÌ¿YËYįdY¾ËYº¸»|« |ÁĬÀ»¹Y|¯Y§d§Z]į «YÁ{ |¿YÃ{¯Á/Y§d§Z]į|Àf/ÅÖ»Y«Y¾Ì·ÁYĸ¼mY YÌ]{ÁZf/{Ö§Z]§»Y{,Á»Y½ZÌ¿YËY{§Ä]vÀ»/v^e dYÄÀÌ»¾ËY{Ä]neÁÔeµZ www.Rug.VestaNar.com Nasir al-Mulk Nasir al-Mulk is a famous historic mosque in the center of Shiraz, located near the Shah Cheragh shrine. It was constructed in the Qajar Dynasty in 1876 by Lord Mirza Hasan Ali Nasir al Mulk. The mosque is known for its extensive use in colored glass in its façade. The construction of the mosque uses other traditional structural elements as well such as “panj kasehi” (five concaves). These days, the mosque is more of a tourist attraction than a place for prayer. Like all mosques in Iran, you must remove your shoes before entering and the floor is lined with Persian rugs from wall to wall. We found out that underneath the rugs is actually a beautiful marble floor as well. www.Rug.VestaNar.com ½YËY¥Z^f{§½Z³|ÀÀ¯{ZÁ½Z³|ÀÀ¯|Ì·ÂeÄË{ZveYÄ»Z¿¶§
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//§|¹Á{ÁdÌ]µZ|ÌËZa Journal of Irans Carpet Manufacturers and Exporters Association
Noandishan Media Vesta Institute (NMVI) Event & Conference Organizer Commercial Photography Noandishan Media Vesta Institute (NMVI) is active Expertize Clinic of Noandishan Vesta with the in the field of Event & Conference organizing in help of Commercial photographers take photos of National and International fairs and exhibitions. buildings, models, merchandise, artifacts and land- Noandishan Vesta has organized the conferences in scapes that are used for promotional purposes for field of Economic fair, Industrial fairs, Exchange of example in books, reports, advertisements, office elite opinions, Tourism fairs and several specialized papers, web pictures, brochure and catalogs. exhibitions and seminars. Handicrafts Expertized Clinic & Public Relation Persian Arts has global Identity and uniqueness, the In order to enhance the sales of the products and Persian Carpets are always attracted the attention service the public must gain the trust by experienc- of the tourists and gave the symbol to the visitors of ing the provided products and services. PR helps to Iran. Similarly Rug, Kilim and Gabbeh, Earthenware create the need in the society by formulating new and Jug, Tile, Jewelry, Plates and glasses represent- trends, and guiding the society towards modern ing the Persian culture and traditional items. lifestyle. Development of inner society within the organization and then connecting those inner sat- Address: isfaction to the public is Vesta’s major objective. Secretariat: Iran, Isfahan Branch1: Iran, Shiraz Web Designing Branch 2: Iran, Tabriz (Carpet Capital of the World) Website is the virtual identity to the entities and Headquarter: Iran, Tehran individuals who want to explore and reach out to the geographically dispersed people and audi- Tel/Fax: +98 21-88933007-9 ences. The profession of designing a Website is Mobil: +98 912-537 2998 very sensitive in today’s world, which gives the Website1: www.Rug.VestaNar.com persona and the virtual look to the targeted Website2: www.VestaNar.ir audiences. Noandishan Vesta is using the most E-mail: [email protected] modern tools for web designing such as Php, Joomla, HTML5 and Wordpress to remain in the Presented by: international level. Mahdi Omidi Jafari, Internatuinal Department
Carpet | Yerar | Fall 2016 37 PANORAMA
Late 19th c. Malayer saddle cover, Persia. Woven perhaps to celebrate a wedding, it bears an inscription of congratula- tions. Collection of Christopher Emmett, included in our ‘art in bLOOM’ exhibition opening this week in NYC.
The First Carpet Samples of Recycled Materials in the Iran, using 10,000 caps for bottles
36 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association
“This is sort of a new thing for us. We have never had a secondhand or vintage rug,” Sherry says. She, and others of her gen- eration, seem to be getting past buying disposable furnishings and are looking for something with personality that will hold up. “The rugs added a lot of color and pat- tern to our home. They also can withstand spilled juices and crushed Pop-Tarts.” Washington designer Annie Elliott of Bossy Color says her clients are requesting Per- sian Rugs or pulling them out of storage. “I like the more colorful and tribal ones. But if you inherited one of these 1980s dark red and blue, intricate, small-patterned ones with a medallion in the middle, you can still make them work. You pick out a strong color, like aqua, from it and paint the walls bold. It gives it a very young feeling.” The Petersik living room, shown in a photo excerpt from “Lovable Livable Home” by Sherry Petersik and John Petersik (Artisan Books). (Todd Wright)
Silk Persian Rug in Cleveland Park dining room designed by Annie Elliott. (Michael K. Wilkinson for Bossy Color)
Mark Keshishian is the manager of Mark Keshishian and Sons in Chevy Chase, which has sold Persian Rugs in the Washington area since 1931. The rugs seem to fit many styles and many generations, he says. “These rugs could always go well with the Chippendale-Williamsburg look or with super-contemporary paintings and furniture,” he says. Flea markets and estate sales are often sources for affordable, vintage Persian Rugs that can add a little Boho to a room of mid-century modern. “A good rug is like art. It’s an investment. I buy my Persian Rugs used, with frayed edges to give off that worn look,” says Eddie Ross, a design blogger and editor at Better Homes & Gardens. Ross, whose new book is “Modern Mix,” was just in Nashville, where he Instagrammed a pink and deep violet Persian Rugs he unearthed. He thinks the rugs are part of a new decorating trend. “It’s not just about fabrics anymore,” Ross says. “These vintage rugs are becoming the starting point for a room.” The rug on the House Beautiful cover — a Bakhtiari with a garden theme — was selected by Ramsay Gourd, a Manchester, Vt., architect and designer. “These rugs bring a sense of tradition,” Gourd says. “But they don’t have to be stodgy.”
