Classification of the Persian carpet

Before \ talking about the variety of the design, it is opportune to mention that all the designs can basically be categorised into three principal groups. All the motifs
and figures which constituted the design are made from composition, contact, rotation and
balance of the lines.
If the lines along their route make angles the design is in geometrical style. But if the lines in their course don't make angles, the design will be classified in the curvilinear group. Should the lines of the design in some part of their route make angles and in others make roundish movements the design belongs to the stylised group. Most Persian carpets are decorated with medallion,(Toranj), and corners.
The medallion is always located in the centre of the Layout and the shape may be round, oval, rhomboid or radial of different sizes which varies according to the taste and custom of the weavers. Instead of a single medallion we may find two or three medallions on the central line of the carpet. Usually on the top and bottom of medallion there are two pendants, (Sartoranj). One fourth of the medallion shape or something of a similar form when repeated in the corners of the field is named corner Lachack. All Persian designs are categorised in two main groups.
Tribal carpets are small in size, woven in a very short period of 3 0 4 months and in the form of a rug and runner.

The tribal looms are made horizontally, easy to dismantle and pack to be loaded on horses, camels and other load carrying animals, with speed and ease.
The rugs are thick and woven in natural, sharp and bright colours. The knots are generally Ghiordes and sometimes Senneh.
The nomads often prefer geometrical designs, which they themselves create. Evidence also is the use of heraldic emblems or tribal coats-of-arm and even motifs.

Tribal carpet

These designs have been influenced by old and noble Persian Patterns that were created by the native carpet weavers. The simplicity of life enjoyed by the weavers is reflected in the style of their production. In spite of the patterns, which are not ordered and regular, the designs are still attractive and pleasant.
The designers have transferred these patterns from one district to another so that these designs can be found from the furthest east to the furthest west of the country. Sometimes these designs are recognised by the name of the production zone such as Mazlaghan, Ferdous, Veis, and may take the name of the Chieftain such as Salar-Khani, Yaghub¬Khani, Ali- Mirzai. Heibatlu is one of the most famous patterns of this group which is associated to Abadeh in the province of Fars. Most tribal designs are in geometric and stylised style.

Rural and urban carpets

The designs of Urban carpets in comparison to tribal patterns are more elaborate and precise, therefore to realise them the weaver needs to use the tenplate.
Every compartment of this millimetric sheet represents one knot of the carpet. Here below we study thirteen kinds of designs.
The vast majority of Persian Carpets are made in the rural and urban centres where looms are positioned permanently. The carpets woven in the village workshops are generally thick and those woven in the urban centres are very fine.
Skilled artisans produce several beautiful carpets and designs in their private workshops; and sometimes in government run carpet centres.

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