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Persian Carpet

Introduction of Iranian Carpet Museum

The Iranian Carpet Museum is a national treasure, full of exquisite and antique examples of carpet weaving. There are carpets from the Savafid, Qajar and contemporary eras. The museum presently has a collection of over one thousand antique carpets and kilims. Seven hundred of these are unique in the world. The collection has representatives from all the carpet weaving styles and cities. Two temporary exhibitions are usually held every year at the museum. These exhibitions occur on International Museum Day, that is May eighteenth, and also on February twenty-second, concurrent with the celebration of the victory of the Islamic Revolution.

Thousands of people, including students, researchers, those interested in Iranian art and culture as well as tourists from the four corners of the world come to visit this museum every year.

//Poland’s carpet and ( ) //are among the unique carpets for exhibited at this museum. // ( )// carpet belongs to the sixteenth century of the common era. It was woven during the Safavid era. It’s pattern is medallion spandrel. Hunting images and miniature figures make up the field. It is twenty-five square meters with a knot count of forty in seven centimeters square. Presently, there are seven //Poland's carpets// in the museum's collection. These carpets were commissioned by a Polish prince named Sigmond. They were woven in Isfahan and Kashan, using gold threads. The warping of these carpets uses three tight and loose wefts.

The museum has varied functions; it does not act only as a repository. Among the important sections is the repair department. The training department of the Carpet Museum is also quite active, providing educational services by offering classes in weaving, darning and carpet design.

Four Seasons

It is a common practice in carpet design to divide the main area into four equal parts. The situation is quite different in this carpet. In every one of the four sections of this carpet, the four seasons of the year have been depicted. They rotate in a clock wise direction. The carpet is three meters by two meters twenty. It has an asymmetric knot count of sixty. The carpet was woven in the city of Tabriz about forty years ago. It employs a wide range of techniques that definitely makes it worth our while to review. The carpet medallion has an oval shape. Darius, the Achaeminan King, leans against the throne. Two companions are offering protection from the sun. An image of Farvahar has been woven near the king. Around the medallion twelve constellations are woven, each in an oval frame.

The statements "Four Seasons" and "Planet Earth" have been woven inside the frames and on the two ends of the shorter diameter of the ellipse. There are images of prophets woven inside some frames at the spandrel in the four corners of the carpet. Images such as Moses on Mount Sinai, Jesus as a shepherd , both Abraham and Ismail as well as Adam and Eve. Images of renowned Iranian personalities, such as Abolghasem Ferdowsi, BaBa Taher Orian, Saadi, Quani and Hafez have been woven into the right and left borders of the carpet. Four historic places have been shown in this carpet: Perspolis in the spring, the Sultanieh of Zanjan in the summer, the porch of Madeeon, in the fall season and the Kabud Mosque in winter. The constellations of the months of each season are next to them. In the image of the winter season, the faded wintry shadows attracts ones attention.

Pazyryk carpet

In the summer of nineteen forty-nine, the Russian archeologist Sergio Rudenko was in a valley six miles from the border of Mongolia.

He made an astounding discovery: a carpet dating back to the fifth century before the common era. The carpet was in Pazyryk of the Altai Mountains in an avalanche. It was in perfect condition! It had been preserved in a thick sheet of ice which had protected it for twenty-five centuries. With this magnificent carpet coming to light, a most important piece of evidence in the history of oriental carpets became available to us.

In the investigation carried out by Rudenko on the Pazyryk carpet, his attention was attracted to the undeniable influence of ancient Persia on some of the patterns.

The political influence of the Achaemenian dynasty may be greater than might have been previously estimated. At the beginning if this dynasty, it was influentuial merely in the south and east of Iran. When its influence spread, the regions of central Asia came under Persian domination in in the forth century before the common era.

This is the theory, because this date corresponds with the era of the Pazyryk carpet. Rudenko made a close study of the patterns which appear to be so close to those of the Achaemenian civilization.



The line of horses and their riders which appear on the carpet’s borders are similar to the horses and their riders appearing on the carved stone blocks of Persopolis. The Persopolis scene shows that the activity was a stately procession. None of the riders in the Persoplois carvings are mounted, while on the Pazyruk carpet, every other rider is mounted. This shows that the riders are active, playing a game, for example.

