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Home , Ardabil Carpet, Arthur Upham Pope, Persian carpet, Pictorial carpet

CONTENTS

03 The Chairman of the National FOREWORD Center (INCC) looks forward to a new age for Iranian .

05 The unbroken link between the looms of Iran INTRODUCTION and interiors across the world makes carpets one of the world’s most historic luxuries.

06 16 26 HERITAGE CRAFT DESIGN

Carpets and carpet From designers to More than 2000 years have been part weavers through on, the designs now and parcel of Iranian to exporters, the coming out of Iran break life and culture for at character of the Persian new ground with their least two and a half population finds original compositions millennia. expression in carpets. and unique vision.

40 Contact information, online resources and a LISTINGS selection of museums in Iran. A calendar of fairs provides details of where to view Iranian carpets in person throughout the year. FOREWORD

BY THE For many centuries Iran has been Recent developments have created CHAIRMAN famous for an art that is uniquely an opportunity for Iranians to look at developed and celebrated among its world markets in the hope of expanding Iran National people. This beautiful art is not just trade to higher levels than they enjoyed Carpet Center the making of carpets but also the in years gone by, and for western and intertwining of the Iranian soul, love, eastern carpet dealers and consumers to traditions and feelings in every knot have a fresh look at Iran’s potential. that is tied on their rugs. Affirming the uniqueness of Persian rugs, a carpet There will be many challenges in the master spontaneously and passionately task of reshaping and updating the said, ‘If you want to say something supply chain, but the benefits and beautiful, just throw your words possibilities are unprecedented. There is between the flowers of your rug and let a vast pool of talented designers, weavers the carpet talk...’ and specialists in Iran who are keen to cooperate where they see opportunity There was a time when many in the and commitment. On the behalf of the world could understand that talk, INCC, I can promise that we will help and hand-woven carpets still have in any way that we can to forge links much more to say in a language that between Iranian carpet designers and consumers around the world can weavers and the rest of the world. comprehend. Many in Iran and the rest of the world have great love and passion Hamid Kargar in our hearts for the maintenance Chairman, INCC and renewal of the glory and fame of Persian carpets. I urge all such people to help us with their ideas and opinions.

‘ There is a vast pool of talented designers, weavers and specialists in Iran who are keen to cooperate where they see opportunity and commitment’

02 03 INTRODUCTION

The association of the words Persian The resilience of the carpet in Iran and carpet is deep-rooted with a illustrates how deeply carpets are woven history as long as that of Persia into the fabric of Iranian society and itself. While for many the culture. While many nations can claim of ancient times are a remote footnote deep affinities to artistic traditions, that of in classical history, the carpets made Iran and carpets is unique. The following then and mentioned in glowing terms pages will demonstrate aspects of carpets by Greeks such as Herodotus are in Iran that are exceptional and distinct, still very much in evidence, as is but it is important to understand that this the high esteem in which they are is not just a celebration of past history but still held. a living history as well.

There are not many items that are Carpets are still made and are a vital part part of the image of a 21st-century of the country’s economy and cultural home that are made exactly the expression. Though rooted firmly in a same way today as they were 2,500 tradition of excellence and Persian culture, years ago. That handmade carpets the art of carpet making today produces are still a relevant part of our daily groundbreaking works, pieces that belong lives is remarkable, as is the fact that to the cutting edge of contemporary the people who wove carpets in Iran design. A new generation of artists and three millennia ago would recognise designers are renewing the tradition with today’s carpets from Iran as identical; fresh approaches to composition, motifs the techniques, the materials and the and colour, strengthening the link between colours are the same. the looms of Iran and our homes.

