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Persian carpet can be
divided so far as design is concerned into two main groups.
Carpets with a geometric design and carpet
with a curvilinear, known as floral carpets
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GEOMETRIC DESIGNS:
All the carpets in this group are decorated
with linear elements composed of vertical, horizontal and
diagonal lines or formed by a repetition of the same motifs.
Carpets with geometric designs are woven by nomadic tribes
with particular motifs and designs. These motifs facilitate
the attribution of a carpet to a particular tribe or place
of origin.
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FLORAL DESIGNS
The great feature of Persian design has
always been its intricate, symbolic patterns, which have fascinated
experts and art lovers throughout the world for centuries.
Yet it is asserted by many that the designs reflect not so
much symbolism as the Persian’s close affinity with nature
and a pure love of patterns as works of art. Nature supplies
the greatest inspiration to the carpet designer, although
other designs are adapted from such foreign sources as China
and Arabia. In all probability designs began hundreds of years
ago with faithful representations of trees, flowers, birds
and clouds which, through the creative and the innovative
genius of Persian art became more and more stylized with each
succeeding generation.
The most common motif for all Persian rugs,
especially the larger ones, is a large central medallion.
Yet even if they are basically the same design, no two medallions
are ever exactly the same.Some experts believe that the medallion
design stems from the very religious nature of the weavers
and that their inspiration probably came from the domes of
the mosques.
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In thinking to patterns, Shah Abbas, the
Great, invariably springs to mind as the inspiration for serious
pattern. The lily often in an isolated central position linked
only by delicate tendrils. Other favorites are the pine or
leaf pattern, a very peaceful stem with a slightly bent head,
which proved the inspiration for the paisley pattern, rather
stereotyped and meaningless compared with its instigator.
The Herati pattern is also in rugs from all over Iran. It
derives from the town of Heart, now in Afghanistan but once
part of the Persian Empire. A central diamond shaped figure
framed by four slightly curling leaves, is repeated several
times. The Kurds use a similar pattern known as Mina Khani.
Weavers in Kerman sometimes include portraits
in their designs, including such European celebrities as Napoleon
and of course, the Shahs and wealthy people of Iran. Over
the years art scholars and carpet experts have attempted to
classify the Persian carpet designs. The results of their
researches has revealed that there are 17 groups of main patterns
together with their sub patterns as follows:
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GROUP 1 – Patterns of Historic Monuments
In creating these patterns, the designers
have been inspired by the tile work, structure and geometric
shapes of ancient buildings. From the original patterns in
this group. Artists have made many sub-patterns. Some of which
are called Takhte Jamshid, Taghe-Bostan, Taghe-Kasra (Eyvane
Madaen) and Zire Khaki
GROUP 2 – Shah Abbasi Patterns
In this group the principal motif – a special
flower known in Iran as Shah Abbasi – is set off by other
floras and leaves in the background and border. Sub-patterns
include Allover. Medallion. Tree. Animal. Sheikh Safi. Embellished
Shah Abbasi. Medallion. Bush and Plain Ground.
GROUP 3 – Spiral Patterns
The original of this group is composed
of spiraling branches surrounded by leaves. The end of each
branch splits to resemble the jaws of dragon. The branches
are ornamented with foliate spurs known as Eslimis. Among
the sub-patterns of this group are Allover Spiral and Medallion
Spiral.
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GROUP 4 – Allover
Patterns
All over parts of All over designs
are usually related and connected. In the drawing of such
designs, the designer’s pen is never lifted but continues
from beginning to end, with the exception of a pattern in
which branches and leaves are scattered in the background.
For this reason, the name Afshan-Allover has been given to
this group. Among the numerous variations are Allover Spiral,
Allover Khatai, All over interconnected, Allover Broken. Allover
Pomegranate Flower, Allover Twisted Branch, All over Floral
Bouquet, Allover Animal, All over Medallion.
GROUP
5 - Decorative Patterns
Some of these patterns resemble designs
woven in the border areas of Iran, Careful study shows that
some of them were originally Persian and borrowed by our neighbors.
Well-known patterns in this group are Afghani, Caucasian and
Gobelin.
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GROUP
6 - Interconnected Patterns
When a small piece of design is repeated
and connected throughout the length and breadth of a carpet,
the resulting pattern is called Bandi (interconnected). Subpatterns
of this group are many:
Interconnected Spiral, Interconnected Ivy, Interconnected
Broken, Interconnected Katibeh, Interconnected Mostowfi, Interconnected
Varamin, Interconnected Minakhani, Interconnected Mub-brick
Mold or Diamond, Interconnected Panel, Interconnected Tree,
Interconnected Milk and Sugar, Interconnected Armlet, Interconnected
Cedar or Mulla Nasreddin, Interconnected Bakhtiari, Interconnected
Majlessi, Interconnected Rope, Interconnected Bunch of Grapes,
Interconnected Deer Horn, Interconnected Shiraz Inlay and
Interconnected Floral Bouquet.
GROUP
7 – Paisley Patterns
The basis of these designs is the head-bent
paisley motif common in both Indian and Iranian patterns from
older times. In Persian carpets, the design takes different
shapes and sizes, some of the best known sub-patterns being
Tufted Paisley, Deer Horn Paisley, Saraband Paisley, Kherghei
Paisley, Esfahan Pencase Paisley, Kordestan Paisley, Eightbush
Paisley, Broken Mir Paisley, Sanandaj Paisley, Afshari Paisley
and Armlet Paisley.
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GROUP
8 – Tree Patterns
Although stylized branches are a common
motif in Persian carpet designs, the so called tree patterns
are distinctive for their close resemblance to natural forms.
Among the sub-patterns are Animal Tree, Green Field Tree,
Panel Tree, Cedar Tree and Vase Tree.
GROUP
9 – Turkoman Patterns
Incorporating geometrical shapes and broken
lines. Turkoman patterns are of the nomadic tribal type –
products of the weaver’s imagination rather than reproduction
of the drawn designs. Sub-patterns of this group are known
as Turkoman Ghabe Yamouti. Comb Turkoman, Ghazel Goz Turkoman,
Akhal Turkoman, Four-Panel Turkoman, Saddlebag Turkoman and
spoon Turkoman
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