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Typical Persian Isfahan rug

The weaving of an Oriental carpet or a Persian rug is a sophisticated and time-consuming process. However, in this article, we will be trying to explain it in a more simple form by ignoring the preparation of the loom, and concentrate on the weaving itself which always starts at the lower edge of the carpet with the selvedge. A certain number of weft threads are inserted across the vertical warp threads so as to form a stout edging which will keep the carpet intact, prevent fraying, and keep the knots tight. The weaving of the pile begins once the selvedge is prepared. Each single knot, either symmetric or asymmetric is tied on two adjoining warp threads. The number of knots per square inch (KPSI) is an important factor to consider when determining the price. On average, a trained weaver will tie around 14,000 knots each day. For example, a six foot by nine foot rug with a KPSI of about 200 will take over five months to make, and it will only grow by less than an inch across the whole width after a day of hard work. The weaver will tighten the knot by pulling it in a downward direction, thus creating a direction to the nap. This is why a handmade rug will appear lighter if you look at it with the direction of the pile, and darker if you look against it. When laying a rug in your room, it is important to try it out in different positions. When a row of knots across the width of the warp is finished, the weaver passes one or more shots of weft thread over the knots in and out of each of the vertical warp threads. When two weft threads are being used, one is generally tight and the other loose. The number of weft threads depends on the weaving style of the region, and thus helps identify the origin of hand-knotted rugs.

Each row of knots is cut individually. Often, the pile is given its first cropping after four or six rows of knots have been tied onto the foundation. The final cropping will not take place until the carpet is finished and washed. As a rule, very fine rugs are cropped very low, while a deeper pile is left on pieces with a lower KPSI, because if these carpets were close-cropped the poor quality of the fabric would be revealed. According to the demands of the market however, the style and the height of the cropping may be adjusted. Millions of differently colored knots are patiently aligned one against the other to form the patterns and motifs of these beautiful works of art. Patterns are sometimes geometric, sometimes floral, but always full of imagination and style. Colors and designs often grow instinctively out of the basic traditions of the nomads. There is no prearranged plan, but rather just a general idea which takes into account the shape of the rug to be woven, the symbols and motifs which are to appear on it and the colors available. All the rest is imagination, skill, and the natural creativity of the weaver. In the cities on the other hand, where rugs are often produced at organized workshops, the rug is born of a precise project by specialized artists who create the design on a squared cartoon on which each square represents a knot. When the rug is to be made by one person on his own, the cartoon is fixed to the loom at the worker’s eye level. When two or more people are involved in the task, one of them reads aloud the number of knots of each color. Often, this sounds like a harmonious song. In organized workshops where there are many workers, the weaving is led by the “master” who supervises the entire production of the rug and is personally responsible for the most important parts of it.

The rug is finished with a selvedge just as it was begun. The surplus warp threads on each end of the rug are used for the fringe which can be knotted or kept in place by means of what is called a chain stitching. When the rug is removed from the loom, it is given a careful wash and a final cropping of the pile. Then point of the washing process is to remove the stiffness from the rug and to restore the wool and the colors to their full purity. The rug is then spread out to dry in the sun and this is the last test of color fastness. The rug is now ready to be shipped to a retail store and purchased by its new owner to be enjoyed for many years to come.

Persian Silk Qum

Qum is located only about 75 miles south of the capital city of Tehran. Even though some of the finest Persian rugs are woven in Qum, the history of weaving does not go back farther than 70 or 80 years. However, the city of Qum has become an important center for the Persian rug industry. Qum rugs have immensely improved in quality over the past few decades. There have also been great innovations in design, to the extent that even some Caucasian patterns are being produced in Qum. Rug production started with a wool pile and silk highlights, but is today mostly concentrated on pure silk. Since around 1921 to 1941, European markets have shown an increasing demand for rugs with a finer weave and more delicate material. This gave way to production of higher quality rugs with silk highlights. As stronger demand emerged, weavers began to make pure silk rugs around the same time. The imagination of artists as well as the strong support of buyers produced some luxurious and attractive city-made rugs enjoying a unique character compared to their rivals produced in other Persian cities. As a matter of fact, no other material has the ability to produce such elegant, delicate rugs, displaying a particular charm in different lights, and depending whether you are looking at the rug with or against the nap, as silk does. From surrounding cities and nearby villages, designers and producers rushed into the city of Qum to intensify the production of these wonderful pieces of art. The innovative success of emigrant master weavers and designers who had mainly come from Arak, Isfahan, and Kashan, in combining their local patterns and creating new harmonious styles led to the appearance of extremely rich, extraordinary designs in rugs of Qum.