‘ While many nations can claim deep affinities to artistic traditions, that of Iran and carpets is unique’ Photo: Mohammad Varvani Farahani Mohammad Photo:

04 05 2500 YEARS OF PERSIAN CARPETS: AN UNBROKEN HISTORY

WILLIAM MORRIS ‘ I saw yesterday a piece of Carpets and carpet weaving have While substantial gaps in our (1834–1896) HERITAGE been part and parcel of Iranian knowledge still remain, the ancient Persian... that fairly CRAFT life and culture for at least two record is one of extraordinary and a half millennia. Recent technical innovation and threw me on my back: DESIGN archaeological and art historical artistic development, of discoveries have pushed back repeated episodes of revival and I had no idea that such the ancestral timeline for today’s renaissance, all based on the wonders could be done fine Persian carpets to the early innate Persian sensibility for this empires of the Iranian heartland. universally appreciated art form. in carpets’

06 07 HERITAGE From 2500 bce to 2017 carpets handmade HERITAGE CRAFT A in Iran by and villagers, as well CRAFT DESIGN TIMELINE as in professional city and courtly weaving DESIGN ateliers, have presented the world with an innovative compendium of carpet weaving techniques, materials, colours and designs.

515 BCE 214 BCE 196 BCE 130 BCE 800 1010 1617 The building Construction of the Rosetta Stone records The building Emergence of modern The Shahnama (Book of Kings) The ambassador of Philip III of Great Wall of China coronation of Ptolemy V of language (Farsi) is completed by Firdausi of Spain arrives in Esfahan

0

800 BCE 500 BCE 300 BCE 100 BCE BCE CE 500 1000 1100 1200 1400 1300 1500 1600 1700 1800 1900 2017

550 BCE 224 CE 1073 CE 1256 CE 1370 CE 1501 CE 1750 CE 1785 CE 1979 Achaemenid Sasanid Seljuk Ilkhanid Timurid Safavid Zand Qajar Islamic Republic

Horse or Cover -weave The Pazyryk Carpet The ‘Faces’ Animal Carpet Pius IX’s Hunting Carpet Abbas Carpet Chahar Bagh Carpet Persepolis Carpet Heidarzadeh Carpet Iran, 800–364 bce. Iran, 487–379 bce. , 383–200 bce. , 1042–1218 ce. Tabriz, dated 1522 ce. Central Persia, circa 1600. Kurdistan, 18th century. , late 19th century. Northwest Persia, ca. 2016. All wool. 87 x 219 cm. All wool. 77 x 81 cm. All wool. 183 x 200 cm. All wool. 170 x 235 cm. Wool, and . Wool, silk, cotton, metal Wool, cotton. 375 x 925 cm. Wool, cotton. 528 x 739 cm. Wool, cotton. Private collection, Zurich Private collection, Germany , Private collection, Germany 335 x 682 cm. Poldi Pezzoli thread. 335 x 555 cm. Imam Al-Sabah Collection, Nazmiyal, New York Heidarzadeh, Tabriz St. Petersburg Museum, Milan Reza Shrine, National Museum

