Kashan silk carpet

Pope claims that kashan Persian rug was a city that could readily trade with other big towns since it was apart from the political unrest in the capital and the cacophony of religious arguments and discussions. The calm and tranquillity it had attained under the cover of lawfulness, thrift, and a proper knowledge of wealth and economics was the primary reason for this. The individuals put up a lot of effort and dedication in their job, far from indolence and pointless, destructive enjoyment. Silkworm breeding, silk manufacturing, and silk thread manufacture were all aided by the development of large silkworm farms, and “Kashan silk was exported as a type of high-quality silk.” Kashan silk carpet

In his notes, Garcia de Silva Figueroa (1550-1624) states: “Kashan is not regarded as a little city. The Iranian rulers have long been interested in this city. The first is that its citizens are very honest and outgoing, and the second is that it is the hub for the manufacture of silk materials, particularly exquisite and superior carpets that are unmatched worldwide, which brings in a lot of money. Kashan silk carpet

Because of Kashan’s Persian rug designs reputation for exquisite workmanship, particularly in the creation of superior textiles, the government, particularly Shah Abbas, took notice of the city and reportedly set up several royal carpet weaving studios there. Because of the government’s focus, the people’s tremendous work, and the high caliber of the city’s many goods, Kashan has become a model city in terms of economics, commerce, and production. Kashan silk carpet

Pope states this in the part on the Kashan carpet in the book series Survey of the Arts of Iran. Numerous carpets with nearly identical qualities have been created especially in Kashan; these carpets are unmatched by other weavers in terms of their vivid colors, the artistry of their artisans, and the silk’s softness. Since they were often woven for the government, these carpets rank among the most precious of all Iranian carpets, and thankfully, some of them have survived well. Kashan silk carpet

For ages, Kashan has competed with Herat and Isfahan as a center of ornamental arts production. Despite having talented calligraphers in the eleventh century, Kashan also attained a certain level of excellence in ceramics and textiles. However, its reputation should be more appropriately ascribed to the great worth of the work that was required to perfect this art form within the recognized bounds than to its experience and proficiency in architecture and miniature painting.

The manufacturing of silk threads, the weaving of silk textiles, and the subsequent creation of velvet textiles were all highly renowned. It appears that the evolution of velvet may have had some effect on the creation of exquisite carpets that resembled the thick, patterned velvets of Kashan. Pope cites the following justifications for this attribution:

(The Ardabil Style and maktab of Persian carpet , which was named after Maqsood Kashani, initially brought Kashan to the notice of the world. But there are several dubious reasons for the original attribution, such the coarse wool that was used, which differs from the materials used in Kashan, and particularly its pattern, which is reminiscent of the Tabriz style.)

When analyzing the Sheikh Safi carpet’s weaving location, Cecil Edwards states: “By looking at the state of Iran’s major cities during the early Shah Tahmasp era (10th century AH and early 16th century AD) and taking into account the carpet’s weaving technique, which uses Persian knots, it can be inferred to some degree that the majority of carpets woven in the Persian style with designs of flowers, leaves, and bergamot, and particularly carpets woven with silk, were woven in Kashan during the 10th century.Kashan silk carpet

“The people of Kashan are very hardworking and artisans and have a taste for every technique, especially in the industry of weaving belts, handkerchiefs, gold-embroidered robes, velvet, satin, gold, taffeta, and all kinds of carpets, rugs, and fabrics that are attributed to Ormuz in Europe, as well as porcelain and tiles that amaze people,” writes Hassan Naraqi in his book History of Kashan, quoting a Christian preacher named Cartwright.

Silk Carpets

Dr. M.S. Demand is quoted by Hassan Naraqi in his book History of Kashan Silk carpet as saying: “Thankfully, there are still many little silk carpets (rugs) that may be found in museums and private collections. Kashan is typically credited with creating these rugs. These carpets have a delicate feel that is similar to Iranian velvets.Kashan silk carpet

According to Ettinghausen: “Kashan’s workshops produced a number of carpets including many huge silk carpets in the second half of the 10th century. These carpets include the hunting carpet of the King of Sweden, the Branicki carpet in Warsaw, the Berlin carpet, and the Vienna carpet.

Thanks to the skill and labor of talented designers, these carpets are on par with velvet in terms of brilliance and color depth rather than grandeur and splendor. Numerous 10th-century silk rugs have survived and are housed in both private and museum collections.

*Click on the opposite link to see precious Iranian handmade and machine combined silk carpets*

There are two types of silk carpets: bergamot and animal designs. The Altman collection at the Metropolitan Museum currently has four pieces. Additional specimens are housed in the Detroit Museum, the National Gallery’s Widener collection, and the John D. Rockefeller collection.

“The workshops of Shah Abbas’s era produced not only knotted silk carpets but also silk rugs,” Ottinghausen continues. These carpets frequently included gold threads. A wonderful carpet panel featuring hunting themes may be seen at the Munich Residence Museum.

The hunting horsemen are in the golden backdrop, while the heavenly nymphs are in the center bergamot. While not all Persian carpets have such a wide range of colors, the majority of Kashan rugs are made in vibrant, rich hues. The Textile Museum in Washington and the Louvre both house a few specimens of Persian carpets, which are soft and mostly blue and green in hue. Isfahan is most likely where this collection of carpets was produced.

