Safavid Rug

Safavid rugs are among the most cherished rugs in the world. The technical and artistic features of these rugs – and not their high prices – are their main claim to fame. The Persian rugs are indeed more of a practical commodity than simply a work of art. This article aims to introduce this type of Persian rug. Safavid weaves (both rugs and kilims) are of significant technical features which are subject to classification as they are woven in a systematic approach. According to history, Safavids set up workshops in different cities across Iran where carpet-weaving practices were not new, a fact based on which the systematic weaving approach emerged.

Classification

Safavid era left behind both rugs and kilims. Safavid rugs are divided into two main categories: Salting and Polonaise. The Salting were the first people who introduced Safavid rugs to the Europeans, and that is why these rugs are named after them (George Salting). As for Polonaise rugs, they were bought by King Sigmund III of Poland in the 17th century, and were first put on public display in an international exhibition in Paris in 1878 as the possessions of Czartoryski, the prince of Poland.

The Rug Pattern

First of all, Safavid rugs have been woven based on a pre-designed pattern. Although the use of patterns is common today, often weavers are still weaving carpets subjectively and through improvisation in some parts of Iran, a practice common especially among nomads and villagers. Drawing paper-checked patterns the way done today must have been a difficult task about 400 years ago as there had to be a real-size square on paper for every single knot, which once put together, created a harmonious whole pattern. Such a process would have been time-consuming, and obviously required a great deal of small-sized paper for a 180*500 cm carpet. To tackle this obstacle, Safavids designed a symmetrical quarter of the pattern which represented the pattern as a whole. This way, they managed to weave any carpet regardless of the size.

Raw Materials

High quality raw materials were prepared based on the latest technology of the time in accordance with patterns. To exhibit the distinctive quality of the raw materials, Safavids also employed creative methods which were common in the production of clothes. Passementeries - a type of silk string with an outer layer of gold and silver alloy – was in common use, which added to the glory and beauty of the rugs.

Innovative Weaving Techniques

Safavids used a unique method of weaving Polonaise rugs which caused bumps to appear on the surface of the rug. They would first weave the main motifs (containing piles), and then filled the spaces between them with passementerie strings only. This magnified the beauty of the rug.

Color Schemes

Safavid rugs mainly come in seven colors. It is customary in Iran for a colorful product to come in seven colors. Due to limitations in plant dyeing techniques, Safavids only selected the colors which created appealing combinations to the mind, proving the designers’ awareness of the psychological impacts of different colors. In some Safavid weaves, there are 12 colors which are known as secondary colors and contribute to better observation of the main colors.

Diversity in Area

Safavid weaves are of diverse areas, which is a sign of their versatility, and proves the weavers’ competency and ability to create works matching the architecture of the time. Nomads and villagers in Iran often used several small rugs to carpet a room as it was next to impossible to do so using one single rug fitting the whole floor. However, a thorough examination of the rugs which remain from the time shows that Safavids were able to produce single rugs in royal workshops which would have fitted any desired area.

Diversity in Pattern

Safavid rugs are also of multiple patterns because of two main reasons: first, appropriate technical ability without which the creation of spiral would have been impossible. A similar example would be how Haris, Bijar and Bakhtiyari rugs have transformed over time. Second, cultural feedback in the Safavid era made artists focus more on visual diversity of their works. For instance, calligraphic motifs were implemented on the rugs in such a way that were almost the same as other calligraphic works. This feature stands out in Salting rugs.

Weaving Method

The Safavid rugs which have remained to date are different based on the geographical locations in which they were woven. Yet, most of them fall into the category of asymmetrical knots. (like the ones woven in Isfahan, Kashan, Joshaqan, Herat, and Kerman). The similarity between these weaves stems from the fact that workshops were set up in the vicinity of Isfahan as the capital of the Safavid dynasty. Herat rugs are, too, considered Safavid rugs as they were created in the early years of Safavid rule when the city of Herat still possessed some of its glory as the former capital. There are also a few weaves attributed to the north-west of Iran (symmetrical knots), areas near Tabriz (Safavids’ capital for a short time) which was looted upon the Ottoman conquest of the city.

Bibliography

1. "Hajizadeh, Mohammad Amin, Formal analysis of a number of Safavid period rugs known as Polish rugs, Negareie Mag (Islamic of art), No 6, 2015, P 84-98.
2. "Malakoti, Neda Sadat, Zarbaft Safavid carpets, Jamale Honar, Tehran: 2018.
3. "zhuleh,turaj",A research on Iranian carpets, Yasavoli Tehran: 2000.