This all-wool animal cover Wool woven in Discovered in 1948, in a Preserved for generations The Hunting Carpet carries The nomenclature of this The Kuwait Kurdish Signed by masterweaver A newly made, traditionally may be the oldest surviving the interlocking tapestry Scythian prince’s frozen in a Tibetan monastery, an inscription in the central ‘Shah Abbas’ style carpet is of Garden carpet is generally Aboul Ghasem Kermani, styled, hand-knotted, fine complete knotted rug technique using natural tomb in the Altai region this C-14 dated 11th–12th cartouche which bears the twofold significance. First, the agreed to be the oldest of the this fine large woollen carpet made in the known today. Its C-14 undyed colours continued of southern , this century woollen carpet date 929 ah (1522 ce) and carpet, which was most likely extraordinary sub-group of shows a flat perspectival plan long established workshops dating falls into a period to be made by tribes in the sophisticated knotted fragment was most likely the name of a masterweaver woven in Yazd, was donated Chahar Bagh design carpets of Persepolis with the most belonging to a Tabriz family when Persia was ruled by mountains of western Iran pile rug was preserved in knotted in northwestern or designer, Ghiyath al-Din to the Mashhad shrine by made in northwestern Persia famous reliefs included and firm set up some two hundred the Medes who controlled until the late 19th century, remarkable condition for Iran. Its highly abstracted Jami. Previously owned by Shah Abbas I in the early in the 18th and early 19th labelled, and records many years ago by the great-great Iran, eastern Anatolia and as well as in Arabia. The almost 2,500 years. Its enigmatic design may have Pope Pius IX (d.1878), it 17th century. Its pair is in the centuries. Its design echoes of the ancient cuneiform grandfather of the present 615-549 bce, material of this small rug compartmented field design some connection to an was found in the late 19th shrine at Najaf. Second, the the classical four-part Islamic inscriptions, translating them principal. Like several followed by the Achaemenid is unlike any of the carpets is borrowed from ancient ancient death and ancestor century in the Quirinale directional all-over garden format. Well known into Farsi. A border inscription other high-end Tabrizi Empire, founded by Cyrus or flatweaves recently Assyrian and Iranian art, cult associated with the Palace in Rome, in poor and cloud-band design is of for more than a century, says that it was made for the manufacturers, Heidarzadeh the Great, which lasted from discovered in caves in while the mounted horses Zendavesta religions. It condition. It was recognised a general type that still bears it was sold by the Vice-Governor of Fars, who has endeavoured to maintain 550–330 bce. One possible northern Afghanistan. The with their covers in the shows human faces, perhaps as a great work of art and the the name of the monarch dealer Vincent Robinson ordered the artist Mirza Agha- and preserve traditional source for the depicted ibexes C-14 date might indicate a processional main border representing the gods of Italian queen, Margaret of responsible for pioneering this to Lord Aberconway in ye Forsati of to study economic and artistic or gazelles can be found in Saka-Scythian connection, as are convincingly part of the Zoroastrian duality, as Savoy, had it restored for her later court style, which lacks 1913, making its way to and draw the site. Its pair is in values, making high quality the ancient art of Lorestan, Scythian tribes traded with Scythian culture, as is the well as dragon, senmurv and drawing room at the Villa di the mythical beasts of earlier Kuwait in the 1970s via the the National Carpet Museum carpets that reflect the particularly bronzes. the peoples of western Iran. parallel procession of deer. serpent imagery. Monza, near Milan. Safavid weaving. international art market. of Iran in Tehran. ancestral heritage. 08 09 HERITAGE HERITAGE CRAFT FOUR CLASSICAL PERSIAN CRAFT DESIGN WOVEN MASTERPIECES DESIGN

The four works of antique carpet art featured here, each brilliantly decorated with elements of the flora and fauna of traditional and Paradise Park imagery, were all made in Iran during the 16th and 17th centuries, and have since found their way into international public collections scattered around the globe. They can be seen in Doha, Kyoto, Jaipur and London respectively.

The Sarre Shrine Animal Carpet The Battle Tabard of Toyotomi Hideyoshi Central Persia, probably Central Persia, perhaps Kashan Safavid period, mid-16th century Safavid period, late 16th century Wool pile on a silk foundation, Silk slit-tapestry (kilim) with silk-cored metal thread plainweave silver/silver gilt brocading 183 x 354 cm Kodai Ji Temple, Kyoto, Japan Museum of , Doha, Qatar

The importance of this to the American oil tycoon Designated an Important surcoats, weapon covers beautiful carpet, with its John D. Rockefeller, Jr. It Cultural Property in and horse trappings. symmetrically balanced eventually passed to his Japan, the battle surcoat A greater number of scenes of animal combat son John D. Rockefeller or tabard ( jin-baori) of Persian carpets were surrounded by elegant III, and was sold in the the Regent Hideyoshi imported during the time cloudband and palmette early 1970s to a New York Toyotomi (1536-1598), of Shogun Tokugawa borders, lies not just in its dealer. The carpet was which is cut and tailored Ieyasu (1542–1616), also superb quality, fabulous finally acquired by Doha from a late 16th century known as the Edo period. wool, glorious colours and in 2002 through Grogan Safavid silk kilim, has Unquestionably the most perfect drawing, but also & Co. in Boston and the been treasured for more splendid and exotic of in the importance of its London art market. than 400 years in Kyoto’s these is the battle surcoat recorded line of ownership The pair to the carpet Kodai-ji Temple. of the warrior commander over the past 125 years. was sold at the turn of the Exotic gifts to the Hideyoshi Toyotomi, who Perhaps the most 20th century to collector shogun and other high completed the military important owner of this Charles Yerkes and then to officials, oriental carpets unification of the country Doha animal carpet the Metropolitan Museum of various types were in the late 16th century. was the great art of Art in New York, where carried to Japan from the It has a design of animal historian Friedrich Sarre, it is currently on display. mid 16th century onwards combats, lion masks and the first director of the This exceptional carpet on galleons from Spain, other creatures in lobed Berlin Museum of Islamic belongs to group of carpets Portugal, the Netherlands cartouches, close to that Art and a founding father of supreme artistry and and England. They gained of the Figdor Safavid of the study of Islamic weave enriched with metal great popularity among silk kilim. The latter, art. Sarre loaned it to the thread wrapped around military commanders formerly in the Thyssen- great Paris exhibition of the warps, which arguably of the Sengoku Period Bornemisza Collection, is 1903, where it was greatly represents the artistic high (1467–1568), who treasured also now in Japan, having admired. He was later point of carpet production imported woollen cloth, been acquired by the Miho forced to sell the carpet under Shah Tahmasp, and silk velvet and felt, which Museum at Shigaraki, via indeed Iran itself. was made into battle near Kyoto.