Carpet | Yerar | Fall 2016 35 PANORAMA Persian Rugs Make a Comeback, and they are not Just for your Grandparents’
House By: Jura Koncius
The tangerine and brick-red vintage tribal Persian rug on the September cover of House Beautiful heralds a major de- sign direction. Persian Rugs are back. And they’re not just in your gran- ny’s living room. “Persian Rugs add a lot of warmth and sophistication to a room,” says Sophie Donel- son, House Beautiful’s editor in chief, who with her team selected the cozy sitting area in a Vermont farmhouse as the establishing shot for the all- important fall season. It’s the first Persian Rug on the magazine’s cover since June 2008, she says. “Most Persian Rugs aren’t staid at all. They are really wild, gor- geous and intricate patterns — no two the same. They’re a friendly, non-obtrusive ground for a room,” Donelson says. “They’re part of filling a home with soulful objects.” The September cover of House Beautiful magazine. The old-world Persian Rug, long the anchor of Georgetown libraries and Central Park West salons, is mak- ing a comeback on Pinterest boards and in the homes of design lovers and millennials, who are decorat- ing with it in fresh ways. While the design community scours auctions and old-line rug dealers for fine centuries-old carpets, younger shoppers on a budget are hauling rolled-up Heriz rugs out of their baby-boomer parents’ attics or snapping up Oushaks on Craigslist. They are discovering that small Persian Rugs are great for layering over their bland sisals or using as a rich color accent in a hallway. And lifestyle bloggers seem ready to sign on for some warmth. “I would have laughed a few years ago if you had told me I would own a Persian rug,” says Sherry Peter- sik, 33. She and her husband, John, the Richmond-based Young House Love bloggers, have two young children and a dog. They recently bought two vintage Persians for a house they chronicle in their new book, “Lovable Livable Home”: a tomato-red one for the living room and raspberry for their dining room.
34 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association Rugs of War ou must have noticed the distinctive features of these rugs compared to typical ones. Instead of arabesque, khatae patterns and beautiful geometric shapes, artillery, tanks, guns and other weapons can be seen. These rugs are mostly woven by Afghan weavers indicating how war has influenced these people, in a time when no flower and no tree is seen on their carpets and their life is overshadowed by an ominous war. Rugs are a popular art. Since these weavers are not separated from their society, they try to display the impacts of war on their country through their art of weaving similar to what Picasso did by his famous painting, Guernica. This is the duty of an artist to honestly portray what happens in the society to which the art of carpet weaving is not an exception…
Carpet | Yerar | Fall 2016 33 PANORAMA
both these and level 3 rugs are widely sought after genealogical or cultural connection to the patterns by 21st century interior designers. These rugs have they produce. the power to completely transform, rather than Thanks to hand-woven construction and a wide merely refine, a room. range of colors to complement modern decors, these can be enjoyed as durable, mass-produced Level 5. Decorative – circa 1925 to 1960 objects for home furnishing. (It’s noteworthy that As the decorative carpet market exploded, most of some recent reproductions are expertly crafted us- the resultant weavings fell into this category. The ing high quality, natural dyes and are thus actually level of materials and craftsmanship decreased superior to the Persian rugs of the later part of the notably, innovative artistry was typically replaced Decorative Period.) by strict adherence to traditional regional patterns However, neither decorative rugs nor reproduc- and harsh modern chemical dyes supplanted more tions are destined to become future antique subtle natural dyes. investments. The levels of artistic inspiration and Newcomers to Persian city weaving groups include individuality that give an Oriental carpet enduring finely knotted Qums and Nains. A burgeoning value are simply not present. number of geometric rugs were woven in Heriz and The hand-woven Oriental rug market can be by the descendants of the Bakhtiari tribespeople. daunting, even for those with some experience. Some rugs woven prior to 1925 also fall into this This pyramid was compiled to help guide you category, as they are either damaged, chemi- through its intricacies. If you wish to purchase a cally washed, quite irregular in shape, made with durable hand-woven floor covering with appeal- particularly garish or fugitive dyes, or are simply ing design and color, shops in any major city that uninspired. carry Level 5 and Level 6 rugs will provide what you’re looking for. If you aspire to enhance your Level 6. Reproductions – typically 1970 to pres- home, vacation retreat, office or yacht with great ent aesthetic and artistic individuality, with something The newest contributions to the hand-woven truly distinct and heirloom-worthy, then seek out market are Persian reproductions, created in a wide the handful of galleries that offer selections of range of qualities. These are by far the most widely Level 3 and 4 rugs. available Oriental rugs today. Although the pieces For those who will settle for nothing less than “the may be labeled with famous Persian regional best of the best,” establish a relationship with a names, the majority are woven in India, China, reputable, longstanding dealer who can occasion- Pakistan, Turkey, Egypt and Romania. ally offer you Level 2 pieces. Or try your luck bid- While most showcase designs reminiscent of the ding on Level 1 masterpieces when they surface at great 19th Century rugs, their weavers have no major auction houses.
Jan David Winitz runs the Claremont Rug Co. in Oakland, Calif., specializin
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Six Tiers villages of Northwest Persian Azerbaijan—notably Level 1. Museum-Quality Historical (Rugs and undyed Camel Hair and Bakshaish—are prized for Fragments) – 13th to 18th Centuries, plus rare their quixotic artistry. Premier rugs from the tribes early 19th century examples of South Persia also inspire avid collectors. The Safavid dynasty ruled Persia (present-day Iran) Town and city-based weaving also excelled at from 1501 to 1736, a period now referred to as “The this time, particularly when it came to exquisitely Golden Age of Persian Weaving,” thanks to royally- detailed floral rugs, including Ferahan, Kashan and sponsored workshops that produced many of the Laver Kirmans. Today, these too inspire an impas- finest carpets the world has ever seen. sioned following. Most elite rugs from this era are Well-preserved, consummately crafted examples of smaller size. Occasionally, however, larger car- continue to grow in importance. In June 2013, a pets are found and meet with feverish demand. stunning 17th century Kirman sold at a Christie’s While historical rugs are typically too fragile, most auction for $33.7 million, over three times the high-collectible pieces have sufficient durability for previous record, set in 2010, by another Kirman rug floor use, although many collectors also hang them from the same era. as wall art or hold them in storage. The most precious rugs in this category, when they surface, are usually purchased by museums, Level 3. Connoisseur Caliber– primarily circa while specialized private collectors usually acquire 1875 to late 19th century fragments of these quintessential rugs, as well as This category encompasses outstanding rugs from occasionally intact 200-to-250-year-old pieces. (It all of the major Persian and tribal groups men- should be noted that age alone does not make a tioned above. While not reaching the originality, rug great. Every era produced both luminary and design fluidity and color nuance displayed in Level less stellar weavers.) Given these unprecedented 2 High-Collectibles, these are also one-of-a kind auction sales, the cultural and artistic appreciation art rugs that masterfully combine time-seasoned of these rugs in the West will almost undoubtedly natural dyes with innovative renditions of tradi- continue to rise. tional patterns. Because connoisseurs building personal rug trea- Level 2. High-Collectible – primarily early 19th suries of entirely authentic rugs find these to be Century to 1875 emotionally satisfying for display on floor and wall, Artistic achievement and great originality reign the supply of Connoisseur Caliber rugs has been paramount in this rarefied group, the pyramid’s decreasing for