Just like the raw materials and dyes, the design in Iranian carpets also has a wide variety depending on the region where the carpet is woven. It is rooted in the environment, history and beliefs of the weavers and has been perfected over centuries. Some have a surprising simplicity that shows the authenticity of the design and the lived experience of the weavers, and others are so elaborate and hypnotic that it speaks of outstanding skill, great effort and a unique sense of aesthetic taste.
4- Design
A Persian rug design can be defined by how its ornaments are arranged inside its pile. A single basic design may dominate the entire surface, or there may be a pattern of repeating figures covering the whole surface. Weavers who live in a region with traditional, time-honoured local designs, such as nomad tribes, can weave from memory since the patterns are part of their family tradition. This is usually sufficient for less elaborate rectilinear designs. The patterns are meticulously drawn to scale in the correct colours on graph paper for more elaborate designs, especially curvilinear designs. The weaver weaves a knot for each square on the scale paper, which allows for a precise rendition of even the most intricate designs. Not to forget that there are places that weave large and elaborate carpets from memory, like the beloved carpet-weaving city of Heris.
The Famous Lachak Toranj Design (medallion and corner)
The most famous design element of Persian carpets is Toranj or Medallion, a symmetrical pattern occupying the centre of the field. Parts of the medallion, or similar, corresponding designs, are repeated at the four corners of the field called Lachak. The common Persian “Lachak Toranj” (medallion and corner) design was initially developed in Persia for book covers and ornamental book illuminations in the fifteenth century. In the sixteenth century, it was integrated into carpet designs. The field of a rug may also be broken up into separate rectangular, square, diamond or lozenge-shaped compartments, which in turn can be arranged in rows or diagonally.
In contrast to other oriental rugs, the Persian carpet medallion represents the primary pattern, and the infinite repetition of the field appears subordinate, creating an impression of the medallion “floating” on the field. Medallions come in a variety of styles, including the Mahi (elongated lozenge), which is famous in fine rugs made in Tabriz. On the other hand, excellent Isfahan and Nain rugs are known for their circular or hexagonal medallions with projecting floral points and motifs.
The "Afshan" or Allover pattern in The Persian Rugs
The “Afshan” or Allover pattern is the second common Persian rug design, so titled because a single flower or paisley motif (also known as a Boteh) is repeated throughout the majority of the carpet and framed by a border that visually unites the Allover design. When the end of the field is reached, patterns may be cut off intentionally, thus creating the impression that they continue beyond the borders of the rug. The Herati is another popular Allover pattern, which comprises four leaves for four corners accented with various modest floral patterns and then repeated all over the rug. Some other well-known Allover patterns are, Zar Afshan, Nain, Diba and Gol o Morgh designs.
In most Persian rugs, the field is surrounded by stripes or borders. These may number from one up to over ten, but usually, there is one wider main border surrounded by minor or guardian borders. The main border is often filled with complex and elaborate rectilinear or curvilinear designs. The stripes of the minor border show simpler designs, like meandering vines.
The Distinguished Tribal Rugs of Iran
Tribal rugs feature geometric or abstract designs that distinguish them from most other Iranian regions. Yet, like the more intricate Persian designs, their core elements emerged from the natural world. Rug weavers have for generations combined designs developed by royal court artisans with designs commonly seen in practical carpets woven by nomads. This evolution is deeply reflected in the geometric shapes found in Bakhtiari, Hamedan, Nahavand, and especially Heriz carpets. As you can imagine, the diverse types of raw materials combined with various dyes, weaving techniques, and designs come together and create a considerable variety of Persian carpets; each with its own particular story. As many mentioned throughout history, designs of Iranian carpets have a magical quality. It is not strange that Persian rugs have been a source of inspiration for numerous fiction writers!Â