10 11 HERITAGE HERITAGE CRAFT CRAFT DESIGN DESIGN

The Jaipur Chahar Bagh Garden Carpet The V&A Ardabil Shrine Medallion Carpet Kerman, south Persia Northwest or central Persia 16th century Dated 946 ah (1539/40 ce) Wool pile on cotton warps and wool, cotton and silk wefts Wool pile on a silk foundation 384 x 853 cm 530 x 1050 cm

Albert Hall Museum, Jaipur, Rajasthan, India Victoria and Albert Museum, London, UK

Antique Persian carpets avenues planted with an In March 1893, with the importers whose Persian in the chahar bagh garden assortment of trees, shrubs, encouragement of William operation was based in design have long held and flowers. Against the Morris, London’s South Arak (Sultanabad). a special status among backdrop of the foliage Kensington Museum, The Persian inscription collectors. Most known are foraging pheasants now the V&A, acquired reads: I have no refuge in the examples were made and waterfowl, songbirds, its iconic ‘Ardabil’ carpet world other than thy threshold. during the 18th century gazelles, and the occasional from the firm of Vincent My head has no protection other in northwest Persian feline. The carpet is said Robinson for £2,000. than this porchway. The work of Kurdistan, but a handful to have been purchased A technical and aesthetic a servant of the Court, Maqsud of technically distinct late in Lahore in 1632 for the masterpiece, the Ardabil is Kashani, 946. The Hejra 16th/early 17th century Amber Palace by Mirza arguably the world’s most year 946 corresponds to carpets are attributable to Raja Jai Singh. famous carpet, remarkable 1539–40 ce. Safavid south Persia. The formal four-part not only for its virtuosity While an early Safavid In 1937, an early garden as a traditional of design and fineness of dating for the carpet is chahar bagh carpet of representation of Paradise weave, but also for the accepted, the identity of unprecedented size and probably originated in cartouche at one end of the Maqsud Kashani remains complexity was discovered ancient Mesopotamia. field with two lines of poetry unclear. It has been in a locked storage room It evolved through the from the Divan of Hafez, a suggested that he was the in the abandoned palace walled hunting parks of signature and a date. shrine’s custodian, the of the Maharajas of Jaipur, the Achaemenians – the This huge medallion carpet’s commissioner, a India. Knotted in the garden built by Cyrus the carpet is one of a pair, courtier, or, least likely of manner associated with Great at the 6th century originally from the all, an artist or weaver. Safavid Kerman, the bce site of Pasargadae is the Shrine of Sheikh Safi at Apparently complete, the Jaipur carpet gives a bird’s- oldest known – and those of Ardabil. They were bought carpet is in fact repaired eye view of the rectilinear their Sasanian successors. by Robinson’s in 1891 with border sections from plan of a four-garden It later became intertwined from Ziegler & Co., the its pair, which is now in layout. The watercourses with the descriptions of prominent Anglo-Swiss the Getty Collection at and pools are bordered by Paradise in the Qur’an. carpet manufacturers and LACMA, .