decades. touchstone. These best-of-the-best caliber rugs ex- As what is known as “The Revival Period” had be- hibit fluid, subtly varied design and a highly exotic gun, rugs were more regularly commissioned to be use of nuanced color, achieving superb aesthetic woven in room size and oversize formats in towns balance and harmony in the process. Created 140 such as Tabriz, Kirman, Sultanabad and Heriz. This to more than 200 years ago, they were usually guaranteed the talents of highly skilled artisans woven on commission or for personal use; in both and the use of excellent materials. cases, their makers were free from market influ- Today, superb examples in extremely good condi- ence, allowing unfettered expression. This period tion are most often found through a handful of stands at the height of what is called by some, “The specialty dealers worldwide and the top tier of Second Golden Age of Persian Weaving.” offerings of major auction houses. Long-held private collections containing rugs of this caliber in unusually good condition rarely Level 4. High-Decorative – primarily 1900 to 1925 come to market. When they do, they are quickly A significantly greater number than in the previ- sought out by seasoned connoisseurs. ous three categories are still available. This is Included in this elite category are spectacular because the escalation of weaving gained steam tribal rugs primarily from Persia and the Caucasus during this era, with rapidly growing domestic and Mountains (woven by 85 subgroups), with some international demand exponentially increasing the from Turkey and the Central Asian plateau. These number of working looms. cultural treasures, with their primal colors and at More rugs were woven for export, and designs times seemingly “modern” graphic designs, inspire were often were simplified and color palettes lim- a powerful international following. In 2007, a ited in an effort to satisfy Western decorative taste. Caucasian “Eagle Kazak” rug sold for $341,000 at Yet aesthetic appeal and originality still play a role Freeman’s Auction House, Philadelphia. In January in these carpets, as alluring designs combine with 2014, Sotheby’s sold another circa 1800 Eagle for balanced, hue-shifting color palettes. Synonymous $233,000, twice its top estimate. with sophistication and grace, and capable of “mix- The best of the rarely found rugs woven in the ing” with a broad range of furniture and art styles,
Carpet | Yerar | Fall 2016 31 PANORAMA THE ORIENTAL RUG MARKET PYRAMID
By Jan David Winitz - President and Founder, Claremont Rug Company November 2014
Jan David Winitz, President and Founder of Claremont Rug Company in Oakland, CA, has built a global reputation among carpet collectors and connoisseurs since he founded the company-at age 25-in 1980. Introduction The market for Oriental rugs has changed dramatically since I opened my gallery thirty-four years ago. Galleries that focus on antique rugs are now few and far between, replaced by stores that promote con- temporary hand-knotted reproductions made in factories throughout the Near East. Rug nomenclature is shared with impunity. No wonder there’s confusion when one googles “Oriental car- pet” or “Persian rug.” And because superlative examples of antique and tribal rugs, like those that qualify as “High-Collectible,” rarely come up for sale, most buyers have little opportunity to become familiar with what ‘premier quality’ means.
Rug Pyramid fourth tier pieces.) Rankings in the rug pyramid are based on artistry, The value of artistry in assessing the overall level craftsmanship, quality of materials, condition, age of an Oriental rug cannot be overstated. For eons, and provenance. weavers sought to interpret the harmony of nature To assist them in navigating today’s market; I’ve and the cosmos through their designs. Ironically, developed a six-tier pyramid. The rankings are while their work was embraced in the West for its based on artistry, craftsmanship, quality of materi- luxury and durability, intrinsic artistic merit went als, condition, age and provenance. As the tiers unappreciated; thanks to Western proscriptions descend, the number of available pieces increases regarding what is and is not “fine art.” Three years significantly, whiles the artistry and originality ago, when New York’s Metropolitan Museum and generally lessens. (In the spirit of transparency; I Paris’ Louvre substantially enlarged their galleries run a niche gallery specializing in second, third and of Near Eastern art, this began to change.
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Carpet | Yerar | Fall 2016 29 PANORAMA
President Rouhani Interested in the Persian Rugs and Traditional Arts 28 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association
Carpet | Yerar | Fall 2016 27 PANORAMA A Distinctive Experience of an Iranian Photographer with Iranian Rugs An Iranian Photographer, who follows his photography project with a theme of Iranian rugs, has recently taken photos of his subject in empty dry deserts. In his new collection called “Red Zone”, famous self-taught Iranian photographer, Jalal Sepehr, has taken photos of rugs in dry deserts with unfriendly skies. Art critics have considered this photo collec- tion as a reflection of tumultuous situation in the Middle East and the wars in this Region. Based on this, background of all photos is a desert and an endless road furnished with rugs under an unfriendly cloudy sky communicat- ing a sense of insecurity. In one of the photos, a rug has been spread on a road in the desert and a large hole has been made in the middle. In another frame with the same background, a huge stone has dropped on a rug. Another photo depicts a sand storm approach- ing to upset the already unstable setting. Elsewhere a family with packed suitcases facing the same horizon is probably considering es- caping. An atmosphere in which in another frame, an airplane is flying over the carpeted road. Concepts such as immigration, instability, danger and insecurity which is cur- rently commonplace in the Middle East. It is noteworthy that, in his project, Jalal Sepehr has placed Ira- nian rugs in different settings with different backgrounds varying from historical monuments with tradi- tional architecture to landscapes in southern Iran and has taken his photographs. Here we take a look at “Red Zone” and other artworks of this creative photographer with a common subject namely, the “Iranian Rug”.
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Iran Exports 2600 tons of Hand-Woven Carpets in the Course of Past Seven Months
Qom- Head of Iran National Carpet Center an- say that preparations for participation of Iranian car- nounces that Iran has exported almost 2600 tons pet traders in Antalya’s carpet exposition next year of Iranian hand-woven carpets in the course of past is being made in association with public and private seven months. sector. He said: “Carpet industry is capable of creat- He added: “Unfortunately, due to sanctions we ing many jobs and a carpet business can be started were unable to export carpets to US. However, with only 1400-dollar worth of raw materials.” following the Vienna agreement we will witness massive participation of Iranian carpet compa- Carpets are Iran’s Cultural Representatives nies in US market; while India and Pakistan were The head of Iran National Carpet Center stated extremely active in US during the sanctions. Silk in the opening ceremony of Qom Exposition of carpet industry is a national art which is impossible Hand-Woven Carpets that: “In addition to economic to be appraised.” importance, carpets have prominent cultural and The head of Iran National Carpet Center mentioned artistic role, for it is Iran’s cultural representative the measures taken by Iran’s Ministry of Industry, in other countries. Besides, it is well-known how Mine and Trade for a strong presence in US market much Iranian carpet weavers are united.” and added: “Once the market research about US is With a glimpse at the problems faced by those who completed, we will have a strong presence in this are active in carpet industry, Hamid Kargar went on market, due to the fact that one of the solutions to to say: “Unfortunately some countries have taken have increased export rates is to gain access to US advantage of the lack of patents for Iranian carpets market.” therefore, 14 regions were registered in World Intel- Elsewhere in his remarks he said: “Next April some lectual Property Organization”. He added: “Regis- American traders will come to Kish island to get fa- tration of Iranian carpets is one of top priorities to miliar with Iran’s carpet industry. Kargar went on to receive certificate of authenticity.”