The dominant designs in these rugs include the traditional “Shah Abbasi” corner and medallion, the “tile” (Kheshti), daste gol (bouquet of flower), and a variety of other beautiful patterns. The palette of colors Qum weavers take advantage of is as rich as the range of designs. In fact, most experts believe the volume of innovative designs and bold choice of colors used in recent production of Qum rugs is more than all other types of Persian rugs put together. Rug weaving in Qum seems to have extended towards West and Southwestern parts of the region from Zanjan and Bijar to Qazvin and small communities to the West of Qum. Some famous weavers of Qum carpets enjoy an international recognition and are normally under the obligation of delivering every piece of their production – due to long-term contracts – to one or two importers for the Western markets. A higher quality silk Qum usually has the signature of either the workshop or the master weaver displayed either on the top or the bottom border. If the pile is wool, then it is always Kurk (wool from lamb’s neck) which makes the rug much softer. In such rugs, the foundation is normally cotton, but silk rugs almost always have a silk warp, and sometimes the weft may also be silk, making them even more valuable. Two shots of weft are inserted over each row of knots. Qum rugs come in all sizes, and use traditional colors of red, dark blue, and ivory. Tightly woven Qum rugs are magnificent pieces of art, and last forever. Knot count varies between 150 to over 1000 KPSI.

Typical Persian Isfahan rug

The city of Isfahan is the capital of Isfahan province located about 200 miles south of Tehran known to have once been one of the largest cities in the world. It is one of the most famous cities in the Persian rug industry, a major producer of all types of handicraft, and also a major tourist attraction for the country. If there has been any Isfahan rugs produced before the Safavid dynasty, they are no longer in existence. It is believed that the popularity of Persian Isfahan rugs has its roots in the lost and forgotten art of rug weaving in Qazvin. During the Safavid era, many Persian artisans gathered in the new capital of Qazvin for a short period of time. As the capital was later moved to Isfahan, the glorious epoch of Isfahan art began. Rug weaving was definitely a considerable part of this movement. The establishment of royal carpet workshops during this time is an indication of the king’s special concern for Isfahan. Many pieces of Isfahan rugs produced in these workshops can now be found in museums and private collections. Many motifs found in Isfahan rugs have been inspired by decorative tile works of ancient monuments, to the extent that most researchers believe that the rug industry in Isfahan has always been influenced by the city’s historical buildings. This is perhaps why their production is often referred to as the most vivid example of classic “city carpets” within the Persian rug industry.

Pictorial Isfahan Rug

Some of the best master weavers, designers, and artists belong to this region. Isfahan rugs have a very traditional Persian design: a single medallion in the field, surrounded by “Shah Abbasi” flowers, and a border of a strong contrasting color against the field. Isfahan rugs come in all possible sizes. Quality of the wool is excellent, the warp is silk, and the weft is either silk or cotton. In some older pieces, cotton warp is more common. The pile usually consists of Kurk wool. Knots are compacted very tightly, and two shots of weft are inserted over each row of knots making them very durable pieces of floor covering. In Isfahan rugs, colors are also very traditional: different shades of red, ivory, and royal blue, with beige and soft green in recent production. Isfahan rugs are very durable, and a relatively large number of antique pieces can be found in many famous museums around the world. Unlike some other weaving centers which have very many neighboring villages producing similar rugs, Isfahan is not surrounded by any major rug producing communities. However, there are some rugs woven in neighboring cities (such as Najafabad and Shahreza) and called Isfahan by a common mistake. Isfahan rugs come in different qualities with the number of knots per square inch ranging from 150 up to over 800 KPSI.