Kashan Silk Rugs

 Pope claims that the Fadayibai wool Pazyryk carpet ‘ timeless and profound artistic significance is shown through the usage of silk. But he thinks: “Artists tried their craft and talent in this area because they were unable to resist its outward attractiveness. The hub of weaving, Kashan, was where this endeavor thrived the greatest. Several big silk carpets and a number of rugs emerged from Kashan’s factories in the latter part of the eleventh century. These carpets are comparable to velvet in terms of brilliance and depth of color, rather than grandeur and glory, thanks to the skill and labor of the great designers.

Regarding the Vienna Shekargah carpet, Vidor states: “There are four enormous and valuable silk carpets, including the Vienna Shekargah carpet, which is the most well-known and delicate of them all. Baron Rothschild owns a carpet of comparable quality, the King of Sweden has a carpet of the same delicacy in his collection, and another carpet that was once owned by Prince Branicki is thankfully in fine shape at the Polish State Exhibition at Villa Wilanów. Kashan must have created these carpets.

“Knotted silk Origins of Persian carpets, frequently woven with gold wire, were the most exquisite productions of the royal workshops in Kashan during the 10th and 11th centuries,” according to the book The Brilliant Peaks of Iranian Art. The Shah frequently gave these carpets, which were made especially for the court, to other kings. At the start of Sultan Selim II’s rule, the Iranian ambassador delivered gifts to Edirne, including twenty silk carpets and several gilt silk rugs with animal, flower, and bird designs.

Polish sources (one of the Polish Jesuits) also attest to the fact that Kashan was the site of the weaving of silk carpets ordered by foreign powers. The more vivid silk carpets were most likely woven in Kashan, whereas the lighter-hued carpets were most likely manufactured in Isfahan factories.

In Iran, the Vienna Hunting Carpet is usually regarded as the most delicate carpet. The backdrop is brilliant burgundy with a bergamot-colored design of a dragon battling a phoenix. Similar to the Milan Hunting Carpet [dating from 929 AH], this backdrop depicts horsemen using swords, bows, and arrows to hunt a variety of animals.

Gold threads are used to weave the figurines in a variety of vibrant hues. Fields adorned with blooming shrubs serve as the backdrop for the hunting scenes. Heavenly nymphs are sitting in the red border, and their beauty is compared to that of pearl and agate. Hunters hurry back and forth while wearing the traditional Safavid robes and turbans with pointed caps.

This composition’s visual elements are reminiscent of hunting scenes found in paintings from the tenth century, particularly those by court painter Sultan Mohammad. Perhaps Sultan Mohammad personally developed the pattern for this carpet, which was produced for the king.

Although it is not as brightly colored, the Rothschild carpet is similar to the Vienna carpet in design. The border depicts a supper of princes and butlers in place of the houris. The dates of both rugs are 937-947 AH. The Metropolitan Museum’s spectacular carpet features six rows of either battling or individual animals.

The animals are set on a purple background in a mountainous setting with trees, flowers, and birds. A pattern of palm fronds among paired pheasants may be seen in the rust-colored border. The creatures seem to have been drawn from close study of nature, and the composition is entirely visual. The Metropolitan Museum’s two bergamot carpets include four-lobed bergamots with Khattai and Islamic patterns.

These silk carpets stand out for their technical mastery and richness of color. These carpets frequently have so fine knotting (about 300 knots per square centimeter) that their texture is comparable to Kashan velvets from the tenth century. Given that these carpets’ patterns and hues evoke several velvet weaves, it is reasonable to believe that Kashan.

. These carpets frequently have so fine knotting (about 300 knots per square centimeter) that their texture is comparable to Kashan velvets from the tenth century. Given the rugs’ pattern and hue, which are reminiscent of several velvet weaves, it is reasonable to believe that Kashan served as the manufacturing hub for these carpets from the tenth century. Early in the eleventh century, carpets were woven in Kashan, according to literary records.

In order to produce the robes that were given to rulers, ministers, sheriffs, chiefs of the guard, and others in Kashan and Isfahan, the only government factory that prepared royal robes and gifts outside the capital was established in Kashan, according to the author of the book Tazkirah al-Muluk.

Chardin, a French researcher, describes the pricey velvet carpets he observed in Isfahan’s royal palaces: To ensure their preservation, the carpets were laid out atop thick felts.

“It can be said that Kashan is the repository and trading center of all the cities of Iran for these goods,” said Cartwright, a Christian evangelist who arrived in Kashan about 1600 AD, according to Hassan Naraqi.

It is my firm belief that the yearly import of Kashan silk surpasses that of London’s Mahout. However, prior to Shah Abbas the Great’s rule, Iran was the only country that produced and used Kashan gold-woven carpets and textiles, which had an opulent and aristocratic feel.

“The use of carpets, in addition to their high use in the royal apparatus and by princes and nobles, particularly in terms of gifts sent to foreign countries, made its name famous and famous everywhere,” Chardin recalls of the time of this ambitious monarch.

Accordingly, in places outside of Iran where Shah Abbas the Great’s name is associated with gold-woven carpets, people have assumed that this kind of carpet was also invented and innovated during his rule. Some authors have also copied them and made the same historical error, despite historical records, one of which we mention here.

This business had grown and expanded widely many years before to Shah Abbas, and in Kashan, the name “dukhobe” was and still is a unique way of referring to a particular kind of Persian rug and velvet.

But under Shah Abbas’ rule, both the manufacturing and consumption of this pricey carpet rose to a level that was unmatched by earlier periods. Large, fully functional industries were thus built in other cities. These factories were no longer as successful as they had been following the passing of Shah Abbas.