The central field of the restored Pazyruk carpet is divided into twenty-four squares, each decorated with an eight-pointed star. This pattern resembles the four-pointed star of the Assyrian era.

The guard between the horsemen and the elk are decorated with cross-like figures. The squares of the field are also decorated with a similar motif. On the principal band of the interior, there is a line of six elk on each side. The two inner and outer guards are decorated with a succession of small squares containing imaginary creatures, probably griffins. The original colours used for this carpet can not be precisely known, as they have just about faded away. The work of the Pazyruk carpet compares favorably with that of the best of modern weaving. Rudenko maintains throughout his investigations that this carpet is of Persian origin, although it was found very far from the borders of the ancient Achaemenian dynasty.



A sample of the Pazyryk carpet was woven on the order of the Carpet Museum of Iran. In this carpet, symytrical knots of silk, colored white, light green, black, creme, orange and madder are used.

The size of this reproduction is two hundred eleven centimeters by one hundred eighty centimeters with a knot count of fifty.

The Persepolis Carpet

Persepolis, this twenty-five hundred year-old court of silent stone! What does it convey that it manages to attract thousands of tourists from all over the world every year? The power and magnificence these ruins hint of has inspired many works of art. The Persepolis carpet is one of these works. It measures six and three-quarters meters by four and a-half meters.

The design of this carpet is actually a series of the images of various areas of Persapolis.



The inscription on the right border of the carpet reveals that the weaving was ordered by Mr. Assadollah Khan, the Deputy Governor of the Fars province. This carpet, with a knot count of sixty, was woven in Kerman using assymetric knot and three wefts.

The upper and lower borders are similar whereas the left and right vertical borders are of different patterns. On the main field, one third from the top, one can see the forword movement of the people toward the Acheamnian king. Some people are going toward the king’s court, either on foot, or riding on horseback or in a wagon.

On the eastern stairway to the Apadana Palace in Persepolis, there is a combat scene of a bull and an elk. This carpet has the same scene inside a triangular frame. Two rows of soldiers can be seen.


The central part of the carpet has been decorated with the pictorial design of the Acheamenian King, with a row of lions above right, and on the upper part, the image of a divine being, namely "FARVAHAR".

This carpet is tantamont to the identity sheet of Persepolis. The carved patterns on the stone walls and pillars of Persepolis are clear here.

Some images of its memorable places - buildings, gatways and edifices, especially the one hundred pillar palace - are among the patterns woven next to each other in this carpet.

In the upper left of the carpet, the "Farvahar" can be seen with two companions. There is also the inscription: "Darius, the Great King, has constructed this building."

In a lower section of the carpet, the alphabet of the cuneiform script, which was the prevalent script during the Acheamenian era, has been woven. The Persian equivalent is placed nearby.


The borders are decorated with historic events such as combat scenes as well as the portraits of kings. The Persepolis Carpet was purchased in nineteen seventy-seven and made part of the collection of the Carpet Museum of Iran.

Zodiac carpet

Zodiac is name of this carpet. The coloring used in this design, in addition to its astrological details, creates an eye-soothing work. This carpet was woven in the early nineteenth century in Mohammad Taghi Banki’s workshop in Isfahan. The corner medallions take up a great portion of the carpet themselves. The carpet theme is a floral design, mainly in the form of interlaced flowering branches on a gay red background. In the four corner medallions of the carpet, four human figures are woven alongside the names of the four planets of Venus, Mars, Jupiter, and Hermes. Every one of these are placed an equal distance from the Earth.

The carpet’s circular medallion is connected to two other medallions. The upper medallion is the very popular Iranian traditional symbol - that is, the lady sun.

The lower medallion is comprised of a crescent and an eight-pointed star.

The medallion has been divided into twelve parts, as the year is divided. The names of these constellations are the Ram, Taurus, Gemini, Leo, Virgo, Libra, the Scorpion, Sagittarius, Capricorn, Aquarius and Pisces. In the center of the medallion there is a twelve petalled lotus which symbolizes love and wisdom in Eastern mysticism. Inside the medallion has been decorated with the names of constellations in Turkish, Persian and the Arabic languages. This carpet has seven borders, the main one being called "arm band" Its background is red. Narrow borders of dark blue and creme colors have been used.
 

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