Hand-knotted Persian carpets and Oriental rugs are the very latest floor covering fashion statement. In fact, interior designers all over the world have discovered their impressive versatility in style, color, type, and size, and are using them to define or enhance not only residential but also commercial decors. Oriental area rugs and Persian carpets of today are woven to suit an infinite domain of decorative styles spanning the traditional Oriental looks to the European, Art Deco, and contemporary. Buyers can choose, for example, Persian-style carpets featuring traditional hues or a wide array of timely decorative colorations. Also, In addition to the tremendous variety of pile rugs, the buyer can choose from an impressive selection of flat-woven pieces, including Indian Dhurries, Persian Kilim, chain-stitch, and Belgian needlepoint rugs. Moreover, sizes run the full gamut in response to the variety of today’s decorating needs. Reproductions of older pieces of Persian rugs easily coordinate with the fabrics and traditional furnishings of many Western homes.

New Pakistani Peshawar Rug

Most interior designers and rug dealers will advise that the most logical way to decorate a room is to start with your Oriental or Persian rug. By extracting a single color from the rug, one can influence the room setting’s entire color and design scheme including that of wall and floor covering, upholstery, curtains, and other window treatments. At the same time, a rug’s pattern can stimulate the mood for the particular furniture style to be utilized in the same room. For example, a hand-woven rug exhibiting the French floral Aubusson design could be the first step in establishing a formal French ambiance or at least some European mood in the room.

However, incorporating the modern Oriental rug into an existing decor is now virtually problem-free thanks to the infinite variety available. A particular decorative scheme can inspire the use of a specific rug type and style. For instance, an 18^th century English decor could be the ideal setting for an English-patterned needlepoint rug as well as for a traditional Chinese Peking carpet. On the other hand, in a less formal decorating environment an Indian Dhurrie or a Persian Kilim might be the perfect choice. Experienced home owners can testify that Persian carpets and Oriental area rugs can be used in a variety of room settings. In fact, with a little imagination you can transform an interior space into one that is vibrant with personality thanks to the addition of a handmade Oriental or Persian rug. Also, due to the tremendous (and increasing) variety in rug types and in the range of prices that have emerged during the last few decades, this decorating option is now within virtually every buyer’s reach. The floor of any room is perhaps the most prominent decorative component – accounting for one third of a room’s total space – and therefore deserves to be adorned with only the best. Persian and Oriental rugs can visually connect two otherwise unrelated spaces with much ease. A piece of Oriental Persian rug that you feel totally comfortable with will most likely look the best in your home. With the expanding choices available to today’s rug buyer, selecting the right piece of artwork for your floor requires a considerable amount of your time and patience.

Antique Persian Mashad Rug

Although Afghanistan shares a border with Iran on its western side, its carpets and rugs have more in common with the tribal weavings of Central Asia in regards with color, design, and weave than with their relatively more sophisticated Persian counterparts. Just like many similar cultures, the Afghans are a nomadic, tribal population constantly moving around from one place to another. Their rugs, woven on small, portable, wooden looms, are mainly produced for use in their private homes, and almost always for decoration purposes. Therefore, it is not surprising that Afghan rugs are available in limited quantities and usually in smaller rug sizes. Many feature natural-dyed hand-spun Afghan wool of very good quality. Various qualities of hand-knotted rugs are available in Afghanistan, ranging from coarse to medium in weave, in addition to flat-woven Kilims.

A Typical Afghan Rug

During the past few years, it has become increasingly difficult to distinguish between real Afghan rugs and those produced in Iran and Pakistan by Afghan refugees who fled their country during its war with the Soviet Union followed by the Afghan civil war. Afghan rugs are characterized by easily identifiable geometric patterns, the reason being that they strictly observe the principles of Islam, in which the display of human and animal figures is usually to be avoided. In addition, Afghan weavers have not been subject to much pressure from Western markets to produce for Western tastes. There are several types of Afghan rugs. The most widely accepted design is the “Afghan Bokhara”, represented by the gul motif, a large, quartered octagon also called “elephant’s foot”, generally displayed in columns or rows and framed within a border. They come in only a handful of different colors, the most common of which would be a rich red. Also popular are the nomadic Balouch rugs, generally prayer rugs with geometric designs. Most Afghan rugs fall into the dark red hues (occasionally blue) with black or dark blue motifs and sometimes with minor touches of ivory or green.

Lately, Afghan weavers have produced an interesting selection of “war rugs” exhibiting stylized depictions of military equipment such as tanks, grenades, and guns which are a clear image of the violent environment influencing the region throughout the 1980s. Of all the carpet types available today Afghan rugs are probably the most truly authentic expression of a weaver’s culture. They hold a special appeal for buyers seeking truly original ethnic expression in Oriental rugs.