12 13 HERITAGE HERITAGE CRAFT THE WORLD’S BEST CRAFT DESIGN MUSEUMS FOR DESIGN PERSIAN CARPETS

Many of the great historic Persian carpets can be seen in museums around the London Stockholm Vienna Berlin Istanbul world, evidence of the high regard in The Victoria and Albert The Swedish Royal Austrian Museum of Applied Arts (MAK) Islamic Art Museum Topkapı Saray Museum Museum Collections Persian Classical Carpets from the Habsburg (MIK) Topkapi Group Safavid which these masterworks are held. The Silk Hunting Carpet Imperial Collection The Padishah Silk Kilim Niche Rug

Mashhad Imam Reza Shrine Carpet Museum Mohtashem Kashan Carpet

Tehran National ‘Salting’ Group Carpet Kyoto Los Angeles New York Boston Paris Lyon Kuwait Doha Miho Museum, Shigaraki L.A. County Museum of Art Metropolitan Museum of Art Museum of Fine Arts Museum/Mobilier Musée des Tissus Dar al Athar al Museum of Islamic Art The Sanguszko Safavid Kerman The Mackay-Getty Safavid Persian Classical Carpets from The Shah Tahmasp Silk National Kerman Safavid Vase Islamiyyah The Schwartzenberg Paradise Animal and Medallion Carpet Coronation Carpet the Permanent Collection Hunting Carpet Tabriz Star Medallion Carpet Carpet Fragment The al-Sabah Tabriz Saf Park Carpet

14 15 UNDERSTANDING 2,500 YEARS OF IN IRAN

ARTHUR UPHAM POPE The Persian rug tradition is the country in this single (1881–1969) ‘ Carpet knotting could HERITAGE A Survey of unique in the world. There have purpose: from designers and , 1939 be used as a medium for CRAFT always been and continue to colourists, through to weavers, be four levels of rug making in washers, and dyers, from farmers conveying the miniaturist’s DESIGN Iran, illustrating how carpets and shepherds, through to permeate all strata of society. dealers, porters and exporters, most delicate and With such a rich tradition, there the character of the Persian vivacious conceits’ are many aspects of making population finds expression carpets that cross class, economic in carpets. and education barriers uniting

16 17 HERITAGE Rather like a nation’s language that can be spoken with many different HERITAGE CRAFT TYPE regional accents, all of Iran’s four different levels of rug production have CRAFT DESIGN their own personalities but equally share certain primary principles DESIGN such as weaving, design, materials and aethestics. This gives Iranian carpets a unified and easily recognisable character, whether they are made in city workshops or woven by nomads in a black tent. ‘ All of Iran’s four different levels of rug production have their own personalities’ Photo: Javad Golzar Javad Photo: Photo: Mohsen Zeinolabedini Mohsen Photo:

1. NOMADIC 2. COTTAGE 3. WORKSHOP 4. ROYAL

The nomadic tribes of Women do most of the rug Rugs made in professional Historically in Iran, Iran have a long tradition weaving in Iran, and in workshops, knotted in high the , as rulers, of weaving flatweaves and the many small and rural quality wool and silk to commanded the best rugs for their own use in communities, women earn some of the highest knot resources. This led to the their tents, as containers additional family incomes densities ever achieved, establishment of perhaps and multi-purpose covers by weaving with friends are closely associated with the world’s foremost carpet during migration, as well and family in their homes. Iran and are prized as its workshops, using the best as making rugs for tribal These cottage industry most luxurious export. materials that money could leaders and for sale in the rugs might be made These carpets are made in buy to create exquisitely towns. Many tribes use independently by women or ateliers by master weavers fine carpets decorated with wool and collected made under commission by after patterns created by gold and silver designs by locally as well as special dealers, who may provide celebrated designers, many the court’s best artists and tribal motifs meaning wool, a rough pattern and of whom sign the carpets designers. The court set that such closely a guaranteed price for much like a fine artist. Fine an international style that and immediately reflect the rug when completed. workshop carpets are still was copied throughout the the personalities of the The cottage industry has commissioned and exported world and empire, with weavers, who also use for generations been the around the world for use in carpets and textiles playing weavings to mark rites of backbone of the Iranian prestigious houses, palaces the role of the court’s passage for tribal members. rug industry. and mosques. artistic ambassadors. 18 19 HERITAGE The colours of Persian carpets have inspired HERITAGE CRAFT DYEING artists for generations. There are more CRAFT DESIGN carpets made using natural dyes in Iran DESIGN today than in any other country, upholding an ancient connection between the land, its minerals and plants, and the carpets.

