{"id":25308,"date":"2017-04-07T14:59:44","date_gmt":"2017-04-07T12:59:44","guid":{"rendered":"https:\/\/www.perzijskepreproge.si\/about-carpets\/"},"modified":"2017-04-07T14:59:44","modified_gmt":"2017-04-07T12:59:44","slug":"about-carpets","status":"publish","type":"post","link":"https:\/\/www.perzijskepreproge.si\/en\/about-carpets\/","title":{"rendered":"About carpets"},"content":{"rendered":"

1.INTRODUCTION<\/strong><\/p>\n

Here you can read some basic information about the history and types of carpets, production methods, different styles, production areas, dyes…<\/p>\n

Under normal circumstances, carpets cannot be preserved for more than a few centuries, so tracing their development into the distant past is still quite shrouded in fog. We are helped by various records in ancient books (the Bible), architectural remains, paintings and miniatures from Persian courts, fragments of carpets, travel diaries and more. However, since this applied art is even older than the aforementioned tools, the exact geographical origin of carpets will most likely remain unknown to us forever. Which is not so important. Today’s dominant area with the tradition of carpet knotting, which covers a significant part of Asia, is very large and is marked by an equally varied history. We could even say that in a single carpet we can detect traces of Turkmen, Frisian, Persian, Chinese, Mongolian and other cultural influences, which were of course subject to the influence of even older civilizations that have disappeared forever in their original form. A big thank you to carpet lovers goes to Russian archaeologist Rudenko, who accidentally discovered a perfectly preserved, frozen Pazyr carpet during archaeological excavations in Siberia, which is why we know that sophisticated and technically perfect carpets were already commonplace 2,500 years ago. When, after thousands of years of mutual interpenetration of different cultures, carpets with a unique, personal mark of the maker are created in the remote regions of the Zagros Mountains or in a master workshop in Isfahan, these are often top-notch works of art of noble origin.
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2. TYPES OF CARPETS
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Carpets can be basically divided according to the environment in which they are made, the technique of making them and the type of design. They usually bear the name of the place, village or town where they were made or are named after the wider geographical area of \u200b\u200borigin. The exception is the carpets of the Turkic-Altaic peoples, which are mostly named after the name of the people, tribe, clan… However, according to the technique of making them, they are basically divided into knotted<\/strong> carpets (tepihe) and unknotted<\/strong> – kilims. <\/p>\n

Classic carpets<\/strong> include those made in cities<\/strong> such as Tabriz, Isfahan, Nain, Qum, Mashhad, Kashan, Kerman, Ardabil… They are made according to graphic templates (Persian – talim), where all the details and colors for each knot used can be seen precisely. This allows them to make several carpets with the same design. These carpets are made in master workshops, and the templates are the work of established carpet designers and painters. The most common motifs on them are flowers, arabesques, animals, gardens, hunting scenes and various depictions from the rich treasury of Persian mythology. These carpets are the bearers of the tradition of making carpets for Persian courts, which reached its peak in the 16th century during the Safavid dynasty. <\/p>\n

Nomadic carpets<\/strong> are those knotted carpets that are created on the never-ending paths of Persian nomadic peoples and represent an exceptional attitude towards a tradition that is thousands of years old, virtuosity, an unencumbered sense of aesthetics and uncompromising craftsmanship. Many of them still shear the wool themselves, spin it, dye it, wash it in rivers and carry it with them along the endless paths of the mountains, from where they also draw inspiration, which they masterfully harmonize with tradition. Many of them are unsigned works of art. <\/p>\n

The carpets made in the villages<\/strong> , like the nomadic ones, are made from memory, motifs and patterns are passed down from mother to daughter, and sometimes they are helped by rather simplified graphic templates. They use both horizontal and vertical looms, which allows them to make larger carpets. When making a larger carpet, several women participate in the process. <\/p>\n

Kilims<\/strong> or woven carpets differ from knotted carpets in that they do not have knots. They are only woven, but there are more than twenty different ways of intertwining the threads for them. Since they are lighter than carpets due to their different structure, they can also be used for curtains, tablecloths, bedspreads, tapestries, sofa upholstery… Compared to knotted carpets, they were neglected for a long time, but in the last twenty years they have gained an equal position with carpets among buyers and collectors. They are of even older origin than knotted carpets and their originality in structure and motifs has been preserved to this day. You can read more about kilims under the articles section.
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Antiques<\/strong> are carpets that are over a hundred years old or approaching them. It is important to note that these carpets can only have an additional, special value if they are well preserved and represent a kind of artistic surplus in themselves. Such carpets are usually purchased by enthusiasts and collectors who know how to appreciate the value of such carpets. <\/p>\n

Exclusive<\/strong> carpets exceed standards in their production (superior size, above-average number of knots) and the expensive materials used (silk, gold or silver-plated threads, jewels…).<\/p>\n