Carpet | Yerar | Fall 2016 25 PANORAMA
In the name of Allah
Soheil Bigdeli is one of the most Success- ful Persian Carpet Manufacturers. He embarked upon this profession just before ten years and in this short period has received two prestigious awards in the carpet exhibitions. His rug “Shaqa- yeq” won the award for the best carpet of the exhibition in the year 1393, and in the (Iranian) month of Shahrivar, 1395, another carpet “Zareeh”, weaved as per the beautiful and outstanding design of Maestro Alamdari, was recognized as the best classical carpet. Unlike most of the Persian carpet weavers and manufacturers, who have inherited this profession, he grew up in a family that had no connection with this field. However, his interest in carpet weaving and art of colour combination motivated him to adopt this profession. Soheil Big- deli started his career by weaving small rugs and carpets. His exceptional capabil- ity and creativity in colour combination and design layouts resulted in his being recognized as one of the most skilful artists in this field within a short period of ten years. Originality, innovation, creativity and boldness in using unusual colours, are the most dominant features of his carpets.
24 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association over the world participate in this event. It is a place and animal figures are their outstanding feature. Shin- to showcase products by retailers, interior designers dand is popular and sold in all Afghanistan especially and architects who produce contemporary traditional Mazar-i Sharif. Baluchi rugs are another major product designs. This fair is known as the best carpet exhibition of Afghanistan, notably Baluchi prayer rugs. These rugs in US which offers an overview of luxury products from are woven by Baluchis who reside in southwestern around the world. Afghanistan. Different plants and other natural dyes are used to produce rich colors. Most of the rugs are in - Afghanistan’s Carpet Exhibition medium size. Numerous patterns and colors are used Introduction of Shindand or Adraskan in these rugs. However, most traditional pattern is The first Afghan Carpet Exhibition was held on May 9, octagonal elephant’s foot (Bukhara) print, often with a 2015 in Kabul. In this fair only Afghan products were red background. The weavers also produce other trap- exhibited. Its main purpose was to introduce “Afghan pings of the nomadic lifestyle, including tent bags and Rug” which had faced recession in recent years. ceremonial pieces. Afghan rug is a type of hand-woven flooring which is traditionally produced in Afghanistan. Nowadays, a - Other Exhibitions large number of these carpets are woven by Afghan In addition to specialized exhibitions for carpet indus- refugees in Iran and Pakistan. It has received interna- try, there are other exhibitions which exhibit carpets tional awards in an exhibition which is held annually alongside other houseware and flooring items. Here is in Hamburg, Germany in 2008, 2013 and 2014. Other a list of these exhibitions: rewards include first rank in Dubai carpet exhibition in t)POH,POH*OUFSOBUJPOBM5FYUJMFT'VSOJTIJOH'BJS 2012 and first rank among 147 countries in a six-day t.JEEMF&BTU$PWFSJOH %VCBJ exhibition in China in 2014. t)()*OEJBJO.VNCBJ *OEJB Afghan rug is generally woven by various ethnic t"VTUSBMJB*OUFSOBUJPOBM'VSOJUVSF'BJS "*'' groups especially Turkmens in northern and western t5FYUJMF)PVTF'BJS #SB[JM Afghanistan. One of the most colorful and excellent t)PNF'VSOJTIJOH&YQP $IJOB oriental rugs, which is also considered an Afghan rug, t+BQBO5FY +BQBO is called Shindand or Adraskan which is woven in t4QSJOH'BJS*OUFSOBUJPOBM JO6OJUFE,JOHEPN Herat province in western Afghanistan. Long human Refrence: www.domotex.de
Carpet | Yerar | Fall 2016 23 PANORAMA
last year and said she had not imagined so many Iran’s Presence in Xining Exhibition in China booths designated for hand-woven carpets in a single Iran has actively participated in this event and has exhibition and Tehran’s carpet exhibition is unique in always been at the center of visitors’ attention. In 13th this respect. exhibition, Iran National Carpet Center was selected as Iran National Carpet Center has set among its objec- the top exhibitor and received the Certificate of Honor tives to introduce visitors of Domotex with the diver- and statuette of this event for establishing Iran’s booth sity of Iranian carpets, hand-woven carpet production in an area of 800 square meters and the presence of process as well as visual beauty of this art-industry. twelve manufacturing and trading companies.
- International Carpet Exhibition in Xining, - International Exhibition on Hand-woven China Pray Carpets in Kuwait This exhibition was first held in 2004. It is primar- Kuwait Hosts Hand-Woven Carpets ily aimed at the introduction of Tibetan carpet as a This exhibition was organized in 2014 and is the first of domestic product of China. This aim has been fulfilled its kind to offer hand-woven prayer carpets. Represen- through this annual exhibition. It is held in Xining, tatives of twelve Muslim countries offered their prod- capital of Qinghai province which is located in Tibetan ucts in this exhibition. Ministry of Awqaf and Islamic plateau. Due to its unique geographical position and Affairs of Kuwait and the Research Centre for Islamic ancient history, this place enjoys a rich Tibetan culture. History, Art and culture based in Istanbul (IRCICA) As one of the local and ethnic handicrafts, Tibetan jointly organized this event. Countries such as Turkey, carpet is 2000 years old. Iran, Turkmenistan, Azerbaijan, Uzbekistan, Kyrgyz- Exhibition of Tibetan carpets which is known as Xining stan, Tunisia, Morocco, Egypt, Algeria and Mauritania Exhibition in Iran, is a stage to showcase products by etc. were present in this exhibition whose products carpet manufacturing countries as well as an impor- received a lot of attention. In addition to offering the tant ground for the exchanges of carpet and culture products by artisans, organizers of this event stated among different nations of the world. In 2014, it was that their aim was to pay attention to already fading listed among “top ten exhibitions in China”. In addition techniques of prayer carpet weaving and to build a to Chinese products, representatives of thirty coun- bridge between artisans and industry. tries are present as either exhibitors or customers out of which the following countries can be mentioned: - The New York International Carpet Show US, Canada, Germany, Pakistan, India and Iran. Every New York Ready to Greet Luxury Carpets year more than 5000 Chinese and international com- The New York International Carpet Show has been panies participate in this event. active since 2004. Every year manufacturers from all