1. DYES 2.PROCESS 3. COMPOSITION

The dyes, their intensity The quantity of wool Each carpet in Iran has its will outline a motif in a and combinations reflect required to make the own colour balance. While contrasting colour to give regional traditions. During carpets is usually given to reds from madder root and emphasis, use light and the 20th century, poor village weavers pre-dyed so blues from the plant shade to convey depth and imported dyes affected that families can produce dominate, many traditional movement, and use colour colour quality, but they rugs at home. The colour carpet palettes reflect modern repetitions to guide the have now been replaced composition of the carpet tastes. The expert use of viewers’ eyes through a by the renewal of ancient might be determined by a subtle colour variations can design. The skills used by dyeing practices. The art of dealer or an agent but there turn a simple traditional weavers to create designs producing stable, intense is usually considerable geometric design into an may have similiar outcomes colours makes the skills of freedom given to weavers expression of abstraction to those used by painters and masters much sought in how to exactly use or an impressionistic land- require many years of study after throughout the country. the colours. scape. Typically, weavers to fully understand. Photo: Mohsen Zeinolabedini Photo: Alireza Firuzi Alireza Photo:

20 21 HERITAGE It is commonly thought that the quality of The finest rugs cannot be made without the CRAFT TECHNIQUES a rug is measured by its knot count. While MATERIALS finest materials. Iranian wool, especially the DESIGN fineness is important, fine knotting alone first shearing of spring, is universally praised does not make a masterpiece. The balance for its quality and lustrous silk has long been of the design, colour clarity and rhythm are produced in regions of the country. Combining just as important. the two fibres creates spectacular effects. Photo: Sadeq Miri 1.KNOTTED PILE

Many of the most beautiful rugs made in Iran come from looms set up at home. The number of knots tied in a rug require different types of looms and materials. A loosely knotted pile rug may take a few months to weave, a flatweave less if made by one weaver, but many of the finer and larger carpets will take weavers many months or even years before completion.

2. CARTOONS 3.KILIMS 1. HANDSPUN WOOL 2. HANDSPUN 3. PURE SILK WOOL AND SILK Many rugs are woven using In addition to knotted a small cartoon drawn pile rugs, Iranians also While wool may have been imported Wool is the mainstay of Iranian Iran has a long tradition of silk on a card, showing where weave floor coverings and into Iran to make rugs in the past, rug weaving, but throughout history production in Mazandaran near individual knots should bands using flatwoven slit- Iranian wool, and in particular wool pile has been enriched with the Caspian. Certain towns such as appear. These cartoons can tapestry, and various forms the wool from the fat-tailed silk and even metal-wrapped thread Kashan and Yazd are well known be bought from markets in of sumakh and extra weft of , is well known as gilded with silver and gold. The for their silk dyeing and weaving Iran, are painted by master wrapping. The craftspeople some of the best quality long staple effect of the combination of the traditions. Silk is the material draftsmen or even appear also create from wool. wool in the world. The first shearing former is well illustrated above, of choice for rugs made in city as computer printouts. The flatweaves of Iran are of spring is the finest wool, which as the silk here has a metal sheen workshops, allowing for the finest However, rugs can also be particularly appreciated is lanolin rich and allows for deep when combined minimally with knotting, and its strength also means copied from pictures or by international collectors dye penetration, fine knotting and a undyed wool. that it is used for the woven from memory by a as an ideal canvas for dense pile. in the finest rugs. skilled weaver. Iranians’ love of colour and abstraction.

22 23 HERITAGE The scale of the Iranian carpet sector is HERITAGE CRAFT IRANIAN RUGS mind-blowing, both in terms of the number CRAFT DESIGN IN NUMBERS of carpets woven and the number of people DESIGN involved. These statistics also underline its global reach.

