Rugs from Shah Ismail’s time
Ismail Safavi’s ascent to power in Iran brought security and power to a pinnacle of wealth and prosperity under Shah Tahmasab I and Shah Abbas Kabir. Historians and art historians attest to the growth of industries and artistic disciplines like Persian rug weaving, calligraphy, textile weaving, and architecture during these monarchs’ reigns. Rugs from Shah Ismail’s time
Despite his brief reign, Shah Ismail I (930-0907 AH/15.24-1501) focused mostly on fighting and attempting to bring the divided country together.
It was unstable and shattered, but his enthusiasm in art and attention to detail were sufficient to support Kamaluddin Behzad, who was brought to Tabriz with the Timuri Dargah (Library) painters and all of the Herat Art School’s organizations.
Although Shah Ismail did not live long enough to enjoy Behzad’s work, Behzad was able to apply the Herat school’s refined aesthetic philosophy to miniature painting, particularly Iranian Silk carpet design, in the latter years of his life. Rugs from Shah Ismail’s time
Tabriz School: The library’s existence was brief, but it was long enough for Behzad to continue his distinctive skill there and instruct his pupils, among them the young prince Tahmasb Mirza. The semi-Mongolian themes of Shahrukh’s court were converted into flawless and exquisite motifs by the students of Behzad’s school and his painting, which had such an impact that it eventually served as the inspiration for the exquisite patterning of vast Persian carpets.
Shah Tahmasb Safavi
Shah Ismail I was followed by Tahmasab on the throne. He ruled for a long time. The nation’s arts and industry flourished because of the relative safety and tranquility during his reign.
He encouraged artists and knew how to paint and calligraphy. Although the relocation of the capital to Qazvin does not prove that carpet weaving was practiced widely in this city, it is undeniable that high-quality carpet weaving was practiced throughout the country’s northwest, east, and center.
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Under his direction, Tahmasb established the first carpet weaving workshops to make carpets for his palaces and courts and to give as presents to the rulers of other nations. As stated by Cecil Edwards, “Shah Tahmasab wrote a letter to Sultan Suleiman and suggested him to send a carpet for the mosque that is now known as Sulaymaniyah Mosque, and emphasized not to forget the necessary measurements.” According to the Hungarian ambassador, these carpets arrived on schedule. Rugs from Shah Ismail’s time
Several beautiful carpets from the Safavid dynasty have survived, such as the Chelsea carpet and the well-known Sheikh Safi carpet.
The term “School of Isfahan” refers to a less formal establishment with a distinct creative and cultural character that served as a meeting spot for a number of calligraphers, painters, bookmakers, and other craftspeople. Sultan Muhammad, one of the school’s most well-known instructors, was Shah Tahmasab’s court painter. He created several of the Safavid court’s carpets, notably the well-known Sheikh Safi carpet, which is credited to him, in addition to painting Tahmasbi’s Shahnameh.
Shah Abbas I
The majority of Safavid historians and scholars attest that Shah Abbas I was the most powerful Safavid ruler and that the nation had a period of wealth and development during his rule. Like many strong monarchs across the world, this one made a concerted effort to establish himself as a patron of arts and crafts that people would remember, and he was mostly successful in doing so, regardless of the caliber and quantity of the work. After ascending to the throne, he relocated his capital to Isfahan in history. At the same time, he established royal carpet weaving facilities close to the palaces that were being built in Isfahan, assisting with the city’s artistic and industrial output. Rugs from Shah Ismail’s time
The Safavid administration’s constant desire to weave beautiful Persian rug designs for use in official palaces and mansions or as presents for foreign heads of state and dignitaries suggests that the artisans employed in these factories have a certain amount of wealth and expertise. Iranians were denied long-term wealth and satisfaction, according to Zabihullah Safa. It led to the growth of communities, an increase in the population, and the expansion of trade and industry throughout these two and a half centuries.
Relations with Iran piqued the curiosity of several international nations. Iran saw a large number of visitors. Iranian handicrafts, particularly the exquisite carpets of the Safavid dynasty, were adored and noted by Europeans, and Iranian commodities were exported to other nations’ markets. Perhaps Chardin’s assertion that “when this great king left the world, prosperity and prosperity also left Iran” is somewhat accurate, even though some of Shah Abbas’s successors attempted to adopt some of his governing practices after his reign.
1.How to identify carpets from the Safavid era
According to Edwards, “They typically identify one of the dated and specific carpets and then identify other carpets with a similar style from them because there is typically no detailed information about the remaining Style and maktab of Persian carpet.”
A. The history of the carpet may be weaved into it;
B. The rug might have historical significance;
C. By using religious and pictorial manuscripts, painted curtains, or book covers that have definite dates and depict the pattern of a carpet or carpets, one can ascertain the period of similar carpets.
2.The Safavid carpet-weaving period
The first three Safavid rulers produced the majority of the historical Pazyryk carpet that are known to exist. Iranian crafts and crafts were encouraged during this time, and one of the crafts and arts that flourished was the creation of hand-woven carpets, whose renown extended beyond of Iran and into the homes and palaces of foreign aristocrats.
3.Safavid carpets’ quality
A: History
Pope stated that “According to all researchers and artists, the Safavid period is a revolutionary period not only in Iranian carpet weaving, but also a brilliant chapter in the emergence of magnificent and brilliant periods in the arts of the East.” This assertion is supported by the surviving spectacular and imposing works. The skill of weaving this potent carpet was neither new nor ancient.
The Pope states: “There has been an ancient and long history of carpet weaving traditionally in all times and in different parts of this land.” Furthermore, throughout the ages and centuries, a variety of professions and artists have consistently demonstrated their presence in They either publicly or privately displayed this work and made their imprint on it.
B: Factors contributing to Safavid carpets’ superior quality
The following points encapsulate the primary causes of the Safavid era’s superior Origins of Persian carpet weaving quality:
authoritative and knowledgeable assistance with the planning and administration of carpet weaving, including the supply of suitable equipment, conditions, and premium raw materials; the application of supervision and control throughout the entire weaving process; and, most likely, the protection of employees at all levels;
Unfortunately, the names of the majority of the well-known designers and role-playing artists are the use of talented weavers, dyers, and finishers.
“The Safavid rulers established numerous workshops for weaving cloth and carpets not only in Tabriz but also in Kashan, Herat, Isfahan, and other places,” Ettinghausen says in the book Art of Iran. Several documents pertaining to the early Safavids introduce several kinds of Iranian carpets.
The Tanrajdar and Jahredar carpets, as well as the Salimi and Khatai Afshan carpets, are shown in the Khamsa Nizami manuscript of the Herat school, which is housed in the Metropolitan Museum of New York. A carpet with lances, which he believes dates from Shah Ismail’s time, has a big lancet in the center, is elastic-free, and features Chinese-dominated designs.
He introduces the Persian rug with fringes of the Metropolitan Museum, the carpet of the Golbangian collection in Lisin, and the carpet of the Metropolitan Museum, which he believes was manufactured during the reign of Shah Ismail, initially in Herat and then in Dartbriz. Ettinghausen thinks that during Shah Ismail’s reign, several Safavid-era carpets were produced in Herat. “A carpet of the Shah Abbas period that is in the Metropolitan Museum” is even something he believes to be Herat’s. Pope’s book attributes these carpets to northwest Iran.