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History of Domotex zation. They even received some awards presented The first global exhibition of hand-woven carpets ti- by the event organizers for leading design. tled as “Domotex” was held on 9th to 12th June, 1989 Iran’s Participation in Domotex in Hanover, Germany. It was the first time an event Iran’s participation in Domotex dates back to 1989. was ever organized especially for carpets on a global From this year onward, Iran has been present almost scale. The venue was more than 9000 square meters every year and it will definitely participate this year as in seven halls housing 578 booths with products such well. as hand-woven carpets, machine-woven carpets and Iran National Carpet Center has cooperated with plastic floor coverings. Twenty-nine countries ac- Iranian Carpet Exporters in Europe to use the most of companied Germany. This number was surprising for Domotex for the benefit of this art-industry. It is final- a first time event. Second exhibition was also held in ized to set up Iran’s booth in the upcoming exhibition. Hanover, in an area of 12,000 square meters with 806 In previous exhibitions (up to 2015) some manufactur- participants. ers or exporters of Iranian carpet participated using The third and fourth exhibitions were held in 1991 subsidies paid by the government. This came with and 1992 with the area increasing every year. This some troubles to the market or distribution channels trend grew so rapidly that in 1998, it became ten- of the host country and in some cases huge price cuts times the size of the first exhibition in an area of for the Iranian carpet. However, in the course of past 90,000 square meters with 1000 participants. two years, instead of encouraging these groups to par- Domotex was on the lead up to 2003. However, in ticipate in this exhibition, introduction of praiseworthy 16th fair, it was affected by the problems already in- Iranian carpets has been set as Iran’s main goals in flicting the industry of hand-woven carpets. Domotex Domotex. 2004 was held amidst the decline in the production of Last year this exhibition coincided with the removal hand-woven carpets which lasted until 2008 when the of sanctions on Iranian hand-woven carpet export to industry started to gradually recover. US providing a good opportunity to negotiate with In 2009, German exhibition of carpet and flooring US carpet traders. In 2016, Suzanne Klaproth, proj- was held from 15th to 23rd January in Hanover ect manager of Domotex in Hanover called Iran as a in thirteen halls, five of which was designated for longstanding companion of Domotex and said we rugs. A group from Khurasan Razavi province were are really delighted to have Iran with us. Beauty and granted facilities by Iran National Carpet Center to diversity found in Iranian carpet and the large number participate in this event. Other groups and individu- of special booths for carpet indicates Iran’s capabilities als also participated independently recommended in this industry. to the exhibition officials by provincial Trade Organi- She visited Exhibition of Iran National Carpet Center
Carpet | Yerar | Fall 2016 21 PANORAMA Exhibitions to Visit Iranian Hand-Woven Carpets articipation in national and international exhibitions always contribute to optimized planning and due DOMOTEX behavior. This applies to hand- woven carpets as well, since Be where great business carpets have always been among the basic amenities for humans begins which play a fundamental role in our lifestyle. In addition, carpets have always been considered as asset and definitely can be regarded as an important factor in 14 – 17 January 2017 cultural planning and continuation Hannover ▪ Germany of design and marketing. We have had numerous experienc- domotex.de es both in national and internation- The latest at al and even marginal exhibitions. a glance: A lot of similar exhibitions have Innovations@ been held in many countries where DOMOTEX Iran has participated as one of the major exporters of hand-woven carpets. More familiarity with methods adopted in carpet exhibitions and comparison of these exhibitions as well as innovative promotional and marketing techniques can guarantee the continuation and enrichment of our endeavors and expansion of our presence in these fairs. Here is a review of international carpet exhibitions.
- Domotex The World of Flooring Domotex is the greatest fair for carpets and floor coverings in the world which is attended by many companies active in the industry from all over the world. It holds a long precedent in showcasing carpets, rugs, floor coverings, gabbe etc. Domotex has prominent branch offices all over the globe including Russia, China, Italy, Neth- erlands and UK which has raised it into top ten exhibition events in the world.
20 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association Istanbul Carpet Week October 6, 2016 – October 9, 2016 Various Both the conference and the design contest are free and open to the public. Istanbul Textile and Apparel Exporters’ Association (ITKIB), Conference Hall on Ground Floor, Çobançeşme Mevkii Sanayi Cad., Dış Ticaret Kompleksi B Blok, Bahçelievler Organised by the Istanbul Carpet Exporters’ Association (IHIB) in collaboration with HALI, this four-day event is designed to showcase the products, skills and knowledge of one of the world’s oldest traditional centres of weaving. The programme kicks off with the Istanbul International Carpet Conference, which will feature local and international speakers on a wide variety of topics. Carol Sebert will discuss contemporary design in rugs, Erbil Tezcan will discuss designing rugs, Rob Leahy will discuss the difficulties of and new develop- ments in the conventional US rug market, Prof Dr Hamdi Ünal will discuss Hereke carpets, Stefano Ionescu will discuss double-niche ‘Transylvanian’ rugs, Udo Hirsch will discuss Anatolian kilims and Hadi Maktabi will discuss rugs from Azerbaijan. The conference will take place on October 6 from 9.30–13.00. The week also includes the awards ceremony for IHIB’s 10th annual National Carpet Design Contest, which promotes the work of young Turkish designers, showcases the talent of a new generation and provides an inspiring indicator of the future of carpet design. The awards ceremony will place on October 7 from 19.30–23.00 at the Renaissance Polat Hotel in Bakırköy. A cocktail party for visitors will be followed by a banquet dinner and live music. There will also be an exhibition of the ten rarest antique Turkish weavings from the private collections of IHIB members. These rugs and kilims will be on display in the entrance hall of ITKIB on October 6 and 7.
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Anatomy of Persian & Oriental Rug
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along the horizontal lines housing a note. If we the same motif. trace a vertical line in a carpet, we will find knots A carpet is in fact, a score housing horizontal and in different colors which are meaningful only in vertical lines of an artwork. In addition, carpet is a group creating shapes. To reach a comparative related to a geographical location with specific en- viewpoint between carpet and music we should vironmental and social features. This relation, from basically start from texture which is a shared con- an intrinsic melodic perspective, is based on the cept in both art forms. design and patterns shaped on the carpet. Texture of a carpet is almost comprehensible for Similarly, Azeri music, Kurdish music, Khurasani the public. However, in a piece of music we hear, music, music of Sistan and Balushestan reflect the there are horizontal lines which form the melody musical elements of their respective region. A car- and this sound is resounded in the melody itself. pet from a specific geographical region carries the Here colors are especially important. In music, signs of patterns specific to that region signifying colors are defined when different instruments are the culture and historical background of a nation. applied. Colors differentiate the influence of an Melodies that carpet weavers sing in these areas image in our mind. In music, a melody which is while weaving is repeated many times for many played by an instrument is naturally different from years. These songs influence the patterns, colors the same melody played in a large orchestra. A and even the type of the knots they choose and motif (like a flower in a carpet and a short melody reflect their cultural and social behavior. in music) is portrayed with different colors in dif- If you listen to these songs with all your soul, you ferent situations. Here colors can be defined as the will definitely start to dance over these massive collective playing of a motif with an instrument or creativities and will hear the hidden melodies with with different instruments with different colors of all their beauty.