3 million 80 4 years 5 THE ARDABIL months The number of countries to make CARPET (assuming six to which Iran currently IN NUMBERS length of time to weavers) square metres woven annually exports carpets set up the loom

Carpets ...and carpets made and made and sold 36 exported... within Iran 5,000 16,000 knots warps The number of Carpet Design Awards $ averaged each of which has won by Iran since 2006 1bn daily to be exactly the same tension $ 60,546 700–800m The square footage of the $73,000 £2,000 largest carpet ever woven (Made in Iran in 2007 with the price of originally bought 2.2 billion knots for 1 ft sq fragment, in 1893 a mosque in the UAE) Sotheby’s (today £234,000) $ New York $ 330 300 m m 20 1.5m THE ARDABIL CARPET 350 For over 20 years, dated 946 AH 31,835,000 people earn their (1539–1540 AD) 20 universities have taught living in the rug industry 530 x 1052 cm knots knots carpet design degrees in Iran in total per square inch 2014 2016 2016 1990–95

24 25 GIVING SHAPE TO THE PERSIAN CARPETS OF TODAY

JALAL AL-DIN Persian carpets have always and unique vision. Adapting MUHAMMAD RUMI ‘ I can’t stop pointing to the HERITAGE (1207–1273) been defined by innovation, to current tastes and interiors, Persian poet, philosopher, beauty. Every moment and CRAFT and never more so than today. Iranian carpet companies win theologian and teacher The designs now coming out global awards and enchant new place says, “Put this design DESIGN of Iran, may they be labelled audiences. More than 2000 years traditional, transitional or on, the designers of Persian rugs in your carpet!”’ contemporary, break new ground remain creative pioneers on the with their original compositions international stage.

26 27 HERITAGE CRAFT TRIBAL DESIGN

There are many tribal groups in Iran who, until the mid-20th century, led a nomadic or semi-nomadic existence, and who created rugs that reflect tribal affiliations. Rugs and other weavings were and are an important part of tribal life. They have been made to celebrate and symbolise important rites of passage for members of the tribes, and were also used as a medium of exchange with settled villagers.

Rugs made by the tribes in the 19th century are highly collected and represent one of the unique art forms of Iran and its women. Many of the patterns are tribe specific, as are the border designs. Such rugs are the subject of numerous publications based on international collections.

While most of the tribes are now settled, the traditions and patterns live on in regions that still weave rugs with the same individual character, bold colours and unique aesthetic as their antique cousins.

‘ Rugs and other weavings were and are an important part of tribal life’

28 29 HERITAGE CRAFT TRADITIONAL DESIGN

Traditional Iranian carpets were once made in sizes, formats and sets that did not fit western rooms and colour schemes. The introduction in the second half of the 19th century of colours, designs and sizes that reflected western tastes and demand revolutionised the Iranian rug industry. Many of the carpet styles that are associated with today’s Persian rugs spring from this period.

Soft colours, larger sizes, all-over designs with flowers, leaves, birds, and rosettes, decorative elements that have informed generations of designers from to Armani, can be traced back to carpets made in Iran from the 16th century through to the early 20th century.

The ability to adapt to different trends and tastes is an enduring characteristic of Iranian carpets. The scale of the industry, the different levels of production and variety of techniques have ensured that the Iranian rug industry has always remained relevant and continued to be a major exporter of handmade carpets.

‘ The ability to adapt to different trends and tastes is an enduring characteristic of Iranian carpets’ Photo: Images © Christie’s 30 31 HERITAGE CRAFT TRANSITIONAL DESIGN

In a transitional rug the history, roots and soul of a classical Persian carpet are still visible, but the weaving has been given a new twist. This twist can be an unexpected colourway, a reconceived traditional motif, or a play on scale.

Some designers use a traditional design as their canvas and then transform the main field through creative draftsmanship or by letting some elements fade while others take precedence.

Often transitional carpets are shaped by global contemporary design sensibilities, fitting in perfectly with an international style that favours minimalist designs with muted tones and pared- back pattern.

Transitional designs are not moving away from the Persian carpet heritage – rather, they combine the best of two worlds. With such a young and well-educated population, this area of the carpet market is set to develop hugely over the coming years.

‘ Transitional carpets are shaped by global contemporary design sensibilities’

32 33 HERITAGE CRAFT CONTEMPORARY DESIGN

Contemporary Iranian carpets represent the cutting edge of international design. Iran is home to a number of contemporary carpet brands whose products grace interiors across the world.