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3. CARPET STYLES\/DESIGN
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The basic division of carpets according to design is based on whether the motifs, patterns and stylized figures are depicted, composed of straight or curved lines. In the case of straight lines, the angle between them is 90, 180 or 45 degrees. Fortunately, the words geometric and floral design have become common for the distinction, but the matter is much more complex, since many geometric designs depict stylized, simplified floral shapes. The essence of the difference lies in the fineness, smallness of the knots used and the environment of creation. In master workshops in cities such as Tabriz, Ishfahan, Nain, Kerman and others, fine carpets with a large number of knots are made according to graphic templates. The graphic sheets are carefully made, each square represents an individual knot and its color, so that even the most demanding carpet designs can be accurately produced. In the master workshops, the majority of the work is done by men, unlike in the countryside, where carpets are traditionally made by women, who faithfully pass on the tradition to their daughters. They usually do not have any graphic templates, but create using designs based on local memory and tradition, passed down from generation to generation, to which they add their own personal touch. Talented women can gain a great reputation in the community. <\/p>\n

The types of designs are divided into three major groups, which are as follows: universal<\/strong> , geometric<\/strong> and floral<\/strong> design.<\/p>\n

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4.MAKING KNOTTED CARPETS
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Carpets are made on looms that can be vertical or horizontal. Vertical looms are used in cities and villages, they are usually larger and non-portable. Nomads use smaller, improvised horizontal looms that can be quickly dismantled and taken with them on a journey. The production technique begins with tensioning the longitudinal threads. The transverse threads (weft) are woven between the longitudinal ones. The next step is to insert a woolen thread or silk and other threads, which are knotted. Knots are usually made over two, or even three, four longitudinal threads. When they finish with one row of knots, one or more transverse threads are woven over them, which are finally pushed down firmly with a comb. When knotting, they usually use a symmetrical or asymmetrical knot. The first is more widespread among the Turkic-Altaic peoples and nomads, the second is used in master workshops for fine, classic carpets. In the West, there is a widespread misconception that the quality of a carpet is determined only by the number of knots. The quality depends primarily on the type of wool or other material, the method of spinning (hand or mechanical), the method of dyeing and washing the wool, as well as the entire production process and the skill of the manufacturer. It is interesting to note that the reflection of color on a carpet with the same wool and the same color will be different, depending on whether the wool was spun (twisted) on the right or left side. <\/p>\n

5.<\/strong> MATERIALS<\/strong><\/p>\n

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Wool<\/strong> (Persian pashm<\/strong> ) is the most widely used material for carpets. The characteristics of wool are influenced by various factors such as the breed of sheep, local climate, grazing altitude and the time of year when it is sheared (autumn or spring). The finest wool (cork) is obtained from the necks of lambs in the autumn. The grazing altitude is important because sheep living at higher altitudes have more fat (lanolin) in their wool fibers. This makes the wool extremely durable and gives it a special shine. Iran has enough of its own first-class wool, but countries such as India and Pakistan import lower-quality New Zealand wool with which they make even worse copies of Persian carpets. <\/p>\n

Cotton<\/strong> is used in the production of carpets for the basic transverse and longitudinal threads through which wool, silk, etc. are knotted. This base is visible from the front of the carpet only at both ends of the carpet as fringes. Wool was also used for the base, but it was supplanted by cotton because it is stronger. Even today, nomadic carpets with a wool base can be found. Some also use horsehair and goat hair. <\/p>\n

Silk<\/strong> has been an indispensable ingredient in fine carpets since time immemorial. Silk is native to China, but it is also produced in northern Iran in the provinces of Mazanderan and Gilan. Silk is mainly used in the production of fine carpets in master workshops in cities such as Ghom, Isfahan, Tabriz… <\/p>\n

Horsehair and goathair<\/strong> are used primarily by Persian nomads, Baluchis, and Turkmen peoples. They are mostly used as the lower basic structure of a carpet or as the outer side edges. Unfortunately, their use is slowly dying out, as they have no problem getting cheap cotton these days. They say that the shiny hair or hair on the edges of the carpet repels scorpions, snakes, spiders, and similar unwanted creatures. <\/p>\n

Camel hair<\/strong> is used only for woven rugs, mainly in eastern Iran. It is usually not dyed, and its natural color ranges from beige to light and dark brown. <\/p>\n

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6. SHAPES AND SIZES
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The vast majority of carpets are rectangular in shape, varying in size. There are quite a few standard dimensions, which of course vary in size. In Iran, they help classify carpets by size by naming them. Of course, they also make round, oval, square carpets and runners. It is interesting to note that the Iranians, on order for a mosque in Abu Dhabi, made a 6,000 square meter hand-knotted carpet, larger than a football field. It weighs 48 tons and has about 2 billion knots. 1,200 skilled women from three villages in northeastern Iran participated in the project. They created a superb masterpiece and gave new impetus to the preservation of a local tradition that is thousands of years old. <\/p>\n