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Dr. Mohammad Sarir (Head of the Board of Directors, Iranian House of Music) Wonders of Iranian Carpet Articulated in the Language of Music
n the course of past two centuries no intellec- dies, part of our identity can be reconstructed. tual can be found among the people of other However, an extensive research should be conduct- countries especially the cultivated class who ed to achieve a unanimous approach and tangible does not hold that carpet is one of the most referable results. A general comparative approach original signs of Iranian art and culture. can be taken so as to find some clues to inspire art Iran stepped in the cultural and artistic arena with experts to work more deeply and extensively in this carpet and it has been always introduced as an in- field. valuable art piece but unfortunately it has been de- Similar to carpets, creativity of the artists is shaped graded to an ordinary consumable item alongside in two directions. In fact, the horizontal line shapes vacuum cleaners, refrigerators and clothes which the melodies and the vertical line shapes the com- should be discarded after a while. No nation would bination of different sounds conveying creative act so ignorantly to degrade its national art with attractions to the audience from both aspects. This hundreds of years of economic and cultural roots. is the same in carpets. There are warps and wefts On the other hand, our music has been unknown along with knots which are made on them one by since there has been no specific written form or we one creating different shapes with different colors are unaware of. It is not exactly known whether or that may symbolize the orchestration in music not the melodies which are sung in different musi- through which the artistic creativity of the artwork cal modal systems are the same melodies hundreds is enhanced. of years ago shaping parts of our national and That is the same in music. In a comparative look, cultural identity. There are some items on display in there are wefts which form the horizontal line of the Carpet Museum which dates back to centuries music which are called melodies. On the other ago and if a link is found to take us to those melo- hand, vertical lines can be noticed which are placed
16 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association
Historic Carpets and Rugs of Persia ersian/orientaleersia carpets and rugs evoke respective worksworks,[1] [1] but what is most evident is images of opulence, splendour and grandeur. that carpet weaving in Persia by the beginning of It is an art form that has captured the the 19th century began to recover after a turbulent imagination of those in the occident for genera- and destructive period in that country’s history. By tions, those who have felt the need to aspire to an the middle/latter part of the century, carpets and aesthetic which has been essentially forged in the rugs were being made to order at the behest and orient. Carpets and rugs produced in Persia during procurement of western agents and companies, the Safavid period are particularly evocative, for those with a commercial and aesthetic understand- they represent the ‘classical period’ of carpet ing of what was required by the new-found wealth production, pieces which are resplendent in silk, of the burgeoning middle classes in the West on metal brocade, with the most intricate artistic the back of the industrial revolution. designs. The finesse with which these pieces were By the middle/late nineteenth century, manufac- made would seldom ever be matched again and turers all over the country were working to maxi- the extant pieces from this period now grace some mise this commercial opportunity. Vitally, from a of the great private and public collections in the point of view of colour, design and manufacture, world. artisans were drawing inspiration from the earlier There is a sense of irony, in that the development epoch of ‘classical’ carpets. The materials which and indeed continuation of this art form, particu- were used were also often strictly vetted; this is larly in the last two hundred years or more, has why pieces made in this period still resonate with undoubtedly been impacted upon by artistic and beautiful colours and lustrous wool, enhancing the commercial trends in the West, without which in design and overall impression of these pieces. Iran/Persia, (the foremost producer of carpets and [1] “Persian carpets of the Safavid period”, In: Pan- rugs in the world), the industry may well have re- theon No. 5, 1932, p. 227-231 & “The Persian Carpet. mained stagnant, or even had reached its demise. A Survey of the Carpet-Weaving Industry of Persia”. How and why this occurred has been discussed by Edwards, A. Cecil., Gerald Duckworth & Co. Limited,, Cecil Edwards and Professor Kurt Erdmann in their London, 1953.
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History of Bakhtiari Rugs
akhtiari carpets are woven in numerous villages in a large area south west of Ishahan called the Chahar Mahal. They are woven by Armenian, Kurdish, and Turkish villages as well as Bakhtari tribes. Isfahan serves as the major market center for carpets to this area. - 1395/07/10 Bakhtiari carpets are woven in numerous villages in a large area south west of Isfahan called the Chahar Mahal. They are woven by Armenian, Kurdish, and Turkish villages as well as Bakhtari tribes. Isfahan serves as the major market center for carpets to this area. The most common designs woven in Bakhtiari rugs are the medallion, panel, and lozenge designs. The field of the panel design is divided into rectangular compartments. Each of which contains one of a variety of motifs: flowers, trees, boteh, or palmettos. This design was adopted from the matrix formed by the irrigation channels in Persian gardens. The lozenge design is similar to the panel in that the field is segmented by repeating lozenges. Each lozenge contains a small motif similar to those used in the paned design. This design is commonly found in older and antique Bakhtiari carpets. The medallion superim- posed on a field filled with stylized floral patterns. Another type of Medallion design is that of a large stylize floral bouquet, refer.
14 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association Shirazi Carpet
hen referring to the Persian Shirazi carpets in general, they are simple carpets with wool made pile, weft and warp. A Persian Shirazi carpet is manufactured in the villages located around the Shiraz city, in the provinces of Fars, Iran. The pat- terns seen on these carpets reflect the thoughts of the Tribal weavers settled in this area. They are similar in pattern to the Qashqai, Kham- seh, Afshar and the Luri carpets. Owing to the production on the fixed looms, these carpets are large and coarse unlike the other tribal carpets. Persian Shirazi carpets makeup of the asymmetri- cal Persian knot and the knot is generally not very fine, unlike the Abadeh and the Qashqai carpets. These carpets are not manufac- tured in the large factories and are limited to the household produc- tion on the fixed looms. Persian Shirazi carpets make use of geometric patterns with a central pole medallion. They are mostly available in the colors of red and brown. The primary motif found on these carpets is lozanges in the shape of diamond. The borders of these carpets usually have a double band structure with the smaller band surrounding the larger band, along with the pine and palm leaf design patterns. You can also see Cyrus white horse on some Shirazi carpets. Generally, two wefts, made of wool or goathari are found after every knot row. The knot density varies between 80,000 to 160,000 knots per square meter. Refrence: http://ambcarpets.com/ index.php/persian/shirazi.html Carpet | Yerar | Fall 2016 13 PANORAMA
he Qashqai are one of tribes of migratory herders in Iran. Not really a tribe exactly but rather a tribal confederation of people sharing closely related dialects and ethnic identity. The Qashqai are primarily descended from Turkman or Azeri/Ersari tribes. They speak a language that is in the Southern Azeri/Ersari language family. Some suggest Qashqai is a separate language but I do not think that can be supported. I am pleased to see that the Ethnologue in the most recent edition changed its classification to agree with me.