In tune with the contemporary aesthetics prevailing in different markets, brands create innovative designs in fresh but sophisticated colours and work closely with interior designers. They engage with the worlds of fashion and visual art as well as form a vibrant part of the international design community.

Original compositions are expertly executed by the skilled craftspeople Iran is known for, using the finest materials.

While being on trend is key, the contemporary pieces designed today will be the classics of tomorrow. In that way, Iran’s pioneering carpet makers build on a reputation for innovation that goes back centuries.

‘ Iran’s pioneering carpet makers build on a reputation for innovation that goes back centuries’

34 35 HERITAGE CRAFT ARTIST DESIGN

The art of carpets has always been closely linked to that of the miniaturist, and that tradition has been inherited by the next generation of Iranian artists who are currently enjoying a growing interest in Iranian contemporary art.

Some of the greatest living Iranian artists of the 20th century, including Reza Derakshani (left), Parviz Tanavoli and Mohammad Ehsai, have used rugs as a medium in which to express their creative impulses. By using the sculptural quality of the pile, referring to the cultural significance of the carpet within Iran and highlighting the unique place that carpets occupy within all strata of Iranian society, contemporary artists are again renewing the relevance of the Iranian carpet within Iran and to the outside world.

It is interesting to note that the elevation of the rug from the floor to the wall helps to promote the rug as an art object rather than a floor covering. While the composition of a well-known artist helps this promotion, the work of many unknown artists or weavers still remains to be discovered.

‘Some of the greatest living Iranian artists of the 20th century have used rugs as a medium’

36 37 HERITAGE CRAFT DESIGNER DESIGN

The variety of styles, materials, techniques, ages, sizes and pricing has made Iranian carpets one of the most important aspects of the decoration of interiors. Changes in taste over the last twenty-five years in interior design have increased the demand for minimalist interiors and items of high design that fit with an international and modernist design aesthetic.

This has led to the rediscovery by interior designers of many of the tribal and traditional woven products of Iran that focus on clarity of colour, the pure and honest nature of the materials and a minimalist design, matching rural items to the high design aesthetic of their metropolitan clients in London, New York and Milan.

At the same time, the rise of the internet and ease of communication have meant that designers and clients around the world can now have a carpet made to suit their exact requirements – making Persian carpets the ultimate in bespoke luxury. Internationally, designers are rediscovering carpets as an art form and a form of expression within their own design practice, with several design firms now creating their own lines of Iranian carpets for sale across the globe.

‘ Interior designers are rediscovering carpets as an art form and a form of expression within their own design practice’

38 39 To learn more about Iranian carpets and MUSEUMS, for business enquiries, visit www.incc.ir. ONLINE RESOURCES Contemporary Iranian carpets can be seen in person at trade fairs across the world & CALENDAR throughout the year. Photo: Amir Enyati Amir Photo: WEBSITES www.incc.ir www.hali.com www.iranicaonline.org

MUSEUMS THE NATIONAL CARPET NATIONAL MUSEUM TEHRAN MUSEUM OF REZA ABBASI MUSEUM OF IRAN OF IRAN CONTEMPORARY ART MUSEUM Northwest corner of Si Tir Sreet, Tehran North Karegar Avenue, Seyed Khandan, Laleh Park, Fatemi and 9am–6pm every day Tehran Shariati Avenue Karegar Junction, Tehran of the year except 10am–6pm, 9am–5pm every day of 9am–5pm every day of religious holidays Sunday–Thursday, the year except Mondays the year except Mondays +98 21 6670 2061 3pm–6pm Friday +98 2186 3001 and religious holidays nationalmuseumofiran.ir +98 21 8898 9374 rezaabbasimuseum.ir +98 21 896 2703 tmoca.com carpetmuseum.ir

CALENDAR JANUARY JANUARY APRIL TRADE FAIRS Domotex Maison & Objet Salone de Mobile Messe, Hanover, Germany Paris, France Milan, Italy domotex.de maison-objet.com salonemilano.it

JUNE AUGUST SEPTEMBER China (Qinghai) Iran Handmade Carpet NYICS International Exhibition The Rug Show Carpet Exhibition Tehran, Iran New York, USA (CQICE) nyics.com Xining, China therugshow.com

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