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Post Office \u2013 100 x 60 cm<\/p>\n

Small painting \u2013 130 x 80 cm<\/p>\n

I dive \u2013 150 x 90 cm<\/p>\n

Mosul \u2013 200 x 100 cm<\/p>\n

Dispenser \u2013 200 x 135 cm<\/p>\n

Kharak \u2013 200 x 70 cm<\/p>\n

Kheleji \u2013 a rather wide runner<\/p>\n

Rugs \u2013 180 x 200 cm<\/p>\n

Pardeh – 150 x 240 cm, 180 x 270<\/p>\n

Ghali \u2013 300 x 200 or larger
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7.<\/strong> TOOLS\/ASSISTANCE
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Apart from looms, we do not need many other instruments to make a carpet. These are a comb, a knife with a hackle and scissors<\/strong> . They cut the thread with a knife after making an individual knot. If necessary, they use a hackle to pull the thread more easily between the longitudinal base threads. To make the carpet more compact, they beat it down with a comb when they have finished with a row of knots and the transverse thread has already been inserted. There are different types of combs for carpets of different fineness. With scissors, they tackle the entire, finished row of knots. In cities, electric mechanical scissors are used today for the final cutting, which of course significantly shortens the production time.
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8. <\/strong>DYES
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“You painters who ask for a technique of color, study carpets and there you will find all knowledge.” Paul Gaugain<\/em>
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Until the end of the 19th century, only natural dyes were used, which are divided into vegetable, animal and mineral dyes. Initially, artificial dyes were made on the basis of aniline, and their use quickly spread outside Europe due to their cheap production and good appearance. However, these dyes were very unstable when in contact with water or sunlight. Thus, in 1903, the Persian Shah Naser al-Din even banned the use of aniline dyes in good quality carpets in Persia. The ban remained in effect until the invention of higher-quality artificial dyes based on chromium a few decades later. Today, inorganic chromium-based dyes are of such high quality that it is almost impossible to distinguish them from natural dyes without analysis in a laboratory. <\/p>\n

vegetable dyes<\/em> :<\/p>\n

blue<\/u> – dyeing silybum or oblajst (Isatis tinctoria)<\/em> , indigo<\/p>\n

yellow<\/u> – saffron, rue, turmeric, rhubarb, onion peel, yellow catnip, rue (rhus typhina)<\/p>\n

red<\/u> \u2013 burdock root, poppy, cherry, chicory bark, rose roots<\/p>\n

orange<\/u> \u2013 henna, plum bark, roots of various grasses<\/p>\n

green<\/u> \u2013 olive and walnut leaves, sweet violet, mixing indigo and yellow<\/p>\n

brown and black<\/u> – tea, tobacco, walnut bark, wild olive leaves<\/p>\n

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mineral dyes<\/em> :<\/p>\n

white<\/u> \u2013 limestone<\/p>\n

yellow, brown, red<\/u> \u2013 ochre<\/p>\n

black<\/u> \u2013 manganese<\/p>\n

red<\/u> – cinnabar<\/p>\n

green<\/u> \u2013 malachite<\/p>\n

blue<\/u> \u2013 azurite, lapis lazuli<\/p>\n

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animal dyes:<\/em> mostly various insects<\/p>\n

Which color and what shade of color they will obtain depends on the type of material they are painting, the properties of the water and the fixer. As an example, we can cite orange peel from which they can obtain a whole range of colors from red to black, which depends on the type of fixer. Of course, they can also mix the colors with each other, just like painters do on a palette.
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9. TYPES OF KNOTS
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There are several ways of knotting, but in the Middle East the most widespread are the symmetrical (Turkish or Gordian) and asymmetrical (Persian or Senneh) knots. In Iran, both are widespread in carpet making, but the symmetrical one is dominant among nomads and peoples of Turkic-Altaic origin. They usually knot over two longitudinal warp threads, but when they knot over four warp threads, such a knot is called Jufti. This is more widespread in eastern Iran in the province of Khorasan. <\/p>\n

Nomads spin the wool themselves by hand, so it is thicker and the knots are not as small as those found in carpets from master workshops.<\/p>\n

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10. HAIRCUTTING<\/strong>
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The top of the inserted and knotted knot is cut off with a special knife, and the final fine shearing of the entire surface follows only after the carpet is already made. Nomads use scissors and a special comb for this, but they have to be extremely precise and careful, as they can quickly make a mistake that is difficult to correct. In master workshops, they use precise mechanical scissors today, which makes their work much easier. <\/p>\n

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11.<\/strong> LAST PHASE OF PRODUCTION
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Once the carpet is made, it is taken off the loom and prepared for washing in special basins of cold water. Washing removes the flakes of wool left over from the last shearing, evens out the inclination of the knots, emphasizes the shine and sharpens the design, harmonizes and fixes the colors… Even today, nomads and some villagers wash carpets in nearby mountain rivers or lakes. <\/p>\n

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