Social order of the Qashqai Confederation. The base of the group is small voluntary pasture groups of as few as five families. This group is called an Oba, the same word oba is also used for a single family. Obas group into larger groups called tireh which we might translate as sub-tribe. The IL-Khan of the Qashqai Confed- eration is traditionally a man of the Shahilu family of the Ama- leh. The Amaleh is the dominant or elite confederation of the Qashqai Confederation. Histori- cally the Amaleh were a small group of the IL-Khans personal household and retainers.
Refrence: http://www.spongo- bongo.com/0her9958.htm
12 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association quality. Talebi, the head of the council of the Shiraz Mr. Zollanvari, who speaks fluent English, stood bazaar. The century-old bazaar was filled with alongside two other carpet dealers, Habib Bayat carpet shops, but there were no buyers. and Mohammed Ali Dideroushan, both of whom Even the original producers of carpets, the are United States green card holders and self- nomads, are becoming harder to find. Mr. Zol- declared carpet lovers. lanvari took the reporters to a nomadic camp The sanctions were really painful, Mr. Dider- outside Shiraz. There, men cheerfully blew trum- oushan said, and to him, at least, inexplicable. pets and shot rifles into the air to celebrate the “Let’s face it, what do carpets have to do with visitors. Women in colorful traditional clothes our nuclear program?” were spinning wool, others weaving a carpet. The worrisome part, Mr. Bayat said, is that busi- But it turned out that several of the “nomads” ness still has not picked up even after sanctions were recovering drug addicts from other parts were lifted early this year. With international of the country who were entertaining tourists as financial transactions still a problem, he said, part of an attempt to stay clean. “even the tourists that come to Iran cannot pay “Many nomads are in search of jobs and better us, unless they bring plenty of cash.” salaries,” said Mina Bahram Abadian, a member Not only that, but Persian carpets have fallen of an Iranian group that helps nomads and drug out of favor even in Iran, with many middle-class addicts. Their situation is not that different from Iranians preferring cheap plastic laminate floor the problems many indigenous people have covers. Those who still like carpets often go for worldwide, she said. cheaper Chinese and Indian knockoffs. “Divorce rates are up, as is drug use,” she said. “We are selling around 10 percent of what we “They cannot cope with all the changes. They used to sell over a decade ago,” said Morteza get depressed and stop making carpets.”
Workers coloring wool in large cooking pots. Only natural ingredients like herbs, pomegranate peels and wine leaves are used for coloring. CreditNewsha Tavakolian for The New York Times
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FARS Province & Shiraz City in Iran Nomads greeted visitors at a temporary camp "By The New York Times" near Shiraz. CreditNewsha Tavakolian for The New York Times It is on the endless green slopes of Fars Province, in Iran’s heartland, that the “mother of all car- pets,” among the first in the world, is produced: the hand-woven nomadic Persian rug. The process starts with around 1.6 million sheep grazed by shepherds from the nomadic Qashqai and Bakhtiari tribes, who produce that tough, long-fibered wool so perfect for carpets. Women take over from there, making thread from the wool by hand, twisting it with their fingers. The finished thread is bundled and then dyed, using natural ingredients like pomegran- ate peels for deep red or wine leaves for green. After days of boiling on a wooden fire, the threads are dried by the cool winds that blow in from the north each afternoon. Only then does the weaving start. Weavers, al- most all of them women, spend several months to a year bent over a horizontally placed loom, stringing and knotting thousands of threads. Some follow established patterns, some create their own. When the carpet is finally done, it is cut, washed and put out in the sun to dry. “It’s so time consuming, real hand work,” said Mr. Zollanvari, the carpet dealer. “A labor of love. And what does it cost?” he asked, before an- swering the question himself: “Almost nothing.” A 6-by-9-foot handwoven carpet costs around $400 in Shiraz, depending on the pattern and
10 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association
The century-old bazaar in Shiraz, an ancient Iranian city known for its production of hand-woven carpets. CreditNewsha Tavakolian for The New York Times the thread. As the colored waters bubbled, they he said, damaging but not destructive. looked like live volcanos. The air smelled of But now, Mr. Sedghamiz said, the end is near. sheep. Ultimately he said, it is modernity — that all- Another room was stacked with herbs. Eucalyp- devouring force that is changing societies at tus leaves, indigo, black curd, turmeric, acorn breakneck speed — that is killing the Persian shells and alum, ingredients for the different carpet, Iran’s pride and joy. “People simply are no colors. “The Iranian carpet is 100 percent or- longer interested in quality.” ganic,” Mr. Zollanvari declared. “No machinery is Or in paying for it, he might have added. involved.” This year, after the nuclear deal was completed, It is a scene that seems as ageless as the women the United States lifted six years of sanctions on who sit before the looms and weave the rugs, a carpets. But even with that, the Persian carpet is process that can take as long as a year. And now in a critical state as fewer and fewer people buy even the factory is threatened. With six years of them. Western sanctions on the carpet business and FARS Province & Shiraz City in Iran punishing competition from rugs machine- “By The New York Times” made in China and India, these are hard times “These days, everyone is seeking quick satis- for the craft of Persian rug making. Many veter- faction and simplicity, but our carpets are the ans wonder whether it can survive. complete opposite of that,” Mr. Sedghamiz said. Over the centuries invaders, politicians and His message was not what officials of the Iran Iran’s enemies have left their mark on Iran’s car- National Carpet Center had in mind when they pets, said Prof. Hashem Sedghamiz, a local au- organized a tour for a group of foreign journal- thority on carpets, sitting in the green courtyard ists last weekend. Still, none of them could really of his restored Qajar-dynasty house in Shiraz. argue with Mr. Sedghamiz’s conclusion. The outsiders demanded changes, started using One thing is for sure: Iran’s carpets are among chemicals for coloring and, most recently, im- the most complex and labor-intensive handi- posed sanctions on the rugs. Those were blows, crafts in the world.
Carpet | Yerar | Fall 2016 9 PANORAMA
MIDDLE EAST | SHIRAZ JOURNAL The Persian Rug May Not Be Long for This World
By THOMAS ERDBRINKMAY 26, 2016
Nomads and others at a carpet production center owned by a family of carpet traders outside Shiraz. CreditNewsha Tavakolian for The New York Times HIRAZ, Iran — For centuries, Iran’s famed But high-quality production of hand-woven car- carpets have been produced by hand pets is no longer sustainable on the migration along the nomad trail in this region of high route of the nomads, said Hamid Zollanvari, one plains around the ancient city of Shiraz. of Iran’s biggest carpet makers and dealers. Sheep grazed in high mountain pastures and Instead, he had built a factory with 16 huge shorn only once a year produce a thick, long cooking pots, where on a recent cool, sunny wool ideal for the tough thread used in carpet spring day men in blue overalls stirred the pots making. with long wooden sticks, boiling and coloring
8 Carpet | Yerar | Fall 2016 Journal of Irans Carpet Manufacturers and Exporters Association An Art Form as Old as History Itself; n the Name of the creator of all the beauties; the one who is beautiful and loves all forms of beauty, we are truly grateful of God who granted us the opportunity to present this quarterly to those who love Iranian hand-woven carpet. Similar to the production and exporta- tion of carpet which is a team work and beyond the ability of an indi- vidual, the preparation and publication of this quarterly is only possible through the cooperation of researchers, manufacturers and exporters of Iranian carpet. The aim of this quarterly is to facilitate the circulation of news and infor- mation and to increase the knowledge and awareness in the field of art, industry and trade of hand-woven carpets. Iranian carpet is one of the most important and prominent elements to introduce Iranian art with a long history deeply rooted in our age-old ancient culture. Inventors of carpet have combined the need for a flooring item with their artistic sense and emotions to create this magnificent art-industry called carpet. Carpet is an old form of art deeply rooted in the desert soil patronizing a people who have never abandoned it nor have decreased their relation with it; people who are born on carpets and on which they build the structure of their family. Carpet is a living embodiment of this land’s culture and art through various stages of history and signifies a profound and powerful culture which has not only resisted the invasion of foreign powers and tribes, it has also infused its carpet with an Iranian spirit. Its unique quality is a combination of art and industry which has facilitated its journey through the ages to the present. Nowadays carpet’s fame has resonated in all corners of the world and Iranian hand-woven carpet has always been on top unrivaled. It is so famous in the world that Iran’s name is closely linked with the carpet art and industry. This is while this industry is far from current global “market- ing” standards and is unaware of modern advertisement techniques. It does not utilize cyberspace in a proper manner either. It is time to review and analyze the reasons behind failures and short- comings as well as methods to increase carpet’s presence in global markets. Steps should be taken to “marketize” it and “revive” due position of this art-industry. Proper decisions should be made and stabilized to support exporters to conquer the summits of this art in global markets. This is only possible through sympathy and honesty of the government with the associations and guilds involved in this sector. And a few words with those who are in charge of and active in hand- woven carpet industry: This unpleasant fact should be accepted that it has been a couple of years that the economic value and market share of Iranian carpet has significantly declined globally. Carpet has been like an identification for Iran and we should not let it degraded or God forbid, forsaken gradually. Let us support this art-industry and trade and try our best to protect, preserve and enhance it in the world to take it back to the high summits once it was standing on. We hope everyone will appreciate the true value of our country’s carpet in all times.
Carpet | Yerar | Fall 2016 7 PANORAMA A Word with the Readers would like to congratulate dear coworkers abroad on the auspicious birth anniversary of Jesus (peace be with him). I wish you a year replete with success, prosperity and health. The year 2016 ended with a lot of fluctuations in global economy and politics and year 2017 has come with a lot of hopes and worries for businesses. Among the most important events in the field of carpet industry is the upcoming Domo- tex Fair in Germany which has gained a prominent position in global carpet market. This fair brings innovative ideas together and is attended by a remark- able number of participants from Iran and other countries offering a valuable opportunity for Persian carpet to defend its position in global markets through proper presentation and planning to boost production and exportation. The burden is definitely on the shoulders of traders and exporters who participate in this event every year paying high prices to act as the economic pioneers of Iranian Culture and Art. In the upcoming exposition, a special team will represent Iran Carpet Manufacturers and Exporters Association. Coordination has also been made with Germany’s association of hand-woven carpets to conduct a market research through this exposition. We will also benefit from the as- sistance and consultation offered by experts and forerunners of this sec- tor to have better planning to take the most of this event in the future, if God wills.
Regards, Ahmad Karimi Isfahani, Head of Iran Carpet Manufacturers and Exporters Association Copyright Owner and Editor-in-Chief of Farsh Quarterly
6 Carpet | Yerar | Fall 2016 Contents
A Word with the Readers ...... 6 An Art Form as Old as History Itself; ...... 7 The Persian Rug May Not Be Long for This World ...... 8 Qashqai ...... 12 Shirazi Carpet ...... 13 History of Bakhtiari Rugs ...... 14 Historic Carpets and Rugs of Persia ...... 15 Wonders of Iranian Carpet Articulated in the Language of Music ...... 16 Anatomy of Persian & Oriental Rug ...... 18 Istanbul Carpet Week ...... 19 Exhibitions to Visit Iranian Hand-Woven Carpets ...... 20 In the name of Allah ...... 24 Iran Exports 2600 tons of Hand-Woven Carpets in the Course of Past Seven Months ...... 25 A Distinctive Experience of an Iranian Photographer with Iranian Rugs ....26 President Rouhani Interested in the Persian Rugs and Traditional Arts ...28 THE ORIENTAL RUG MARKET PYRAMID ...... 30 Rugs of War ...... 33 Persian Rugs Make a Comeback, and they are not Just for your Grandparents’ House ...... 34 Noandishan Media Vesta Institute (NMVI) ...... 37 In the Name of God
Producers and Experters of Iran Hand-Woven Quarterly Magazin Vol.22 | No.47 | Fall 2016
Publisher: Iran Carpet Manufacturers and Exporters Association General Director: Ahmad Karimi Isfahani, Editor in Chief: Leyla Ahmadpour Performer: NoAndishan Media Vesta Institute Editorial Council: Hooshang Fakher, Ali Badam Barjah, Mohsen Tehrani, Alanoor Tavakoli, aramarz Chamani, Hamed Shaygan, Editorial Member: Samaneh Bamshad, Mona Kananian, Shahrzad Rezaei, Maryam Taghavi, Javad Khorsand, Zaman Mahdizadeh, Kave Kohan International Department: Mahdi Omidi Jafari Translate: Mohammad Kheyrian Photographer: Amin Yari Marketing: Naser Najari Address: Tehran, North Sohrevardy, East Mirzaie Design & Lay out: Mani Roshan, Zeynali, Hirbod Alley, No 30, Floor 2. Mojtaba Moradi Nezhad Tel/Fax: +98 21-88933007-9 Design: Mohammad Rezaei Editor: Samira Ahmadpour Mobil: +98 912-537 2998 Publisher: Sorosh Hezar Dastan Website1: www.Rug.VestaNar.com Publisf observer: Mohammad Mahdi Allameh E-mail: [email protected]